When chef Brent Savage and sommelier Nick Hildebrandt of Bentley Restaurant Group transplanted their moody-chic mod-French wine bar-cum-bistro Monopole from Potts Point to the CBD in 2020, the move also ushered in a change of identity. The brooding intimacy, dark furnishings and wine-bottle-stacked walls of the OG Monopole were replaced with soaring ceilings, a vibrant vermillion paint job, abstract pendant fixtures and floods of light through the wall-to-wall windows. The menu also brightened, shifting from riffs on French fare to a broader-spectrum pan-European offering, with Mediterranean, Middle Eastern and, oui, also French flourishes on the plate, alongside a thoroughly considered and impressively worldly wine list. But it seems what goes around comes around. The next era of Monopole will see a return to the venue's French roots. Starting Tuesday, July 2, a new-look dining room at Curtain Place will provide the backdrop for a menu of classic French dishes and a more tricolore-centric wine, aperitif and digestif selection. Far from joining the ranks of Sydney's many casual bistros and brasseries, Monopole 3.0 will be a top-of-class destination for fine French cuisine. "The space feels refined, the wines and broader beverages are heavily French, and Brent has designed a menu of French classics done our way," Hildebrandt said. Working with celebrated designer Pascale Gomes-McNabb — who, in addition to designing all of Bentley Restaurant Group's Sydney venues, has also created dining spaces for Melbourne institutions including Cutler & Co. and Stokehouse — has tamped down the playfulness of the existing decor. Velvet drapes, sheer curtains, vintage wine posters and antique light sconces tell a more elegant story, underlined by the restaurant's new ivory crockery. Gracing those plates, Savage's new menu is a French gastronome's dream, although there are still a handful of surprises that might raise a purist's brow. Gourmet virtuosity in the form of quenelle de poisson — poached fish dumplings served in a red fish bisque — and boudin blanc du homard — sausages made from crayfish and dressed with morel mushrooms and tarragon butter — will share the pass with items like the burger de canard, which, just as it sounds, is a duck burger served with house-made pickles, comté cheese, hot sauce and a generous slather of duck liver parfait. Monopole's wine list has been largely French-leaning for a few years now, but the new list fully embraces this Francophilia with both arms. In preparation, Hildebrandt has spent time touring wine producers in Champagne, Alsace and Burgundy, and now Sydneysiders will have a chance to taste the expertly fermented fruit of these labours. Classic French cocktails and a wide selection of the verdant herbal liqueur chartreuse will also star behind the bar. While the spirit of the new Monopole is unerringly fine-dining, affordability has also been a consideration for Savage and Hildebrandt. A fixed-price menu will be available during lunch service and for dinner reservations before 6pm, with two courses for $55 and three courses for $70. A five-course tasting menu will also be available throughout evening service for $90, placing a night of extraordinary Gallic flavours within reach of diners on a budget. Monopole's new dining room opens for service from Tuesday, July 2. Visit the Monopole website to make a booking.
Rosebery's foodie precinct, The Cannery, is about to add some Parisian flare to its ever-expanding repertoire. Frenchies Bistro and Brewery will launch this August by head brewer Vincent De Soyres and head chef Thomas Cauquil. The craft-obsessed, French-born duo will join a roster of heavyweight neighbours, including Saporium wholefoods market, Archie Rose Distillery, Black Star Pastry and Kingsmore artisan butcher. Inspiration for the space came from (of all things) the team's time spent trekking Eastern Siberia. "We spent two months hungry, talking about food and beer", says De Soyres. The 'French-industrial' fitout promises warm bistro lighting that will compliment the dark beams of the Rosebery warehouse, along with lots of personal touches — including the venue's hand-crafted wooden tables, made by De Soyres' dad at his farm in France. The brewery, kitchen and bar sit on the ground floor, while the upstairs mezzanine houses the bistro where Cauquil will show off his world-class repertoire — he's cooked in Michelin-starred restaurants around the globe, including Paris restaurants Le Miroir and Le Violon d'Ingres, Madrid's El Chaflan and Sydney's Moxhe. "It's food that is affordable, with a lot of work behind it," says De Soyres. The menu will adapt on a daily basis, depending on the seasonal and regional produce available. "We will not be serving asparagus in winter," says De Soyres. Despite being local as, the bistro menu features dishes not commonly found in Sydney, much less at a brewery — think veal tongue carpaccio, quail and pig trotters pie and bone marrow stew. But the menu doesn't only appeal to more adventurous types, either, with a North African-style confit lamb and traditional Toulouse sausage with rosemary jus also present on the menu. For takeaway, Frenchies will sell Cauquil's specialty terrines, pâtés and meat parfaits, recipes he learnt while training under world renowned charcutier Arnaud Nicholas. The brewery side also focuses on seasonality, with the beer produced on site and meant to pair with the menu. De Soyres flexes his international brewer's muscles with the Biere de Garde range, which he describes as "a bit like white wine, refreshing while complex and interesting." De Soyres takes a very organic approach to brewing, and finds it important to convey each beer's terroir, or sense of place — a term ordinarily only used to refer to wines. The Frenchies core range also includes their Comet Pale Ale, made with wild American Comet hops, along with a German Kölsch, French IPA and an Aussie Red Rye. Whether you're a Francophile, craft beer lover or both, keep an eye on this space. Frenchie's Bistro and Brewery is set to open this August at 61-71 Mentmore Avenue, Rosebery.
You'll find UTS Gallery, perhaps unsurprisingly, inside the University of Technology Sydney in Ultimo — on level four, to be specific. The space was established in 1995 to exhibit emerging and established artists across a diverse range of disciplines. The gallery's permanent art collection ranges from large-scale installations and sculptures to small sketches, with an aim to represent life on campus and broader social issues and trends. And, of course, it hosts temporary exhibitions, which are planned up to two years in advance, by its artists in residence and other emerging creatives. It also hosts free events, including curator talks, audio tours, film screenings and workshops.
When you're in lockdown, you're only meant to go to the shops to buy essentials — and while creative cocktails may be crucial to your stay-at-home experience, gathering all the ingredients to make them doesn't really fit with the intention behind the rule. Thankfully, delivery services have been filling in the gaps. Cocktail Porter is one of them, bringing DIY kits to your door featuring everything you need to whip up inventive beverages. And yes, it's mighty handy even if your part of the country doesn't happen to be locked down at this very moment. Already, the service has delivered three different types of Gelato Messina cocktail kits — including summery concoctions, Easter cocktails served in Easter eggs and dulce de leche espresso martinis. The next packs on its list also feature a beloved ingredient, although Messina isn't involved. But hey, everyone loves Wizz Fizz, right? Yes, we know the answer to that question. Every Australian kid loves Wizz Fizz, and every Aussie that's ever been a kid, because that's something your tastebuds can never outgrow. Cocktail Porter's new DIY Tommy's margarita kits feature the little bags of sherbet alongside Tromba Blanco tequila, agave syrup and Listo Tommy's margarita mix. It also comes with chilli salt, if you'd prefer to spice up your drink. You can pick between two different-sized packs, with a small kit costing $75 and serving up six drinks — and a large pack priced at $135 and making 18 dessert cocktails. Cocktail Porter delivers Australia-wide, if that's your spring drinking plans sorted. The DIY Tommy's margarita kits will be delivered from Wednesday, September 15, and you'll need to have signed up for one by Sunday, September 12. They're actually part of Cocktail Porter's monthly subscriptions, which see a different kit sent to your door each and every month. To order Cocktail Porter's DIY Tommy's margarita kits, head to the Cocktail Porter website.
Approaching its 100th year in Darlinghurst, The Strand is set to have a huge makeover, with the longstanding corner pub being transformed into a multi-venue hotel, bistro and rooftop bar. Part one of this transformation is already complete, with the French bistro occupying the pub's ground floor now open to the public. At The Strand Bistro, you'll find all the trimmings of a classic French diner. Inspired by 1920s Paris, the venue boasts a sleek wood and gold fit-out with a menu that rolls out expected favourites from the region's cuisine. There's caviar service, steak frites with bearnaise sauce, creamy garlic mussels, pissaladiere topped with caramelised onion and anchovies and a French leek tart made with watercress, pear, walnut and goats cheese. It's a far cry from standard pub fare. Similarly, the drinks menu has undergone a dramatic change. Take your pick from the bistro's expansive Australian and French wine list, or opt for a selection from the aperitifs and cocktails. A 49-strong whiskey list is also on hand, featuring highlights from Japan, Scotland and Ireland. Over the next couple of months, the bistro will be joined by a second new space inside The Strand. Head up to the William Street building's rooftop and you'll discover a casual al fresco bar. Expected to open during winter, the rooftop will facilitate snacks and cocktails with sunset views and DJ sets. The final piece to The Strand's shiny new puzzle is a 17-room boutique hotel sandwiched by the two hospitality spaces. The accommodation will feature an array of areas designed to make your stay comfortable and memorable, including a library and common spaces for work and cooking. Located a short walk from the heart of Sydney's CBD, it's sure to be a go-to for tourists and staycationers alike. The renovation and conversion of The Strand is the handy work of Public Hospitality, who have big plans for several other heritage buildings throughout the city. The hospitality group has taken ownership of The Camelia Grove in Alexandria, Erskinville's The Kurrajong and The Town Hall in Balmain, with the processes of giving them all a similar facelift already underway. The Strand is located at 99 William Street, Darlinghurst. The Strand Bistro is open 6am–midnight Sunday–Thursday and 6am–2am Friday–Saturday.
Beer-loving Sydneysiders, here's some news to say cheers to, especially if you're fond of tipples from BrewDog. Before 2022 is out, the Scottish craft beer giant will open its first-ever Sydney beer bar, as part of its previously announced collaboration with hospitality group Australian Venue Co (AVC). Your new drinking spot: the old locomotive workshop in South Eveleigh. An exact opening date hasn't been revealed as yet, but works started in August. Also, the $3.2-million BrewDog South Eveleigh will huge, if the company's arrival in the Harbour City wasn't already big enough. Spanning a large indoor dining space, a bar and a beer garden, it'll seat 720 beer aficionados inside and 190 outside, and pour 40 brews through its taps. Those beverages will cover the brand's own beers, of course, as well as guest beer tap takeovers and collaborations with local breweries. Don't feel like a brew? Cider, wine, spirits and cocktails will also be on offer, alongside a range of non-alcoholic options. All of the above will help wash down a food menu that'll feature burgers and pizzas, and do all-you-can-eat wings once a week. BrewDog South Eveleigh is embracing vegetarian and vegan dishes in a sizeable way, too, dedicating half of its range to plant-based bites — including two-for-one vegan eats on Mondays. Given the location, the beer behemoth's first Sydney spot will pay respects to the site's history, with the architects at Studio Y designing the venue around the original workshop machinery collection. You'll be able to peer at it as you drink, in fact, truly turning your day, afternoon or evening sinking pints into a unique experience. BrewDog South Eveleigh will mark BrewDog's fourth Australian location. It launched its first Australian brewery and taproom in Brisbane in 2019, and has a second Brissie venue on the way this spring in Fortitude Valley. The brand also has its debut Victorian site on the way before summer hits, setting up shop in Melbourne's historic Pentridge Prison precinct. BrewDog's Sydney welcome comes via that new partnership with AVC, aka the group behind spots such as Cargo, Kingsleys and The Winery. It sees the world's largest craft beer bar operator join forces with one of Australia's big pub operators, and will span multiple sites — but exactly where and when any venues beyond South Eveleigh and Pentridge will open hasn't yet been revealed. BrewDog currently operates over 100 beer bars worldwide, having recently launched outposts in Mumbai and New Albany (USA), and with huge flagship bars coming soon to Las Vegas and Waterloo (London). BrewDog South Eveleigh will open in Bays 1 & 2, Locomotive Workshop, South Eveleigh, 2 Locomotive Street, Eveleigh, some time before 2022 is out — we'll update you with further details when they're announced.
Food is usually the gift you give when you can't think of anything else. Come on, you know it's true. That said, anyone getting their dad Gelato Messina's latest special Father's Day creation can't be accused of that. Actually, anyone who buys it for their dad instead of just nabbing it for themselves deserves to be the family favourite. As it did last year — and for the past few years for Mother's Day, too — chocolates are on the brand's Father's Day menu in 2022. Chocolate biscuits, to be exact. Are mint slice biscuits a staple of your parents' pantry? Do they make you feel nostalgic for that exact reason? Well, now you can get your daad the Messina version. The gelato chain does love taking other beloved desserts and giving them its own spin; see also: honey joys, Bounty and Chokito bars, Iced VoVos, Viennetta and Golden Gaytimes, just to name a few. Messina's minty biscuits, as these bikkies are called, come in 12 packs, and feature chocolate sablé biscuits with a soft mint centre that are then covered in 65-percent single-origin Messina dark chocolate. They're being made at the brand's Rosebery headquarters, and you can only pick them up online, for $25 a box plus shipping, from 9am, Monday, August 22. Then, they'll be sent by Monday, August 29. If you really are ordering them for your dad and yours come early, try not to eat them, obviously. Gelato Messina's minty biscuits will be available to order from 9am, Monday, August 22.
If you want to know what it feels like to have Siri laugh at you, ask them to search for "small garden hideaway with excellent food, drink, music in Sydney's CBD". Once you've done that, head back here so we can give you what you want. Since I Left You, the 21st-century city speakeasy nestled in a heritage-listed storehouse in the centre of Sydney, has announced another chapter of its SILY Sessions. The bi-monthly sessions are live gigs, but not as you know them. Rather than spending the day being elbowed in the face at varying intensities, the gig takes place in SILY's courtyard oasis, and is small — 50 people max — and generally acoustic. Tickets are only $20, which includes unlimited access to the antipasti table. The bar also serves up $12 cocktails until 6pm. Take that, Siri.
The sophomore film from John Michael McDonagh, Calvary begins with a simple conversation that sets the scene for everything that's to come. As the camera holds on the face of the quiet Father James (Brendan Gleeson), we listen to a man give confession. A victim of childhood sexual assault, the unseen man outlines the horrors that were inflicted on him by one of James's fellow members of the clergy. Now an adult, the man wants justice, but his assailant has long since died. So he has decided to murder James instead, giving the priest until the following Sunday to get his affairs in order. There are certainly similarities between Calvary and McDonough's previous film, the potty-mouthed buddy-cop comedy The Guard. Both feature standout performances from Brendon Gleeson, both have a distinctively un-PC sense of humour, and both populate their rural Irish setting with a collection of colourful characters. Dylan Moran, Chris O'Dowd and Game of Thrones' Aidan Gillen play a few of the more memorable townsfolk, any one of whom could be the murderer in waiting. McDonagh's comic pen is incredibly sharp, mixing caustic wisecracks with bemused non sequiturs and moments of perfectly timed profanity. But much more so than in The Guard, the humour here is heavily shaded with melancholy. McDonagh downplays the mystery; there's a feeling that it doesn't really matter who is planning to kill Father James, who does little to avoid his preordained fate. He himself is innocent, but knows that others in his station were not. Perhaps he feels obligated to do penance on their behalf. Certainly, the Irish felt the shock of the Catholic sex abuse scandals more than most. As Father James visits his parishioners for what may be the very last time, he's witness to a community scarred by cynicism and mistrust. His sense of personal isolation is enhanced by the rocky coastal setting, as bleak and unforgiving as it is beautiful. Gleeson's performance is one of the best of his career, full of wit, weariness and dignity. Father James is a good man, and no fool. Yet he's increasingly out of place in a world that is rapidly losing its faith. McDonagh tackles big ideas, from the need (or lack thereof) for organised religion to questions of death, responsibility and forgiveness. Blessedly, whenever things threaten to become too heady, McDonagh grounds them with a moment of deadpan comic relief. It's an incredible tightrope act. Black comedies have a habit of descending into snark, but here the balance feels just right. Tonally, emotionally and spiritually complex, Calvary comes highly recommended. https://youtube.com/watch?v=JErdUGpSYqI
It's the news Sydney burger lovers have been waiting for, even if they didn't know it yet. After setting up shop in Burleigh Heads and recently branching out to Brisbane, Queensland's Ze Pickle is forging ahead with their expansion plans. Next stop: Surry Hills. Foveaux Street will be your new go-to burger locale — or it will be on a yet-to-be announced date in February next year. Sure, you can't quite start counting down the days until you can lock your chops around a Pablo Escoburger (that's ground wagyu beef, cheese, guacamole, queso, smoked jalapeños, corn chips and optional pulled pork), but you can make trying every one of their meat and bread combos your new year's resolution. Ze Pickle's mouthwatering menu also includes the crispy chicken and mac 'n' cheese waffle mayhem that is the 4.20AM, as well as the Triple Loco: an infamous tower of beef, cheese, bacon and pork in-between grilled cheese sandwiches. If your tastebuds aren't already trembling with excitement, a quick squiz at their Instagram feed will do the trick. Case in point: A photo posted by zepickle (@zepickle) on Jul 10, 2015 at 6:41pm PDT When it comes to Queensland's favourite greasy treats making inroads into New South Wales, Ze Pickle follows in the footsteps of Doughnut Time, which has just started opening stores around Sydney. However, that's not the only thing they have in common, with the two about to join forces to unleash the ultimate sweet and savoury mashup. The word you're looking for? It's yum. Ze Pickle's Sydney store will be opening at Shop 6, 17-51 Foveaux Street, Surry Hills sometime in February 2016. For more information, keep an eye on their Facebook page.
Leaping from the screen to the stage in 2018, Mean Girls not only found a second life in the theatre, but did so with singing and dancing. Unsurprisingly, the production was a hit. With the musical's book written by Tina Fey, its tunes composed by her husband Jeff Richmond and its lyrics by Tony-nominee Nell Benjamin, the machinations of high-school cliques struck just as much of a chord with audiences when set to songs — and given that the show's tracks have highly appropriate names such as 'Meet the Plastics', 'World Burn' and 'Here (You Can Sit with Us)', that's to be expected. Also easy to predict: the musical's next leap, with Cady Heron's tale heading back to the cinema. No need to stress if you haven't seen the all-singing, all-dancing Mean Girls on Broadway, because a film version will soon be brightening up a picture palace near you. When the movie adaptation screens on a Wednesday, you'll want to wear pink. And, like the Lindsay Lohan and Rachel McAdams-starring original film, as well as the stage musical that followed, you'll be basking in Fey's talents. She wrote the initial feature's screenplay and, as detailed by The Hollywood Reporter, she's now producing this new movie musical. So is Saturday Night Live's Lorne Michaels, although no other creatives — or cast, or a release date — have been announced. The story will stay the same, obviously, charting Cady's rough adjustment to American high-school life after spending the bulk of her childhood living in Africa — and her time spent with the resident popular clique, known as 'the Plastics'. If you're wondering how it all works as a musical, check out a clip from the stage show below: https://www.youtube.com/watch?v=uGmgEoOF7Gs Via The Hollywood Reporter.
After what's seemed like an eternity, summer is finally here. Combine that with the usual silly season shenanigans, and it means that we're getting ready for some serious partying. The one thing that any party needs, though, is music. We've teamed up with Hennessy to ask ARIA-nominated rapper B Wise for his playlists that set the mood for any occasion — whether for the before party, the party party or the after party. SETTING THE MOOD: ALTERNATIVE HIP HOP B Wise checks this playlist as his "personal vibe and taste", while providing a good counterpoint to his own music. "I feel most of my music as an Australian-based rapper feels alternative to the rest of the world." HYPE MUSIC: BLACK LIVES MATTER Need to hype yourself up for a night out? Look no further than these songs about empowerment and pride. B Wise says: "the playlist title says it all. Some of the best sounds from Black creators." TIME TO MOVE: RAP UK Ready to really get the night started? This selection of UK rap is a sure bet. "When it's time to move like a road man (or hit the gym), this is my vibe." LOCAL PICKS: A1 This international selection of the hottest hip hop right now is an Australian-curated selection that also includes tunes from homegrown talent. According to B Wise, this playlist "always keeps the big energy up". HIT THE FLOOR: RAPCAVIAR You know that time of the night when it's past the point of no return? This is the playlist for that time. "If we partying, this is the first playlist I'm gonna visit." AFTER PARTY: STRANGE NIGHTS Naturally, even the after party needs tunes — and this list curated by B Wise himself is sure to strike the right note. "One of those if you know, you know kinda vibes. For the party after the party." Level up this summer with Hennessy. Hennessy V.S brings elegance and complexity to any mix while showcasing its versatile appeal. Whether it's an Espresso Martini, an Old Fashioned or the game-changing mix Hennessy x Ginger, Hennessy allows you to step it up this summer. Top image: Jarrad Shaw
A whole heap of fresh faces are heading to The Hills this spring, as the multi-faceted Mullane's Hotel prepares to throw open its doors. Sporting a big public bar, a sophisticated Italian restaurant and its own in-house vodka and gin distillery, it's safe to say the new venue will have a little something for everyone. At the heart of the sleek new development by Momento Hospitality (Bella Vista Hotel, The Governor), you'll find contemporary Italian bar and eatery Sarino's, dishing up refined fare, revamped classic Italian cocktails and a sprawling lineup of over 200 wines. The lofty first floor space will boast an elegant mix of plush furnishings and exposed brick, complete with private liquor cabinets where guests can stash their own personal bottles of top-shelf booze. Next door, an on-site distillery will be whipping up its own range of gins and vodkas, along with limoncello and an almond liqueur to be used in the bar's affogatos. On the ground floor, you'll find a cafe slinging small plates alongside Italian coffee, adjoining the Mullane's public bar and VIP lounge. [caption id="attachment_735191" align="alignnone" width="1920"] The proposed Central Plaza design by PBD Architects[/caption] Mullane's Hotel is set to be located on the ground level of a massive new multi-building hub opening opposite the new underground Norwest Train Station, which is part of the new billion-dollar Metro North West railway. The proposed hub, designed by PBD Architects, will be called Central Plaza and will consist of six towers for commercial use, two residential towers, a childcare centre and a community hub. Some of the towers could stretch a whole 40 storeys into the sky. Mullane's Hotel will open at 34-36 Brookhollow Avenue, Baulkham Hills. The public bar is set to open in September, with Sarino's Restaurant following in October.
In A Wrinkle in Time, a giant-sized Oprah towers over the world like a goddess, arching her bejewelled eyebrows, wearing glittering outfits and dispensing advice. Mindy Kaling offers wisdom in quote form, cribbing as much from age-old sages as current popular culture. Meanwhile, Reese Witherspoon is full of goofiness and good cheer — when she's not turning into a flying lettuce leaf. With names like Mrs. Which, Mrs. Who and Mrs. Whatsit, the three actresses play magical beings intent on helping 13-year-old Meg Murry (Storm Reid) find her missing astrophysicist father (Chris Pine). They're also pivotal to this fantastical film. Make no mistake: A Wrinkle in Time is Meg's movie. Based on the 1962 novel of the same name, it's the story of a girl who's not only uncertain in her own skin, but is uncertain about her place in the world since her dad disappeared. When the three Mrs arrive in her life — claiming to know where her father is and eager to spirit her away to a parallel dimension — Meg is instantly wary, even when her super-smart younger brother (Deric McCabe) tries to quell her fears. Meg has other things on her mind as well: she's being bullied by the girl next door (Rowan Blanchard), particularly about her hair, and she's not quite sure why her cute classmate (Levi Miller) suddenly wants to be her friend. Still, she's intrigued by her new celestial pals (as odd and otherworldly as they clearly seem), largely because they're also so sincere and genuine. That's the kind of film that Meg and the Mrs are in, after all: earnest from start to finish, and unashamed to wear its heart on its sleeves and every other piece of multi-coloured clothing in sight. It's the type of movie that really isn't made all that often these days — a movie that owns its brand of sentimental optimism, doesn't try to be anything else, and doesn't really try to appeal to adults either. While A Wrinkle in Time has garnered significant attention thanks to its high-profile stars, it's ultimately an upbeat and affectionate kids' sci-fi/adventure flick through and through. Filled with child-friendly messages about believing in yourself and your intelligence, choosing hope over darkness, and trusting that good will prevail over evil, the film is basically an Oprah-style empowerment lesson for everyone under the age of 15. Pre-teen and teenage girls will be wrinkling their faces with happiness. For those familiar with the book, this shouldn't come as a shock. The source material has been considered unfilmable for decades, with the only other attempt coming courtesy of a 2003 TV movie. Given that the episodic narrative toys with time travel, hops between wondrous planets, and tasks Meg with evading a tentacled monster, it shouldn't surprise anyone who hasn't read the novel either. That said, A Wrinkle in Time proves a nice throwback to the live-action family fare that Disney used to pump out in the '60s, '70s and '80s, including on television. Indeed, even if you're not in the obvious target market, the fact that the movie is so committed to its old-school, old-fashioned vibe is admirable. Jumping from powerful civil rights drama Selma and race-relations documentary 13th to something completely different, director Ava DuVernay hits the mark in more places than just the film's all-ages vibe. She gets the best out of her diverse cast, especially the younger players, with Reid a picture of relatable, youthful awkwardness, and Aussie actor Miller (Jasper Jones, Better Watch Out) continuing his great run of late. From the bright costumes to the overall explosion of special effects, DuVernay also ensures that everything looks and feels like a larger-than-life fantasy in every frame. Her quest to make a big-thinking, big-hearted kids' flick is always apparent, but like A Wrinkle in Time's gossiping flowers — yes, there's a field of flowers that literally gossip — the movie's beauty and its limitations go hand-in-hand. https://www.youtube.com/watch?v=pwlZ1r-BiQA
The oldest floral festival in Australia, the Grafton Jacaranda Festival focuses on the hundreds of lilac-blossomed trees that line the town's streets. First held in 1935, the festival brings together art exhibitions, live music, markets and parades for a week-long celebration from October 28 through November 5. While the jacaranda blooms are of course the main attraction, it's by no means the only event you'll have to look forward to during the festival — think a 30-team dragon boat race and a Venetian-style circus and carnival, along with buskers, fireworks and stallholders aplenty. Grafton takes their tree heritage seriously and currently holds the title for biggest jacaranda on the National Tree Register of Big Trees (yes, it is a real registry). While in town, visit 'The Gorge', a tree which measures at a massive 30 metres high with a six-metre circumference. It deserves a nice big hug, we reckon.
When the term 'kidulting' gets thrown around, it usually means one thing: taking a pastime that you enjoyed when you were a child and adding alcohol. It's why we have boozy mini golf bars, cocktail-slinging arcades and beer-serving bowling alleys, all aimed at adults. And at the latter in May, you can also add free gigs — and free brews and ten-pin, too — to the equation. Your destination: Strike Bowling, which is bringing back its Live on the Lanes concert series. The shows first took place in 2018, returned in 2019, but were then put on hold during the pandemic — and this time, they're going on the on the road. Live on the Lanes will hit up Strike QV in Melbourne, QV Wintergarden in Brisbane and Wintergarden King Street Wharf Sydney across Wednesday, May 11–Friday, May 13. But before you going marking your calendar, this is the kind of show you need to win tickets to. Entries open between 9am Thursday, April 7–11.59pm Wednesday, May 4 via the Strike Bowling website. If you nab a freebie, you really will get everything covered — the music, the beer and your time hurtling balls down the lane. Touch Sensitive will taking care of the tunes, hopping up on stages in each city that'll be set up on top of the alley. And those free lagers will come courtesy of Byron Bay Brewery — which is obviously something to say cheers to. LIVE ON THE LANES 2022: Wednesday, May 11 — Strike QV, Melbourne Thursday, May 12 — Strike Wintergarden, Brisbane Friday, May 13 — Strike King Street Wharf, Sydney Live on the Lanes tours Australia's east coast between Wednesday, May 11–Friday, May 13. For more information, or to enter to win tickets between 9am Thursday, April 7–11.59pm Wednesday, May 4, head to the Strike Bowling website.
Kiss the last (lunar) year goodbye and head to The Rocks this February to welcome the Year of the Tiger. There's plenty to see and do at the harbour-side precinct this summer, but come February it will transform for a Lunar New Year celebration with a stacked program of events. Soak up good fortune and prosperity among glowing red lanterns, traditional lion dances, the aroma of street food, live music and more. Here is how to ring in the Year of the Tiger at The Rocks. EXPAND YOUR MIND AT ADAM LIAW IN CONVERSATION Commence the festivities with some cultural and culinary expertise from one of Australia's most beloved foodies. The Lunar New Year In Conversation series will feature cook, writer and television presenter Adam Liaw. Drawing from his life and career, Liaw will offer a unique insight into Asian influence on the Australian palate, as well as the origins of Lunar New Year. Head to The Rocks Square from 4pm on February 4 and 12 to catch the free talk. EXPLORE FOOD, BEERS AND ENTERTAINMENT AT THE ROCKS LUNAR MARKETS Continue your culinary journey at The Rocks Lunar Markets, which will be running over the first two weekends of February. Wander beneath hundreds of red lanterns and take in live music by local performers as you explore the rows of stalls, serving up delicious street eats – think mouthwatering skewers, Malaysian street food and a host of international sweet and savoury delights from lokma to pizza — which you can enjoy while browsing local art and textiles. Then, head to the Tiger Beer Lunar Bar to cool off — it'll be open from 5–10pm on Fridays, and from 12pm on the weekends. Located on Playfair Street, the pop-up bar will be serving ice-cold beers, perfect to enjoy while taking in the buzzing atmosphere as you stroll around the markets. It'll all be set to a soundtrack of live entertainment, with the lineup featuring local talent including DJ Mowgli May and more. SOAK UP GOOD FORTUNE AT A LION DANCE, ZODIAC READING OR WITH LUNAR NEW YEAR CALLIGRAPHY If you're in need of some good luck, make sure you don't miss out on the traditional new year Lion Dance. On the first two Fridays (6pm), Saturdays (12pm, 3pm and 6pm) and Sundays (12pm and 3pm) of February, the Lion and Happy Buddha will be roaming the streets with a drumming team to spread new year fortune. For a more personalised experience, take a seat for a free Chinese zodiac horoscope reading and find our what the Year of the Tiger might have in store for you. Or choose your own destiny with the wonderfully preserved ancient and expressive art of Chinese calligraphy. Get a free lucky calligraphy bookmark which you can adorn with an auspicious saying of your choice. [caption id="attachment_838511" align="alignnone" width="1920"] Anna Kucera[/caption] CATCH A LUNAR-INSPIRED MOVIE AT LANEWAY CINEMA: LUNAR EDITION On Wednesday and Friday nights you can snag a bean bag or deck chair and relax among the sandstone buildings in the picturesque Laneway Cinema. This Lunar New Year will have some special lunar-themed screenings, with the likes of Crazy Rich Asians, The Joy Luck Club, Crouching Tiger, Hidden Dragon and Mao's Last Dancer all on the lineup. Entry to the cinema is free, but get in quick as it's first come, first served. There'll be an international array of eats on offer, too, like Impossible burgers by Butter, fresh pizza from Caminetto, Korean street food from Chikin Ajumma, or Tex-Mex from El Camino Cantina. CATCH A LARGER-THAN-LIFE YEAR OF THE TIGER INSTALLATION The Year of the Tiger symbolises strength, resilience and bravery — which couldn't be more appropriate this year. Get up close and personal with this giant Sumatran tiger cub for your essential Lunar New Year photo op. This magnificent feline forms the centrepiece of the impressive Year of the Tiger Installation, which will take pride of place at Circular Quay Promenade from February 1–14. TUCK INTO AUSPICIOUS LUNAR NEW YEAR MENUS AT BLU BAR AND SERGEANT LOK Ring in the new year with a touch of luxury and head to Blu Bar on 36 at the Shangri-La Hotel, where you can indulge in a decadent Cantonese dining experience paired with a Chinese-inspired cocktail. Enjoy sharing-style dishes like seared scallops and XO sauce or roast duck with egg noodles, all with a near-unbeatable view of Sydney Harbour from the 36th floor. Closer to sea level, book a special Lunar New Year banquet at Sergeant Lok, the beautiful establishment serving impressive modern Chinese cuisine. The banquet will feature the traditional dish lo hei, an auspicious dish for this time of year that's said to bring good luck. A legend says the higher you toss the ingredients, the better luck you will receive in the new year. This year, Sergeant Lok has added a touch of glamour to the traditional dish in the form of a special champagne sauce. There's plenty more to see and do to celebrate Lunar New Year at The Rocks this year. Find out more at the website.
It might seem counterproductive to leave Australia in search of a beach holiday, but across New Zealand's 15,000 kilometres of pristine coastline, there are more sheltered seafronts, rugged cliff-lined shores and black sand beaches than you can shake a towel at. Deciding where to spend the warmer months with sand in every crevice and saltwater lapping around your ankles can be an adventure in itself. This month, New Zealand enters another phase in its post-COVID reopening plan, and from 11.59pm NZST / 8.59pm AEST on Tuesday, April 12, we can once again visit our closest neighbours without needing to quarantine on arrival. If you've got a trip over the ditch on your 2022 wishlist, we've put together a list of some of the best New Zealand beaches that you should visit at least once in your lifetime — whether you're keen to brave a winter dip or you're just already dreaming of next summer's sojourns. TAWHARANUI REGIONAL PARK, AUCKLAND Found around 90 kilometres from Auckland central, Tāwharanui Regional Park offers the full spread of summery activities for keen adventurers. Once you've reached the end of the gravel access road, you'll be greeted by beautiful white sand shoreline, easy walking tracks and crystal-clear rock pools up for exploration. It's also known to pump out some beginner-friendly waves, so don't forget to pack your preferred floatation device. And to really make the most of your trip, book a spot at the tent campsite so that you can stare at the clear skies above. [caption id="attachment_791375" align="alignnone" width="1920"] Adam Bryce[/caption] CATHEDRAL COVE, COROMANDEL This gem is a must-do in the Coromandel — and for good reason. Golden sand and a stunning natural rock archway await, whether you decide to arrive at the picturesque spot by boat, kayak or on foot. Leaving from Hahei, the 45-minute walk is well maintained and traverses rugged farmland, before delving into native bush. There are plenty of dramatic vantage points for photo opportunities, but the main event is the beach where you can easily wile away an entire afternoon. [caption id="attachment_791442" align="alignnone" width="1920"] Department of Conservation[/caption] ANCHORAGE BAY, ABEL TASMAN NATIONAL PARK It can be hard to pick just one beach in the Abel Tasman, but how about starting with Anchorage Bay? The horseshoe bay is home to the first large beachside camping spot along the Abel Tasman walking trail and where boaties anchor their vessels — making it one of the more popular destinations in the national park. Here you'll find sweeping golden sand and turquoise blue waters, with a number of short walks leading to smaller secluded bays and stunning natural rock formations. During low tide you can walk across the tidal estuary to Torrent Bay. It'd also be rude not to mention (and jump in water taxi to) Kaiteriteri. [caption id="attachment_791435" align="alignnone" width="1920"] Adventure HQ[/caption] MAITAI BAY, BAY OF ISLANDS To really feel like you're on a tropical island, head to Maitai Bay at the point of the Karikari Peninsula. With its golden sand and crystal-clear blue water, the small sheltered horseshoe bay is something straight from a postcard. The destination can be extraordinarily popular in the summer months, so much so that local iwi declared the region a "no-take zone," in 2018 to allow sea life to recover. The rahui on fishing has finished, but we still recommend you reserve your time here for swimming, snorkelling and kayaking. If you're seeking a thrill, head through the bush at the right end of the beach and you'll find a stone ledge that serves as the perfect diving board. Book well in advance for a spot at the DOC campground. [caption id="attachment_664046" align="alignnone" width="1920"] Russell Street[/caption] PIHA, AUCKLAND Swim with caution at this rugged west Auckland beach. Piha might be best known for its strong currents and New Zealand's television answer to Bondi Rescue, but it's also a stunning location to spend the day. Choose your real estate on the hot black sand (don't forget footwear) and then cool off between the flags. Walking tracks can be completed along the headlands and up to scenic lookouts, while further along the coast are equally as wild beaches like Karekare and Muriwai where you can take a surf lesson and go horse trekking. [caption id="attachment_791439" align="alignnone" width="2048"] Awful-N4[/caption] NEW CHUMS, COROMANDEL Hidden away from the masses for most of the year, New Chums has previously been voted as one of the world's top ten beaches. The stretch of golden sand on the Coromandel Peninsula is fringed by pohutukawa and native forest and has no buildings, roads or infrastructure. Access to the one-kilometre undeveloped stretch of paradise is by boat or via a rocky foreshore walk from the Whangapoua car park. And once you're there it's no uncommon to spot marine life swimming the length of the beach. [caption id="attachment_791437" align="alignnone" width="1920"] Kiwi Canary[/caption] AWAROA, ABLE TASMAN NATIONAL PARK Awaroa made headlines in 2016 when it was bought via crowdfunding campaign by the New Zealand public for over two million dollars and then donated back to the national park. The secluded golden banks of Awaroa are only accessible to those walking the Abel Tasman Coastal Track two hours either side of low tide, or by boat or helicopter. A short walk inland there's the Awaroa Lodge where you can enjoy pizza under a glade of native trees, and there are several glamping and camping options for overnight holidaymakers. [caption id="attachment_791441" align="alignnone" width="1920"] Russell Street[/caption] NGARUNUI, RAGLAN Sometimes called Ocean Beach, Main Beach or Wainui Beach, this wild black sand beach with consistent waves is ideal for groms learning how to surf. The Raglan Surf School is parked up right on the vast west coast stretch for those keen to get in on the action, while more experienced riders can hire boards and wetsuits by the hour. With unforgiving riptides, ocean swimmers should stay between the flags. Hang around until the end of the day and you'll cop an extraordinary sunset. [caption id="attachment_791440" align="alignnone" width="1920"] Glen Sinclair[/caption] WHARARIKI, NELSON This windswept beach has to be one of the country's most photographed sections of coastline. The beach is only accessible via a 20-minute track from the end of Wharariki Road, which travels over farmland and through coastal forest. With particularly big seas, sight-seeing is the number one attraction here — and the Archway Islands will certainly serve up the goods. The group of four rock formations rising from the tide provide an exception photo opp, especially if you decide to tour the region on horseback. [caption id="attachment_791436" align="alignnone" width="1920"] Trevor Klatko[/caption] NINETY MILE BEACH, NORTHLAND This epic 88-kilometre-long stretch of sand has to be seen to be believed. The famed northland beach starts near Kaitaia and makes its way up to Cape Reinga. At low tide the beach is officially a public highway, but don't even think about bringing your rental hatchback here — several have been swallowed by the unforgiving seas. The dunes at Te Paki in the north are famously used for bodyboarding — just expect to take home pockets full of sand. Bring water, and sunscreen. From 11.59pm NZST / 8.59pm AEST on Tuesday, April 12, double-vaccinated Australian tourists will be able to holiday in New Zealand without needing to isolate on arrival. Tourists will be required to test negative for COVID-19 with a PCR or RAT before leaving Australia for their trip, before providing negative tests on day one and day five of their stay in New Zealand. For more information, head to the New Zealand Government's official COVID-19 website. Top image: Adam Bryce.
Usually, Betty's Burgers serves up exactly what its name suggests. Sometimes, though, the chain adds something a little different to its menu. Both last year and this year, it has whipped up indulgent but affordable lobster rolls. For Easter 2020, it went with a prawn roll. Now, it's cooking up a limited-edition steak sanga. Combining a piece of wagyu steak, cheese, lettuce, onions, pickles and the chain's in-house sauce — as made from onion relish and sriracha mayonnaise — all on a long bun, Betty's new steak sandwich is available for dine-in (where open), takeaway and delivery from its restaurants spotted across Australia. If your stomach is already rumbling, you can tuck into one for $16 — or order a 'steak night' package and get two sangas, two serves of fries and a bottle of shiraz for $55. You'll need to get in quickly, though — while Betty's hasn't provided an end date for its latest addition to its menu, it's definitely a short-term affair that's only available until stocks last. And, if it's anything like the aforementioned lobster roll, expect it to sell-out — fast. When it isn't making steak sangas, Betty's is known for its Shake Shack-style burgs and frozen custard desserts (called concretes). While you can now grab one of the chain's burgers at over 20 locations across Australia, including six Sydney outlets, four Melbourne spots, four Brisbane outposts, one Toowoomba eatery and one location in Adelaide, the company first began in Noosa, and then expanded to the Gold Coast. With the chain's stores open for takeaway and most of them offering delivery via UberEats and Deliveroo, you can get your steak sandwich to pick-up or brought to your door. To check which options your local has, head to the Betty's Burgers' website or download the app for iOS or Google Play. Betty's Burgers' steak sandwich is available at all Australian stores for a limited time. To order, download the Betty's Burgers app for iOS or Google Play.
UPDATE, October 23, 2020: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube, iTunes and Amazon Video. The film that inspired DC Comics fans to ridiculously call for Rotten Tomatoes' closure, 2016's Suicide Squad was many things. Filled with nefarious characters forced to band together to save the world, it was supposed to be a Joker-led villainous team-up flick — and, while it ticked that box, it was also formulaic, bloated, unsubtle and overflowing with ugly CGI. As a result, it was mostly just dull and a slog to watch. And while the anti-hero onslaught is still getting a sequel in 2021, only one element truly stood out. That'd be Margot Robbie as Harley Quinn, the Arkham Asylum psychiatrist who jumped into a life of crime when she became the jester of genocide's main squeeze. From the moment that Robbie stole the show in Suicide Squad, a Quinn-focused spinoff was always inevitable. So, knowing when they're onto a good thing — and witnessing their now Academy Award-nominated Australian star keep rising in fame via I, Tonya, Mary, Queen of Scots, Once Upon a Time in Hollywood and Bombshell — the folks behind the DC Extended Universe have gone and done the obvious. Thankfully, the powers-that-be learned a few lessons along the way, leaning into everything that first made the anarchic character attract so much big-screen attention. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is vividly stylised, irreverently upbeat, and both frenetic and fluid. To the benefit of every fight and chase scene, it's also more concerned with eye-popping action choreography than overblown special effects. The movie's riotous mood, lurid colour scheme and kookily comic sensibilities can't smooth out all of its bumps, though, but put it this way: Suicide Squad, this definitely isn't. After breaking up with the Joker (Jared Leto's awful green-haired version of the villain is nowhere to be seen, luckily), Quinn finds herself at a crossroads. Just like anyone who's newly single, she's not quite sure what to do with herself, other than drinking, downing comfort food, cutting her hair and getting a pet. Just when she's starting to reclaim her havoc-wreaking spark, she also discovers an unexpected consequence of changing her relationship status. Now that she's no longer the clown prince of crime's other half, every lowlife in town wants to settle the score for all the times she's done them wrong. One of them is psychopathic nightclub owner Roman Sionis (Ewan McGregor) — and, in trying to save her alabaster skin from her new number-one nemesis, Quinn gets caught up with a posse of other feisty Gotham gals. Enter: Renee Montoya (Rosie Perez), a hard-nosed detective constantly overlooked by the brass; Black Canary (Jurnee Smollett-Bell), a singer at Sionis' club with a helluva voice; and the crossbow-wielding, vengeance-seeking, leather-clad Huntress (Mary Elizabeth Winstead). Light-fingered teen Cassandra Cain (Ella Jay Basco) actually brings them all together, with Sionis' goons chasing her, too. These ladies comprise a disparate bunch throughout much of the movie, but — because this flick is based on and named after a comic-book superhero team — becoming a girl gang is blatantly on the agenda. Yes, even with candy-coloured trickster Quinn leading the charge and grinning away as she's doing so, Birds of Prey brandishes a familiar caped crusader template. Besting Suicide Squad is an incredibly low and easy bar to conquer, which Birds of Prey does. Completely finding its own groove is a trickier task and, despite the best efforts of director Cathy Yan (Dead Pigs) and writer Christina Hodson (Bumblebee), it proves harder to master here. Sporting a punk-ish, perky, peppy attitude, Birds of Prey feels unique in the DC movie realm, even against other standout franchise entries like Wonder Woman and Aquaman. But its goofy, off-kilter vibe also feels just a few shades away from Marvel's Thor: Ragnarok on occasion. Quinn's cheeky, knowing, mile-a-minute narration, as well as the playful plot structure that comes with it, can also veer too close to Deadpool territory. That makes Birds of Prey fun, purposefully chaotic and mostly entertaining, but also sometimes struggling to keep it all together. That's Quinn herself in a nutshell, though — and while this isn't a case of a film perfectly aping its protagonist in every possible way, there's still some nice symmetry at play. And, there's always something enjoyable going on on-screen. Often, it's the kinetic fight scenes, with credit to second-unit director (and John Wick franchise director) Chad Stahelski. At other times, it's the dazzling, glittering production design, or a memorable dream sequence that casts Quinn as Marilyn Monroe. Usually, it's the cast, which firmly pushes a diverse array of girls to the front. An over-the-top McGregor relishes his rare cartoonish bad guy role, but Birds of Prey's motley crew of female stars soar highest. Robbie most of all, unsurprisingly — and just as Joaquin Phoenix's take on the Joker looks likely to nab him an Oscar, it's a delight to see Harley Quinn still stealing the spotlight. https://www.youtube.com/watch?v=ygzqL60kvwU
Anton Chekhov is renowned for his four classic plays and his stream-of-consciousness writing technique, which detached itself from traditional literary story structures. He believed that the role of an artist was to ask questions, not to answer them, and did not apologise for the difficulties posed for readers in his works. This progressive disregard for the obvious is also evident in Mary Bing's adaptation of his 1891 novella The Duel. Directed by Dover Kosahvili, the film paints Chekhov's words beautifully onto the big screen. The plot pivots around two lovers and is simple enough. With laconic charm, the film tells a tale of desire, adultery, betrayal, and ultimately, love. Laevsky (Andrew Scott), an aristocratic civil servant, lives with his mistress Nadya (Fiona Glascott), having seduced her from her husband. A letter arrives informing Laevsky of Nadya's husband's demise and unfurling into a series of life-changing decisions for him to rapidly make: whether to tell Nadya of the letter, make an honest woman of her by marrying her and starting a family, or keep drinking and playing cards, hoping adult responsibilities dissolve conveniently into the night like Nadya's multiple lovers, who keep popping up. Laevsky is driven mad by her and is wracked with guilt not just for his actions but his inability to commit to anything resembling the lives of those around him. The film unfolds slowly in fragments, whose nature might capture some viewers' curiosity but might jolt others with its uncomfortable and alienating rhythms. Moments full of angst and action pepper the story. One such sequence is the film's crescendo, the duel, providing an outcome that is open to interpretation and coming back to Chekhov's desire to ask questions and leave them unanswered. The cinematography (by Paul Sarossy) is stunning, with location shots in Croatia. Sarossy's efforts give the film the visual feel of an endless ream of postcards. The Duel is a gorgeous film with strong, committed performances from Scott, Glascott, Tobias Menzies, and Niall Buggy. Chekhov admirers should warm to it particularly; however, it should also procure wider audience appeal. https://youtube.com/watch?v=Op2Mewueijc
Canberra music, food and art festival Spilt Milk is set to return to the capital this November, celebrating its third outing with a suitably huge lineup. Heading up the bill is none other than US hip hop star Childish Gambino, fresh off the back of a #1 Billboard Charts debut for his single This Is America. He hasn't yet announced any other Australian shows, but Spilt Milk isn't billing his appearance as an exclusive, so chances are he'll announce at least a few more shows. (We've still got out fingers crossed that he bring his Pharos festival here after New Zealand.) He'll be joined at the capital's Commonwealth Park on November 17 by fellow international stars, UK pop legends The Wombats and LA producer RL Grime. There's also plenty of homegrown goodness on the menu, with the likes of Sydney singer-songwriter Vera Blue, indie-pop sensation Jack River, dance floor darling Hayden James and Canberra's own high-energy duo Peking Duk all set to take the Spilt Milk stage. But the musical lineup's not to be outdone by the rest of the program, with a ripper serve of visual art, tasty eats and pop-up bars on the cards. Get ready for a multisensory feast, as Hamburg-based artist Stefanie Thiele leads a team of local talent in creating a wondrous playground of installations and art experiences. And keep those taste buds satisfied throughout the day, with eats from the likes of Dirty Bird Food Truck, Bao Brothers, Happy As Larry and Chur Burger. If you fancy being a part of Spilt Milk round three, you'd best not dilly dally — the festival's debut event in 2016 sold out in a mere 18 minutes, while the following year's tickets were all snapped up within nine minutes. This year, Canberra locals will get first dibs, with Homegrown tickets on sale July 1. After that, pre-sale tickets will be available Australia-wide from noon on July 3, with a general admission release on sale at 12pm, Thursday, July 5. In the meantime, here's what you came for — the full lineup for Spilt Milk 2018. SPILT MILK 2018 LINEUP Blanke Camouflage Rose Channel Tres Childish Gambino Cub Sport Ebony Boadu Hatchie Hayden James Jack River Kinder Kira Puru Kwame Manu Crook$ Methyl Ethel Miss Blanks Moaning Lisa Peking Duk RL Grime Rolling Blackouts Coastal Fever Shockone Skeggs Thandi Phoenix The Jungle Giants The Wombats Thundamentals Vera Blue Willaris. K YG ARTISTS Faith Kerehona JBR Roskoe Stefanie Thiele VOIR (With more to be announced) FOOD Bao Brothers Eatery Chur Burger Dirty Bird Food Truck Happy As Larry Sofrito Paella Image: Cole Bennetts.
It took 30 years, plus a warp pipe from live-action to animation, but Super Mario Bros finally gained a cinematic mushroom. While these are peak product-to-screen times — see also: The Last of Us, Dungeons & Dragons: Honour Among Thieves, Tetris and Air, plus the upcoming Barbie, BlackBerry and latest Transformers flick — Nintendo's plumber siblings were long flushed out of movies thanks to their underperforming first outing. 1993's Bob Hoskins (Snow White and the Huntsman) and John Leguizamo (Violent Night)-starring film, the first-ever live-action video game film, isn't terrible. It followed its own dark path and hit its own wild blocks, something that stands out even more now that slavish obsession to intellectual property and franchise-building is king. If 2023's The Super Mario Bros Movie is a response to its predecessor, it's a happily dutiful one, doing its utmost to copy the video game. The strongest feeling it inspires: making viewers want to bust out their old NES or SNES or Game Boy, or emulators of any of them, or Nintendo's current Switch, and mash buttons as the red-capped, moustachioed, overalls-wearing Mario. These are also peak product-to-screen-to-purchase times; selling more Super Mario Bros, Mario Kart and Super Smash Bros games is a clear and obvious aim of The Super Mario Bros Movie. To do that, the film truly is as enthusiastic about recreating its various source materials as Mario has been about collecting coins, completing levels and saving Princess Peach since way back in his 8-bit days. Under directors Aaron Horvath and Michael Jelenic, creators of Teen Titans Go!, the animation looks like it's been ported straight from the console — a feat that's hardly unexpected given that it's all shiny pixels. It's also unsurprising due to Nintendo's recent success in mirroring the games IRL in Universal's Osaka and Hollywood theme parks. The Super Mario Bros Movie will help sell more tickets to those, too. In those impressive images, Italian Americans Mario (voiced by Chris Pratt, Thor: Love and Thunder) and Luigi (Charlie Day, It's Always Sunny in Philadelphia) essentially find themselves in the Super Mario Bros version of The Wizard of Oz. Like the 90s flick, they're also transported to another realm where a villainous creature lusts for power— Bowser (Jack Black, Apollo 10 1/2: A Space Age Childhood) here, with an army of the turtle-like koopas doing his bidding. A sewer flood whisks Mario and Luigi out of their own world, after they try to fix it to drum up customers for their plumbing business. On the other side of the tunnel, Mario lands in the Mushroom Kingdom and Luigi ends up Bowser's prisoner. Cue a quest, including along the rainbow road, to reunite the brothers, stop Bowser and keep him away from Peach (Anya Taylor-Joy, The Menu) — who definitely isn't a damsel in distress, but the target of Bowser's obsessive affections. Screenwriter Matthew Fogel (Minions: The Rise of Gru) has kept The Super Mario Bros Movie's story slight, just as Horvath and Jelenic ensure that the tone stays light. Still, while it might star Pratt, there's no The Lego Movie-level smarts, satire and hilarity on offer. Instead, the fun-enough picture is packed with as many nods to the games as it can possibly fit in — and to as many games as it can manage. It's been four decades since Mario Bros initially hit arcades, spinning off from Mario's 1981 introduction in the first Donkey Kong, so there's much to reference. The film brings in the big gorilla (Seth Rogen, The Fabelmans) and his simian pals (Wednesday's Fred Armisen voices Cranky Kong). It gets speeding along that beloved rainbow road, with shells flying and Mad Max: Fury Road coming to mind. The list goes on and cuts far deeper than the obvious; it isn't accurate to say it's full of Easter eggs, though, because it's simply a Super Mario Bros movie stacked with attention to Super Mario Bros detail. Released beforehand, but still a sight to see within the complete flick, Mario's arrival in the Mushroom Kingdom and his introductory tour by the mushroom-headed Toad (Keegan-Michael Key, Schmigadoon!) is a visual treasure trove. When Peach has him prove he's up to the Bowser-battling mission by hopping through an obstacle course that mirrors Super Mario Bros' levels, it's also spot on. Before that in Brooklyn, rushing to a job gets the side-scrolling treatment — and it's an entertainingly playful touch. Nintendo composer Koji Kondo's famous tunes are worked and interpreted by composer Brian Tyler (Scream VI), too, and well. Of course, a game-to-movie effort can't just splash around familiar sights and sounds, actively court nostalgia, and call it all a film. This one doesn't, but the plot remains noticeably thin, including in its siblings-stick-together theme. It's also indebted to the Minions franchise in much of Bowser and the Koopas' storyline. That's animation house Illumination cribbing from itself, given it's behind Despicable Me and its sequels and continues, and now this. If the bright, bouncy, vivid and immersive imagery is The Super Mario Bros Movie's main power-up, which it is, it's still no invincibility star. Neither is the fast pace, aka the default mode for most family-friendly animated fare that isn't made by Pixar, Studio Ghibli or Wolfwalkers' Cartoon Saloon, and where the key focus is on throwing constant chaos at kids so that they don't get distracted. And when the stock-standard needle-drops start, because every all-ages-friendly movie has to jam in recognisable songs like 'Holding Out for a Hero' and 'Take on Me' like it's a jukebox musical — a lazy and grating genre staple that won't go away — there's basic Spotify playlist vibes. It might've sparked the Gentleminions fad among cinemagoers who grew up watching yellow babbling critters, but Minions: The Rise of Gru did the same. Cosplaying in red or green outfits to The Super Mario Bros Movie, which'll happen seeing that all things Mario are that adored, won't patch over the template at work here either. Although it doesn't seem like it when the picture presses start, Horvath and Jelenic are well-aware that they can't have Pratt let's-a-going his way through the film with a stereotypical accent, and don't. They're also comically knowing about it. That said, his casting is neither a coin box nor a banana peel — but his co-stars are winningly chosen. The expressive and energetic Day helps make the case for a big-screen Luigi's Mansion outing to come next. Taylor-Joy gives Peach pluck and determination, on par with the script's commitment to make the character anything but someone who needs rescuing. Key is lively and squeaky, Black growls and pines for Peach with Tenacious D-style glee and Rogan is audibly having a ball. And, while this can't be said about the bulk of this endearingly loving but supremely by-the-numbers film, that's something that The Super Mario Bros Movie delivers but the games can't.
Kitty Green doesn't just direct films that demand attention; she makes movies where paying the utmost notice to small moments and details couldn't be more pivotal. With her 2013 debut Ukraine Is Not a Brothel, she deployed her documentarian's eye to explore protest group Femen with revealing and probing intimacy. With 2017's bold and unforgettable Casting JonBenet, Green honed in on the minutiae that can swirl around a crime — especially when true crime has become its own genre, sparking non-stop theories even decades later — all while structuring her picture around holding auditions for a film about the infamous case that shares the feature's name. The Melbourne-born filmmaker moved into fiction with 2019's The Assistant, and now stays there with The Royal Hotel. The shift has still seen Green unpacking reality. The Assistant is a #MeToo movie set in a film production company's office where sexual harassment at its head honcho's hands has become distressingly normalised. The Royal Hotel sprang to life after Green watched Australian documentary Hotel Coolgardie, about two Finnish women encountering the worst of Australia's drinking culture while working in Western Australia's Denver City Hotel, with the director then inspired to dramatise the situation. Diving into insidious everyday horrors in topical thrillers: that's Green's fictional niche right now, even with both The Assistant and The Royal Hotel born from facts. Getting three-time Ozark Emmy-winner Julia Garner playing women confronted with problematic gender dynamics and power imbalances in ominous spaces is also her current terrain — as is peering as closely and intently as Green can. "People keep asking about how my background in documentary helps, and I'm not sure it does really," Green tells Concrete Playground about taking her cues from Hotel Coolgardie this time around, and how her time making docos factors in. "I mean, I think maybe it affects what I watch and my references, and what sort of inspires me." "I really like the close stuff. I like movies that are about these tiny moments. That's something you can't really do in documentaries, because have to stay wide because you don't know what will happen. But with a fiction film, you can really hone in on a facial expression or gesture or a glance — these kinds of little moments that can make you know that a woman in that space feels very uncomfortable, but often get missed by the environment at large. So I was able to amplify those moments with a fiction film." The Assistant spends a day in the life of Garner's Jane, lingering claustrophobically in her New York workplace as the junior staffer navigates the impact of her boss' actions, as well as the hostilities engrained in the industry for women in general. The Royal Hotel finds its terrors in an outback pub where backpackers man the bar, with Garner's Hanna and Jessica Henwick's (Glass Onion: A Knives Out Mystery) Liv the latest arrivals at the titular mining-town watering hole. In both, unsettling men surround young women doing a job, with The Royal Hotel's male cast reading like a who's who of Australian talent. In her first Aussie-made feature, Green enlists Hugo Weaving (Love Me) as the pub proprietor, with Toby Wallace (Babyteeth), James Frecheville (The Dry) and Daniel Henshall (Mystery Road: Origin) among the regulars. "It's been good to have it back home," Green explains of the film, which premiered at the Telluride Film Festival, also played Toronto and London, then opened the first-ever SXSW Sydney Screen Festival and the 2023 Adelaide Film Festival. "Honestly, we screened it in the US, in Canada, in Spain and in the UK, and I feel like while they seem to really enjoy it and it seemed to play really well, I think it there's an element, a lot of kind of nuances, that they miss. There's a lot of Australian humour that they don't really pick up on over there." With The Royal Hotel now showing in Aussie cinemas — and The Assistant a must-see since it first arrived a few years back — we spoke to Green about taking inspiration not only from Hotel Coolgardie, how her two fictional features pair well together and the importance of casting, as well as adopting a female perspective on Australia's drinking culture, working Kylie Minogue's 'The Locomotion' onto the soundtrack and the hope to do a third film with Garner. ON BEING INSPIRED TO MAKE THE ROYAL HOTEL AFTER WATCHING HOTEL COOLGARDIE "I was just immediately struck by Hotel Coolgardie, and just the dynamics at play in it. And I had seen Australian drinking culture on film before, but I haven't seen it through the eyes of two young women, foreign women, who didn't understand the rules of it and were trying to make sense of it. So that to me was really interesting and great territory for a film to take place. It became the jumping off point for our screenplay. I worked with co-writer Oscar Redding (Van Diemen's Land), who lives in regional Australia. The two of us threw around a lot of the dialogue and figured it out that way. But mostly it's based on our own experiences of being in pubs and seeing things happen, and stories our friends told us. You basically soak a bunch of things up, it sits in your brain, and then you figure out what you want to use, and what's fun and what works, and what adds to the tension. It's definitely never one thing. It's all come from a few different places, I think." ON THE ROYAL HOTEL'S PARALLELS WITH THE ASSISTANT "You always want a challenge with the next project you take on, but I also liked the idea that I could work with Julia again. It was something I knew could work in a similar way — that is, a character trying to make sense of her environment. But with The Royal Hotel, everything is up. Everything is wilder and weirder and stranger — a lot more noise and craziness. So it was a fun challenge to take on." ON RETEAMING WITH JULIA GARNER FOR THE SECOND FILM IN A ROW "We worked really well together on The Assistant. And often we don't get the biggest budgets in the world, so we have to work quite quickly. So there's a shorthand that we have, we have this ability to communicate — you don't have to discuss things at length. We get each other, in a way, so that really works. So I was hoping to work with her again, and this project, when I saw Hotel Coolgardie, I was like 'ohh this could be a role for Julia which is interesting to me' — putting her in that environment was interesting to me. So yeah, it just fit. I dragged her out here, and she did it, which was great. She was excited about the project. I think landing here, we drove them [Garner and Henwick] straight out to the middle of nowhere, and I think they were a bit freaked out for a moment there. We kind of had to live the movie a little bit. We put them up in pubs nearby our shooting location, so they really had the full experience — which, I think they had a great time, but it took them a second just feel comfortable in the place and figure out who the people were. Yeah, it took a minute, but they really, honestly, they had such a good time, the two of them. They were so happy." [caption id="attachment_927983" align="alignnone" width="1920"] The Royal Hotel[/caption] ON CASTING THE ROYAL HOTEL'S MEN "The set was a pretty warm and loving place. When you call cut, it feels very safe. That was something we intentionally tried to create, which was making sure we cast the right men, essentially, to play those roles — who understood the sensitivity of the material. I think we got the right people and it was able to feel good for everyone. We wanted them all to feel a little different. We wanted them all to have their own energy. They all bring something something different. And they're all wonderful and warm and kind lovely people, which was great, too. We knew we needed someone cheeky and young to play Mattie, and Toby Wallace was available and a sweetheart, and understood what we're trying to do. Then James [Frecheville], I'd loved in Animal Kingdom, so it was exciting to get to work with him. And Dan [Henshall] was in Snowtown and was absolutely terrifying, so I knew that he could deliver in terms of Dolly. We have fun with that because I think Australians come to it with that understanding. Americans don't, but they still find him really intense. He's not like that in real life, though. Somehow we convinced them all to say yes, and put ourselves together a lovely group." ON SEEING AUSTRALIA DIFFERENTLY BY EXPLORING THE OUTBACK AND COUNTRY'S DRINKING CULTURE THROUGH THE EYES OF WOMEN "That became the agenda, I guess, in a way, but it wasn't a political thing. It was more just this is a story I want to tell, and this is something I have experienced in ways, and it felt real and it felt honest. It was about getting the right collaborators who understand what you're doing. I know that when we were pitching it around, people wanted more violence, they wanted Wolf Creek, but we weren't going to give them that. You have to just find the right partners that understand the project, and the mission statement, and once you've got the right collaborators, it should fall into place, really, from there." ON AVOIDING TURNING HANNA AND LIV'S EXPERIENCES INTO WOLF CREEK "We were looking at the type of behaviour that's the entry point for sexual violence — like how do we prevent it from ever getting to that point? And so the film is about trying to figure out when you can speak up for yourself, when you can say no before the behaviour crosses the line — just when it's dancing on the line. So the aim of it is to prevent that sort of behaviour from ever happening. If we can be a little more responsive a little earlier, then maybe we can create safer spaces for everyone. Essentially, this is the conversation that we want to have." ON PUTTING THE ROYAL HOTEL'S AUDIENCE IN HANNA'S SHOES "That's what they do really have to. They do that with The Assistant, too. I think a lot of these, it's about the behaviour that gets missed in big spaces like that where there's a lot going on. It can be someone creepy, but other people wouldn't really notice it — but Hanna's character would. So it's giving audiences a glimpse of what it's like to be that person behind the bar who's a little worried and feeling a little uncomfortable and not sure how to express it." [caption id="attachment_927984" align="alignnone" width="1920"] The Royal Hotel[/caption] ON A QUINTESSENTIAL AUSSIE PUB AS A SETTING, BACKDROPPED BY THE AUSTRALIAN LANDSCAPE "When you're coming to a project, it's about what's the right environment for some drama and some tension, and I think an Aussie pub is a great one. Not only is it for the interior of this pub, and the claustrophobia of it and all these men — there's 60 miners in that pub and two young women serving them, just that kind of dynamic is interesting to me — but also the exteriors, and this idea that they're in the middle of nowhere in the remote setting adding to that tension, and the isolation making it feel a little terrifying. It just was a really great starting point for a story. The isolation really adds to the tension. It's nice to keep a lot of the action in the bar, and to feel that claustrophobia of being kind of trapped in there. But also the idea, that even though they're not claustrophobic outside, it's somehow just as terrifying but for very different reasons. The contrast of the two spaces was really interesting to play around with. I haven't made an Australian film since film school, so it was nice, if I'm going to make an Australian film, to take advantage of the uniqueness of the landscape and play around with that." ON GETTING KYLIE MINOGUE'S 'THE LOCOMOTION' ON THE SOUNDTRACK "It was about going 'if you're going to teach some foreigners about Australia, where do you begin?'. And so Kylie Minogue, swimming in a water hole, seeing a kangaroo — ticking a few of those boxes." ON POTENTIALLY MAKING A THIRD FILM WITH GARNER TO ROUND OUT A THEMATIC TRILOGY "We would love to do a third one. We've just got to figure out what that should look like and how to get that done, and how to make sure it's a little different. If we're going do it again, we need to play around with it. I mean, hopefully we get to get a chance to do it. It'd be great to work with Julia again." ON WHAT GETS GREEN EXCITED ABOUT A PROJECT "It has to feel like something — often it's something like a gut instinct, and it's something that I feel in my bones, like a story that needs to be told. And often it's because I haven't seen it elsewhere, or it's something that I want say. With The Assistant, we were looking at the larger picture — the news was focusing on Harvey Weinstein and we were saying that we want to look at something wider, like at the systemic problem, sexism in the industry, and how that creates an unsafe workspace and contributes to all of that sexual violence. So then with The Royal Hotel, it was looking at, I guess, just looking at my own discomfort in some of those spaces and how we can voice our concerns a little more, and kind of ripping that apart. Generally, it's just something that gets me interested in something [where] I feel like 'oh, I want to say something here'. That's the starting point, and then there's a lot of people involved. It takes a village to get a movie to the screen, so it changes as it goes, but often I go in with the kernel of an idea that I think is interesting." The Royal Hotel opened in Australian cinemas in November 23. Read our review. Images: Neon / Transmission / See-Saw Films.
UPDATE: MARCH 13, 2020 — Due to the current global situation surrounding COVID-19, My Chemical Romance has decided to postpone their trip Down Under. And, as a result, Download has cancelled its Sydney and Melbourne festivals. Ticket holders will receive a full refund — including booking and payment processing fees — and organisers are currently working with My Chemical Romance and Deftones to schedule separate headline shows in 2020. We'll let you know when these are announced. 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. The black parade is coming back to Australia, with the freshly reunited My Chemical Romance heading to Sydney and Melbourne for the 2020 Download Festival. The US group went its separate ways in 2013, but it seems you just can't keep this 00s emo outfit apart. Just last week, MCR announced that they're literally getting the band back together, and, after selling out their first reunion gig in Los Angeles quick smart, they're taking the show on the road. If you're keen relive your angsty emo teenage years and catch Gerard Way and co eight years after they last came to our shores for the 2012 Big Day Out, you'll need to head to the aforementioned festival — MCR aren't doing any sideshows on this tour. But, when Download hits Melbourne's Flemington Showgrounds on Friday, March 20 and Sydney's Parramatta Park on Saturday, March 21, the headliners will have plenty of support, including a heap of other rock and heavy metal standouts from the past few decades. They include Deftones, Jimmy Eat World, Clutch and Ministry — aka some heavy hitters in the worlds of alternative metal, punk-influenced rock, hard rock and industrial metal. Those keen on melodic metal will want to flock to Sweden's In Flames, while Scotland's Alestorm will get silly with pirate metal (yes, that's a thing), and Italy's Lacuna Coil will play their brand of rhythmic metal. And, no matter your tastes, Mongolia's The HU promise something you probably haven't seen before: hard rock combined with traditional Mongolian throat singing. Basically, if it's a type of rock or metal (of the musical kind), you'll find it on Download's lineup. Testament, Carcass, Baroness, New Year's Day and Venom Prism help round out the overseas contingent, while Australia is represented by local punk legends Bodyjar, plus Hands Like Houses, In Hearts Wake, Ne Obliviscaris and Clowns [caption id="attachment_749356" align="alignnone" width="1920"] Deftones[/caption] DOWNLOAD FESTIVAL 2020 FIRST LINEUP ANNOUNCEMENT My Chemical Romance (only Aus shows) Deftones Jimmy Eat World Clutch (only Aus shows) Ministry In Flames Testament Alestorm (only Aus shows) Carcass Lacuna Coil (only Aus shows) Hands Like Houses In Hearts Wake The HU Baroness Ne Obliviscaris Bodyjar New Years Day Clowns Venom Prison SKYND Thornhill Disentomb Stand Atlantic Plini RedHook Dregg Download 202o was scheduled to hit Melbourne's Flemington Showgrounds on Friday, March 20 and Sydney's Parramatta Park on Saturday, March 21. Top image: My Chemical Romance performing by NBSTwo via Flickr
Clarence Street is set to welcome yet another exciting new dining destination, this time from one of Sydney's top hospitality teams, the Bentley Restaurant Group. Sydney's CBD has long been home to top-notch bars and restaurants but over the last couple of years it feels as if the scene has gained another level of momentum. Following the one-two punch to Sydney's nightlife that was the lockout laws and the pandemic, we've seen a wave of new venues contributing to a rebuilt and revived cultural boom — from additions to the now globally recognised YCK Precinct (see: Palazzo Salato, Pinky Ji, Ginny's Canoe Club), to new arrivals in Merviale's ivy precinct (Oti', MuMu) and lavish new hotels with adjoining bars and restaurants (Capella, Hotel Morris). Now the Bentley Group is adding to Clarence Street's slate of new openings with King Clarence. Set to open in October, King Clarence will be an expansive celebration of Asian cuisines taking inspiration from China, Korea and Japan, with co-owner and chef Brent Savage explaining that he wants the restaurant to be "fun, loud, and busy". The menu here is designed around the kitchen's custom-built barbecue and grill, as well as plans for substantial live seafood tanks. The Asian-inspired eats will be paired with an impressive drinks menu. Diners will be able to choose from 40 different wines by the glass and dip into the Bentley Wine Vault for rare drops. There will also be a robust selection of cocktails that play on the classics and are designed to pair with the eats on offer. Expect a welcoming 100-seat dining room designed by longtime Bentley collaborator, Pascale Gomes-McNabb, with help from New Zealand-based design studio Jasmax. King Clarence marks the second new opening the Bentley Group has brought to the CBD this year, joining Circular Quay's Brasserie 1930 in the city. This pair of fresh openings sit alongside Yellow, Monopole, Cirrus and Bentley Restaurant + Bar in the hospitality group's acclaimed collection of venues. [caption id="attachment_637790" align="alignnone" width="1920"] Monopole[/caption] "This is new and exciting territory for us. We think the dining experience at King Clarence will appeal to all, whether it be a celebration, a corporate lunch or a late-night snack," says co-owner and sommelier Nick Hildebrandt. "It's been a big year for us with the opening of Brasserie 1930 in March, and we look forward to rounding out the year opening a venue Brent and I have long been planning." View this post on Instagram A post shared by Bentley Restaurant Group (@bentleyrestaurantgroup) King Clarence will open at 171 Clarence Street, Sydney in mid-October.
Their outdoor cinema season may be coming to an end, but there are still plenty of reasons to swing by The Greens in North Sydney. Case in point: the coolest lawn bowls club turned garden bar and eatery in town is celebrating its one year anniversary with summery morning yoga sessions and a revamped breakfast menu. What more motivation could you possibly need to haul yourself out of bed? Starting this weekend, Yoga at the Greens will give you the chance to start your day off on the right foot, with hour-long yoga sessions on Friday, Saturday and Sunday mornings starting at 9am, 8am and 9am, respectively. The classes are $20 per person and are designed for beginner to intermediate yogis – and don't worry if you don't own a yoga mat, because The Greens will provide one for you. Once you've found your centre, you can reward yourself with a bit of brekky, courtesy of The Greens' new head chef Nathan Tillott (formerly of Pink Salt and GPO). Highlights of the new breakfast menu, available Fridays through Sundays, include apple sweetened five grain porridge with spiced poached pears, rhubarb, almonds and honey; wild mushroom and quinoa omellete with marinated feta, cress, white truffle oil and toasted sourdough; a breakfast salad of hot smoked trout, wild rice, pickled cucumber, crumbled egg, preserved lemon and dill; and choc crackle French toast with stewed plums, lemon curd and cream. That last one isn't exactly in keeping with the health theme – but then again, after yoga, we reckon you'll have earned it. The Greens is located at 50 Ridge Street, North Sydney. To book yourself in for a yoga session call 9245 3099 and for more information on upcoming events visit their website.
Depending on whom you talk to, The Hunger Games is either the greatest threat to or most suitable replacement for Stephenie Meyer's inescapable Twilight saga. Both series certainly share a lot in common, with each featuring beautiful teenagers locked in mortal combat, love triangles locked in mortal geometry and original authors locked in enormous vaults of money. The only difference, really, is that The Hunger Games is actually worth watching. Adapted from the book trilogy by Suzanne Collins, the story is set in a postapocalyptic America divided, courtesy of a brutal uprising, into 12 separate districts. Each year as punishment for the rebellion, two children from each district are randomly selected as 'tributes' and ushered away to the capital city to compete in the barbaric bloodsport known as the 'Hunger Games'. Twenty-four contestants enter an isolated wilderness arena; only one is permitted to leave alive. With the participants' every word and movement broadcast to the masses, The Hunger Games plays a little like The Truman Show, except that in The Truman Show not all of the extras were trying to kill Truman. Nonetheless, both films cleverly explore similar themes of voyeurism, exploitation and the power of audiences to dictate content if only they were prepared to stop watching. Yet it's courage and sacrifice that underscore the movie's central narrative. Both qualities radiate from the film's protagonist, Katniss Everdeen (played by Jennifer Lawrence), a 16-year-old villager who selflessly volunteers as a tribute in order to save her younger sister from the Games. Lawrence is fantastic as the reluctant hunter suddenly forced to pursue human prey, and she's backed by an impressive supporting cast that includes Donald Sutherland, Stanley Tucci, Woody Harrelson, Elizabeth Banks and even Lenny Kravitz as Everdeen's quietly compassionate stylist. Fans of the book series will be happy to learn that Collins insisted on collaborating with the screenwriters to ensure the adaptation didn't stray heavily from the source; however, newcomers will also have no problem keeping up. Superbly directed by Gary Ross (Pleasantville), the film adroitly exhibits the terrifying violence without ever glorifying it or lapsing into gratuity, and the pace is utterly relentless. While there are naturally a few 'first in the franchise' stumbles, The Hunger Games represents a fine opening salvo in what promises to be an electrifying and massively successful series. https://youtube.com/watch?v=qoUT7q2iTbQ
Golden Week in Japan is a glorious weeklong public holiday when almost everyone gets time off to travel and celebrate. We don’t get such a thing here, but we do have the friendly people of Tokyo Bird — Surry Hills’ resident izakaya — who are putting on a string of their own mini-festivities, and giving you perfect reason to drink sake and Midori on a school night. Kicking the week off on Wednesday, April 29, is Emperor’s Day — the birthday of former Emperor Showa — and Tokyo Bird’s going all regal and swapping the regular yakitori meat for king prawns. Drinks-wise, you’ve got a choice between two aptly named $12 sake cocktails: The Emperor (with pineapple, mint and lime) and The Empress (with grapefruit, rosewater and mint). Monday, May 4, is Greenery Day, so we’re talking $12 Midori cocktails all night, plus free edamame. And come back the following night for Children’s Day. Dig into fried chicken katsu (i.e. nuggets, but this is no Happy Meal) and wash them down with a Calpis highball — sake mixed with the popular milky soft drink. Plus the best hashtagged photo (#tokyobirdGoldenWeek) wins a 1.8 litre bottle of sake to keep at Tokyo Bird, so get grammin’. We’re guessing that’d keep you going till next year.
Whether you love his work, get frustrated by his off-screen behaviour or just don't know what to make of him, Shia LaBeouf can't be accused of being boring. His resume spans everything from family sitcoms, Transformers flicks and lyrical road trips into America's heartland, to performance art at the Sydney Opera House and live-streamed anti-Trump protests — as well as marathoning his own movies in public, and wearing a paper bag on his head at the Berlin International Film Festival. His output and antics can only be described as eclectic, and, as much as anything can fit that pattern, LaBeouf's next project seems to. Called Honey Boy, it's an autobiographical film written by and starring the actor. Delving into his past as a child star, LaBeouf doesn't play himself, but instead steps into his father's shoes. Laying bare his own tumultuous ups and downs during his childhood and young adult years, LaBeouf grapples with his fame, mental health and addictions — while getting Noah Jupe (Wonder, A Quiet Place) and Lucas Hedges (Manchester by the Sea, Lady Bird, Boy Erased, Ben Is Back) to play versions of his on-screen alter-ego, called Otis, at different ages. Directed by first-timer Alma Har'el, the film also features FKA Twigs, Natasha Lyonne, Clifton Collins Jr, Maika Monroe and Martin Starr. While, on paper, Honey Boy certainly sounds as if it could go either way — as many of LaBeouf's stunts have over the years — it premiered at Sundance back in January to rave reviews. And, as the just-released first trailer shows, it doesn't hold back when it comes to delving into trauma. The same can be said of LeBeouf's performance as his dad, and of Hedges' impersonation of LeBeouf as a teenager. Check out the trailer below: https://www.youtube.com/watch?v=X2jNCFjALSA Honey Boy doesn't have a release date Down Under as yet — we'll update you if and when that changes.
It's a longstanding qualm some people have with female comedians that they're always talking about their genitalia. Those people might not enjoy this show. Returning to Australia for the second time in 2014, US comedian, performance artist and one half of the Wau Wau Sisters Adrienne Truscott is quite literally baring all in a one-woman show about rape culture. Dressed only from the waist up, Truscott is taking aim at the likes of Daniel Tosh and his controversial comments of last year, and is dragging the art of the 'rape joke' to breaking point. After five-star reviews at the Edinburgh Fringe, Adrienne Truscott's Asking for It is likely to be one the most-talked about shows of the festival (for better or worse). Adrienne Truscott's Asking for It is one of our top ten picks of the Sydney Festival. Check out our other favourite events over here.
Previously one of the best free weekly rooms in town, hotel management issues recently forced Eveleigh Comedy to scale back to a monthly show. However, what may have been lost in regularity will be more than made up for in quality. Hosted and produced by the prolific Daniel Muggleton on one Sunday night a month, this is always a laidback, super fun night. And if the gratis ticket price wasn't enough of an incentive, The Eveleigh Hotel is one of the inner west's hidden pub gems.
Despite its nickname as "the city of angels", Los Angeles is hardly angelic. It's an idea that comes up time and time again throughout movies, television, music and literature — the seedy underbelly of a city that hails itself as the gateway to fame and riches, to dreams come true. So while David Cronenberg's Maps to the Stars isn't the first, and most definitely not the last, to mine this terrain for metaphoric scraps, it is quite surely one of the weakest. And though a film by Canada's master of body horror, one of the tamest. Agatha Weiss (Mia Wasikowska) arrives in Hollywood and quickly gets into the backseat of a car chauffeured by wannabe screenwriter Jerome (Robert Pattinson). She gets a job as an assistant to a narcissistic, over-the-hill actress named Havana Segrand (Julianne Moore) while tracking down the child star Benjie (Evan Bird) and his father, Stafford (John Cusack). Their inter-connected lives become melodramatic fodder for Cronenberg as he navigates the incestuous nature of the American film industry and peels back the sunny exterior of its destructive nepotism and skewed standards. Like I said, this is hardly new terrain for any filmmaker, but for Cronenberg it feels like a drastic step backwards, even from the doldrums of Cosmopolis. One of the ugliest films of the year, Maps to the Stars finds no visual storytelling methods at all, which is especially disappointing given the director's trademark audaciously sexualised grotesquery would have been a perfect fit for Bruce Wagner's screenplay. Wasikowska, perfectly fine in the role, is even dolled up to look like Holly Hunter in Cronenberg's Crash, only worsening the comparison between this and his earlier work. It's up to Moore to save the film, and indeed she does some of the best work of her career as the ridiculously named Havana, who is attempting to star in a remake of her own mother's defining role. She is able to fill the character to the brim with all of the Hollywood insecurities to inevitably come with being an actress of any age, let alone one pushing 50. Her lips perma-glossed, her hair bleached blonde, and constantly shopping just in case she needs to be seen; it's a deliciously hilarious role, and without Moore's keen instincts with the part, the film would be a disaster from start to end. Maps to the Stars still isn't a good movie, but Moore gives it a life it doesn't deserve.
For its latest special event, Restaurant Hubert is whisking patrons off to Italy — or, given everyone will still stay nestled in Sydney, doing the next best thing. A collaboration with Giorgio De Maria, Magnums & Movies will screen an Italian cinema classic, accompanied by plenty of wine (in magnums, of course) plus the restaurant's interpretation of Italian theatre and film snacks. And, it'll all take place in Hubert's 120-seat Theatre Royale, to really ramp up the film-meets-dinner vibe. To assist, celebrated Roman winemaker Gianmarco Antonuzzi from Le Coste will be on hand to chat all things wine. He'll be picking the tipples as well. As well as drinking Italian wine, and eating Italian fare, you'll also be watching the award-winning Italian film La Grande Bellezza (The Great Beauty), which picked up both the Oscar and Golden Globe for Best Foreign Language Film in 2014. Tickets don't come cheap, at $150 per head — but it's the kind of decadent evening out you don't get to enjoy every day. Images: Daniel Boud.
Orange has more delicious produce and wines than almost any region in NSW. The area’s high altitude, cool climate and rich volcanic soils work like magic for local producers, making it the perfect growing environment. Usually you would have to drive for several hours to experience the goodness of Orange, but this month the goodness comes to you, as Taste Orange bringing the region’s best wine and food to Sydney. On August 21-22, Martin Place will offer tastings, cooking demonstrations, discussions and live music from the town’s culinary elite. Arrive between 11.30am and 2.30pm to sample the region’s plumpest fruits, olives and meats at the farmers market and watch Orange local and Master Chef winner, Kate Bracks, host a live cooking demonstration using local ingredients. There will be a Millamolong Polo lounge in the evenings where you can chill and enter a draw to win tickets for you and nine friends to visit the state’s premier polo tournament on a bus named ‘Driving Force’. Return at 5pm for an outdoor pop-up bar serving the region’s award winning wine at $7 a glass. The bar will feature 24 of the region’s best wines, including Citibank NSW Wine Award winners Logan, and Angullong, whose Cabernet Merlot and Shiraz were featured on the 40 best wines of the state. If you want to learn more about the region’s premium wine and food production, Bracks, the farmers and the winemakers will be happy to chat. You may not be surrounded by the colours of the state’s Central West but Taste Orange will provide a rare opportunity to taste and buy produce straight from the makers themselves. Read full event details here.
Before summer makes a run for it, we’re handing out five double passes to the Golden Age Cinema. Gratis. There are two main reasons why we’re itching to send you to the movies. The first is that the Golden Age’s February program is promising an even tastier cult feast than usual. The second is that, in cahoots with Appleton Estate, the cinema has cooked up some film-inspired cocktails tempting enough to drag James Bond away from his martini. On Saturday, February 21, a New York Heatwave will sweep in for the weekend. Catch Marilyn Monroe’s ukulele skills in one of the best American comedies ever, Some Like It Hot; check Alfred Hitchcock at his most brilliant in Rear Window; and hang out with ‘70s gangsters in The Warriors. Sink into those Paramount heritage chairs with a Rum Runner Highball: Appleton Estate VX rum, honey and ginger water, topped up with fizzy ginger beer. Then, from Tuesday, 24 February, it’ll be all about birds; the occasion, of course, being the release of Birdman. Find out how humans come out against wings in Hitchcock’s The Birds, see Brandon Lee at his most vengeful in The Crow, and on February 28, lose all touch with reality in a double-bill made up of Birdman and Tim Burton’s 1989 technicolour Batman. Get your drinking in on the theme with a Jungle Bird or a Jack Sparrow (that’s a Mai Tai, Appleton Estate-style). To be in the running for one of five double passes to the Golden Age Cinema, subscribe to the Concrete Playground newsletter and then email win.sydney@concreteplayground.com.au with your name and address.
Looking for a new kind of adventure getaway? Kosciuszko National Park might not be the first place that springs to mind in the spring and summer months, but if you're looking to avoid the crowds during peak holiday season, it's the place to go. Think swimming in wild mountain streams, hiking through remote highlands, feasting in old-school country kitchens and wine tasting at cool climate vineyards. From coastal getaways to outback adventures, Australia is home to a wealth of places to explore. Every trip away offers the chance to not only reconnect and recharge, but also to support the communities that have been affected by bushfires. Your visit plays an important role in Australia's recovery, which is why we've partnered with Tourism Australia to help you plan your next Holiday Here This Year. Some of the places mentioned below may still be closed due to COVID-19 restrictions. Please check websites before making any plans. [caption id="attachment_770480" align="alignnone" width="1920"] Destination NSW[/caption] CANOE OR SAIL ON LAKE JINDABYNE Unless your name is Lewis Pugh, it's highly unlikely that you'd risk capsizing a canoe in Lake Jindabyne during winter. But come summer, it's a different story. The crystal clear waters aren't exactly toasty, but they're warm enough for swimming — and certainly conducive to paddling. Stick to the shoreline or venture out into the deep to visit the Lake's islands. There are watercraft of all kinds for hire at Sacred Ride, from canoes, kayaks and SUPs to catamarans. Looking for company — or a sailing lesson? Drop the Lake Jindabyne Sailing Club a line. [caption id="attachment_749734" align="alignnone" width="1920"] K7[/caption] GO BOULDERING Bouldering is rock climbing — but with more thrills. Because you don't get any ropes. Your ability to climb comes down to your strength and skill in clambering across, well, boulders. Needless to say, this is something you probably shouldn't try on your own, unless you're experienced. The good news is the good folks at K7 will happily take you on a fully guided adventure. At 1800 metres, you'll be challenging your fear of heights, while taking in some incredible scenery and getting plenty of fresh, fresh mountain air. Make sure you pack grippy shoes. [caption id="attachment_752428" align="alignnone" width="1920"] Murray Vanderveer/DPIE[/caption] VISIT LANDERS FALLS Landers Falls isn't easy to get to, which makes it all the more special. If you're travelling by 2WD, prepare for a five-kilometre walk to the waterfall — if you're in a 4WD, it's just 800 metres on foot. As you near the falls, the path grows steeper before reaching Talbingo Lookout, then, 300 metres later, you'll get to Landers Falls. It's not just the falls themselves that are spectacular, but also the surrounding gorge, which holds Talbingo Reservoir and seemingly endless wilderness. Landers Falls are in the northern corner of Mount Kosciuszko National Park, around 50 minutes' drive from the pretty country town of Tumut. As parts of Kosciuszko National Park were affected by recent bushfires, check the website for any travel alerts before you venture out. [caption id="attachment_770632" align="alignnone" width="1920"] Elinor Sheargold/DPIE[/caption] DRIVE KHANCOBAN TO KIANDRA With miles and miles of empty roads, Kosciuszko National Park is made for road tripping. One of the best routes is undoubtedly the 90-minute drive from Khancoban to Kiandra, which cuts through the park's central section. Expect all the elements that make the area so beautiful, from remote campsites to mountain huts built in the 19th century. You'll also pass through Cabramurra, which was the third highest town in Australia, until January 2018, when the last remaining permanent residents moved out. As with walking through the National Park, check the website in advance for any alerts and closures. [caption id="attachment_770596" align="alignnone" width="1920"] Creel Lodge by Murray Vanderveer/DPIE[/caption] STAY AT CREEL LODGE To make the most of your adventures, you'll need a warm, comfy place to rest your head — and, ideally, one with a cracking view. You can find just that at Creel Lodge. Located at Waste Point, overlooking Lake Jindabyne, this spot has epic views with mountain chalet comforts, like an outdoor fireplace and a large dining table for red wine and card games in the evenings. It's located within the National Park, so you're right in the heart of the action for walking trails, bike rides and water-based fun. After a day of exploring, fire up the barbecue on the deck and see if you can spot any of the resident kangaroos. The Lodge has four bedrooms and sleeps up to eight people, and in the summer months you can book in from $345 per night. Whether you're planning to travel for a couple of nights or a couple of weeks, Holiday Here This Year and you'll be supporting Australian businesses while you explore the best of our country's diverse landscapes and attractions. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Top image: Tourism Snowy Mountains.
Switch its modern-day Texas setting for the American frontier of several centuries ago, and its noble thieving heroes for gunslingers roaming the range, and there's no mistaking it: Hell or High Water is a western through and through. These days, every second film or thereabouts is deemed a contemporary take on the genre, from Mad Max: Fury Road to The Dressmaker. Director David Mackenzie doesn't take on the Old West lightly, however, and his sun-scorched drama proves to be the genuine article. Bullets fly, law and order collides, and the distinctively dusty US landscape looms large over morally murky exploits. It all harks back to times (and films) gone by, while also proving ever-so-relevant to today. Sons of Anarchy actor turned Sicario writer Taylor Sheridan cleverly steeps every recognisable western element in timely commentary on our have-versus-have not society. Brothers Toby (Chris Pine) and Tanner Howard (Ben Foster) fall into the latter category — but as the movie's title intimates, they're determined to make a change. Their primary opponent: the banking system. Specifically, a local financial establishment that happily gave their mother a reverse mortgage on the family farm, and now wants to swoop in and take it all away. So the siblings react Robin Hood-style, holding up the bank's various branches to raise the funds needed to retain control of the property. Of course, rangers Marcus Hamilton (Jeff Bridges) and Alberto Parker (Gil Birmingham) are soon on the brothers' trail, one trying to hold on to the past by staving off retirement, the other grinning and bearing his colleague's old-school ways. In a film built dirt-up from the tiniest of details — a parade of sepia-tinted small towns here, a slow drawl masking unspoken pain there — paying close attention to the furrowed brows of Pine and Bridges is highly recommended. Like the film they inhabit, their characters are broken men moulded from familiar pieces. And yet the actors still manage to convey depths that trump the feeling that you've seen it all before. Watching them weather their respective battles — against systems trying to keep them in their places, against their internal demons, and against each other — is quietly revelatory. Though tasked with the least nuanced role of the three main players, Foster also ensures his ex-con character is more than simply a unhinged comic foil to his morally conflicted brother. To put it simply, it's stellar work from most involved. That applies to Mackenzie as well, who provides not only an evocative sense of the genre he's happily playing with, but balances Hell or High Water's solemn tone with his lightness of touch. The journeyman filmmaker continues to serve up new highlights such as his previous prison effort Starred Up, and now this. He's ably assisted by the fine work of cinematographer Giles Nuttgens, as well as by a soulful score from Nick Cave and Warren Ellis.
You may have noticed that Sydney isn't a particularly edifying place to live right now. House prices are breaking the stratosphere's personal space boundaries and rent's basically a synonym for extortion. The unspoken objections of parents to their adult children returning home hang heavy in the air. Accusations of tightfistedness and poor work ethic are being thrown thick and fast across the generations. All the while, homeless rates and hulking property developments are on the rise. Into this arena (and Griffin Theatre) comes Brooke Robinson's Good Cook. Friendly. Clean. Directed by Marion Potts, the play is a black comedy about the casualties of a war fought using only smashed avocado and Twitter. When her housemates decide to replace her with one of their friends, Sandra (Tara Morice) is given two weeks to run the gruelling gauntlet of the share house interview process. Sandra's pretty normal — a good potential housemate. But she's also 58, with an illness that's starting to catch up with her. As the deadline approaches, Sandra commits to increasingly desperate measures to convince a series of couples (Fayssal Bazzi and Kelly Paterniti) that she's the right fit for their abode/pad/studio. In an interview about the work, Robinson points to the old maxim that we're all only three bad life decisions away from homelessness. With the last census showing homelessness in NSW has increased by more than thirty percent since 2011 (and more than 70 percent in Sydney), even that wiggle room seems to be disappearing. Good Cook. Friendly. Clean. may be billed as a black comedy, but as Sandra's options begin to dry up, so too do the laughs. With a runtime of 75 minutes, the fall is short and sharp. Griffin describes it as funny. Until it's not. Good Cook. Friendly. Clean. runs until Saturday, June 16. Tickets can be purchased here and start from just $38 (for under-35's).
He's the horror and thriller author responsible for bloody proms, haunted hotels, possessed cars, sewer-dwelling clowns and spooky animal resting grounds, not to mention literary stalkers, depression-era death row prisoners, a town plagued by unexplained fogginess and another trapped under a dome. Indeed, since coming to fame with Carrie back in the 70s, Stephen King has never proven unpopular — but the world sure loves the writer's work right now. The viewing world in particular seems to adore King at the moment, with page-to-screen adaptations of his books popping up thick and fast. In 2019 alone, a new version of Pet Sematary hit cinemas, as did IT: Chapter Two, and The Shining sequel Doctor Sleep is dropping next month — while In the Tall Grass recently arrived on Netflix. On the small screen, Mr Mercedes is up to its third season, Castle Rock is just about to start unfurling its second and Creepshow's first recently landed. Next year will see three more TV shows join them, too, all based on King's books — and if you like the author in murder-mystery mode, you might want to add The Outsider to your viewing list. HBO's addition to the fold is a ten-part mini-series taking inspiration from King's 2018 novel of the same name, which focuses on the gruesome death of an 11-year-boy. Little League coach Terry Maitland (Jason Bateman) is suspected of the shocking murder, with his fingerprints all over the scene; however, video footage places him 60 miles across town at the time the crime went down. Unravelling just what happened is a task for police detective Ralph Anderson (Ben Mendelsohn), who's also mourning the death of his own son. When nothing seems to add up, he brings in unconventional private investigator Holly Gibney (Widows and Bad Times at the El Royale's Cynthia Erivo) to help, despite him professing to have "no tolerance for the unexplainable". In case you're thinking that this all sounds like one of King's more straightforward tales, "an insidious supernatural force" is also involved according to the official HBO synopsis — it is called The Outsider, after all. Mendo, Australia's favourite current acting export, also produces the show, as well as seemingly getting a rare chance to play something other than a blockbuster baddie of late (see Rogue One, Ready Player One and Robin Hood, for example). As for recent Emmy directing winner Bateman, he executive produces and jumps behind the lens on the series' first two episodes. Check out the first teaser below: https://www.youtube.com/watch?v=I03MAkQ_OyM The Outsider starts airing on Sunday, January 12 in America — we'll update you once viewing details for Down Under have been announced.
Travel three and a half hours northwest from Sydney and you'll hit Mudgee, a small central New South Wales town that dates back more than 150 years. It's a place with history, including in gold rush-era Australia — and, since 2012, it's also home to Baker Williams Distillery. This spirits outfit may be a microdistillery, but it boasts a sizeable range. On offer: an award-winning gin and lemon myrtle liqueur, plus a whisky, rouge vert jus, coffee-flavoured liqueur and a very popular butterscotch schnapps. Making all of the above with local raw ingredients is Baker Williams' big focus, as is making the most of its resources, with its lemons and oranges going to cordial manufacturers, spent malt to pig farms and other organic waste composted. At present, due to COVID-19 restrictions, visits to Baker Williams' cellar door are by appointment only — but you can call to book seven days a week.
From the creators of La Soiree comes Club Swizzle, a place for the most depraved souls in show business to call home. Incorporating a melee of cabaret, acrobatics and infectious merrymaking, the show is set to the soundtrack of ARIA-, APRA- and AFI-winning band Mikey and The Nightcaps. World-famous postmodern diva Meow Meow (former Little Match Girl) leads the January lineup for the Sydney leg of Club Swizzle with a kamikaze cabaret which she's already performed with David Bowie, Pina Bausch and Mikhail Baryshnikov. Ali McGregor is the February diva, who seeks to transverse the world of opera and pop culture alike. Anything goes at Club Swizzle, with their no stage, no rules and no regrets policy. So leave your worries at the door and prepare for a night filled with a different type of entertainment.
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. BELFAST Warm, cosy, rosy, charming, feel-good: typically when a film spins its story during The Troubles in Northern Ireland, none of these words apply. But with Belfast, Kenneth Branagh has made a movie set in its eponymous city when the Protestant-versus-Catholic violence was a constant sight, and also helmed a feature that's about a childhood spent with that conflict as a backdrop. It's an approach that only works because Branagh draws from his own experiences — the film isn't a play-by-play memoir, but it's also clearly personal. Here, it's 1969, when the actor-turned-filmmaker would've been nine years old. The movie's protagonist, Buddy (first-timer Jude Hill), is that exact age, in fact. And with the beginnings of a three-decade-long sectarian fracas bubbling and boiling around him, he navigates the usual age-appropriate antics, such as school, crushes, doting grandparents with ailing health and a potential big move. The Troubles are a constant sight in the largely monochrome-hued film, too, and the reason Buddy's that parents are contemplating relocating to England, something they wouldn't have dreamed of otherwise. Pa (Jamie Dornan, The Tourist) already spends most of his time working there as a joiner, leaving Ma (Caitríona Balfe, Outlander) at home with Buddy and his elder brother Will (Lewis McAskie, Here Before) — with assistance from the boys' Granny (Judi Dench, Six Minutes to Midnight) and Pop (Ciarán Hinds, The Man in the Hat) — and he's been offered a new job that comes with a house. The violence swirling through Belfast has already made it to the family's street, to their hounded Catholic neighbours and, when Pa refuses to join the fray, put them on their fellow Protestants' hit list. Shifting to London (or perhaps further, to Sydney or Vancouver) would provide a new start and a safer future, but leaving all they've ever known isn't a simple decision. Belfast's adult characters are only known as Buddy would know them, such is Branagh's commitment to seeing this story, time and place through a child's eyes as he once did. And, while there's much debate to be had between Pa and Ma about whether to go or stay, the film is filled with its young lead's joys and worries — with the prospect of never again seeing the Catholic classmate he swoons over high among the boy's concerns. Belfast isn't short on context, however, though there's zero chance that it could be mistaken for a meaty interrogation of The Troubles. Branagh weaves in examples of how the push-and-pull of the conflict that's inescapable in his neighbourhood every day, Molotov cocktails, broken windows, blazes, riots and all, puts Buddy and his family in the middle. Still, a magical view of childhood remains, including when Buddy gets thrust into the thick of the fray — where, after he returns home with looted supermarket wares, his mother marches him back to return the stolen products amid the chaos. Branagh also indulges in an origin story, perhaps inspired by his stint in the Marvel Cinematic Universe directing the first Thor film back in 2011 (Buddy is even seen reading a Thor comic). Escaping The Troubles as much as anyone can in Belfast, the writer/director's on-screen surrogate adores seeing Chitty Chitty Bang Bang, and A Christmas Carol also features — scenes that come to life in colour, unlike the bulk of the picture around them. In the process, Branagh helps trace the early steps of his own desire to become a thespian and filmmaker, which has led to everything from Shakespeare adaptations such as Much Ado About Nothing and Hamlet, to doing double duty in front of and behind the lens with Hercule Poirot duo Murder on the Orient Express and Death on the Nile. He's played Harry Potter and the Chamber of Secrets' Gilderoy Lockhart, helmed Disney's live-action Cinderella, gotten villainous in Tenet, and of course, enjoyed an applauded on-stage career as well, all stemming from those first rapturous experiences watching when he was growing up. Read our full review. HERE OUT WEST Western Sydney could use a love letter right now, and that tribute arrives in Here Out West. The product of eight up-and-coming screenwriters from the area, it celebrates a place that has spent much of the past year garnering attention for a reason no one wanted: thanks to the tighter rules applied to the region during Sydney's four-month stretch of stay-at-home conditions in 2021, it was home to New South Wales' strictest lockdown of the pandemic to-date. Thankfully, COVID-19 isn't this movie's focus. Instead, as told in nine languages — Arabic, Bengali, Cantonese, Kurdish, Tagalog, Turkish, Vietnamese, Spanish and English — and helmed by five female filmmakers, Here Out West dwells in everyday lives. It champions by seeing and recognising, and by trumpeting voices that have always been there but are infrequently given a microphone. Opening shots of suburban houses and looping highways set the scene: viewers aren't journeying to an Aussie beach or the nation's parched outback expanse, aka two of the prevailing visions of this sunburnt, sea-girt continent on-screen. Rather, Here Out West unfurls its octet of intertwined vignettes in spaces far more ordinary — not to downplay the importance of surveying western Sydney, but to clearly note that these are its daily playgrounds. It's here that mothers have babies, neighbours look after the kids next door, grandmothers worry about their grandchildren, dads struggle to connect with their sons, and sport and food are among the ways that people come together. It's here that adults bicker among themselves over love, and with their parents about their futures. It's where lives begin and end, and where folks with dreams both big and modest also try to start anew. And yes, all of these scenarios are covered by the film's narrative. Initially, Here Out West spends time with Nancy (Geneviève Lemon, The Tourist), who takes care of her eight-year-old neighbour Amirah (debutant Mia-Lore Bayeh), but wasn't actually planning to help out today. She has a newborn granddaughter to meet — one that the authorities are planning to take away, so Nancy makes a drastic decision that'll ripple throughout the community across the movie's one-day timeframe. In the film's second segment, hospital carpark security guard Jorge (fellow first-timer Christian Ravello) is brought into the wider story, and also gets a snapshot chapter of his own. His instalment then intersects with friends Rashid (Rahel Romahn, Moon Rock for Monday), Dino (Thuso Lekwape, Book Week) and Robi (Arka Das, Babyteeth), who run through the streets arguing about Rashid's cousin. Next, their section links in with Ashmita (Leah Vandenberg, The Hunting) and her dying Bengali-speaking father back at the local hospital. Returning to specific spots comes with territory, because it comes with living anywhere; paths cross, people are drawn to the same busy and central locations, and some facilities — such as Here Out West's pivotal hospital — are always a hive of activity in any community. That truth continues to drive the film as it meets Kurdish refugees Keko (De Lovan Zandy) and Xoxe (Befrin Axtjärn Jackson), who are hoping to make a new beginning that still involves his penchant for music and her skills hand-weaving carpets, before jumping to Tuan (Khoi Trinh) and his brother Andy (Brandon Nguyen), who possess varying ideas about what it means to be Vietnamese Australian. Then comes a glimpse at nurse Roxanne's (Christine Milo, It's a Cult!) day as she works a double shift and misses her family in The Philippines. And, there's also Winnie (Gabrielle Chan, Hungry Ghosts) and Angel (Jing-Xuan Chan, Neighbours) as the mother and daughter close their Chinese restaurant for the last time. Read our full review. JACKASS FOREVER Older men, same ol' tricks and dicks: that's Jackass Forever. The fifth film in the prank-fuelled TV-to-movie franchise isn't afraid of letting it show, either, just as it's never been afraid of flashing around male genitalia. No one in Jackass' crew of comic daredevils is scared of that much — or, if they are, they're more frightened of not challenging themselves alongside their buddies — so the proud and purposeful attitude flaunted in the flick's title and usual formula is thoroughly unsurprising. Twenty-two years have passed since Johnny Knoxville, Steve-O, Chris Pontius, Dave Englund, Wee Man, Danger Ehren and Preston Lacy first turned outlandish stunts and practical jokes into an MTV hit, but age hasn't wearied their passion or camaraderie. It also hasn't dampened the gang's fondness for showing their junk, but there's something sweet here among all the penises: the fact that time inescapably passes but doing stupid shit with your mates sparks immortal joy. Jackass Forever is stupid, because the kinds of gags that Knoxville and company love are profoundly idiotic — including the film's opening gambit, where a green Godzilla-esque creature tramples a city but it's really Pontius' package painted like a monster. Also inherently silly: using the cast's bodies to prop up skateboarding ramps, a Knoxville-hosted game show that penalises wrong answers with a whack to the sack, exploding a port-a-potty while Steve-O is using it and a contraption made of harnesses that simultaneously gives three people wedgies. The ridiculous bits go on, including lighting farts underwater and drinking milk on a moving carousel to the point of vomiting. Another reason that Jackass is forever for this troupe: they're still as juvenile now, even though they're all over or approaching 50, as they ever were. Describing Jackass' risky skits and scenes never comes close to watching them, but how funny anyone finds this franchise depends on individual senses of humour and, sometimes, upon your mood on any given day. Regardless, there's always been an art to its follies, as captured on camera by Jeff Tremaine, the series' longstanding director, and also its co-creator with Knoxville and Her filmmaker Spike Jonze. Jackass' slapstick credentials carry on the traditions of Buster Keaton, Charlie Chaplin and The Three Stooges, but lewder and grosser, obviously. The saga's commitment to documenting not just the stunts and pranks themselves, but the setups, attitudes in advance and reactions afterwards — the key interplay between its perpetrators, victims and spectators, too — also sees it deconstruct the brand of comedy it sports as it goes. These sense-defying jesters show their working, in other words, and share the thrills it inspires. No wonder they don't ever want it to stop. Mortality does hang over Jackass Forever, however, as seen in a number of ways — starting with Knoxville's grey hair. It isn't always so strikingly silvery, and he's also shown talking about not wanting to show his bald spot, which Jonze then rushes in to cover with black spray paint. But when the crew's ringleader does let his wintry-hued tresses show, it's the best visual representation possible of how these guys will be adoring all things Jackass till they die. Well that, and the plethora of injuries suffered, including Knoxville's concussion, brain haemorrhage and bone fractures from a bull stunt. Jackass' ridiculous men can't escape the passing years and its impact upon their bodies if they wanted to, but it clearly makes them savour what they're doing. Read our full review. MOONFALL Does Roland Emmerich hate earth? Asking for not just a friend, but for the residents of an entire planet that the filmmaker just can't stop blowing up, devastating via CGI chaos and threatening with its end in his movies. Or, does he really love it, and has committed to the cinematic version of negging — tearing this pale blue dot down again and again so that his always paper-thin characters can swoop in to save the day, and also somehow seduce thankful viewers? Either way, Hollywood's go-to disaster-porn helmer is running out of moves, after a career spent blighting the globe in Independence Day, the terrible 1998 American Godzilla, The Day After Tomorrow, 2012 and Independence Day: Resurgence. He does what he long has with Moonfall, of course, but with a space twist and while also noticeably ripping off elements of Alien and Prometheus. Moonfall begins in 2011, on a Space Shuttle mission, when it seems as if astronauts Brian Harper (Patrick Wilson, The Conjuring: The Devil Made Me Do It) and Jo Fowler (Halle Berry, Bruised) might first find themselves in a Gravity knockoff. Something dark, fast and strange swarms them while Harper is out in the inky nothingness working on a satellite, leading to a tragedy, but no one believes his version of events — including Fowler. Ten years later, he's considered a has-been, she's still at NASA and, when conspiracy theorist KC Houseman (John Bradley, Game of Thrones) learns that the moon has been knocked off its orbit, they're the only ones who can save the day. Harper is also one of the only people willing to listen to Houseman's wild claim that the moon is actually an artificial megastructure, which is linked to its sudden descent upon earth. There's a word for folks who share Houseman's beliefs: 'megastructuralist', a term that viewers will never forget given how many times that Emmerich, Harald Kloser (also the film's composer) and Spenser Cohen (Extinction) work it into their screenplay. It's all that Bradley seems to say, and Moonfall clings to it like its filmmaker is desperately trying to one-up the hollow earth theory seen in Godzilla vs Kong, a better take on creature features than his past attempt. In general, Moonfall's script plays like a grab-bag of better elements from other space, disaster and sci-fi flicks all thrown together and spun like a gyroscope, but its nods in Ridley Scott and the Alien franchise's direction couldn't be more blatant. Indeed, thanks to its obvious pilfering, Moonfall often appears to have a better movie lurking inside — an interesting-enough space film erroneously packaged with all of Emmerich's standard world-ending mayhem — but only if you can somehow forget that one of the best pictures ever made got there first. Emmerich's latest would definitely be improved it it blew away some of the time it spends charting the fallout on earth, where "city-sized moon pieces will rain down", Harper and Fowler both have sons to save, and the thoroughly bored look on Charlie Plummer's (Words on Bathroom Walls) face as the just-imprisoned-but-good-at-heart Sonny Harper says everything. But then this film wouldn't have been made by this director, who refuses to embrace the ridiculousness of everything he's thrusting onto the screen and sticks with his stock-standard self-serious vibe. The premise, the writing, each easily foreseeable twist — it's all ludicrous, but played far too straight, although that doesn't result in anything but by-the-numbers performances by Wilson and Berry, and a gratingly one-note turn from Bradley. Perhaps Moonfall's biggest feat is making that other recent flick about a falling celestial object, Don't Look Up, look better than it is in comparison. Well that, and owning its silliness exactly once, in its moniker, because Moonfall certainly does describe exactly what happens. INDIA SWEETS AND SPICES India Sweets and Spices sports a clunky title, but a descriptive one. The saccharine and the zesty — the formulaic and spirited, too — combine in this coming-of-age comedy about an Indian American college freshman returning home from her no-holds-barred campus life for the summer, and being expected to slot back into her parents' and culture's expectations and traditions as if she'd never left. That quickly unhappy student is Alia Kapur (Sophia Ali, Grey's Anatomy), who has little on her agenda for her break except lazing by and in the pool; however, her prim-and-proper mother Sheila (Manisha Koirala, an Indian cinema mainstay) and doctor father Ranjit (Adil Hussain, Star Trek: Discovery) still demand that she do the rounds of their social circle's weekly Saturday-night party circuit. It's more her mum's doing than her significantly more laidback dad's, but it's also the done thing. What isn't usual: inviting the new proprietors of the local Indian store to these well-to-do shindigs. Writer/director Geeta Malik (Troublemaker) could've called her sophomore feature Crazy Rich Indian Americans — or Snobby Rich Indian Americans — and the moniker would've stuck, with a clear class clash the obvious outcome when Varun Dutta (Rish Shah, To All the Boys: Always and Forever), his mother Bhairavi (Deepti Gupta, High School Musical: The Musical — The Series) and dad Kamlesh (Kamran Shaikh, Evil Eye) show up to the Kapurs' home as asked. The conceited judgement over their nice but not glitzy attire is immediate, and further awkwardness springs quickly when it turns out that Sheila and Bhairavi shared a past before they both emigrated to the US. Alia is outraged over the reaction, intrigued about her mum's history and, given that's the reason she invited the Duttas in the first place, interested in Varun — and all three swiftly shape her summer. There's a sprinkle too much of the familiar to India Sweets and Spices, both in its narrative — and many of the details and cliches used to tell it — and its insights into the struggles of growing up surrounded by one country's attitudes but with another's conventions always knocking at the door. The template-esque feel makes the film pleasant rather than overly memorable, and its boilerplate TV-style gloss and sheen doesn't help it stand out, either. Thankfully, Malik's three key female talents couldn't fade into a by-the-numbers setup if they wanted to, and add much of the movie's verve as a result. Ali may play a character that could've stepped out of any similar flick, including the likes of Bend It Like Beckham and The Big Sick, but her delivery and presence are one of this feature's best traits. And whenever Koirala and Gupta are on-screen, be it together or separately, India Sweets and Spices benefits immensely. All three women are also pivotal to Malik's biggest attempt to differentiate India Sweets and Spices from other comparable fare: her foray into the quest for women's equality in India. Perched within the film's otherwise straightforward intergenerational and class conflicts sits a look at gender roles both historically in India and within Indian American communities today — the movie takes place in New Jersey — plus an examination of the sacrifices that might be made by someone willing to forgo her own fight to gift a better life to her children instead. This meaty and meaningful aspect of the feature would hit harder if so much that surrounded it wasn't content with easy tropes, though. Indeed, India Sweets and Spices is a tad too happy to act against its own advice, settling for something that's good enough rather than pushing itself further past the tried and tested. STREET GANG: HOW WE GOT TO SESAME STREET On a fictional New York street that's home to a cross-section of the city's multicultural population, young and old alike, and also to boisterous muppets, sunny days have been sweeping the clouds away since November 1969. Eager to educate preschoolers, Sesame Street has taught multiple generations of children the alphabet, to count — with help from Count von Count since 1972, of course — and about life in general, and both its longevity and the beloved turf it holds within popular culture speak to its enormous success. Street Gang: How We Got to Sesame Street knows that it's profiling a seminal piece of television, and that virtually everyone born in the past half-century grew up watching the adored series; however, it's also keen to tell the story behind that story. Nostalgia drips through this behind-the-scenes documentary, gleefully so, but so too does a chronicle of how Sesame Street became the icon it is — and against the odds. The show's backstory starts with TV producer Joan Ganz Cooney and psychologist Lloyd Morrisett, and with a dinner-party conversation that saw them float the idea of a television series that might help American children prepare for school — particularly kids of colour. The path to Sesame Street reaching the air wasn't smooth from there, or plain sailing once it got to screens (its focus on racial integration didn't go down well in parts of Mississippi, for instance), but education-meets-entertainment history was nonetheless made. Inspired by Michael Davis' 2008 non-fiction book Street Gang: The Complete History of Sesame Street, documentarian Marilyn Agrelo (An Invisible Sign) fashions her film as an insider's window into a miraculous program, blending informative details about how it came to be and its early years with clips of its muppet-fuelled magic. Both elements of the movie engage, as do its recent and archival interviews. On the screen, Street Gang benefits from the type of observation that helped make its subject such a delight: that showing is far better than telling. Given that there's so much ground to cover — Sesame Street could easily earn its own historical documentary series, but this film fits what it can into 107 minutes — it's patently a tricky juggling act to find the right balance between Sesame Street footage and analysis, but the clips presented are charmers. Agrelo deploys these snippets to demonstrate the show's commitment to representation, as paired with chats with actors such as Emilio Delgado (Luis) and Sonia Manzano (Maria); its educational approach, aka its number-one reason for existing; and the puppetry prowess of original Big Bird and Oscar the Grouch performer Carol Spinney, and of the great Jim Henson and Frank Oz. Discussions with and about the former, including about how both characters gave him outlet for parts of his personality, are lovely, while giggling at the latter pair's work as Bert and Ernie never gets old, and neither does appreciating why the double act is such a piece of genius. Sesame Street has always been revolutionary, too, and in a plethora of ways, all of which Street Gang celebrates. Its firm intent to ensure that it represented America's diversity sprang from its times and made a statement, while its willingness to use advertising techniques — jingles included — was savvy and smart. Its blend of humour and information, its eagerness to entertain the adults watching as well as the kids, the passion for ensuring that all children felt included and empowered: they're all pioneering. And, as much as the aired segments and hilarious outtakes prove joyous, the meaning and power of Sesame Street always beams through. Of course, being both amusing and enlightening was always the show's aim, so it's apt that this loveable documentary about it easily achieves the same feat. Street Gang: How We Got to Sesame Street is screening at Sydney's Golden Age Cinema and Bar, and is also available to stream via video on demand. 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 October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; December 2, December 9, December 16 and December 26; and January 1, January 6, January 13, January 20 and January 27. You can also read our full reviews of a heap of recent movies, such as The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth, The Worst Person in the World, Ghostbusters: Afterlife, House of Gucci, The King's Man, Red Rocket, Scream, The 355, Gold, King Richard, Limbo, Spencer, Nightmare Alley, Belle, Parallel Mothers and The Eyes of Tammy Faye.
If brutal honesty, passionate angst and extraordinarily affecting personal songwriting is your jam, rejoice the return of Martha Wainwright to Australia for a massive, 12-date national tour. Part of a large, fractured musical family, it was perhaps fitting that Martha made her first big splash with 'Bloody Mother Fucking Asshole', a song at once heartbreaking and defiant, laying bare her difficult relationship with her father in an extraordinarily public way. And her forthcoming album, Come Home to Mama, continues this deeply personal approach to music, inspired by the six-month period in which she gave birth to her first child and lost her mother — legendary Canadian folk singer Kate McGarrigle — to cancer. But it's not all doom and gloom. Over the years Wainwright has established herself as a compelling and engaging performer with an extraordinary voice, one that will have you in tears one moment and tapping your feet the next. It won't be an easy night, but it could be an amazing one. 31 May – The Tivoli, Brisbane 1-2 June – Byron Theatre, Byron Bay 6 June – Sydney Opera House 8-9 June – Live n Cookin' @ Lizotte's, Newcastle 13 June – Theatre Royal, Hobart 14-15 June – Recital Centre, Melbourne 16 June – Memorial Hall, Leongatha (VIC) 20 June – Dunston Playhouse, Adelaide 22 June – Astor Theatre, Perth Tickets for the Sydney Opera House show are on sale on Friday, April 12, at 9am. More ticketing information here. https://youtube.com/watch?v=pX-bIr8dr6U
Plunge into 2015 with a big injection of soul love at the first Soul of Sydney Block Party for the year. We're talking an entire afternoon and evening of funk, New York disco, old school hip hop jams, early house beats and more. The main programming criteria: that the music gets you feeling mighty fine. The location is top secret, though we do know it's an indoor/outdoor 'funk oasis' located within five minutes of the CBD. Most of the lineup has been announced however, with Simon Caldwell, Stephen Ferris, Graham Mandroules, All Souled Out DJs, Superbreak, James Locksmith, Mike Who, Phil Toke, DJ Cman, DJ Naiki, Edseven, DJ Saywhut and others confirmed on the bill. To complement the soundtrack, there'll be live art from Billy Kid and Friends, live hair braiding from Eden Stylez and a Bboy/dance showcase. Early bird $5 tickets have sold out, but there's still a scattering of $10 stubs left, which you can nab right here.
A spectacular showcase of ballet arrives at West HQ's Sydney Coliseum Theatre this July with the debut of the Sydney International Ballet Gala. The performance will be a dazzling display of artistry, elegance and technical precision that promises to move ballet lovers and newbies alike. With a repertoire choreographed by some of the world's most acclaimed creatives, the powerhouse performance presents hundreds of years of ballet history on the one stage. You'll see excerpts from some of the greatest works of classical ballet, as well as highlights from the contemporary canon, performed by principal dancers and soloists from celebrated companies including The Australian Ballet, Royal New Zealand Ballet, San Francisco Ballet, Berlin State Ballet, Dutch National Ballet and more. The genuinely global company of dancers taking to the stage will include The Australian Ballet's Grace Carroll and Bryce Latham, Julian MacKay, Principal Dancer with the San Francisco Ballet and Mayu Tanigaito, Principal Dancer with the Royal New Zealand Ballet. The gala also features three world premieres and three Australian premieres, each created by internationally acclaimed choreographers. The Sydney International Ballet Gala is a celebration of dance taking place at the fantastic Sydney Coliseum Theatre, a state-of-the-art auditorium that is as aesthetically beautiful as it is technically brilliant. The 2000-person multi-mode theatre is the first of its kind in Greater Western Sydney and is a landmark cultural destination for the area. For more information on the Sydney International Ballet Gala and to book tickets, head to the website. Want to win your way in? We're giving away four tickets to the showcase and dinner at Chu Restaurant by China Doll — head to our competition page to enter.
After months of sticking to a comfort-first uniform of trackies and activewear, it's time to start thinking about our wardrobes again. Restrictions are lifting and we're preparing for a season of long-awaited catch-ups, rescheduled events and all-round good times. In a case of perfect timing, one of Australia's biggest fashion events is back to help us return to our social lives in style. This year, the annual shopping extravaganza Vogue American Express Fashion's Night Out is going virtual to become Fashion's Night In, with a bunch of online experiences and shopping offers. From October 15–24, you can expect style masterclasses and deals galore — including an incredible exclusive offer for eligible American Express Card Members at participating retailers. Plus, we've picked out some other deals that you shouldn't miss during this ten-day online event. SNAG A FRONT-ROW SEAT TO THE SHOPPABLE RUNWAY SHOW Fashion fiends will know the agony of falling in love with an item on the runway and then having to wait forever for it to become available in store. Well, not this time. To kick off this ten-day shopping event with a bang, Vogue and American Express will host an online runway show at 1pm on Friday, October 15 in which you can shop any look you love directly from the event live-stream. A bunch of Aussie designers and retailers are taking part, and there'll be looks available for all your upcoming summer events — from balmy beachside hangs to steamy date nights. GET PREPPED FOR PARTY SEASON Spring and summer have always been chock-full of social events, but we suspect this year will be busier than ever. Alongside the usual stuff — end-of-year work bashes and festive celebrations — there'll also be a tsunami of rescheduled birthdays, weddings, gigs and more. If you're in need of some style advice ahead of this party season, sign up for the free Vogue American Express Party Dressing 101 Workshop on Sunday, October 17 at 7pm. Vogue Australia's Director of Digital Strategy and E-Commerce Francesca Wallace will be joined by Sydney fashion influencer Nadia Fairfax-Wayne to chat about everything from upcoming trends and how to dress for certain events to the brands you should have on your radar and pieces worth investing in. STAY AHEAD OF THE SEASONAL TRENDS Forgotten how to dress for the outside world? Fallen behind on the latest trends because you couldn't really take part while stuck at home? No stress. On Tuesday, October 19 at 1pm, join American Express and Vogue Australia's Kaila Matthews (Fashion and Market Editor) and Alice Birrell (Fashion Features Director) for The Hit List: Summer Trends Masterclass. The duo will be giving you the lowdown on the clothes and accessories that you'll be seeing everywhere in the next few months. SPLURGE ON SOMETHING NEW FOR YOU — OR GET A JUMP ON CHRISTMAS GIFTING In addition to the excellent style advice that Fashion's Night In will be dishing out, it's also got you sorted for the next step: the shopping. More than 150 Australian and international brands have signed up to offer special deals and discounts across the ten-day event which you can find the details of on the website. Plus, a bunch of brands are part of the exclusive Amex Card Member offer. You can refresh your wardrobe by buying some new threads from the likes of Aje, Myer, David Jones, Calvin Klein, Ben Sherman, French Connection, Lacoste, Peter Jackson and Saba. Or, if it's your pad that needs a spruce after spending so much time in it over the past few months, check out Jo Malone, Sheridan, Tiffany & Co and Hermes, which are included in the Amex Card Member offer. Vogue American Express Fashion's Night In is taking place October 15–24, 2021. For more information on the exclusive Card Member Offer, head to the American Express website. Top image: We Are Kindred, Cassandra Hannagan
Friendly staff, Campos coffee and avocado on toast that won't break the bank — what more could you ask for in your local café? At Outpost Espresso Collaroy — a cafe that's been serving the Collaroy community for over 20 years — you'll find all that and more. Head here for brekky to grab an açai bowl topped with fresh fruit, granola and drizzles of peanut butter or stop by at lunch time for a crunchy toasted sandwich — our pick is the Reuben with pastrami, Swiss cheese, mustard, sauerkraut, pickles and special sauce. And, if you're in the mood for a sweet treat, the Nutella-stuffed chocolate chip cookie is a must. Open seven days a week — including for takeaway — stop in to pick up some lunch on your way to the beach. You can even buy fresh bread, eggs, peanut butter, Westmont Pickles and chilli sauce to-go. Or, grab a seat out the front to enjoy a coffee and a good book in the sunshine. Images: Mel Koutchavlis
You'll know Untitled Group best as the crew behind hit music events such as Beyond the Valley, Pitch Music & Arts and Grapevine Gathering. But as it turns out, these guys have some chops when it comes to making top-notch booze, too. They've gone and launched their own vodka brand, Ugly — a new Australian-made spirit crafted from imperfect apples that would otherwise be headed straight to landfill. Made in Melbourne in collaboration with the pre-batched cocktail experts at 80proof Liquor, the new drop is distilled five times to create an extra smooth sip without any residual apple flavour. It uses unwanted fruit sourced from the Goulburn Valley, with the apples containing a starch extract that works similarly to the potatoes in regular vodka. An innovative response to the issue of food wastage, Ugly gives new life to imperfect fruit that would otherwise be chucked out, having not made the cut to end up in the neat piles of good-looking apples at the supermarket. This preference for perfection contributes a huge amount of food waste to landfill, which leads to hefty CO2 emissions. After 80proof co-founder Danny Grant witnessed the impacts first-hand while on his research trips and talking to farmers, he was inspired to create a new drink that would help undo some of the damage. An initial limited-run batch of Ugly has hit shelves, having rescued an estimated 20 tonnes of unwanted apples from heading to landfill. Ugly Vodka clocks in at 40% ABV and is priced at $64.99 RRP. You can grab a bottle online. Images: Michael Woods
