For young Sydneysiders, a night spent at Cargo has almost become a rite of passage. The bar even claims "everyone has a Cargo story". The Darling Harbour spot is a mainstay in the CBD's nightlife and, now, it's hitting a milestone of its own: turning the big 1-8. That's right, the restaurant/bar/beer garden/waterside hub has been churning out bangers and party vibes since 2000 — and it's holding a whammy of a celebration. Friday, September 14 will herald its big birthday bash. Tickets are free, and for that hot price you'll get a drink on arrival and — if you're down early — snacks from 6–7pm to line your stomachs before the shenanigans get going properly. The venue will be revisiting the mid-2000s by welcoming back an epic lineup of DJs from years gone by. Dancefloor favourites SOSUEME DJs, Kid Kenobi, Groove Terminator and Ember will take to the decks, as well as Jace Disgrace, Adam Bozzetto, Pat Ward, Yanya and Jaime Doom (Bang Gang). It's the perfect excuse to relive those glory days of your partying youth. Nab a ticket to Cargo's 18th Birthday here.
What's better than cheap hot dogs? Not much, usually — but free hot dogs take the sausage. After five years of slinging the former at $1 a pop, The Soda Factory is throwing a shindig filled with the latter. There's a thousand of them up for grabs, as part of the Millionth Dog Party from 5pm on Tuesday, July 31. As the name suggests, the get-together is all about celebrating just how many saveloys in bread rolls that the joint has cooked and served quite a short period of time. You'll have to register to guarantee your freebie, but if you miss out there'll still be $1 goodies, so everyone will indeed get a hot dog. A new menu filled with other $1 bites will also be on offer, plus $6 mimosas and $12 espresso martinis to wash it all down with. Throw in live tunes and DJ sets, and it's shaping up to be a midweek blast. Free hot dogs will do that. Image: The Soda Factory.
Have you ditched single-use plastic bags? Said no to straws? Bought a handy keep cup? If so, you're probably aware of the war on waste the country is currently raging against single-use items. The Economist has taken a hard look at pollution — specifically, ocean pollution — and is calling on Australians to rethink this war on plastic, with a new travelling art installation. Titled Don't bin plastics, yet, the exhibition will roam around Sydney from September 5–15, starting at Chatswood Mall and ending at the Broadway Shopping Centre. The installation takes the form of three fish, made from recycled ocean plastics and each weighing 24 kilograms — equal to the weight of plastic that is dumped into the ocean every tenth-of-a-second. If trends continue, there will be more plastic than fish in the world's waters by 2050. Visitors will be encouraged to chat about the plastics debate — including the pros and cons of single-use plastics and the potential negative impacts of their alternatives — while enjoying a free coffee. The coffee will be, fittingly, served in edible cups by Cupffee, which are made from natural grain. To learn more about the campaign and the issues surrounding plastic pollution, head over here. FULL SYDNEY SCHEDULE Wednesday, September 5 at Chatswood Mall, 10am–7pm Thursday, September 6 at Pyrmont Bridge, 8am–7pm Friday, September 7 at Wynyard Station, 7am–7pm Tuesday, September 11 at Centenary Square, 8am–7pm Wednesday, September 12 at Martin Place, 9am–6pm Thursday, September 13 at Broadway Centre, 10am–9pm Friday, September 14 at Broadway Centre, 10am–7pm Saturday, September 15 at Broadway Centre, 9am–6pm
Redfern's Giant Dwarf Theatre is doing its bit for bushfire relief with a poetry slam for charity. The space will host Poems for Paws on Thursday, February 13 and Saturday, February 15, with all proceeds going to the Port Macquarie Koala Hospital. Headlining the first night is Brendan Cowell, the famed Sydney-based actor (Game of Thrones), writer (Ruben Guthrie) and director. He will perform excerpts from his one-man show Cowell at the Moon. On the second night, all-round talented human Tim Minchin and award-winning journalist Leigh Sales will also be on the bill. Apart from Cowell, Minchin and Sales, heaps more Aussie stars will take the stage to perform their original poetry. Expect to hear from the likes of singer Sarah Blasko, radio presenter Merrick Watts, actress and model Lily Stewart, actress Claudia Karvan (The Secret Life of Us, Newton's Law, Love My Way), The Whitlams' lead singer Tim Freedman, Christiaan Van Vuuren of Bondi Hipsters fame, rapper and radio presenter Matt Okine, and award-winning actress Susan Prior (The Rover, Puberty Blues). Apart from the pros, budding poets everywhere are encouraged to get involved, too. If you're interested, you can email poetryforpaws@gmail.com to submit your entry until midnight Thursday, February 6. https://www.instagram.com/p/B8GK65zBTdq/ Tickets are $30 a pop, with all proceeds going to charity. The performances will run (with intermission) from 7.30–10pm, with the courtyard bar open from 6.30pm so you can grab a drink and even chat to the performers before the night begins. UPDATE: FEBRUARY 6, 2020 — After selling out its first show, Poetry for Paws has added a second show on Saturday, February 15 with more notable performers taking the stage. The above article has been updated to reflect this.
This month, we've seen many events cropping up across Sydney to help raise money for bushfire-affected communities, animals and volunteers, from grassroots fundraisers to massive galas and concerts. Now, to add to your list of gigs-for-good, Ibiza music collective Do Not Sleep is bringing a massive dance party down under. Going down on Saturday, February 1, at Greenwood Hotel, this shindig is the dance brand's first time in Australia and will see three big international acts perform a range of dance-worthy music. Catch Iranian DJ-producer Darius Syrossian and UK house DJ Josh Butler, as well as Germany's Sidney Charles, all spinning a bunch of house and techno, from much-loved bangers to obscure underground numbers. The afternoon is a joint effort by Do Not Sleep and local organiser Spektrum, taking place in the pub's sprawling courtyard from 1–10pm. All proceeds from this one-off dance party will be donated to the NSW RFS, too, so you can get your boogie on for a great cause.
Since launching in 2016, London's Bar Swift has been named the best new international cocktail bar and one of the world's best 50 bars, and seen one of its bartenders pick up a coveted award as well. Now the boozy British spot is bringing its drinks to Sydney for a one-night pop-up focused on its favourite tipples. If the sound of a sgroppino — a mix of prosecco and lemon sorbet — gets your tastebuds tingling, then you're in luck. If you fancy a Higher Ground, which blends Mr Black, Mr Black Amaro, orange bitters and coconut, then you're sorted, too. They're just two of the bespoke cocktails on the menu, with Bar Swift's Bobby Hiddleston and Hamish Dowie making the trip to get mixing and chatting. Head to Charlie Parker's from 5pm on Wednesday, February 13 for the tasty libations, which'll showcase Mr Black's cold brew coffee liquor in a big way — and be paired with the venue's oysters, potato croquettes with smoked burrata and salsa brava, and pork and veal meatballs. Entry is free, but expect cocktails to set you back between $20–25 per beverage. And expect a crowd, with entry and drinks on a first-come, first-served basis.
Shining the light on equal representation within arts and cultural institutions, Campbelltown Arts Centre has opened an all-female show for the first time. With artworks spanning ceramics, weavings, sculpture, paintings, prints and new media, Borrowed Scenery features more than 40 artists including Tracey Moffat, Deborah Kelly and Joan Ross. It "explores what happens when the subjects of male artists, who are often inserted into scenes framed by the male gaze, look back, step outside the frame, and assert their own vision and experience of the world". As part of the exhibition, Campbelltown Arts Centre has engaged The Countess Report for a new commission responding to Borrowed Scenery and discourses of female representation within collections and exhibitions. The Countess Report collects and publishes data on gender representation in the Australian contemporary art world to spark dialogue and change. Borrowed Scenery will run until Sunday, March 10, with a closing event on Friday, March 8 from 6–9pm.
Let us know when this stops sounding familiar. You bite into a taco, and enjoy its mix of meat and/or salad on a soft or crispy tortilla. Once you're finished, you immediately reach for another. Then you do the same thing again and again — because if there's one thing that's almost synonymous with this Mexican dish, it's eating it over and over until you can't fit any more in your taco-loving stomach. That's what's on offer at The Norfolk every Sunday, with the Surry Hills pub getting into the all-you-can-eat taco game. At Holy Guacamole, you'll pay $25, settle into your seat and spend 90 minutes feasting on the meal in the spotlight. You'll choose from five different flavours, including vegan options, and you'll also score a beer, wine, house cocktail or soft drink as part of the package. There are a few caveats, as there tends to be with these type of bottomless delights. You'll have to wear a wristband, you can only nab three tacos at once, and you have to bring back your empty plate before you can order your next round. You'll also need to book, with sittings available from 12–4pm (with the last finishing at 5.30pm). And, if all these tacos are making you thirsty, there'll also be a $12 bloody mary menu.
It was the 1980s. The rock and roll sounds of David Bowie, Lou Reed and Talking Heads were secretly making their way through Russia, and making their impact on the next generation, including on future Leningrad rock icon Viktor Tsoi. Summer — also known as Leto — tells this tale, in the latest film by director Kirill Serebrennikov. Captured with detailed monochrome frames, it's the kind of movie that makes you feel like you were there. Coming to Australia after premiering at this year's Cannes Film Festival, it's also one of 2018's Russian Resurrection Film Festival highlights. Other standouts include sports drama The Coach, concentration camp-set effort Sobibor, and comedy Night Shift — which follows tradies forced to start stripping to pay the bills, in what sounds like Russia's answer to The Full Monty. The Challenge sees a production of Romeo and Juliet overtaken by terrorists, while Jumpman skewers Russian corruption. And for those keen on some cinema history, the fest's retrospective is dedicated to the 100-year anniversary of Lenfilm Studios in St. Petersburg, as well as and the 90-year anniversary of filmmaker Vitaliy Melnikov. That's all on the agenda when the Russian Resurrection Film Festival hits Event Cinemas George Street from Thursday, November 1 to Sunday, November 11 — and Event Cinemas Burwood on the weekends of November 3–4 and 10–11 too. If you need an extra incentive to head along, 2018 also marks a massive 15 years since RRFF first hit Aussie screens, so the fest will be in a partying mood.
Believe it or not, spring is just around the corner. And, to launch you straight into the heat, beloved Newtown restaurant Hartsyard is hosting an evening dedicated to the Dirty Deep South. Prepare to dig into a majestic spread of hot and spicy soul food, created by head chef Greg Llewellyn. We're talking piles of baked clams and crayfish, plus the mighty beer can chicken: a chook roasted with a half-full stubby as stuffing. If you've ever tried Llewellyn's famous fried chicken at Wishbone, then you'll be well aware that a bird seldom finds itself in better hands. Look out, too, for corn on the cob barbecued to perfection, melt-in-your-mouth rolls with shellfish butter and, to finish up, a sweet cream ambrosia pie. All diners will be met with a welcoming cocktail — Bulleit rye bourbon milk punch — and farewelled with a surprise digestif. Hartsyard: The Dirty Deep South is happening as part of Taste Tuesdays, a worldwide celebration of outstanding chefs and exceptional restaurants in Sydney, Hong Kong, Paris and London, run by Taste Festivals. The series of one-off dinners and exclusive chef collaborations will continue on the second Tuesday of every month and each one will be held at a different Sydney restaurant — so keep an eye on the website for the next dinner announcement. Tickets are $98 a pop and include all food and two cocktails. Choose from one of two seatings: 6pm and 8.15pm. Seats are strictly limited, so you'd best grab yours before winter runs away.
After 28 years in the game, The Brian Jonestown Massacre is showing no signs of slowing down — or quietening down, for that matter. When the band hits the Metro for two shows in June, it'll be armed with its 17th studio album, Something Else. As any recording artist knows, churning out an album every 18 months is no mean feat. Yet frontman and songwriter Anton Newcombe is no less scathing in his social commentary and no less artistically uncompromising than he was when he started out back in the 80s. Something Else continues the Massacre's signature mesmerising rhythms, hypnotic drones and raw guitar sounds. And, from all accounts, the live shows are as relentlessly energetic as ever. The Brian Jonestown Massacre's gigs at Metro Theatre are exclusive appearances for Vivid Live as part of Vivid 2018. The first show sold out quicksmart, but there's still a few tickets up for the Friday, June 8 show.
Hobnob with some of the coolest and most creative women around at this year's Curvy Creative Women's Conference as part of Vivid Sydney. This day-long talk fest features boundary-breaking women from all walks of life, and offers attendees the chance to learn, network and get seriously inspired. Speakers at the conference will include marine biologist and surfer Brinkley Davies, Code Like a Girl co-founder Ally Watson and 22-year-old social influencer Sjana Elise Earp, as well as a host of other founders, directors and all-round boss bitches. This year's keynote speaker, meanwhile, is skateboarding icon, artist and environmental activist Peggy Oki. The Curvy Creative Women's Conference kicks off from 10am at Sunstudios in Alexandria, and runs through to a 5pm drinks session courtesy of Blind Corner Wines and female-led brewing company Two Birds.
Surry Hills pub The Dolphin is a food and wine favourite at the best of times, but on December 2, it's taking things to the next level, joining forces with Drnks to host its own mini food and booze festival. Dubbed Wet Dreams 2, it's the second edition of the event — with the first happening in June — and this time it's bigger and better. I know, they all say that, but this time there are double the sessions, much more space and a heap more winemakers. The event's set to dish up a smorgasbord of great eats and boozy treats, with a pumping soundtrack to match. Over 40 winemakers will be there showing off their finest wares, including a strong South Australian contingent (Ochota Barrels, Jauma and Commune of Buttons — to name a few), Victorian natural winemakers Ephemera Wines and Canberra's Mallaluka. Expect lots of natural, bubbly and skin contact drops. This time round, the day will be split into two sessions: Wine Geeks (a chilled out session for the more serious wine fans) and Wine Freaks (for those wanting to get a little funky). The second, slightly crazier session, will be taking over the entire venue, too. So you can wander through the Wine Room, Public Bar and Dining Room while you quaff some great drops. While there's no mention yet of the food, June's drinking snacks came courtesy of Momofuku Seiōbo's Paul Carmichael, Acme's Mitch Orr and Luke Shannon from LP's Quality Meats. So, we're hoping big things will be on offer again this time. Spend the afternoon chatting with top Aussie producers, while tasting some of their finest creations. Wine Geeks will run from 12–2pm and Freaks from 3–7pm.
Master sommelier Madeline Triffon describes pinot noir as 'sex in a glass'. Winemaker Randy Ullom calls it 'the ultimate nirvana'. Broadway wannabe Titus Andromedon loved it so much he compares it to 'caviar, Myanmar, mid-size car' (see below). No wonder the good folk at Revel — who bring Game of Rhones, Malbec World Day and Vin Diemen our way each year — are coming back to town with Pinot Palooza, an epic travelling wine festival celebrating all things peeeno noir. For just one day, Sydney wine connoisseurs will have the chance to sample more than 100 drops, direct from Australia and New Zealand's best producers. Expect drops from Macedon's Curly Flat, Shaw and Smith (which will be coming in from the Adelaide Hills), Orange's Swinging Bridge, and Akarua and Pegasus Bay from NZ — and that's just the first few leaves on the vine. Whether you're a newbie who wants to start with something light and inviting, or a pinot pro ready for the biggest, most complex mouthful on the menu, there'll be an abundance of selections at either end — and plenty along the spectrum, too. If, at any point, you need to take a pause in your tasting adventures, you'll be catered for. Food will be supplied by The Burger Project, French kitchen La Bastide, Agape and the Artisan Cheese Room. Pinot Palooza will hit Carriageworks on Sunday, October 7. Early bird tickets are available up until August 1 for $60, and include all tastings and a take-home crystal Plumm RedB glass. What's more, those keen to fuel their brains (as well as their tastebuds) can spot $95 for a VIP pass. For that you'll get access to the VIP area, a glass of bubbles on arrival, entry into wine talks and some one-on-one with one of the event's sommeliers. https://www.youtube.com/watch?v=A6yttOfIvOw
Why drink at one watering hole, when you can head to two, three, six or more? That's always been the motivation behind everyone's favourite boozy journey, aka a pub crawl. And, it's the exact same type of thinking behind the Urban Wine Walk. Taking another wander around Sydney, it's the bar-hopping excuse every vino lover needs — if you need an excuse, that is. From midday until 4.30pm on Saturday, September 8, you'll saunter around Newtown, Enmore and Erskineville — and between the likes of Gurdys, the Newtown Hotel, The Hive Bar, Cittavino, Jacoby's Tiki Bar, Earl's Juke Joint and more — sampling wines and having a mighty fine time. As for the tipples, they'll be taken care of by New South Wales' Central Vineyards, South Australia's Unico Zela, Western Australia's Flor Marché and others. Tickets cost $64 including booking fee, and places are limited. This moving cellar door will not only serve up wine tastings, but also your own tasting glass — plus a voucher for another beverage, and a guide to help you plan your mosey between bars.
Live performers, dancers, musicians, artists and chefs will all converge at Carriageworks on Thursday, September 12 for the opening night of this year's Sydney Contemporary — Sydney's biggest contemporary art fair. For one glorious evening, you can celebrate a world of art, music and food (is anything else even necessary?). So what can you expect? There'll be a confession booth, for one. Confessions, first conceived for Dark Mofo, is a performance piece by Tony Albert and is appearing for opening night only. Enter the booth, and you'll be invited in to participate in a non-verbal, abstract conversation with the artist. How? You'll confess your secrets (or anything you'd like to share) with pen and paper, and you'll walk away with your contribution to the performance art. Also, appearing as a one-off, will be Nell's ROCK GATE: an ambitious sculptural and sonic structure, made up of amplifiers assembled into a traditional Japanese torii gate, with music by a guitarist. You'll hear a panel discussion made up of speakers from Paddington gallery Saint Cloche, with Ken Done (artist), Rachel Burke (artist/stylist), Taline Gabriel (food stylist, blogger and author), Yasmine Ghoniem (interior designer), Linda Jackson (designer) and Evi O (artist) discussing the power of colour. Also on the agenda is a weitou (Chinese dialect) lullaby led through a veil of 144 smoked latex flowers by Sydney-based artist and musician Chun Yin Rainbow Chan. Then, hit up Imogen Jade's Creamy Bar for a fruity and playful cocktail. With names like Baby Koala Broke-Umbilical-Cord glazed blue cocktail, Nesting Spider Rat Palm tree cocktail and Bloody Mary Bunk-Bed Blue-Tongue-Lizard, these will not be your average tipple. Sydney Contemporary's Opening Night is one of the most popular arty parties on the city's calendar. And, if you're keen to kick on post-opening night, you'll want to check out the afterparty hosted by Concrete Playground and Campari at Earl's Juke Joint. We've also secured a 20 percent discount on the opening night and the Sydney Contemporary Afterparty for Concrete Playground readers. Just be sure to use this link to book and use the code 'CONCRETE'. The offer expires at 11.30pm on Wednesday, September 11. Images: Jacquie Manning, Zan Wimberly and Rèmi Chauvin/ Dark Mofo.
Sydney's festival of lights, music and ideas is back for another round, with neon colour taking over every corner of Sydney CBD — even in some kitchens. Mode Kitchen & Bar, nestled in the sweeping atrium of The Rocks' Four Seasons Hotel, will be hosting a colour-inspired super series to celebrate Vivid's return. Running from Friday, May 24 until Vivid's final hour on Saturday, June 15, The Chroma Dinner will see Mode's head chef Francesco Mannell creating a multi-sensory feast. Each dish will be inspired by the RGB (red, green, blue) colour scheme, which is essential to imagery creation. Each dish will also hero local produce and Australian ingredients. The green dish — Fishing in the Jungle — will feature Hiramasa kingfish sashimi, Aboriginal green ants, chlorophyll herbs and duo-chrome stracciatella sauce, while the Devil's Bath dish of ruby spanner, smoked strawberry gazpacho and radish will be vibrantly red (as you may have guessed). Following the three monochromatic dishes, you'll finish with a multicoloured dessert, featuring mandarin, blueberries, raspberries and pistachios. Plus, every course will come with a paired cocktail or drink from the hotel bar Grain. But it's more than just a dinner — Four Seasons will have the dining space transformed into a blank canvas to make way for the unique BroomX projector. While tucking into your colourful feast, VR projections will immerse you in a 360-degree light show. The projections are designed to complement the dishes — think a jungle scene to pair with the fresh green dish and an ocean reef for the blue dish, adding to the theatre of the already incredibly vivid dinner. The Chroma Dinner at the Four Season's Mode Kitchen and Bar will run across Vivid, from May 24 to June 15. There are limited spots remaining, so move quickly to nab a seat. To make a reservation, head this way.
You can't go wrong with a pretzel. Cover it in salt, stuff it with butter, flavour it with cheese — whichever you choose, it's always delicious. There's a reason that there's a day dedicated to the German snack, after all (and no, it's not just because there's a day for everything these days, or so it seems). Friday, April 26 is National Pretzel Day, which is just the excuse you need to eat more pretzels, more often. Of course Munich Brauhaus, The Bavarian and the Bavarian Beerhaus locations across the country are all getting in on the occasion. In fact, they're celebrating the date in the tastiest possible fashion. If you're a dessert pretzel kind of person — specifically, a soft, chewy, fresh-from-the-oven doughnut pretzel type — you can stop by anytime on the Friday and nab one for $1, which also includes a dulce de leche dipping sauce. And if you're an original pretzel fiend, you'll score a free one with any 500ml or one-litre stein of beer you buy. The $1 doughnut pretzels are available at Munich Brauhaus in The Rocks, Beerhaus on York Street and all of NSW's 13 Bavarians.
Each year sees William Street close to cars, with the usual traffic replaced with fun and frivolity spilling out onto the road for the annual William Street Festival. This Saturday, October 20 will be the community festival's tenth year — and it will be celebrating with a full day of laneway festivities. What happens? Well, all of the boutiques along this well-known shopping strip swap their usual trading for parties, with drinks, food and deals galore to lure you away from the Westfields of the world and back to the simple joy of wandering around the poky streets of Paddo. As well as live music, street art and swing dancing, you'll be lining your stomach with some of the best food and wine the area has to offer. Duck in and out of 10 William Street, the Paddo Inn, Cipri and The London.
If you love animals — and animals love you — this is where your spring festival adventures should begin. Every year, vegetarians, vegans and their friends (both furry and not) gather at The Great Stupa of Universal Compassion to feast on vegetarian dishes at Vegecareian. Sip and sample your way through a throng of eclectic stalls peddling all kinds of meat-free delights. When you're not nibbling, you can sharpen up your culinary skills at a cooking demo or share your love of furred, feathered and finned creatures at an animal blessing. Vegecareian isn't just about kindness to animals — it's also about promoting good health, so you'll be invited to relax and rebalance at yoga sessions, too. Once you're sufficiently zen, check out the informative guest speakers. If you're a meat eater, no judgement, head along anyway to find out more about the lifestyle. Vegecareian is a free and inclusive event that embraces all. The best part, pets are 100 percent welcome — get ready for lots of puppy pats.
Clear your Tuesday afternoon for cocktails and massages — all thanks to CBD favourite PS40. The King Street bar is serving up palette cleansing-style beverages and bringing in a few masseuses in what promises to be a rather relaxing bar hangout, all from 3.30pm on Tuesday, September 18. Whether you duck out of work early or head along once quittin' time hits, you'll find an Amuse Boosh party waiting. While bite-sized snacks won't be on the menu, you will be among the first to taste PS40's new Australian Aquavit. Called Stockholm Syndrome, it's a collaboration with Never Never Distilling Co, and it's all about making a distinctively local version of the typically Scandinavian spirit. Think caraway, fennel and dill flavours, plus cinnamon myrtle, riberry, macadamia and strawberry gum. It apparently goes down well with tonics and carbonated sodas, if you're wondering exactly what you'll be drinking.
Spring is finally here, and warmer weather means sunny afternoons soaking up some rays with a refreshing beverage in hand. Long weekends, too. All of the above combines at the second iteration of Opera Bar's Rose All Day Festival on this year's October long weekend From Friday, September 28 until Monday, October 1, the watering hole with a watery view will be thinking and drinking pink. Expect frosé, spritzes, cocktails and rosé still and sparkling, with varieties from McLaren Vale's Yangarra, Provence's AIX and and Black Cottage in Marlborough on offer. Oysters and cheese will be accompanied by rosé condiments, while live music will provide a soundtrack to the weekend. Tickets cost $35, and include three drinks: a glass of rosé (still or sparkling), a glass of frosé and a spritz.
If you haven't taken a gander down the artisanal gem that is Darlinghurst's Foley Street yet, this intimate dinner series is a tempting excuse to do so. Curated by Studio Enti's Naomi Taplin, these themed evenings combine her bespoke porcelain ceramics with live music and an experimental feast by local chefs. The Monday, September 10 installation is inspired by electronic group Thievery Corporation and will host DJ Adi B — expect each course to showcase a different range of musical genre, from Brazilian bossa nova, dub and reggae to acid jazz, middle eastern and hip hop. Alongside the tunes, Howard's Cantina chefs Chris Bell and James Latham will create a six course menu of 'stolen' (aka foraged or borrowed) foods that can be catered to vegetarian or vegan palates, too. The exact menu is wholly dependent on seasonal availability — think white wine-pickled octopus with fried plantains and a rum reduction; chicken, quail and duck liver parfait with corn mousse and rye crackers; and torched lamb tongue with mint tea jelly and warrigal greens. Each dish will be paired with non-alcoholic drinks, but BYO booze is encouraged. The dishes will be presented with a flare for the theatrics, expressing an intricately woven story throughout the night. Of course, the dinner will be served on Studio Enti ceramics, which have been specially crafted for the night and will available for purchase. Plus, a suspended floral installation by artist Nastia Gladushenko will take over the communal dining space and include many of the same foraged ingredients used in the meal. If you miss out on tickets this round, there are four more upcoming events in this dinner series — which is sponsored by City of Sydney as part of the night time diversification grant. The October version will be a reinterpretation of classic country dishes and you can keep eye on the Enti Studio Facebook for future dates, too.
Every corner of every city comes with its own history, including ordinary stories and tales that are more than a little spooky. That's especially true on Cockatoo Island, of course. The tiny patch of land has played host to a prison, ship-building facilities, a reform school and a wartime boat repair port over the years, all in the middle of Sydney Harbour. And yes, it's also apparently home to a few ghosts too. Plenty of mysteries surround the island, and while it runs regular Haunted History Night Tours, the site's latest event is particularly unsettling. It's called Cockatoo Island Ghostyard— A Paranormal Tour for very good reason. The guide will even have a paranormal detection device as they share the island's most unnerving yarns across a 90-minute walk, taking attendees through sites and buildings that have achieved notoriety. Many of the spots visited are rarely opened to the public, so you'll be seeing some new sites as you listen to gruesome true tales. Kicking off with a sold-out session on Halloween, the tours will run each Saturday night from 9.30–11pm from November 17. Bookings are required, with $45 gets you a scary adventure — and if you're feeling brave, you can also glamp overnight from $200.
Whether you're a cheese-enthusiast, aspiring pasta maker or wannabe dumpling master, the Tramsheds has you sorted this spring. Over the coming months, the food and wine mecca will play host to a throng cooking workshops and events, which gives you the chance to mix up your midweek routine and brush up on your culinary skills. Pop-up events include Fish & Co. Dumpling Workshops, pasta making tutorials hosted by Flour Eggs Water, Bubbles, Burrata & Bocconcini cheesemaking classes — yep, you get a glass of bubbles or beer — and Mediterranean cheesemaking classes (don't worry you get bubbles there, too). The classes range between $75–125, which is not too bad considering the knowledge and skills you acquire, the recipe cards that you get to take home and the tasty fare you get to sample along the way. Check out the full list of events here and get cooking.
Style and sustainability go hand-in-hand at Sydney-based label Chief Studio, which has just launched its first summer collection. Created by New Zealand native Zoe Ellis, the fashion outfit takes its name from her grandmother, the chief of her Pacific Island community. The label is all about clothing that looks great but doesn't literally cost the earth — think timeless womenswear that's designed to stand the test of time, and is designed in an ethical manner using 100 percent organic cottons and waterless digital printing. To help Sydneysiders get their hands on Chief Studio's first summery wares, Chief Studio is popping up in Surry Hills until Tuesday, November 27. From 11.30am–6pm on weekdays and 10am–5pm on weekends, you can drop by the Crown Street spot to peruse its playful, hand-painted, mix-and-match pieces. With silk shirt dresses, heart-covered ensembles and pinstripe halters part of the range, your warm weather wardrobe will thank you.
On Wednesdays in January, Art Gallery of NSW is inviting you to kick off your work boots and slip into your dancing shoes, with a series of free dance workshops taking place as part of Art After Hours. Inspired by the revolutionary spirit of the Masters of Modern Art exhibition, the movement sessions will help you start your year on the right foot (or two left feet, depending on your dance skills). Led by Danielle Micich, artistic director of dance theatre company Force Majeure, each of the four mass movement workshops embody the spirit of a different art period. You can throw down your most jagged, geometric shapes for the cubism-inspired workshop or channel the vibrant energy of renegade Russian artist Wassily Kandinsky in the abstract-themed class (we assume the more eccentric the moves, the better). Art, dance, music, fun, you get the picture. Heck, you'll dance the picture. The workshops run from 6.30–7pm, so you'll still have time to treat your newly limber self to a drink, visit the Masters of Modern Art exhibition and check out the rest of that evening's Art After Hours program. It's a great first date — nothing breaks the ice like watching someone try to dance 'Picasso' — or bring a few colleagues and take after-work drinks to a whole new level. Dance Workshops: Modern Art Movements will take place January 9, 16, 23 and 30, 6.30–7pm.
Whether sweet, dry or draught tickles your tastebuds, there's nothing quite like a glass of ice cold cider on a nice spring day. Come Saturday, October 20, that's exactly The Tudor is serving up, with the Redfern pub bringing its cider fest back for another spin. Aiming to showcase cidery goodness in as many forms as possible, there's no prizes for guessing what's on offer. Think apple and pear tipples from the likes of Young Henrys, Batlow Cider Co, Black Brewing Co, Bilpin and Yullis. Tasting as many as possible is what the afternoon shindig is all about, with five available for $15. If all that sipping works up an appetite, pairing your beverages with pork — on sliders, or of the sausage hot dog variety — is also on the menu. And if you're need of some entertainment, the venue is also putting on comedy upstairs. Entry is free, although you'll need your wallet for food and drinks.
What haven't you done at Since I Left You? You've eaten there, downed some drinks, enjoyed a Sunday session, listened to tunes, showed off your trivia prowess and even wandered around a market — but you mightn't have caught a film. Until now, that is. Introducing SILY Screenings, which will help you add seeing a movie to your list reasons to drop on by. Occurring fortnightly on Wednesdays at 7pm until March 28, SILY Screenings showcases a curated lineup of features, docos, shorts and more, all in a boutique outdoor cinema in the venue's heritage-listed courtyard. Settle in for a flick, munch on fresh popcorn — or SILY Crack Corn, as they're calling it — and pick a bev from the Four Pillars G&T menu. You can even SMS your order so you won't have to get up while you're watching. As for what'll be dancing in front of your eyeballs, it's a varied selection with plenty of highlights. Valentine's Day will see a session of ace Aussie effort Holding the Man, Vanessa Gray's hitchhiker flick Highway will screen on February 28, while March 28 will boast local doco The Last Goldfish. Plus, tickets only cost $5, with all proceeds being donated to a charity of the filmmakers choice.
Best known as the voice of US cable network Comedy Central and one of the best ever episodes of Drunk History, American comedian Kyle Kinane is hitting the harbour city with a show called Terrestrial Woes. It's a fitting title for a comic whose humour tends to stem from observations about everyday misfortunes. He's a gruff but immensely likeable storyteller with a talent for making the mundane seem funny and occasionally profound. A definite standout on this year's program.
Florence Foster Jenkins is a tale of talent and tenderness. The real-life American socialite might've infamously lacked the former, but the movie that shares her name overflows with the latter. Just as her ghastly attempts at singing sprang from her devotion to music, a "profound communion" as she called it, filmmaker Stephen Frears (The Program) is driven by affection and empathy for his eccentric subject. There's a reason that she packed out Carnegie Hall, earned a dedicated following, and inspired four plays, a documentary and now two feature films: Jenkins' passion is just that contagious. Her enthusiasm also explains why people clamoured to her shows, starting with private recitals for pals and graduating to the prestigious gala concert she was determined to stage. When the film first spies Jenkins (Meryl Streep), she's in her element, with an adoring crowd watching on and loving husband St Clair Bayfield (Hugh Grant) waiting in the wings. It's only when she hires pianist Cosme McMoon (Simon Helberg) to accompany her operatic warbling that the extent of her inability to carry a tune becomes apparent McMoon can barely hide his dismay, let alone keep tickling the ivories as she croons, and viewers are expected to share his reaction. And yet Florence Foster Jenkins isn't actually about the fact that its namesake can't sing. It's about what drives this fascinating woman, and how those who love her help her chase her dreams. Unlike the cruel streak that troubled recent French film Marguerite, which told a fictionalised version of the same scenario, Frears' take on the story couldn't be warmer. Even Jenkins' many eccentricities, as illustrated via the extravagant outfits she wears, her distinctive taste in decor, and her obsession with eating bathtubs full of potato salad, are met with kind-hearted humour. Here, tone is key. There's a difference between laughing with someone as opposed to at them, which Frears understands even when he's highlighting the more farcical aspects of the story. With a critic (Christian McKay) determined to expose Jenkins' flaws, and Bayfield's mistress (Rebecca Ferguson) lurking around, there's certainly ample absurdity and drama on show. In one of his best performances in years, Grant proves the best indicator of how the movie chooses to treat each development, be it silly, serious or sweet. With the ideal balance of gracefulness and glossiness, nothing escapes his gaze — and whether he's being comforting or charming, he hits all the right notes. Of course, Frears' loving approach couldn't have proven as sincere as it does without the committed work of his leading lady, who's in screwball comedy rather than awards-chasing mode. Streep may have demonstrated her vocal talents in Mamma Mia and Ricki and the Flash, but now the applauded actress appears to be enjoying herself doing exactly the opposite. Indeed, while it might threaten to overstay its welcome slightly, and clearly favours broad appeal over intimate details, Florence Foster Jenkins achieves the synergy between its central figure, lead performance and guiding force that all biopics seek. And unlike it's protagonist, it barely misses a beat.
Italian filmmaker Nanni Moretti is no stranger to death, or to examining the subject on film. It might be something most of us don't like to think about, however the writer-director understands the shadow mortality can cast, as well as the way that the act of mourning can overtake a person's life. After exploring the impact of losing a child in 2001's Palme d'Or winner The Son's Room, and then writing and starring in 2008's Quiet Chaos, he returns to the topic with Mia Madre. That the film's name means "my mother" in his native tongue is telling. Taking a decidedly meta approach. the film follows a filmmaker in the midst of production while at the same time coping with the hospitalisation of her mother. It's not quite as autobiographical as it sounds: the director is a woman, Margherita (Margherita Buy), while Moretti plays her brother Giovanni, and veteran Italian actress Giulia Lazzarini plays their mother. And yet, in the way that Mia Madre hones in on the stress of simultaneous professional and personal crises, there's no doubting that the tale evolves from experience. As her mother's health begins to decline, Margherita struggles to make her movie – about factory employees fighting for better working conditions – while also using it as a distraction from her troubles. Alas, her freshly arrived American lead (John Turturro) refuses to learn his lines or follow her directions, constantly derailing and delaying production. With her live-in lover in the process of moving out and her teenage daughter struggling at school, Margherita's home life offers little solace either. Depicting many a balancing act, Mia Madre swiftly proves one itself. Moretti keeps searching for the right mix between quiet and anxious, dramatic and comedic, and contemplative and freewheeling. In fact, his film is more convincing in demonstrating how frustrating that can be than it is in finding any harmony between its competing elements. Of course, that's partially the point, with grief clearly painted as a disruptive and destabilising force. And yet, as accurate and authentic as the movie's messiness feels in an emotional sense, it also makes other contrasting factors — such as the patient camerawork and energetic performances — seem slight, a little convenient and sometimes out of place. Indeed, it's always distracting when a specific actor appears as though they're in the wrong film, even when they're one of the best things about it. Turturro lights up the screen and brings a few well-timed comic moments, yet never completely fits in with his surroundings. That's not a criticism of his performance, or of the more restrained but similarly excellent efforts of Buy and Moretti. Instead, it's an acknowledgement that even in thoughtful, intimate accounts of something as complex and challenging as death, mimicking chaos and actually embodying it aren't quite the same thing.
A film festival dedicated to American films? Bear with us here. Sure, Hollywood pumps out most of the movies that reach our screens, but don't expect to see superheroes battling for supremacy, transforming robotic cars saving the world or an endless parade of sequels at Essential Independents: American Cinema, Now. Instead, the brand new event is dedicated to the types of US flicks that don't usually make it to our shores. Here, smaller titles and character-driven fare share the spotlight with experimental efforts, intriguing docos and the kind of classics that you won't find on every retro lineup. Think revisionist westerns featuring gun-slinging gals and explorations of important American artists, plus the chance to see early work by the Coen brothers, Kathryn Bigelow, Richard Linklater and Sofia Coppola in a cinema. The festival will run from May 17 until June 8 at Palace Verona on Oxford Street and Palace Norton Street in Leichhardt. You can find Sydney session times here. Need help deciding what to see? Take a look at our top five films to see at the festival.
You might've heard of Taryn Brumfitt, a photographer and Adelaide-based mother-of-three, and one of Australia's leading voices on the topic of healthy body image. In fact, you've probably seen her before-and-after photos, which defy the all-too-common belief that thin equals happy. Her 2013 Facebook post went viral, seen by more than 100 million people around the world. Ashton Kutcher shared it, international talk shows came calling, and her inbox was flooded with emails from women with stories about their own struggle with body image and shame. Motivated by these experiences, Brumfitt has now turned to filmmaking, crafting a documentary about the onslaught of issues and opinions women face when it comes to the concept of beauty, and the compulsive need people feel to conform to society's arbitrary physical standards. The epitome of an activist picture crusading for a cause, the impassioned Embrace presents a wealth of information about a topic that's clearly near and dear to its maker's heart: encouraging everyone to love their bodies, just the way they are. Indeed, in a world where airbrushed models can be seen on every screen, and the beauty and diet industry rely on insecurity to turn a profit, Brumfitt's film could hardly feel more crucial. Embrace reveals an engrained self-loathing many women feel when asked about their appearance, and emphasises the need for a broader conversation on the subject. That the film was largely funded by Kickstarter contributions shows that she's not the only person eager to talk about the topic, either. Accordingly, in addition to recounting Brumfitt's personal experience, Embrace touches on everything from eating disorders and plastic surgery to recovering from physical harm and finding a space for varied representation in the media. She chats with a model considered plus-sized, and gets a consultation from someone eager to use a scalpel to improve her body. Famous faces such as British TV personality Amanda De Cadenet and American television host Ricki Lake give insights into their ups and downs. Burn victim Turia Pitt also relates her journey, as does German actress Nora Tschirner, with the two offering varied examples of the eternal attempt to be comfortable in one's own skin. It's an inspiring compilation — albeit one that can seem a tad repetitious. Of course, it could be argued that the film's message needs to be stressed again and again, until the battle for a more inclusive and positive approach to body image has been won. On the technical side of things, there's little about Embrace that hasn't been seen before, though again, its just-polished-enough sheen suits its content. Ultimately, when it comes to championing the importance of looking beyond the surface, this documentary does everything it can to make its statement heard.
Rub elbows with world class journalists at Storyology 2016. Presented by The Walkley Foundation, Australia's premier journalism and storytelling festival returns to Sydney from August 10-13, and will be hosted this year at the Chauvel Cinema in Paddington. Whether you're a career journalist, aspiring writer or just like hearing interesting people talk, there's sure to be something on the program for you. Indeed, festival organisers have put together an extraordinarily lineup of speakers, including International Consortium of Investigative Journalists director Gerard Ryle, Storyful global news editor David Clinch, and Egyptian digital journalist Lina Attalah. Panel topics, meanwhile, will range from freedom of the press in the Arab world to the coalescence of news and comedy on programs like The Weekly and The Feed. You can also get a double dose of political podcasting with live recordings of Two Grumpy Hacks and The Party Room. For the full Storyology Program visit www.walkleys.com/storyology16/ Check out our interview with The Feed's Jeannette Francis and The Weekly's James Colley over here.
Not all coffees are created equal, as anyone serious about their hot caffeinated beverages knows. That applies to the non-supermarket stuff as well — and to the world of filtered brews. Don't believe us? Well, why not let Five Senses show you the merits of roasted, single origin, rare parcel, micro-lot beans given the filtered treatment. From 7am to 4pm every day between September 3 and 18, the specialty coffee roasters are heading to Surry Hills with a pop-up cafe focused on strained cuppas of Panama, Kenya, Indonesia and Ethiopia's finest. It's called Five Senses Pop-Up - Filter: The New Black. Curated tasting flights will ensure that you get the best tasting experience you possibly can; however sipping on the good stuff isn't the only thing on the menu here. Thanks to collaborations with Top Paddock and Kettle Black ex-executive chef Jesse McTavish and doughnut wizards Shortstop, you'll be eating well too — all in a 50-seat warehouse space decked out by Porter & Maple.
Delay your dreams no longer. The Australian Film and Television School wants to help you transform your vision into celluloid reality. And, to get you started, they're inviting you around to theirs for an open day. For six-and-a-half glorious hours you can tour through state-of-the-art studios, meet alumni-turned-media stars and find out about the epic range of courses on offer — from diplomas to undergrad degrees to Masters. Making special appearances to reveal how AFTRS changed their lives will be writer-directors Malina Mackiewicz and Warwick Young, who've been scoring gongs at major film festivals in all four corners of the globe. Also appearing will be Triple J's Hack program producer Karla Arnall. At their annual Open Day, AFTRS throws its doors open to everyone. CEO Neil Peplow says Australia has a diversity of voices and he wants to find and empower storytellers from all over the country. We concur. If you can't make it on the day, there will be a live stream of talks, workshops and course information seminars happening on the day at the AFTRS website.
For one night only, two of our favourite cuisines are coming together for Tokyo Bandito, the ultimate Jap-Mex mashup dinner. It's a winning combo presented by two lads who know their food — Nick Smith of Rising Sun Workshop and Ghostboy Cantina's Toby Wilson. Come hungry, because the menu is extensive. For $65, you'll start off with a sake mojito, before progressing to chargrilled corn with Japanese mayo and furikake, followed by a Tako Taco with braised octopus, pickled daikon, guacachile, yuzu and coriander. Next up is a Mexican take on ramen, featuring ancho chilli broth with soy, lime, coriander, fried tortilla, avocado and quesa oaxaca. Finally, tuck into a dessert of tres leches with burnt miso caramel and corn custard. The food coma will be so worth it. Two seatings are available at 6pm or 7.30pm.
By 1976, David Bowie had achieved many things. He'd pondered whether there's life on Mars, transformed into both Ziggy Stardust and the Thin White Duke, and rocketed up both the singles and album charts. So, he tried something different: a new place, a new sound, and a creative time that would result in three distinctive records. Spanning until 1979, it's what's now known as his Berlin period. This is when the idea that we could be heroes — even just for one day — was born. And when Bowie wrote one of his most famous songs in the shadow of a wall. It's this that Bowie in Berlin pays tribute to, obviously, with a selection of works from the great artist's Low, Heroes and Lodger albums. With this January marking Bowie's 70th birthday — as well as the 40th anniversary of Low's release — when better for musical director Mick Harvey to corral vocalists Kylie Auldist, Dave Graney, Ron Peno, Kim Salmon and Max Sharam into honouring one of most fruitful creative periods? There'll be sound and vision on this fantastic voyage, plus beauties and beasts, as the boys keep swinging and no one looks back in anger.
For its thirtieth anniversary, STC wheels out Michael Gow's much-performed classic and that scourge of HSC students – Away. Tom and Meg really like each other. The school year has just finished and they wouldn't mind using the summer to untangle their feelings. But they won't get the chance – they're both being dragged away to spend Christmas holidaying with their families. Roy, the school principal, and his wife Coral decide they wouldn't mind some time away either. Tom's parents are keeping a big secret from him. The problem is, he already knows. Meg's parents don't want her going anywhere near Tom. Roy and Coral, who are mourning the death of their son, realise their marriage is falling apart. Then the fairies show up. For those who like their '60s nostalgia peppered with Shakespearean tricksiness, hop off the bus now — this is your stop.
Underground Cinema has been filling a void in cinema-goers hearts for over six years, having successfully created twenty-five cinematic experiences around Melbourne and Sydney. And now they're back, bringing your favourite flicks to life in an immersive cinema experience beyond dorky 3D glasses, popcorn-munching and booming surround sound. Over three nights, in a top-secret location, the unique four-hour live cinema invites you to join the set of Alfonso Cuaron's dystopian world of Children of Men. From actors in costumes, detailed set and audience interaction, Hope 2.0 is unlike anything you've experienced — or probably ever will again. To prepare for the journey you will need your strength, resilience and courage. A foreign-styled costume is also strongly encouraged. But above all, you must have hope. Expect the unexpected. However, maybe not starvation or dehydration: hot food and a bar (cash-only) are available on the night. Image: Nicholas Joel Photography.
When Lady Susan Vernon (Kate Beckinsale) scolds a man for approaching her in a courtyard and threatens to have him whipped, she thinks nothing of it. After her friend and confidante Alicia (Chloë Sevigny) seems shocked, she advises that she actually knows him well; "I would never speak to a stranger like that," she laughs. Slinging sharp words is what the recent widow does well, along with scheming to secure herself a new husband while also trying to find someone suitable for her teenage daughter Frederica (Morfydd Clark). How better to battle for the important things in life, such as a wealthy partner, being able to live comfortably, and escaping a scandalous reputation? Yes, all's fair in love, marriage and the war that accompanies the pursuit of both, as this comedy of manners, money and match-making aptly demonstrates. Adapted by writer-director Whit Stillman from Jane Austen's unfinished, letter-based novella Lady Susan (but renamed after one of her other short stories), the fast-paced film is the comedic gem you probably didn't know the 18th century author had in her. Indeed, Love & Friendship is a sparkling satire that's as insightful as it is amusing, anchored by the kind of protagonist that might not be entirely sympathetic, but is still both relatable and entertaining. When Lady Susan sets her sights on the young and handsome Reginald DeCourcy (Xavier Samuel), she won't let his meddling relatives derail her future happiness — though Frederica's courtship with the buffoonish Sir James Martin (Tom Bennett) might just get in the way. That said, Lady Susan hasn't been labelled "the most accomplished flirt in England" without good reason. Whether her character is telling off passersby, spouting insults with a smile or choosing to remain oblivious to the response she causes whenever she enters a room, Beckinsale is in career-topping form as Lady Susan, oozing the perfect combination of charm and calculation. While she's surrounded by an excellent cast — Samuel, Bennett and a brief appearance by Stephen Fry are the standouts — there's never any doubting that she's the star of the show. And yet, though Beckinsale commands attention every moment she's on screen, it's Stillman who proves the film's most important figure. The material isn't just an ideal fit for a filmmaker who has previously found humour in interconnected sections of society in movies like The Last Days of Disco and Damsels in Distress. It's also the feature the lifelong Austen fan was clearly fated to make. At home in the period setting, he takes every opportunity to survey the sumptuous production design, while still furnishing the film with a sense of intimacy, peppering it with hilarious reaction shots, and finding joy in the wordplay that drives the dialogue. In short, it's a delicious blend of Stillman and Austen at their comic best.
See the films of Alfred Hitchcock the way they were meant to be seen, as part of a cinematic tribute to the Master of Suspense. Beginning Thursday, July 21 Cremorne's Hayden Orpheum, the Alfred Hitchcock Film Festival will feature more than a dozen of the beloved filmmaker's most celebrated titles by putting them up on the big screen once more. Film fans, you'd be psycho to miss it. Spanning two full decades of spine-tingling masterworks, standout titles on the festival program include Vertigo, Rear Window and North by Northwest, as well as the film that made an entire generation afraid to take a shower. You can also catch a special 3D screening of Dial M for Murder or watch Hitch's personal favourite, Shadow of a Doubt. Accompanying the retro program will be the Australian premiere season of Hitchcock/Truffaut, a new documentary inspired by François Truffaut's famous book of the same name, featuring new interviews with modern legends including Wes Anderson, David Fincher and Martin Scorsese.
If video game cutscenes ever made the leap to cinema, Warcraft: The Beginning would be the end result. Fashioning a film from the interactive fantasy franchise, the long-awaited movie version functions in much the same way: advancing a narrative, fleshing out characters, and delving into material that can't always be gleaned during gameplay. That's the good news. The bad news is that it also looks and feels the part. That's not an indictment of the movie's impressive special effects, but a reflection of the unfulfilling way the feature seems like it was pieced together from standard in-game sequences rather than specifically made for the cinema. Directed by Duncan Jones (Moon, Source Code), and co-written by the filmmaker with Charles Leavitt (In the Heart of the Sea), Warcraft: The Beginning takes viewers to the realms of Draenor and Azeroth. The former, the home of the orcs, is dying, with warlock Gul'dan (Daniel Wu) using a magical force called the fel to transport his people to the latter. Durotan (Toby Kebbell), the leader of one of the orc clans, is wary of this plan, but also has his pregnant mate Draka (Anna Galvin) to worry about. Upon their arrival, they're hardly greeted with a warm welcome by Azeroth's suspicious human inhabitants — including King Llane Wrynn (Dominic Cooper), knight Anduin Lothar (Travis Fimmel), mystic Medivh (Ben Foster) and aspiring magi Khadgar (Ben Schnetzer) — although the orcs' penchant for warmongering doesn't help things either. A clash between orc and mans ensues, and at this point, audiences could be forgiven for wishing that the Lord of the Rings and Hobbit films didn't exist, or that their enormous popularity hadn't cemented the template for the action-fantasy genre. Charged with the difficult task of bringing a multi-player game to the big screen, Warcraft: The Beginning takes far too many cues from Middle Earth. The film might gather its details from the game series that dates back to 1994 in various forms, but in turning them into a feature, it's content to dwell in generic territory. Simply put, you've seen this stuff before. A derivative game-to-film adaptation isn't the same as a bad one, though it does struggle to maintain interest. The need to set up potential sequels is made clear in the movie's title; however as the battles stop seeming distinctive, and the characters chart familiar paths, it makes much of the feature feel like filler. Jones knows how to handle action and exposition, and convey a strong sense of grandeur as well, but remains trapped by his world-building mission and the need to stick to the formula. Try as they might in both live-action and motion-captured performances, the cast are placed in a similar predicament, particularly Paula Patton as half-orc, half-human outcast Garona, who is literally caught in the middle. When the best a movie based on a computer game can offer is CGI wizardry, something has obviously gone awry. Once fans have had their fill of clocking knowing references, even they'll likely wish they were just playing the game instead. And for everyone else — don't expected to be recruited to the horde just yet.
Sydney's continued obsession with American-style fast food will hit coronary-inducing levels this Independence Day weekend. To celebrate the U.S. national holiday, Keg & Brew, Dove & Olive, and The DOG Hotel will each be hosting a wing eating contest, in which competitors race to scarf down 1.5kg of chicken in the fastest possible time. Hard to think of anything more fitting, really. After all, what's more American than eating yourself to death? Entry into the contest costs $20, for which you'll receive a bucket of spicy buffalo chicken wings, along with a pint of Sierra Nevada Pale Ale to wash them down. The spectacle kicks off at 12pm on Saturday July 2 at Keg & Brew, 3pm on Saturday July 2 at The DOG, and 2pm on Sunday July 3 at Dove & Olive. The winner at each venue will earn a $50 bar tab. Assuming you opt not to participate (probably a good decision to be honest), you can still order from the venues' special red, white and blue menu, featuring such American treats as baby back pork ribs and fried shrimp po boy sandwiches.
If you saw a giant on the street, you'd stare in wonder. Your jaw would drop, your eyes would pop, and you would marvel at the sight in front of you. Once the shock wore off, you'd also be more than a little bit scared. But, if the lumbering creature in front of you actually turned out to be rather nice, you'd probably want to be his friend. In fact, if he was so harmless that he was being bullied by his fellow behemoths, you'd want to help him. That's how orphan Sophie (Ruby Barnhill) reacts when she meets the individual she comes to call the Big Friendly Giant (Mark Rylance). Roald Dahl's 1982 novel The BFG told this tale, and now so does Steven Spielberg's years-in-the-making film. Given that one penned books that have brightened childhoods for decades, and the other has made movies that achieved the same feat, bringing the two together seems like a perfect fit. Add E.T. screenwriter Melissa Mathison to the mix, and The BFG should be primed to capture hearts and minds alike. Indeed, as the film revels in its state of dream-like awe — and explores the awe-inspiring dreams the titular giant disseminates to the sleeping masses — there's plenty of affection on display. And as it contrasts the friendly antics of the BFG with his cruel, carnivorous comrades with names like Fleshlumpeater (Jemaine Clement) and Bloodbottler (Bill Hader), it offers a sweet reminder that seemingly frightening figures can also be outsiders with their own problems. You don't run to the queen (Penelope Wilton) and her offsiders (Rebecca Hall and Rafe Spall) for assistance if you're not in a hefty spot of bother, after all. Alas, amidst the leisurely life lessons about identity and acceptance, gibberish-infused dialogue and more than a handful of fart jokes, there's also an air of calculation. The BFG thinks, dreams and renders everything it can in the biggest possible manner — but, more than doing the source material justice, the CGI-heavy effort also wants to stress its size. There's a difference between employing specific camera angles to ensure that audiences know they're supposed to be wowed, and actually causing that reaction. There's also a difference between contemplating vast emotions and genuinely inspiring warm, fuzzy feelings. Accordingly, while it provides servings of fantastical spectacle and heightened sentiments, The BFG strives a little too hard to capture the usual Dahl and Spielberg magic. Thank goodness, then, for Rylance, who anchors the entire feature with an endearing motion-captured lead performance. After winning an Oscar for his turn in Bridge of Spies, he's the best thing about a Spielberg movie for the second time in a row. Though young Barnhill proves more precocious than poignant, their shared scenes — and the gentle kindness that radiates from Rylance every time he's on screen — are worth the price of admission alone.
The big screen is going green at the sixth annual Transitions Film Festival, Australia's leading showcase of socially-conscious cinema. In Sydney from March 9 to 14, this year's festival lineup is jam-packed with deep-diving documentaries about some of the biggest social, environmental and geopolitical issues facing the world today. Standout films include A Plastic Ocean, about the harmful effects of plastic on marine life; Riverblue, a look at the disastrous environmental cost of the global fashion industry; and Power to Change, which chronicles the fight by German activists and entrepreneurs for a more energy efficient future. For the full Transitions Film Festival lineup, visit transitionsfilmfestival.com.
People dream of finding someone who looks at them they way that Michael Fassbender looks at Alicia Vikander in The Light Between Oceans. A World War I soldier turned lighthouse keeper, Tom Sherbourne (Fassbender) has swapped the horrors of combat for the routine and simplicity of his new life — and he never glances anything less than adoringly at Isabel Graysmark (Vikander), the woman who'll become his wife. In a film that is unashamedly a weepie, his stare tells a sometimes heart-swelling, sometimes heartbreaking story, and silently speaks of the ups and downs of life that everyone wants to weather with someone by their side. An intimate tale working with big, sweeping feelings as well as notions of guilt and forgiveness, The Light Between Oceans is a melodrama through and through. Not that that's a bad thing, necessarily. This adaptation of Australian author M. L. Stedman's 2012 novel is not what might derisively be labelled merely a chick flick. Yes, it may tug at the heartstrings, and focus its plot around marital life and motherhood, but the sentiments this period-set romantic drama stirs up remain unflinchingly real. The aforementioned couple meet, wed and forge a life together in and around Janus Rock off the coast of Western Australia. They're the only inhabitants living off the mainland, though it seems they'll be joined by the pitter-patter of tiny feet until tragedy strikes on multiple occasions. Then, a lifeboat — or a rowboat, to be exact — brings them a lost baby girl. Keeping her will help them become a family. But unbeknownst to them, it will also tear the child's real mother (Rachel Weisz) apart. After exploring the complications of romance in the raw and resonant Blue Valentine, and pondering the ties between parents and children in The Place Beyond the Pines, writer-director Derek Cianfrance combines the two in The Light Between Oceans, as though he's been building up to this all along. It may not be the strongest of the three features, but it's as astute in matters of the heart as it is picturesque. Indeed, as far as the latter is concerned, Australian cinematographer Adam Arkapaw, who gave the recent version of Macbeth such an icy, compelling gleam, will have you gazing at the soft, glowing, frequently pink-lit images in the same way that the film's characters gaze at each other. Cianfrance provides ample space for Fassbender and Vikander to flesh out their loving but troubled characters. There's no mistaking the actors' chemistry, or the hard-earned range of emotions they cultivate, often in no more than their expressions. He conveys Tom's doting affection as well as the war-inspired melancholy he can't quite hide, while she paints Isabel as vibrant and determined, both in happiness and in pain. Even when the film's efforts to evoke tears are a little too evident, Fassbender and Vikander ensure that everything feels, and looks, utterly genuine.
Mike Meyer has long been a legendary name in the sign business. But it was after his appearance on internationally acclaimed film Sign Painters that he started to receive stacks of calls asking for lessons, tips and advice. Given that there's only a few schools in the whole world teaching the traditional art of hand-painted lettering, he decided to set up a travelling workshop. For the third year running, Meyer is once again set to leave his home in Mazeppa, Minnesota to visit us here down under. He'll be hosting yet another workshop in Sydney, offering an intensive day of paint, brushes and lettering with the legendary sign-painter. Engage in a day of intensive hands-on painting, see Meyer do what he does best IRL and get guidance from him throughout the workshop. Tickets are $250.
Six contemporary artists have paired up for 4A's latest exhibition, Jogja Calling, a group show exploring the links between Australia's artistic community and one of Indonesia's leading modern art cities, Yogyakarta. Reko Rennie and Hahan examine the ties and differences between Australian and Indonesian culture, Leo Allenda and Briony Galligan use kinetic sculptures to get you thinking about how precarious relationships are, and Abdul Abdullah and Arwin Hidayat use traditional techniques in a collaborative work with artisans. Between them, these six artists have shown all over the world including Indonesia, Japan, and Australia and have numerous accolades such as the National Indigenous Art Award. See all six in one go at 4A, one Sydney's go-to exhibition spaces dedicated to celebrating contemporary Asian art.
