Partway into Unfinished Business, three Americans go to Berlin. It’s a busy week in the German capital, with hotel rooms hard to come by. The youngest of the trio, Mike Pancake (Dave Franco), books into the only place he and his 67-year-old colleague, Timothy Winters (Tom Wilkinson), can afford: a youth hostel. Their boss, Dan Trunkman (Vince Vaughn), unknowingly opts for a “habitable work of art”, where he’s on display in a museum. The level of comedy shown here, of the “old folks doing young things”, “look how mismatched everyone is” and “isn’t this a ridiculous idea” variety, are actually some of the film’s best work. That’s not a compliment. But when much of the movie makes fun of unusual names, of a man wearing women’s clothing, and of the difficulties someone identified as challenged has in understanding certain words, well, the bar hasn’t been set very high. Also on the hit-list of Unfinished Business’ allegedly humorous subjects: gawking at naked women, the stereotype of women acting like men to make it in business, women compared to vending machines, gay nightclub culture and steam rooms. Contrast that with the film’s supposedly softer side, attempting to address bullying, fitting in, standing up for yourself and chasing what you believe in. That the combination of crassness and schmaltz is as muddled and messy as it is ill fitting is hardly surprising. The plot stems from a Jerry Maguire moment, as family man Dan quits his job selling metal shavings to go out on his own, and Mike and Timothy follow. A year later, they’re up for a lucrative contract – but despite being told the gig is theirs by their contact (Nick Frost), they’re pitted against Chuck (Sienna Miller), their previous employer. Though both teams travel to Berlin, it seems that smarmy exec Jim (James Marsden) has already made up his mind. Dan is forced to take drastic action to succeed, and to take care of everyone counting on him. Why Hollywood is convinced that audiences want to see Vaughn making the same kind of movies – especially these kind of movies – remains a mystery. He’s a likeable enough presence, but continually playing a big-hearted underachiever trying to get his life back on track via fratboy-like antics doesn’t do anyone any favours. Vaughn and his director Ken Scott obviously disagree, re-teaming after the thematically similar Delivery Man. If you’ve seen that, or The Internship, then you know what you’re in for here. The scattershot approach shown in the script doesn’t help matters, rushing from one scene to the next as fast as it can, even though the film always feels like it is dragging. Nor does the insistence that more is more: more crude gags, more cliches, more over-the-top exploits and more drama. And then there’s poor Franco and Wilkinson, saddled with one-note characters, but trying hard. At least someone is. Otherwise, Unfinished Business is an overstuffed, underdone mess that lives up to its name – and a film easily bested by its stock image marketing campaign.
Can building a garden win the affection of a royal landscape architect, as well as the respect of the king? That may be the plot of A Little Chaos, but it isn't the point. There are more fascinating things afoot in this period romance. Kate Winslet stars as Sabine De Barra, gifted with a green thumb and fingers to match, as well as the gall to want to use them. She flouts the conventions of 17-century France in other ways, too: in voicing her opinions and in shunning the tradition of manicured lawns that has seen Andre Le Notre (Matthias Schoenaerts) design the outdoor areas of King Louis XIV (Alan Rickman). Yet, something about Sabine intrigues Andre, inspiring him to hire her to assist with a new project. Her vision of an alfresco addition to the Versailles palace, complete with a complex water feature, doesn't conform to expectation — just like Sabine herself. Together, the trio treads a tentative path to a more modern way of thinking, and not just in terms of gardening. This is Sabine and Andre's tale — including the threat to their blooming bond from his promiscuous yet possessive wife (Helen McCrory) — but the king's acceptance of a landscaper outside the norm is key to the story's gentle breaking down of gender stereotypes. Of course, in keeping with the time it depicts, the steps made are small in size, though they remain considerable in their fictionalised impact. Seeing Sabine strive and hopefully succeed always feels like the film's main goal, as paired nicely with a peek into what life was really like for women in the royal court. Indeed, as handsomely acted as the entire affair is, and as swept up in the period details, the slow-burning love story is actually the least interesting aspect of A Little Chaos. It's not that Winslet and Schoenaerts don't sell the romance. Their performances — her sorrowful but spirited efforts especially — are among the highlights of the film. It's just that the script rightfully cares more for the characters' professional rather than personal endeavours, and so does the audience. That would be the doing of Rickman, who co-wrote the screenplay and directed the feature in addition to acting as the monarch in the middle. In his second stint as a filmmaker after 1997's The Winter Guest, the man best known to many as Harry Potter's Severus Snape is delicate and determined, two traits the movie champions. Rickman also takes the obvious route more than once, whether lingering on the sumptuous scenery or letting Stanley Tucci turn up as yet another comic cad, once again stealing all his scenes. The formula behind the finesse is hardly surprising; the feature is called A Little Chaos, after all. The movie's title is clearly designed to reflect its heroine's wild ways within a system of order, and it does so. That it also captures the film's willingness to test boundaries within the tale itself, but not in its treatment, couldn't be more fitting.
For the third time, the annual Sydney Rides Festival is set to get back into the saddle on October 13. In conjunction with The Spokes People, the festival celebrates all things bicycle as Sydney falls more and more in love with our bikes. The festival is a slew of events that promote the benefits of riding a bike, from family-friendly rides around the city to bike speed dating and the National Ride2Work day. And for those who simply want to watch, the Sydney Rides Film Festival will play shorts and features at Dendy Opera Quays on October 17-18. The coveted green jersey will be awarded to the winner of the Gold Sprints on October 25, and the stationary race will take place at the Alexandria Hotel. On October 27, the inaugural polka dot jersey will be given to the first Mountain Goat Lord in Lycra — the winner of the Hill Climb Race up Observatory Hill. Image: Ian Sane via photopin cc.
2013 marks the first year of the Sydney Intercultural Film Festival, a celebration that aims to connect Sydneysiders with the stories, sounds and tastes of the many cultures of the world. The festival runs from November 13–17 with events and screenings at multiple venues across the city. The hub of the festival will be in Haymarket’s Belmore Park, which will be transformed into Cinema Park for five days of entertainment. The park will host screenings of films from 33 countries including China, India, Vietnam, Korea, Japan, Poland and Australia. The festivities also include music, arts and comedy performances; film workshops, demonstrations and seminars; signing and interactive sessions with celebrities and filmmakers; kid’s rides; costume competitions; raffles and prize giveaways; and more than 100 international food, merchandise and entertainment stalls. Whether you’re a film fanatic or culture crazed, there is something for everyone at Cinema Park. And you certainly know the food will be good. Cinema Park is open from 10.30am-9.30pm. Image: K.P. Jayasankar behind the camera.
BYOB. Nope, it's not Bring Your Own Booze. It's Bring Your Own Beamer. That's beam of light, not the flashy car that bankers like. German artist Raphael Rozendaal started these one-night-only exhibitions across the globe, and it's all about beaming images from screens. Portable projection. Computers. Moving images. And all just for one night. This is the first time the beamers have come across to Sydney, and this one, curated by Susan Bui, promises to be an explosion of colour, sound, chaos and energy. The artists will transform Archive Space's walls, ceiling and floors with art installations that project light and sounds from all angles. And the artists? David Manley, Lisa Sammut, David Greenhalgh, Liam Ambrose, William Bennett, Katrina Stamatopoulos, James Nguyen, Ari Zainal, Optic Soup, Bryden Williams, Daniel Connell Eric Davidson and Haidee Ireland as well as Bui are all flashing a little of what they've got.
Cosmic bass visionary Flying Lotus (aka Steven Ellison) specialises in crafting a whirlwind of sounds you've never heard in combination before. Praised as the most revered producer of his generation, he is the supreme genre-traverser and genre-creator. Before sneaking down south to showcase his mind-melting magic at Golden Plains Festival, he will be treating Sydneysiders to the years-in-the-making audiovisual spectacular Layer 3 at the Opera House on March 9, 2014. Over the years, Ellison has carved out a unique brand of ambient hiptronica that folds together the pulse of contemporary urban life with sci-fi futurism. With his hypnotically off-kilter beats, Flylo's musical palette is meticulously designed. He creates immersive soundscapes that voyage through downtempo jazz, pulsing electronica, and 1990s trip-hop. In an interview with the UK magazine The Wire, he described his recent album Until the Quiet Comes as a more pared back attempt at "a children's record, a record for kids to dream to." And true, there is a sense of musical wanderlust embedded in this record, with its thick dreamy textures and mystical harmonies. Ellison has had a busy year collaborating with Odd Future's Earl Sweatshirt and Kendrick Lamar, as well as curating the soundtrack for Grand Theft Auto V. Thus, we are truly fortunate to have scheduled in a session of head-spinning avant-garde electronica. This one-off performance will be a swirling array of video-game funk and room-rupturing beats, translating basslines into cinematic beauty. It is fair to say that no-one can do what Flying Lotus does. Simply unmissable. Tickets will go on sale at 9am on November 15, 2013, from the Sydney Opera House website. https://youtube.com/watch?v=rbuQuvoc0YE
One of Melbourne’s foremost artists, Jon Campbell is heavily influenced by a "lefty, westie, working-class view", fusing together art, music, national identity and popular culture. Campbell’s current solo exhibition, Bewdyful, is a continuation of his exploration of suburban Australia and its unique vernacular. Blazing with punchy phrases and cheeky one-liners, the glossy finish of enamel paint on plywood evokes a strong pop aesthetic. The luminous and colourful phrases are painted in Campbell’s hand-crafted font. Some works channel the slick veneer of advertising, whilst others are more along the lines of hasty signage or graffiti. They range from listing the band members of Crazy Horse, framed by a border of sunny yellow spray paint, to the poignantly simple Sad Times, a lonely little phrase almost engulfed by its grey background. A personal favourite is the humorous catch phrase typically uttered by the bigoted 60-something, I’m not racist, but... a sly poke at Australia's xenophobia and condition of self-denial. There are also loud suburban moments as represented by Friday Night Dilemma, featuring the words ‘Fish and Chips or Pizza?’, as if directly plucked from the living room banter of blue-collar Australia. It is as though an animated verbal exchange is taking place in the gallery space. The overall atmosphere of the exhibition is joyous and upbeat; though some of his works may be boisterous, they are never mean-spirited. There is also a musical sensibility imbued in Campbell’s practice. Paying homage to Bob Dylan, he has been known to replicate the iconic ‘cue-card’ routine both in painting and performance. These music-based acknowledgements are endowed with cultural codes and attitudes. His works, laden with nostalgia, are manifestations of a generation, a sub-culture, a time and place. What comes out of Campbell’s paintings is the visceral feeling of a sun-scorched afternoon filled with backyard boozing. Unlike the blatancy of an Australia Day parade, Campbell’s brand of patriotism resides in the unassuming Australian backyard, equipped with a stubby holder and cricket bat. You might have also heard about the Jon Campbell art tram that was recently unveiled as part of the Melbourne Art Fair. Dressing up the old burgundy and gold with a lurid pop overcoat, it is one of a handful of mobile murals that will be rolling around the city for the next six months.
Even lifelong vegans are likely to learn something when Silvereye’s Sam Miller and Urbane’s Alejandro Cancino get together for an animal-free dinner on 23 February. The two chefs will create no fewer than fifteen courses, without using so much as a drop of honey or a splash of milk. Those familiar with Cancino should know that he’s a committed vegan. Meanwhile, Silvereye has a number of winning vegan dishes on its menu already, including crowd-pleasers like 'Tommy's Turnip' and 'Beetroot and Blackcurrant'. You can expect them to make an appearance. The fifteen courses will consist of six snacks, six savoury dishes and three desserts. You’ll score this epic feast for $150 a head. Add matching wines for $90 or go ultra-healthy and make it matching juices for $65.
If you're a fan of Imogen Heap's keyboard sound or the arrangements on Coldplay's Viva la Vida and/or the Monsters soundtrack, then you might not know it, but you're a fan of the work of Jon Hopkins. The musician-composer-arranger-producer extraordinaire has definitely made a sizeable mark on the music production business. In fact, the success of Hopkins's international collaborations has had a habit of overshadowing his solo work. Up until now, that is. His fourth album, Immunity, released in June this year, provoked some serious critical attention – Pitchfork, bestowing upon it a coveted 8.5, went so far as to predict Immunity's likelihood to 'catapult [Hopkins] to stardom in his own story'. This month Hopkins will bring his trio to Australia to play the Meredith Music Festival and sideshows in Perth, Melbourne and Sydney. He was last here in 2009, performing at the Sydney Opera House as part of the Luminous Festival curated by Brian Eno. https://youtube.com/watch?v=Y8eQR5DMous
Director Emmanuelle Bercot takes Catherine Deneuve on a wild ride across the French countryside in this eccentric and funny — if somewhat higgledy-piggledy — road trip meets family comedy. Deneuve is Bettie. Crowned Miss Brittany in her glory days, she’s now the middle-aged manager of a failing restaurant and caregiver to her interfering mother (Claude Gensac). When her non-committal lover takes up with an attractive 25-year-old, she jumps into her golden Mercedes and cuts loose. As the melancholic strain of Rufus Wainwright’s ‘This Love Affair’ rolls out, we know that we’re not about to see Deneuve in her signature ice-maiden guise. Even though Bercot invented Bettie specifically for the French icon, she certainly wasn’t limited by a temptation to typecast. One of On My Way’s many charms is its exploration of Deneuve’s warmer, more vulnerable side. Bettie’s spontaneous departure carries her on a string of outrageous adventures. The bumming of a cigarette from a solitary, timeworn farmer leads to an unexpectedly intimate conversation. In a sleazy nightclub, an infatuated young local named Marco (Paul Hamy) employs an excess of caipirinhas in a rather uproarious attempt at seduction involving an enormous pink afro. Finally, a phone call from an enraged, bitter daughter (Camille) means that Bettie winds up with company — in the form of her grandson, Charly (Nemo Schiffman). On one hand, the scattershot narrative construction, the haphazard unravelling of characterisation and occasional improbabilities run the risk of losing momentum. The depiction of Bettie’s troubled relationship with her daughter, for example, never penetrates beyond a fairly simplistic sketch. On the other, the script is pleasingly fresh and witty — light on it might be, but it’s thankfully devoid of contrived, overworked passages. A raw, real-life feel permeates throughout, intensified by Guillaume Schiffman’s (The Artist) adoption of a handheld shooting style and the casting of Deneuve alongside relative unknowns and even non-professional actors. Indeed, much of On My Way’s appeal lies in Deneuve’s embracing of such an atypical role — even when confused, waterlogged and run ragged by the vagaries of the road, she still oozes charisma.
That staple of summer, Maltesers Moonlight Cinema, is back for its 18th season of open-air cinema. And they've put together another cracking program to tickle the cinematic tastebuds of old and young alike — from advance screenings of the hottest blockbusters to cult classics, blood-rushing action flicks to heart warming rom-coms. Centennial Park will be the Sydney venue for the series. After the daytime bustle of joggers, personal trainers and cyclists, hire a beanbag or simply sprawl out on the grass under the stars with a loved one. Don't forget to indulge in some delicious snacks and perhaps a few beverages to complete your cinematic experience. It's the perfect way to unwind after a hard day and usher in those balmy summer nights. There's also the option of 'Gold Grass' tickets, which gets you a bean-bed in the front rows and designated waitstaff. New releases include the much anticipated return of Ron Burgundy in Anchorman 2: The Legend Continues as well as sneak previews of big Boxing Day releases The Railway Man and The Secret Life of Walter Mitty. Sometimes its the classics that can be most fun, however. Embrace your inner dag and negotiate how much a set of jousting sticks should cost with the much-loved and highly quote-able Aussie comedy The Castle. Or roll out the picnic rug and share a meal fit for Jehovah over Monty Python's 1979 gut-buster, The Life of Brian. If there's one thing Moonlight Cinema has proven itself more than capable of, it's cherry-picking the most enjoyable moments in cinema and creating a relaxed and sociable atmosphere to boot. Tickets will go on sale from November 7.
In response to recent events surrounding the culpability of surveillance networks, UTS's newest exhibit offers a curious perspective on 21st century surveillance methods. Trace Recordings is a collection of works by 11 artists who use a variety of media to examine modern surveillance mechanisms and explore how they affect our behaviour and perceptions of public and private spaces. Using both analytical and playful methods, Trace Recordings examines the scale and intricacy of surveillance technologies from an artistic perspective. Works range from top-secret NSA listening stations to Stranger Visions, Heather Dewey-Hagborg's series of sculptures that went viral after she modelled their features off DNA from discarded chewing gum. Following the exhibition opening are a number of public events, including a panel discussion, UTSpeaks lecture, and interactive workshops such as CV Dazzle, an experimentation with makeup styles to distort facial recognition software. If you’re a fan of crime scene investigation dramas, this is your chance to step into one. The exhibition opening is from 6-8pm on October 22. Other events are at various times. For more info, see the UTS website
If it's ethereal indie folk you're after, Dustin Tebbutt is your man. His music is described by his record label as "the music for your autumns and winters" which, in our opinion, couldn't be more accurate. The haunting isolation that comes through his high echoey vocals and crisp acoustic guitar certainly create feelings of isolation and introspection. Well, it's a good thing he's coming to town as the temperature is starting to drop. Tebbutt's latest national tour is for his latest EP, Bones, and it's gorgeous. First single 'Bones' is much like what we saw on debut EP The Breach; incredibly entrancing music that has the ability to transport its listeners far away from anyone or anything. If you enjoy the thoughtful sounds of Bon Iver or Sigur Rós, then Dustin Tebbutt is a local boy you definitely shouldn't miss. https://youtube.com/watch?v=OysNiYXWga0
It's been five long years since the much-loved comedy variety (read: total pisstake) show The Chaser's War on Everything has been on air. Since then, we've dealt with bits and pieces of the Chaser boys in the form of Yes We Canberra and The Hamster Wheel and The Hamster Decides, but rarely do these shows have the same spontaneity or gall of the original (well, except for that one time). To cure this, Chris Taylor and Andrew Hansen are taking to the stage for an Australia-wide tour of their particular brand of crazy. Because hey, Mark Scott can't make apologies for what happens in a theatre and Today Tonight are unlikely to report on it. In this live showcase of sketches and songs, Taylor and Hansen will be testing the limits of the live form and bringing all their craziest material into play. Fingers crossed for bits as good as 'The Eulogy Song' or that time Chris Taylor pretended to leave his wife on Sunrise. https://youtube.com/watch?v=dXHleozgQ18
Debaucherous dance duo Flight Facilities have been major players on the local EDM scene for some time now. Their infamous club banger 'Crave You' is guaranteed to get even the biggest of party poopers in a merry mood. It's so big, even Kylie Minogue has got in on the action. And now, after what seems like an eternity, Hugo Gruzman and James Lyell have finally seen fit to release an entire album. After bursting on the scene four years ago, they're hitting the road on their first national album tour. Down To Earth is here. Of course, this debut LP promises more of what the fans already love, with standout tracks like 'Two Bodies' building on their already stellar repertoire in a big way. Another of their quality summer tunes, 'Sunshine' even got Reggie Watts on board. But the good news doesn't stop there. This tour will see them paired with Client Liaison. Sporting '80s synth pop, oversized aviators and tan suits aplenty, these Melbourne boys will make the perfect sidekicks.
Edmond Rostand’s 1897 portrait of 17th-century real-life poet and all-round badass Cyrano De Bergerac is a giant of a play awash with velvet pantaloons, enduring love and, of course, one crucial prosthetic nose. Each night, makeup supervisor Lauren Proietti creates a masterpiece. Her version of the nose is a good bulbous sort: robust, gnarly and believable. Richard Roxburgh wears it with a quixotic defiance that makes you want one yourself. Despite Cyrano’s commitment to truth, he can’t quite get past regarding himself as a hideous monster — an old-school, less green, more eloquent Shrek. Cyrano spends most of his life as a self-assured, uncompromising poet, but when he falls in love with his distant cousin Roxane (Eryn Jean Norvill), he comes undone. He continues to pine for her despite her affections for the more handsome, but significantly dimmer Christian (Chris Ryan). Their dual wooing of Roxane is a fabulous comedy of errors. It’s no exaggeration to say that Roxburgh as Cyrano is outstanding, walking a delicate line between cavalier and humble. Matching Roxburgh in the excellence stakes is Josh McConville as Comte De Guiche. His speech detailing the trail of small compromises that have led to his worldly success is compelling and disarming. De Guiche’s conviction that Cyrano’s personal integrity is far more valuable than worldly possessions is excellent and may see hoards of Sydneysiders quitting their day jobs. The rest of the cast is vibrant, none more so than Julia Zemiro playing Sister Claire. She seems to be constantly amused at finding herself on stage. Alice Babidge’s set is simple and dynamic, a wide open space with a peripheral balcony that provides ample space for multiple thrilling sword fights directed well by fight director Nigel Poulton. Babidge’s set comes alive in a final striking shower of autumn leaves. Adapted and directed by the Sydney Theatre Company's artistic director, Andrew Upton, this Cyrano is big, shiny and moving.
May 23 marks the second outing of Other Worlds Zine Fair, an alternative space for comic book artists and zine makers to showcase and sell the fruits of their creativity. Originally a boycott action against Transfield Holdings' sponsorship of the 2014 Sydney Biennale, Other Worlds continues to provide local and international artists autonomy from suspect corporate support. The main zine fair is at Glebe Town Hall, with over 70 independent artists present, and this year the program has expanded into a three-day series of events and workshops throughout the inner west. Participating venues include The Rizzeria's Leichhardt printshop and Monster Mouse Studios at Marrickville. Other Worlds also seeks to generate discussion and raise awareness of the impact of detention centres in Australia and includes initiatives such as The Refugee Art Project among its participants. Those interested in supporting Other Worlds' corporate-free status should jump to their Pozible campaign.
It's the yearly exhibition that leaves us with jaws on the floor; the 59th annual World Press Photo exhibition is coming to Australia for another year. Beating 97,912 submissions by 5692 photographers from 131 countries, Denmark's Mads Nissen took out the top spot for 2014 Photo of the Year for his intimate, poignant portrait of Jon and Alex, a gay couple in conservative St Petersburg, Russia. After almost six decades of beautiful and devastating photojournalism, the WPP contest continues to be one of the world's most important platforms for art, journalism and humanising the headlines. The World Press Photo exhibition can be seen at Sydney’s State Library of NSW, May 23 – June 21; WA Museum in Perth, July 4 – 26; and Brisbane Powerhouse, August 8 – 30. Before the exhibition makes its way to Australia, take a look through some of the landmark images that caught the eye of the WPP judges; from an orphaned rhino in Kenya to Lionel Messi at Brazil's World Cup, Istanbul's anti-government protests to a young Kamilaroi girl in Moree, New South Wales. With many of the photographs documenting the more saddening news headlines, they're often not easy images to look at, but it's the work of these photojournalists that wakes up an otherwise ignorant world.
The last time Courtney Love popped by was 1999, when she headlined Big Day Out with Hole. Since then, the 50-year-old has released solo albums America's Sweetheart and You Know My Name/Wedding Day, as well as Hole's fourth record Nobody's Daughter (albeit without Melissa Auf der Maur, Patty Schemel and Eric Erlandson). This month, she's treating us to her very first Antipodean solo tour. Recent appearances in the UK have been triggering rave reviews. One Guardian critic described her as "enjoying her rock resurrection, leaping from vitriolic to vulnerable, often in the same breath", while The Daily Telegraph experienced 75 minutes of "slightly unhinged" and "thoroughly entertaining... raw pop punk". Rumours continue to bubble concerning a possible Hole reunion. In a recent Pitchfork interview, Love revealed that they're not necessarily without foundation. "I'm not going to commit to it happening, because we want an element of surprise," she said. "It's next year's concern, but we've hung out, we've sat down, we've met, we've jammed." https://youtube.com/watch?v=Rg_ECFpSceA
Feeling an urge to witness some rollicking rock 'n' roll? Sydney dudes Gang of Youths will sort you out. Earmarked with that buzzed-up title of 'ones to watch' last year when they formed, Gang of Youths have since played a sizeable bunch of headline shows, tangled amongst support gigs for the likes of The Jezabels, Frightened Rabbit, Vampire Weekend and most recently Foster the People. The ferocious five-piece are back this month with a few more dates up their sleeves for the riff-starved, showing off their latest single, 'Poison Drum'. In the accompanying music video, Gang of Youths power through the colourful streets (and supermarket aisles) of LA armed with their instruments and some succulent-looking noodles. Did we mention they're yet to release their debut album? Fear not, Gang members. Recorded with Kevin McMahon (The Walkmen, Real Estate, Titus Andronicus), the group's first LP is in its final stages and due for release sometime this year. https://youtube.com/watch?v=yqi2dT5rRtw
Everyone's favourite half-giant of few words is coming to Australia to host a series of Game of Thrones-themed rave parties. Kristian Nairn, who plays the simple and loveable Hodor, is a legit house DJ — minds are boggled as to why this sort of party hasn't been thrown sooner. Thankfully touring company Falcona have jumped on the house-loving GoT favourite and we can party like we've finally found the three-eyed raven. As the name suggests, Rave of Thrones will be a series of GoT-themed parties in large-scale Australian venues — and dress ups are mandatory. Break out the faux fur, your finest armour or dye your hair silver-white; just leave your Valerian steel at the door. We're expecting to see Starks dancing with Lannisters, Tyrells and Tullys sharing mead, while Wildlings and White Walkers unite forces in the name of rave. These parties are likely to attract a larger crowd then the Red and the Purple wedding combined (and will presumably be way less murdery), so make sure you snap up some tickets faster than one of Ygritte's arrows heading for Jon Snow's heart. Nairn has recently been in Melbourne for Oz Comic-Con with Daniel Portman (aka Podrick Payne), so we're thanking the Old Gods and the New that he'll be returning to us shortly. Nairn will be joined by audio visual artist Ego who will be cranking out GoT-themed projections, and the night will include "surprise guests and garnishings" — we're not sure exactly what that entails just yet. HODOR! https://youtube.com/watch?v=cxjw-w-V5k4
If you’ve been wondering how to tell chocolatey accents from nutty tones, why it is that the coffee you brew at home’s never as good as the one from your favourite cafe, or how you can turn your lattes into artworks, July is your month. In the lead-up to Aroma Day, Sydneysiders will get the chance to spend an hour or two expanding their coffee-related skills and knowledge via a series of workshops. Some focus on tasting and cupping, others on roasting and brewing and others still on coffee's illustrious history. There’s pretty much something for everyone, whether you’re a beginner who can’t differentiate a dark roast from a smooth blend or a connoisseur who’s ready to become an officially credited barista. Highlights include the 'Coffee Appreciation Course', where you’ll come to understand why you prefer one barista over another (assuming, of course, that it’s their brewing ability we’re talking about); 'Brew Camp', which will teach you the skills necessary to perfecting the pour over brewing method; 'Chocolate - Bean to Bar', during which you'll get to taste a whole bunch of different chocolates under the guidance of expert local chocolatiers; and Latte Art with ASCA, where 2011 NSW barista champ Alex Stathis and 2011 NSW latte art winner Jibbi Little will show you how to froth and drip like a master. To book your spot in a workshop, visit the Aroma Festival website.
In past years it feels as if there's been a surge in the sub-genre of romantic comedies that revolve around the 20-something commitment-phobes. Generally they feature a host of characters more attractive than you, resisting relationships for the sake of engaging in meaningless sex. Or, the kind of films Natalie Portman and Mila Kunis did to flush the Oscar winning demons of Black Swan out of their psyches in 2011. Are We Officially Dating (released in the US as That Awkward Moment) can be lumped into this category, while also having a stab at bro comedy. The film follows Jason (Zac Efron), Daniel (Miles Teller), and Mikey (Michael B. Jordan), who after the failure of Mikey's marriage, make a pact to stay single as a gesture of solidarity. Unsurprisingly, all three violate the agreement. Whilst first-time filmmaker Tom Gormican has an admirable goal — to depict the clunky transition from dating to relationship from a male perspective — this film's insipid plot and unfunny jokes make it, dare I say, 94 minutes worth of 'awkward moments', It's essentially a male version of Sex in the City; they're snappy dressers and waltz around Manhattan, fuelling their crude humour with chai lattes. This brand of sex-positivism doesn't have the quite same punch when paired with stereotypical 'dudes' and such a flimsy premise. Venturing out of the PG13 paddle pool and into cinematic adolescence, Efron plays Jason, an apparently sharp-minded graphic designer working at a chic New York publishing house. In a feat of Don Draper-esque brilliance, he impresses a client by drawing an impromptu stiletto for a book cover. (Ah, of course. The essence of woman boils down to footwear. It's psychology 101, folks.) It's difficult to shirk the film's reductive and vacuous depiction of women. Aside from the trio 'rostering' girls to bone at appropriate intervals so they don't get attached, the female characters are poorly drawn. They merely function as narrative goalposts, as if to assure us that there is in fact, a point. Imogen Poots plays Ellie, Jason's humble, bookish and bohemian love interest. Whilst instinctively likeable, a scene in which she reveals her deepest desire — a ridiculously big house in the middle of Manhattan — feels like a contradiction of character. There's also a touch too many penis jokes. In fact, it feels as if scenes are set up specifically for the purpose of penis jokes. For example, when Jason misinterprets a dress-up party and arrives with a sex toy hanging from his fly, leading to much 'cock'tail punning. All in all, if you're planning on a Valentine's Day movie with your significant other, you may want to think about spending your money elsewhere. To impart the film's single slice of wisdom, "Relationships are about being there for the other person." https://youtube.com/watch?v=UrdI3zAnzno
Sit up, you beautiful planet-saving, green smoothie-drinking people, because the world’s largest hippie festival is about to unleash some serious flower power all over the Domain on March 30, 2014. Wanderlust has cemented itself internationally as an all-inclusive celebration of yoga, music and the peace-loving life, offering festivalgoers the chance to chant ‘namaste’ with world-renowned yoga teachers and lifestyle gurus, get jiggy to some uber-radical DJs and musicians, stroll through some sweet craft markets, or simply kick back with a biodegradable glass of organic wine and a tofu burger. There are upgrade packages available for the super-passionate folk, the likes of which include immersive yoga workshops and the chance to meet some world-renowned yoga leaders. Free registration, ticketing and lineup info can all be found at the Wanderlust website.
"And now you want to be my friend on Facebook? Are you fucking kidding me?" The gal who brought us the anthem to sing at exes attempting to Facebook stalk us is releasing her latest album (album number four) on March 14 and heading on tour. She'll be singing 'Lose My Shit', 'Ghost' (featuring Megan Washington) and other new tunes and hitting notes that most of us could only ever dream of. O Vertigo is Kate Miller-Heidke's first independently released album. And how did she make it happen? Crowdfunding. That's one way of getting around it. She hit her target three days after launching the campaign, and some of the lucky donators will be getting a Happy Birthday phone call from Ms Triple-Octave Pipes. The rest of us will attempt to suppress our jealousy. This is one worth heading to. https://youtube.com/watch?v=X0FdR7dEAYU
This unique exhibition at Carriageworks will be accompanied by a series of nightly performances. It will see esteemed choreographer Sue Healey collaborate with photographer Judd Overton to produce a series of live portraits of dance artists. Healey has selected five dancers with very different styles of movement: Martin del Amo, Shona Erskine, Benjamin Hancock, Raghav Handa and Nalina Wait. An accompanying work will also feature video portraits of Australian dance legends Dame Lucette Aldous and Professor Shirley McKechnie AO. By crafting simple and complex choreography, Healey is interested in exploring how we view performance and how we make sense of moving images. Utilising the whole of Bay 20, the exhibition will comprise filmed and live choreography that will play out simultaneously — the dancers will perform against their virtual selves. If you're planning on taking a look at this immersive interdisciplinary project, note that while the daily exhibition is free, the nightly performances will be ticketed.
Thundering into town upon the back of his immense triumphs in literature, and now the world of cult television, Lionel Corn is the kind of author who draws focus with the slightest adjustment of his seating position. It's no wonder that academics, writers manqué and pedantic fans alike want to limply dab him to death with inane questions whenever he speaks publicly. Following a successful stint at the Melbourne International Comedy Festival and Sydney Writers' Festival, The Chaser's Andrew Hansen and Chris Taylor bring the portly form of Corn to the Giant Dwarf. Hansen and Taylor's George RR Martin-like figure is the centre of a show that pokes fun at the rise in 'In Conversation'-type events, of which you'll find no shortage around town.
Sydney choreographer Martin del Amo seems determined to dislodge dance from its lofty pedestal. His dance theatre is kooky, self-reflective, accessible and has its feet firmly on the ground. Last year he treated audiences to a degustation of bodies and stories with Slow Dances for Fast Times, and now Songs Not To Dance To follows in its quirky stead. Songs Not To Dance To promises to address those ditties discarded by choreographers, for being “too obscure”, “too cheesy” or “too famous”. Dancing side-by-side with Lismore dance artist Phil Blackman, del Amo will let these forbidden songs move him, and we’ll watch the depths to which he goes. Will he work against the music, take the piss or surrender? If Slow Dances is anything to go by, the constant change of pace and atmosphere will keep us laughing heartily and thinking deeply. We'd definitely sign up to see highly trained bodies look a little daggy, which seems very in vogue.
He won three Oscars and worked on 285 films. He created gowns for everything from 42nd Street to Casablanca, The Maltese Falcon to An American in Paris, and Oklahoma! to Some Like it Hot, and ranks among the most successful costume designers ever to ply his trade in Hollywood. He's also Australian, born Orry George Kelly but better known as just Orry-Kelly. And, as Women He's Undressed rightly assumes, most people have probably never heard of him. For those who haven't, Gillian Armstrong's latest documentary is here to shed light on a life of glamorous ups and heartbreaking downs during the Golden Age of cinema. For those who have, the movie will surely still fill in plenty of gaps, whether serving up interviews with Orry-Kelly's colleagues and those he inspired, or spilling the beans on his famous friendships and status as a confidant to many a leading lady. Either way, his journey from a small town to the big screen makes for quite the story, as do the exploits that followed. He didn't just dazzle with his prolific designs, but also with his defiance, proudly living as a gay man at a time – and in an industry – that was far from accommodating. In a factual effort that bears more than a little resemblance to Armstrong's Unfolding Florence: The Many Lives of Florence Broadhurst, Women He's Undressed doesn't only rely upon talking heads and archival footage, though what it boasts in these areas proves both engaging and illuminating. Instead, it addresses the issue that troubles many docos — not having enough existing content, but not wanting to fill its frames with wall-to-wall secondhand accounts and clips — through cheeky re-enactments. In some films, that's a tactic that doesn't work, but not in Armstrong's skilled hands. She tasks actor Darren Gilshenan (Rake) with both playing and recounting Orry-Kelly's life, with his version of the subject — who is rarely glimpsed in his real guise — speaking directly to the camera. The effect feels more conspiratorial than typical narration, like watching someone talk through their memoir and share all the juicy tidbits that were omitted. In fact, such scribblings are mentioned, as intermingled with an account of his special bond with Cary Grant. More well-known names keep coming up, of course — and with actress Jane Fonda, local designers Catherine Martin (The Great Gatsby) and Kym Barrett (The Matrix), and film critic Leonard Maltin among those offering their memories of and thoughts about Orry-Kelly, there's never any doubt that this is a tribute. If ever a film figure warranted such an adoring approach though, it's this under-sung hero and his brilliant career. Oh, and those ladies he helped in and out of his beautifully made costumes? They included Ingrid Bergman, Bette Davis, Katherine Hepburn, Natalie Wood, Shirley MacLaine and Marilyn Monroe, just to name a few.
Okay, so free shipping and a 0 percent chance of being talked into buying a bag you don't need because it would look so cute with those shoes is great, but shopping IRL has plenty of bonuses, too. You'll find pretty much all of them at Fashion's Night Out, which is probably the best idea to come out of Anna Wintour's brain since she decided Seth Meyers should wear a lacey Marc Jacobs dress to the CDFA awards. Fashion's Night Out was initiated by Wintour six years ago to pump money back into the flailing retail economy, and Sydney's own edition is now a firm fixture on the calendar. Excuses you didn't really need to buy a whole bunch of nice new things for spring include pop-up beauty bars, free champagne, complimentary nibbles, gifts-with-purchase, and photo booths, with the majority of them taking place around Westfield and the CBD.
Sydney's rambunctious leotard-loving lads, Bluejuice, are calling it a day. The beloved pop/rock/dance/errrthang ratbags Jake Stone, Stavros Yiannoukas, Jamie Cibej and James Hauptmann are embarking on their final greatest hits national tour to wrap everything up by the end of 2014. "After 13 years of broken bones, broken hearts, sore heads, passive aggression, regular aggression, several arrests, questionable skin infections, and a busload of infuriated tour managers, Bluejuice are announcing they are calling it quits at the end of 2014," says the Bluejuice reps. Since 2001, the beloved Sydney outfit have had one heck of a ride, keeping the chin of Australian music up with three celebrated albums (Problems, Head of the Hawk and Company) on the shelf and still holding the position of most played track on triple j ever ('Vitriol'). Bluejuice have decided to part ways to test the waters in other projects, with the sad intention of giving those leotards a rest. Before they take their final bows, the team will release a big ol' greatest hits album — a retrospective ride dubbed Retrospectable, with all your favourite mid-2000s sticky-floored party go-tos, best bits from their three albums, extra rare content and new single 'I'll Go Crazy', produced by Dann Hume (Sticky Fingers/Alpine). Bluejuice will kick it on their final national tour this September/October. Starting at Adelaide's Uni Bar, the pair will meander through the capitals and rural centres before finishing up where it all started — Sydney (at the Metro Theatre, where many a drunken Bluejuice escapade has roamed before). In one of the most emotionally-charged press releases we've ever seen, Bluejuice's legacy is laid down. "They shall leave behind a body of work of which they are all very proud, and they look to the future with a mix of hope and fear of starvation, not unlike the chick at the end of Children Of Men." Top notch. https://youtube.com/watch?v=ldBhDmvWFXE
Dance music lovers are well and truly catered for this Spring. With Inside Out and the S.A.S.H. Sleepout dominating September, lovers of big drops and tight beats have already been planning carpools for the warmer months. Planning an exclusive dance music haven to rival your imagination, festival promoters Disktrict want to keep the tempo high until November with the second instalment of Return To Rio. Founded by Ricky Cooper (Tricky) and Nick Law (Lawless), Disktrict launched as a local dance party arbiter of Sydney's east in mid-2012. It didn't take the DJ duo long to dabble into festival territory, holding a rainy but relatively successful Return To Rio a year later. The three-day dance music festival sees Ibiza favourite Ten Walls headlining a solid beats-heavy crew — including Berlin-based DJ and producer Lake People, Sydney 'We Speak No Americano' duo Yolanda Be Cool, Leftroom/Crosstown Rebels label mates Laura Jones and Gavin Herlihy, '80s house pioneer Mr C Superfreq and '90s underground acid house king MC Scallywag. RETURN TO RIO 2014 LINEUP: TEN WALLS (LIVE) LAKE PEOPLE (LIVE) LAURA JONES MR C MC SCALLYWAG GAVIN HERLIHY YOLANDA BE COOL NEIL HODGKINSON GOODWILL SIMON CALDWELL KEN CLOUD BEN KORBEL NICK LAW + MORE Taking over the Del Rio Riverside Resort in Wiseman's Ferry for a weekend in mid-November, Return To Rio shares many of the same traits with the ill-fated, end of summer retreat, Playground Weekender. Due to a major risk of flooding, the five-year-strong dance festival was cancelled in 2012 just hours before it was meant to take off, and wasn't able to recover from the financial blowout. Hopefully the weather doesn't make any threats this time around. Ticket prices have taken a small leap up from $120 to $150, but Return to Rio have delivered a severely beat-heavy lineup akin to last year's, which included Mad Racket, S.A.S.H., Love Bombs, Start Cue, Murat Killic, Wonderland Ave and a truckload of others.
Melbourne-based literary and art mag The Lifted Brow is coming to Sydney to launch its 26th issue at Freda's in Chippendale. Entry is free and there'll be live music from singer-songwriter Alyx Dennison, who used to be one half of indie-pop kyu and has just released her debut, self-titled solo album. Issue 26 is the second incarnation of The Lifted Brow's new format. It includes work from international contributors Wayne Koestenbaum and Hoa Nguyen, as well as a stack of home-grown talents, such as Briohny Doyle, Upulie Divisekera, Helen Addison-Smith, Samuel Wagan Watson, Michael Farrell, Jessica Yu, Sam George-Allen, Rebecca Harkins-Cross, Dion Kagan, Jana Perkovic, Nicky Minus, TextaQueen, Mary Leunig, HTMLflowers and Michael Hawkins. Since being founded in 2007, The Lifted Brow, a "quarterly attack journal", has become one of Australia's most respected literary publications. Numerous big names have featured, Christos Tsiolkas, Helen Garner, David Foster Wallace and Neil Gaiman among them.
When it comes to getting to the heart of what life is like during wartime, Vera Brittain literally wrote the book. You may not have heard of the English writer, though you really should've. A century ago, she was crusading for her right to make her own decisions and rallying against the future that was supposed to await all women. Getting married and playing house was the done thing, but it was far from her dream. Instead, she wanted to study at Oxford and pursue a career — until the First World War broke out, changing everything. Brittain's first memoir, Testament of Youth, offers a record of the devastation that followed, including loss and destruction anyone who has ever read or seen anything about war will instantly recognise. Her recollections are more than just accounts of the horrors she witnessed while volunteering as a nurse in London, Malta and France, however; they're a portrait of a generation forever shaken by the experience, as told from the female perspective. Think about the wealth of movies you've seen about men marching off to battle, then think about how many truly depict what such times were like for women. That's just one of the reasons that Brittain's story — and the film that brings it to the screen — demands attention. She might not have been on the front lines, but she was fighting for a cause in any way she could. After striving to further her education, she willingly chose to put her life on hold, head to the conflict and do her part to support those in the thick of combat. Rising star Alicia Vikander plays Brittain as a determined figure in a dark era, yet never a merely dutiful one, which is an important distinction. It is certainly disappointing that the film pays so much attention to the influence of the men in Brittain's life — her initially disapproving father (Dominic West), her charming brother (Taron Egerton) and the poet she falls in love with (Kit Harington, because every film these days seems to have to cast someone from Game of Thrones) — but Vikander's convincing and complex portrayal ensures she's always the real star of the show. Thanks to director James Kent, the movie is also as handsome as it is heartfelt, his fondness for period details apparent. Audiences have seen warm-toned, softly lit scenes like his before, and romanticised and restrained war films, too, but when they're this intricate and earthy, it is hard to get tired of watching them. Indeed, that sentiment also fits Testament of Youth as a whole. So much looks and feels familiar in the way Brittain's real-life plight has been adapted for the screen, and even if the movie doesn't do its inspiration justice, there's always something — a refreshing point of view, a stellar performance, an elegant image — that keeps sparking interest in this wartime chronicle.
Snooping isn't something we'd encourage. But sometimes having sticky fingers pays off, big time. A Town Named War Boy, the latest offering from the Australian Theatre for Young People (ATYP), turns the State Library's World War One archives into a stripped-back dramatic performance of the Anzac legend. One hundred years on and four budding actors under the direction of ATYP's artistic director Fraser Corfield bring their experiences of hardship and sacrifice to life. Playwright Ross Mueller uncovers the voices behind the diaries and letters of these young Aussie soldiers, giving audiences a brutally honest insight into the realities of life in the firing line. Brandon McClelland, Joshua Brennan, Simon Croker and Edward McKenna take to the stage to deliver these poignant tales.
Melbourne's shindig-instigators Northeast Party House will be dominating Beach Road, Newtown Social Club and The Lair with three downright hootenannies to launch their highly anticipated debut album. Any Given Weekend features dancefloor fillers such as 'Youth Allowance' and 'Fake Friends', which are sure to stir a rambunctious crowd. Latest single off the album, 'The Haunted', is a great example of the strong songwriting chops and poppy hooks you can expect from NPH's debut record as a whole. Forming in 2010, these six Melbourne lads began by throwing down sets at warehouse parties, and their reputation for delivering high-energy live performances has stayed strong. Northeast Party House's alternative dance rock is chaotic but never sloppy, and always wildly fun. So don your most easily-danceable outfit and gather the party fiends in your crew, these shows are set for serious shindiggery. Here's the rundown: Wed 25 June – SOSUEME, Beach Road Hotel, Bondi w/ High-Tails — Free Sat 28 June – Newtown Social Club, Newtown w/ High-Tails and Conics Sun 29 June – The Lair, Metro Theatre, Sydney w/ High Tails and Conics https://youtube.com/watch?v=yU63Pertfk8
Sydney lad Kilter (aka Ned East) is a beatmaker well and truly at ease in the current electronic scene. The locally-applauded producer has already supported Australian electronic bigwigs RÜFÜS, The Kite String Tangle and Art vs. Science, also remixing cuts from the likes of Duke Dumont, London Grammar and Jamie xx. But make no mistake; you won't see this 22-year-old Sydney producer playing a show solemn-faced behind the bright lights of a laptop screen. Kilter much prefers playing a more physical part in his live music, keeping mighty busy with all those keys and knobs on his MPC and microKorg, while working up a real sweat with synths and drum pads. Kilter's brand new EP Shades is released on July 11 — the same date that his 16-venue Australian and New Zealand tour hits the ground running. With the very talented producer Hatch playing in support, first stop for Kilter is Sydney where he'll be accompanied by guest vocalists Citizen Kay and Ngaiire. https://youtube.com/watch?v=fFHI_iyB6QM
Given the American food craze that swept through Sydney last year shows no sign of slowing, it's more than appropriate that one of our top US-inspired venues is throwing a Fourth of July party to celebrate those iconic stars and stripes. Independence Day at The Bourbon — the King Cross landmark with the shady past and shiny, New Orleans-style makeover — will be led by the soulful tunes of Chicago native Doug Williams. The live entertainment will continue with the Bourbon's weekly Freestylin' Sound System, showcasing live DJs, sax, percussion and guest vocalists. But a party at the revamped bar-bistro, which features James Metcalfe (formerly of Becasse and Charlie & Co) as its head chef, wouldn't be complete without a 13-strong canape selection. Southern-inspired Cajun shrimp will be served alongside mini chilli dogs, New York bagels and waffles with chocolate sauce — plus, you can expect a cocktail on arrival. Topping off the celebrations, the party promises a miscellaneous array of all things Americana. We're talking popcorn, fairy floss, cheerleaders, foosball tables and photo booths. Sounds like the Bourbon's got all of your Fourth of July good times covered.
Another overachieving youngster to add to the Hall of Stop Making Us Feel Past It. Cranking a bigger beat than most people who can get into bars, 17-year-old Jacob Grant calls himself Just A Gent and packs a punch on the ol' d-floor. EDM's answer to the Lordes and Baros doing their underage thing aroundaboutown (you know, finishing Year 11 and working in the local toy store), this youngster from Newcastle recently signed to big deal agency WME to many a bubbling "who dat?" reaction. Already counting a bunch of nationally-applauded remixes and Hype Machine-charting edits in his repertoire (one of which Ultra Music Festival cranked in their promo video), JAG dropped a hugely-anticipated remix for The Aston Shuffle in June. Dropping into Sydney's World Bar in the midst of his national debut headlining tour, JAG is textbook one-to-watch material. Avicii better hold on to that little dog of his, this Novocastrian is on track for limelight (read: Oliver the Fox) stealing.
Sydney's multifaceted bass producer Meare is set to thrust new EP Eyes On/So Fine into public consciousness on July 3 at Oxford Art Factory. The up-and-comer is marking the occasion with an epic launch party promising sets from Moonbase Commander, Roleo, Papertoy and Kid Fiction. For a preview, jump onto Meare's Bandcamp page and download tracks for a price of your own choosing (throw the guy a decent dime). His dynamic mix of bass, trap, electronic and chillwave has been receiving oodles of attention from triple j and FBi Radio. Meanwhile, Moonbase Commander will be throwing together the beats, hip hop and footwork that has lately seen the Sydney producer packing out the likes of Goodgod; Roleo will be taking a break from his Thursday night late stint at FBi with his ever-evolving repertoire of new beats and remixes; Papertoy will be delivering his combo of hip hop, trap and R&B; and rounding out the night will be the relentlessly creative Kid Fiction (aka Louis Isaac).
Art plus bar. This almost universal gallery opening deal is a pretty tasty mix already. But the MCA adds extras to this time-honoured tradition with its now SMAC-winning series ARTBAR. They’re evenings of strange and interesting things at play among the art, recurring monthly and curated by a rotating cast of local artists.
Two things that nearly all humans like are clothes and getting really awesome ones at heavily reduced prices. If you're someone who likes both these things, then you've probably already heard about the Big Fashion Sale, which is your best chance to get amazingly fantastic threads from some of Australia's top cult designers at prices you'd be hard-pressed to find on eBay. Now in its fourth year, the sale has amassed the most designers in its short history and will be packing them all into the Fashion Institute at 17 Arthur Street, Surry Hills. These designers include Karla Spetic, Rittenhouse, Emma Mulholland, Benah, Hayley Elsaesser, Roopa Pemmaraju, Man the Label, Bec & Bridge and Elke Kramer. But be warned — insane prices do not peaceful environments make. This sartorial wonderland is probably going to be one that's crazier than Zara circa May 2011, so arrive prepared to fight for your right to own beautiful things. Opening hours are: Wednesday 4 June - VIP Night (Invite Only) Thursday 5 June - 8am – 7pm Friday 6 June - 8am – 6pm Saturday 7 June - 10am – 6pm Sunday 8 June - 10am – 3pm
When writer Herman Melville (Ben Whishaw) knocks on the door of retired sailor Thomas Nickerson (Brendan Gleeson), he's chasing a white whale. The year is 1850, and the author is writing a novel that he'd like to base on his own time at sea as well as another true tale. When Nickerson eventually agrees to share the story of the ship he worked on three decades earlier, he's fleeing the same beast. The Essex, a Nantucket whaler, had dallied with the giant sea creature — and Nickerson had refused to talk about it since. So starts In the Heart of the Sea, Ron Howard's account of the real-life events that inspired Moby-Dick. Based on the non-fiction book that gives the film its name, the movie both searches for and tries to escape the monstrous animal in its midst. In the narrative, it tells of men charging forward and then retreating — though as anyone familiar with Melville's epic would be aware, the whale isn't the only thing they're seeking or running from. In the feature's approach, it rises and falls in its energy and bobs and sways in its style, ensuring that the to-ing and fro-ing of story comes through in the mood and visuals. The Essex had set off in 1819 to gather barrels of oil, with melted-down whale blubber the preferred source at the time. Two men led the crew: the untested Captain George Pollard (Benjamin Walker), who received his position due to his family name, and first officer Owen Chase (Chris Hemsworth), who boasted plenty of experience but lacked a wealthy pedigree. Their clashes rocked the boat figuratively and literally, leaving the likes of young Nickerson (Tom Holland) and second mate Matthew Joy (Cillian Murphy) caught in the middle. Keen to complete the job and get away from each other as soon as possible, Pollard and Chase ventured 10,000 leagues along the equator to find a pod of sperm whales, ignoring warnings about an unfriendly mammal that had terrorised other vessels. While In the Heart of the Sea is framed as a showdown between Pollard and Chase, their combined foe becomes that cinema cliché — the third character in their battle. Thankfully, Howard and screenwriter Charles Leavitt (Seventh Son) know that less is more, teasing the impact of the animal more than they show it. Though the film doesn't miss a chance to flaunt its use of 3D or the aesthetic jerkiness that stems from its watery setting, this isn't a creature feature. Instead, it’s seafaring fare that's littered with more than a few arresting moments, while remaining more concerned with the trouble the whale both causes and amplifies than it does with the whale itself. With Hemsworth playing up the drama that results, it makes for a brooding clash of egos and a blustering tale of humanity versus nature. His accent may waver, but he's a solid lead, even if he's often shouting, scowling and staring out to sea. With Gleeson, he's also an anchoring presence in a film that swims between a drunken retelling, unleashing the chaos and the fury of the ocean; and showing the kind of drifting seen in other recent seafaring films like Unbroken, All is Lost and Life of Pi. A rough but most rousing journey.
Dreams have an intangible, bewildering magic that's nearly impossible to put into words. In their latest production, Perth theatre company The Last Great Hunt attempt to do just that. Falling Through Clouds, running across three nights in this year's Sydney Festival, sees the weird and wacky world of our unconscious come to life in this ambitious on-stage production. Drawing on the talents of performers Adriane Daff, Chris Isaacs and Tim Watts — the folks behind previous festival hits The Adventures of Alvin Sputnik: Deep Sea Explorer and It’s Dark Outside — Falling Through Clouds follows the story of Mary, a bird-loving dreamer with an overactive imagination. The action seamlessly unfolds through a mixture of puppetry, animation, music and live video. Featuring everything from huge paper puppets to spectacular archival footage sequences, the performance engages audiences and challenges viewers to ponder the possibilities of the uninhibited mind. A dark cautionary tale, this piece of Australian theatre pushes the boundaries of what we believe can be possible, both on and off stage.
This multisensory spectacle by Indian director Roysten Abel are sure to impress any seen-it-all arts-goer. Twelve drummers on copper mizhavu drums provide the background soundtrack to a wordless performance that brings new meaning to the ritual of cooking. Visual effects, smells and sounds come together as a man and woman make payasam, a traditional Indian dessert, in this unique show that fuses folk traditions and dramatic performance theatre. And yes, you do get to eat the fruits of their labour at the end.
For the uninitiated, Nas’s debut album Illmatic is widely regarded as his magnum opus, if not one of the best rap albums ever created. Songs like ‘Halftime’, ‘It Ain’t Hard To Tell’, and ‘New York State Of Mind’ are both ageless and highly representative of their time. In other words: it’s gold. To celebrate the record’s 20th anniversary, Nas has been touring Illmatic, playing it start to finish, all over the world. Now, it’s Australia’s turn. Nas will be headlining Sugar Mountain Festival in Melbourne, but also playing solo shows in Brisbane, Sydney and Perth. As well as tearing through Illmatic, he'll be performing a few other hits from the records that followed. While Illimatic may have been groundbreaking, the albums after that certainly weren’t shabby either, and this is a rare chance to relive something truly great in hip-hop history.
At this time of year, its all too easy to get caught up in our own Christmas wish lists, hoping Santa has delivered on our latest must-haves. Sometimes we forget that at Christmas, it’s generosity and community that matters most – and no party celebrates those values better than The Wayside Chapel's Christmas Day Street Party. For over 40 years, the iconic Sydney charity has provided crucial support for the homeless and disadvantaged, with its Christmas party an annual highlight since its humble beginnings as a back-lane BBQ in the 1960s. Today, Hughes Street in Kings Cross is transformed each year, with a morning streetside service, followed by dancing, carols and a sit-down lunch for 800. Managed entirely by local volunteers, the party serves up no less than 50 hams, 40 turkeys and 500 plum puddings for the homeless or lonely souls of our city. Entertainment includes a jumping castle, fake tattoo parlour, Christmas Choir and plenty of quality time with Santa. This year, all Sydneysiders are encouraged to join in the day's festivities. You can also contribute to the feast by donating a plate – a $25 donation provides one guest with an entree, while $50 will provide another with 'The Works'. To donate, go to www.thewaysidechapel.com/donateaplate
This Christmas, Goodgod intends to remind you of that time you wore your Ren & Stimpy t-shirt while you unwrapped a Tamagotchi under a tree decorated in misshapen, handprint-shaped reindeers you made yourself. They're regressing you back to a '90s Christmas through the blessed art form of '90s dance and R&B. Having packed out the Danceteria with the '90s dance-fuelled 'Rhythm of the Night' party all year, Goodgod are putting on a special Christmas edition of their most denim-on-denim inducing event on the GG calendar. This is going to be the last event at Goodgod before they close down for Chrissie holidays and the team plan to fill out the whole venue for the year's last dance-splosion. There's going to be '90s R&B out the front and '90s dance hits out back in the Danceteria, prizes for best dressed and a DJ lineup featuring Levins, Ariane, Captain Franco and a whole heap more. Time to dust off your old copy of Hanson's Snowed In and prepare to throw shapes to Mariah Carey, Wham and every '90s Christmas special you thought you'd buried deep.
Pulling together a dazzling glimpse of more than a century of historic photos, the CLICK! exhibition at Badger & Fox Gallery has many a story to tell. The exhibition features original vintage prints (some signed) from as far back as 1853 and features renowned Australian photographers Bill Henson and Narelle Autio, as well as international photographers from Germany to Japan. There is a story behind each of these photos, be it the mystery behind the stunning Japanese Sitting Nude, taken sometime in the 1880s by an unknown photographer, or the pinholes left in Max Dupain's Your Girl Is Cheating, an early piece by the Australian photographer — famous for his iconic shots of Bondi beachgoers — left marked from being hung at a 1960s Royal Easter Show. The Badger & Gallery, usually open by appointment only, will share the CLICK! exhibit with us Wednesday-Friday 6pm-9pm, Saturday 11am-6pm and Sunday 11am-5pm until December 21. Image credit: Women Are More Beautiful than Men by Gary Winogrand.
I like to think of Metronomy as the nerdiest music imaginable: their songs are pure brilliance. Somewhere between bit music and The Cure, they've managed to discover the musical equivalent of rocket science. Intersecting polyrhythms keep you guessing and dancing furiously at the same time, while melodies rise and recede, each more enticing than the last. The purity of their sound is a dead give away that this band doesn't mess around with lo-fi posing. And on this tour, they'll no doubt be taking this all to the next level as they debut new material for their fans. In short, you should think of Metronomy as Chromeo's cooler cousins. I'd suggest you don a lab coat immediately and head on down to the OAF to dance the night away. https://youtube.com/watch?v=uYB2Mqs24ss
