Residents of Sydney's inner west are in for a treat (again). In a move that gives local street artists a legal blank canvas, and property owners a say in what ends up on their walls, brand new street artworks have popped up all over the area. It's all part of an annual council initiative called Perfect Match (running August 4 to 6) that pairs artists with residents and business owners to transform once-boring walls (the kind that tend to lure in spray can-toting taggers) into works of art. Owners were matched with artists and collaborated to commission the works. If you've been wandering the streets of the inner west in the past week, you might have stumbled upon them mid-painting. If not, the council has organised a series of tours (by bike, bus, train or foot) over the weekend, showcasing the work. Alternatively, just download the Perfect Match program and map and take to the pavement — or stop by for a chat and a beverage at a meet the artists session. It's all a proudly local, site-specific way to pretty up our streets. What a way to play Cupid. Image: Askiew, Elixir Photography/Perfect Match.
Drones: if filmmakers aren't deploying them to capture bird's-eye sights, they're making thrillers about their use and impact. Expect plenty of the former at Drone Film Festival Australia + New Zealand, as lofty visuals get their time to shine — and swoop, soar, float, glide and more. Touring Australia throughout September and October, the fest showcases 36 unique short drone films, stories and documentaries from around the world, including those made by filmmakers, production companies and everyday drone hobby enthusiasts. It's the kind of cinematic package those not so fond of heights mightn't be eager to see, so consider yourself warned. For the rest of us, however, it's a chance to look at the world from a whole new vantage. Last year's highlights included superhero-like tales, jaunts through natural and urban spaces, and even a beer odyssey, as filmmaking took to the skies thanks to the latest unmanned aerial technology. Expect a whole new crop when the festival comes to Dendy Newtown on October 3 for a one-night-only stopover.
Every Monday, Salt Meats Cheese Broadway serves up slices upon slices of pizza for its weekly all-you-can-eat night. It's a time when gluttony isn't a sin — but if you're vegan, you might've been holding back. Fancy as much pizza as you can handle, but without any animal products? Then mark Tuesday, June 19 in your diary. From 5pm, SMC will serve up unlimited vegan slices for $20. The only catch is that you'll have to buy a drink as well, but you can choose from both booze and non-alcoholic options. As for the pizza lineup, patrons can choose from six varieties, all of which come topped with not-zzarella cheese. Pizzas include the margherita, eggplant with basil salsa, and roasted potato with garlic and rosemary. Or, opt for the vegetariana, which combines tomato, zucchini, eggplant and roasted red capsicum — or a slice of truffle and mushroom.
If you're of an age to remember burning your friend's So Fresh CD so you could stay up to date with the coolest songs of the season, congrats. You're old now. But also, congrats because you will seriously enjoy this shindig — yep, it's another So Fresh Party. After rocking the '00s once already, the nostalgic party to end all nostalgic parties is returning on April 27 at the Hudson Ballroom in the CBD. This time they're calling it The Last So Fresh Party, but whether this is your final chance to step back in time or not, they'll be playing bangers strictly of the 2000-2009 vintage. You can expect a disturbing percentage of Channel 10 alums (Australian Idol winners/losers and ex-Neighbours actors) as well as way too much Nickelback for polite company. Also, just throwing this out there: we're desperately hoping for a timely comeback of the Duff sisters duet 'Our Lips Are Sealed.' Tickets will set you back $16.83 and of course it's obviously 18 and over, because if you're under 18 you definitely don't know what So Fresh is. Or CDs, probably.
At Cake Wines' latest excuse for a cheeky vino or several, three misconceptions are in the spotlight. The first two relate to their tipple of choice for the evening, dispelling the ideas that all Rieslings taste the same and that all Rieslings are sweet. The third? It's one we've all become accustomed to, even if we haven't thought about it in-depth: that jazz is the only appropriate wine-drinking soundtrack. Calling their February 24 shindig Riesling & RnB, that's just what they'll be serving up. Attendees can expect a particular white varietal in all of its guises, and rhythm and blues tunes spun by DJs Shantan and Phat Controlla. And, while you're sipping and listening to RnB beats, sommelier Samantha Payne and Cakes Wines' Glen Cassidy will talk through the ins and outs of Riesling — including sparkling versions. Taking place at Cake Wines Cellar Door, the fun kicks off at 6pm, with tickets costing $30. Wine is included in the price, with additional drinks available to purchase. And, with demonstrating the natural relationship between wine, food and music also on the agenda, you'll be able to buy bites to eat as well.
Get your fill of the best vegan food in town at the Vegan Day Out. Come March 10 and 11, The Cruelty Free Shop is putting together a walking tour of vegan cafes, restaurants and retailers, many of which will be offering discounts, deals and free samples to anyone who stops by. For Saturday and Sunday, socially conscious eaters can stop by The Cruelty Free Shop on Glebe Point Road, and grab a map outlining their route. From there, it's all about making your way to to plant-based delights aplenty — and making a day (or two) of it. Whether you're a dyed-in-the-wool vegan or just curious to give it a go, you'll find a whole world of retailers catering to animal-free eating, offering meal deals, two-for-ones, coffee, wine tastings and savings on vegan groceries. The Cruelty Free Shop will also be running its own tastings throughout the day, as well as offering discounts on some of its 3000+ products.
One moment Dominika Egorova (Jennifer Lawrence) is the pride of Russia. The next, she's being bundled off to "whore school". They're her words, all but spat at the shady uncle (Matthias Schoenaerts) responsible, and they say plenty about Red Sparrow. She's a Bolshoi prima ballerina cut down in her prime by envious colleagues, he's a high-ranking honcho with one of the country's intelligence agencies, and their entire relationship consists of him exerting power over her with a lecherous glint in his eye and no qualms about resorting to violence. Unfortunately, this muddled and murky film is all too happy to follow his lead. With her dancing dreams dashed and the her mother's (Joely Richardson) health insurance under threat, Dominika has little choice but to take her uncle's career advice. After agreeing to meet a suspected traitor and bearing witness to his assassination, her only option is to become a 'Sparrow' — a highly trained spy enlisted to seduce and manipulate using everything at her disposal. When she's subsequently put into the field to procure the name of a Russian mole from an American CIA agent (Joel Edgerton), our heroine is quickly forced to give her new skills a workout. Thanks to Lawrence's typically committed and uncompromising performance, Dominika possesses an indefatigable air and quite the formidable stare. But Red Sparrow isn't an ass-kicking female-driven flick in the vein of Atomic Blonde, Haywire or La Femme Nikita, or even the action spin on Black Swan that it nods to in its name. Nor is it a pulpy revenge story, an icy espionage thriller or a rousing tale of a victimised woman using her feminine wiles not only to survive, but to bring down the system that's stacked against her. Based on a novel by retired CIA operative Jason Matthews and directed by three-time Hunger Games helmer Francis Lawrence (no relation), the film is simply a routine array of predictable twists packaged with a particularly problematic approach. Specifically, there's nothing empowering or entertaining about a movie that constantly wears its heroine down just because it can. Red Sparrow tries to frame its treatment of its protagonist as an example of an entire country's corruption ("your body belongs to the State!" Dominika is told in one of the film's more blatant moments), but that rationalisation fails to convince. At the same time, the screenplay touches briefly on themes ranging from toxic sexual politics to the treatment of women in the workplace, but that social commentary falls flat as well. It's hard to take seriously any statement on the objectification and exploitation of women when your female protagonist spends most of the movie being raped, beaten, pushed around and bled dry, often while naked or close to it. Frequently, it feels like Red Sparrow is putting Lawrence in the same situation as Dominika, using her for the audience's gratification. Still, Red Sparrow does have some saving graces — all of which come courtesy of the film's stacked supporting cast. There's Charlotte Rampling as Dominika's no-nonsense trainer, Jeremy Irons as a slippery Russian general and Mary-Louise Parker doing some excellent drunk acting. A better movie could be made about any of their characters, and mightn't need to include cringeworthy dialogue like "the West has gone weak, drunk on shopping and social media!" As we see demonstrated again and again, that kind of overcooked writing really does speak volumes about this troublesome film. https://www.youtube.com/watch?v=FFpJAIy-cow
Fried chicken in one hand and a beer in the other. This weekend, Potts Points' Paper Bird and Marrickville's Wildflower Brewing are inviting you to do just that. They're joining forces for an east-meets-west pop-up on Saturday, March 10, with beers flowing from 1pm and East Asian fare on offer from 2pm. The famed fried chicken has been making waves in Sydney's food scene since the now-closed Moon Park introduced it to the city back in 2014 (and more waves when Paperbird brought it back last year). The shrimp-brined fried chicken will be the star of the show on Saturday, served with biscuits and gravy, perhaps, or soy and syrup. While the full pop-up menu has not yet been revealed, expect the restaurant's usual East Asian flavours and — hopefully — some other menu favourites (hi, hash browns). Unlike other inner west breweries, Wildflower doesn't have its own rotation of food trucks, so this is a rare chance to get some eats while tasting head brewer Topher Boehm's wild ale blends. He's offering up a huge range of his beers on the day, with 15 different blends available by the glass. The list includes a very limited test batch of an amber re-fermented on sweet cherries, along with a range of golds, lagers and the brewery's signature table beer on draught.
It's true that Christmas shopping can be nothing but a nightmarish tussle of overcrowded shopping centres and overblown credit cards. But it can also be a lot of fun. The trick is doing it right. And key to that is having a cocktail in your hand — which is exactly what'll be on offer at Since I Left You's Xmas market on Saturday, December 16. More specifically, the CBD bar's cocktail menu will feature Christmas-inspired specials, such as a summer mulled wine, boozy eggnog and Mum's Chrissy punch. And you'll be matching them with toasties, packed with ham, caramelised onion and Gruyere cheese, or turkey, brie and cranberry. But don't forget, in your boozy, toastie haze, that you're there to get your shopping done. Between 3pm and 9pm, a bunch of Sydney's hardest-working, most talented makers will be peddling their wares in SILY's carriageways and courtyard. Adding to the festive spirit will be live music by Jerome Fandor, playing souled-out versions of Christmas classics, followed by the Post Pluto Intergalactic Groove Committee with a mix of hip hop, funk, soul and disco.
Sleeping on the job is a big no-no in Western culture — despite the fact that it's been proven to increase concentration, improve alertness and be a great help in dealing with accidental work hangovers. Surry Hills mindfulness studio The Indigo Project knows that napping is the key to being generally better at everything, so it started lunchtime nap classes. And now the studio is gifting Sydneysiders with free classes for five days in the week leading up to Christmas. The free half-hour classes will run at 1pm from December 18-22 — they've been built around research that shows a 20–24 minute nap is the optimum length for a siesta. If you're feeling a little off at work, stressed about the Christmas craziness or like you just can't get your brain to kick into gear, head down to Surry Hills for a boost of energy to help get you through the day. Sessions are free, but you should book your place in advance. Image: Kimberley Low.
Forget crappy plastic skeletons and fairground employees in masks: the team at the Sydney Festival are bringing the classic ghost train hurtling into the 21st century. Created by filmmaker Jasmin Tarasin and musician Jonnine Standish, this high-tech take on the classic carnival ride incorporates virtual reality with a choose your own adventure-style narrative. Riders will don a Samsung Gear VR Headset and be immersed in a world of ethereal imagery and bone-chilling music. As the train trundles down the rickety (virtual) tracks, they'll be asked to make choices that will lead them to salvation… or doom. "On this ghost train, you take a trip through the rooms of your mind on a journey full of beauty, tension, humour and, of course, fun," says Standish. Photo credit: Sarah Walker
Venture around the back of Surry Hills' Porteño and you'll find WyNo — aka, a wine lover's haven. Taking over the space formerly inhabited by 121BC, you can eat, drink or take a bottle home with you. Or, do all three. There's another option. Every second Monday of the month from January 8, you can head in at 6pm, settle in for a wine dinner and get acquainted with the best the venue has to offer. Yes, WyNo is launching a monthly series, with chefs Ben Milgate and Elvis Abrahanowicz cooking up a storm to match the chosen vino. First cab off the rank is Bobar from the Yarra Valley. Launching the event, winemaker Tom Belford will be on hand for the intimate affair, telling you all about his tipples. Tickets cost $80 per head, and are certain to get snapped up quickly — so call or email WyNo to reserve your place.
Every autumn, the farmers, winemakers and chefs of the Murray River get together to celebrate their creations at the Sun Country Food and Wine Festival. On the calendar this year are brewery tours, picnics by pedal, decadent degustations, tastings soundtracked by live music and loads more. All in all, 14 events will take place across the region between March 16 and 25. If you're into Mexican, book a seat at Cactus Country's three-course feast in Strathmerton on Saturday, March 17. The event includes a twilight tapas tour of a stunning ten-acre cactus garden, which features cacti from all over the world. Or add a dash of adrenaline to your culinary adventure by grabbing a ticket to Picnic and Pedal in the Grove. On your arrival at Rich Glen Olive Estate, Yarrawonga, you'll be handed a bicycle and a picnic basket packed with local produce then let loose to find an idyllic spot where you can while the afternoon away at your leisure. Meanwhile, a 14-course high tea whipped up by a pastry chef will be on offer at Cafe3641 in Strathmerton. In between sipping Monichino Brut Cuvee and bottomless tea, you'll be treated to a string of dainty delights, made with local produce and served on fine china. Cafe3641 is in a gorgeous, restored homestead surrounded by rose gardens. If you're keen to sample some Indigenous foods, then get along to Ku De Ta in Cobram to spend an evening on the Murray's banks, eating sliders made with kangaroo, emu and barramundi, matched with native berry sangria. There'll be live didgeridoo, too. Another option is The Butlers Pantry Unique Culinary Experience. Taking over Dubuque Homestead for an afternoon, this event is centred on an Indigenous grazing table and gives you the chance to try delicacies both traditional and contemporary. To plan your visit to the Sun Country Food and Wine Festival and explore all the autumnal delights the region has to offer, check out the Visit Victoria website.
Making its return after a year hiatus, the German Film Festival is set to shower Sydney's screens with the latest and greatest in Deutsch cinema. And we really do mean latest and greatest — opening night's true tale The Silent Revolution premiered at the Berlin Film Festival mere months ago, while closing night will celebrate Wim Wenders' newly restored Wings of Desire, the exceptional 1987 effort about angels in Berlin. Screening at Palace Norton Street and the Chauvel Cinema from May 22 to June 5, the rest of the lineup spans from stars to snow to psychological thrills, plus everything from biopics to road trips to a beloved German comedy trilogy. Explore the tension of a new couple taking to the mountains in Three Peaks, laugh at the Fack Ju Göthe franchise — about an ex-con trying to get his loot back and unwittingly becoming a teacher in the process — or catch Gutland's account of an outsider just showing up in a small town, featuring Phantom Thread's breakout talent Vicky Krieps. Other highlights include's Mademoiselle Paradis, which delves into the story of blind piano player Maria Theresia von Paradis; 303, a flick that follows a pregnant student driving to reunite with her boyfriend; and 2017 German box office hit Paula, a biopic about artist Paula Modersohn-Becker. Or, step into a dark fairy tale with Heart of Stone, or test your nerves with crime thriller Four Hands. Plus, if you have any young movie buffs in tow, the festival is also screening a children's program called Kino for Kids.
When a couple of food and drink legends join forces, very good things can happen. This is confirmed by the latest boozy collaboration between burger maestros 8bit and beloved brewery Young Henrys. These mates have dreamed up a next-level creation celebrating that perfect partnership of beer and burger, dubbed the Malted Beast. It's a no-holds-barred assembly of a signature 8bit meat patty, beer onions made with Young Henrys' Newtowner pale ale, cheese, local pastrami and bacon glazed in porter, with a good helping of both Handsome Devil Co. barbecue sauce and rich Young Henrys' Cloudy Cider cheese sauce. And it'll set you back just $16. This all-local monster is set to make its debut at 8bit's Darling Square digs on July 19, kicking off with a launch party from 6pm. There'll be DJ tunes, games and prizes aplenty, and if you're one of the first 100 to RSVP to the Facebook event, you'll score discount burgers and free beer. If you fancy a taste of the Malted Beast, you'd best be quick — it's here for a good time, not a long time.
Much-loved Kings Cross venue Barrio Chino is making a comeback. The Mexican restaurant and bar, which closed its doors in April 2016, is popping up inside the Darlo Country Club from Friday, June 8. Run by Peter Lew, co-owner of the newly opened Chula and the original Barrio Chino, the pop-up will have Tulum beach vibes — with a palm-thatched roof, booths and fairy lights — a changing menu of modern Mexican eats and a slew of Mexican and Tiki-inspired cocktails. The food menu will feature tacos, burritos, enchiladas and nachos, that can be stuffed (or piled high) with fried chicken, slow-cooked brisket and pulled pork. There'll also be guacamole, of course, and dishes are expected to change throughout the duration of the pop-up, too. Drinks, prepared by Michael Hwang from Lobo Plantation and Kittyhawk, will be big and colourful — expect lots of rum, tequila, glowing cocktail jugs (yes, really) and skull-shaped mugs. If you'd prefer your cocktails without the glow, there'll also be a few standout margaritas on the list. There's no word yet on how long the pop-up will be sticking around for, but it will be staying up late — it's running a 2am licence on Friday and Saturday nights. We suggest heading in for a taco and a tiki cocktail, tout de suite. Barrio Chino is now open inside the Darlo Country Club. Opening hours are Thursday, 5pm–midnight; Friday, 5pm–2am; and Saturday, 11.30am–2am.
A black comedy about neighbours fighting over a tree. A harrowing recreation of the worst incident on Norwegian soil since World War II. A gothic interpretation of a well-known folk tale. A film about an infatuated college student who discovers she has unusual abilities. These are just some of the Nordic films headed to Australia as part of the 2018 Scandinavian Film Festival — and yes, it's shaping up to be a great year for movies hailing from the colder parts of Europe. All of the above titles — the opening night's Under the Tree, Berlinale hit U – July 22, the gorgeously shot Valley of Shadows and the empathetic thriller Thelma — head to the festival after amassing quite the buzz at overseas events, and they have plenty of company. Across the Scandinavian Film Festival's almost month-long tour of the country, between July 10 and August 5, 21 features will grace Australian screens, showcasing everything from the latest award-winners to the career output of one of the region's late master filmmakers. In the first camp falls Border, which is based on a short story by author John Ajvide Lindqvist and just won the top prize in the Un Certain Regard section at Cannes; high-school comedy Amateurs, the recipient of the best Nordic film award at this year's Goteburg Film Festival; and Winter Brothers, a flick about siblings living in a remote region that nabbed nine Danish Academy Awards. In the latter category, viewers can celebrate the life and career of renowned Swedish director Ingmar Bergman in the 100th anniversary of his birth, with six Swedish figures — including Tinker, Tailor, Soldier, Spy's Tomas Alfredson — making shorts inspired by the influential filmmaker for compilation effort Bergman Revisited. Other highlights include a semi-scripted cross-cultural comedy about two Danish men trying to set up a dog breeding business in China, aka The Saint Bernard Syndicate, SXSW-standout Heavy Trip, a film about a heavy metal muso spearheading a music festival in a small Finnish town, and The Real Estate, which attacks the chasm between the rich and the not-so in an unflinching fashion. In short: if it hails from Denmark, Norway, Sweden, Iceland and Finland and it popped up over the past year, it's probably on the lineup.
When we take that first sip of our barista-brewed coffee on a workday morning, a lot of us can't actually imagine living without coffee. But what about living without a roof over your head or a guaranteed meal? Unfortunately, this is what many homeless people around Australia face each day, but on Friday, August 3, you can help your fellow Aussies out simply by buying a coffee as part of CafeSmart. CafeSmart is an annual event from StreetSmart that raises money and awareness for the homeless and is back for its seventh year running. This year over 700 cafes will aim to raise as much as they can, with totals reaching more than of $160,000 in previous years. So how does it work? From every coffee purchased on August 3 at a participating cafe around Australia, $1 will be donated towards local projects. So if your go-to local isn't participating, shake things up for a day and head to one that is. Prefer a hot chocolate? You can also donate at the counter. Simply by aiming for a bighearted cafe, you'll be helping some of our country's most in-need humans, so treat yourself to a third or fourth coffee guilt-free. There are a heap of cafes participating across the city, but some include: The Grounds of Alexandria The Boathouse Coffee Tea and Me Single O Three Blue Ducks Campos Harry's Bondi Veneziano Coffee Roasters Top image: Veneziano
To celebrate National Lamington Day — a very important date to diarise on Saturday, July 21 — Peter Gilmore's stunning fine diner Bennelong will hold a lamington drive for a good cause. Taking inspiration from the school canteen drives of your childhood, Gilmore will show off his take on the humble Australian sweet by serving them up in droves — with all proceeds from lamingtons sold on the day going to suicide prevention charity, R U OK?. And this take on the lammy is anything but humble. It's a proud square of cherry jam, coconut ice-cream and sponge encased in chocolate ganache and sitting in a bed of coconut milk parfait shavings. The dessert is also well-known to Sydneysiders and MasterChef fans alike, as it appeared on the television show and we learnt that it takes 49 steps to make. Available to diners in the main restaurant and at the Cured & Cultured and Bennelong bars, the lammy will be available at lunch from midday and at dinner from 5.30pm on Saturday. If you've been wanting an excuse to try the famed lamington — or just dine inside the stunning Opera House restaurant — this is a great one. Image: Nikki To
It's safe to say Gami Chicken and Beer has secured its status as one of Melbourne's go-to fried chicken joints, slinging its signature, Korean-style chook from 12 locations across the city. After opening first Sydney only last month, it's about to launch its second, opening in Castle Hill in early August. And, to celebrate, Gami is giving Sydneysiders a few very good reasons to jump on board, handing out a whopping 1000 pieces of its boneless fried chicken — for free. These fried chicken morsels — RSPCA-approved and rocking Gami's signature blend of 17 herbs and spices — will be up for grabs from noon–12.30pm and again from 5.30–6pm, on both Thursday, August 2 and Friday, August 3 at the new location. The chain has yet to mention any restrictions, such as one piece per person, so we suggest heading in with an empty stomach. Once you're hooked, you're probably going to want to schedule a return visit pretty quick, to try other Gami favourites like the chicken spare ribs, the vegetarian chicken and the aptly named Potato Heaven, featuring three layers of cheesy potato goodness. Gami's fried chicken giveaway will run from noon–12.30pm and again from 5.30–6pm on both Thursday, August 2, and Friday, August 3.
Playing a 13-year-old in Atonement, Saoirse Ronan changed lives with a series of lies. As a twenty-something newlywed in On Chesil Beach, she slings the truth, but its piercing impact is just as sharp. Both roles stem from the pen of British author Ian McEwan and, while Ronan's career hasn't lacked highlights during the 11 years between the two, both demonstrate the depth of her talents. In the Brooklyn and Lady Bird star's hands, the two distinctive yet relatable characters are much closer than they might initially seem: a petulant, misguided teen misconstruing the facts as a way of coping with her own feelings, and a kind, exacting woman sharing what's really in her heart in an effort to do the same. Mere hours after saying "I do", Ronan's Florence has her whole married life in front of her. It's 1962, she's honeymooning by the pebbly shore of Dorset with her new husband Edward (Billy Howle), and when to have dinner seems like the duo's biggest worry. And yet, before darkness falls on their first night away, their wedded bliss will prove short-lived. First, they're playfully disagreeing about music choices. Next, they're trying to stay polite around interrupting wait staff. Soon, they're awkwardly trying to consummate their nuptials — which, instead of bringing the couple closer together, only drives them apart. Where romantic splendour becomes matrimonial sorrow, that's where On Chesil Beach finds its story. With a bittersweet mood painted across its frames, the film burrows into the heart of a fresh but fraught relationship — one that's just getting started, but is already saddled with heavy expectations and weighty complications. That said, this isn't a simple case of opposites attracting and then imploding, or of two besotted paramours following their feelings instead of their thoughts, although both ring true in some fashion. Classical violinist Florence is sweet and driven, from a middle-class family, and has a very clear view of her future. Edward is an English graduate with no set career path, harking from a much more modest background, and fond of rock and roll. What plagues the couple, however, is a dilemma that everyone faces at some point in their lives: the consequences of truly being honest with each other. As Florence and Edward's marriage wilts faster than the flowers that Florence undoubtedly carried down the aisle that same day, an intimate tale begets an intimate picture. Indeed, it's fitting that On Chesil Beach heralds the filmmaking debut of theatre and television director Dominic Cooke, with conversation — and the gaps between the sometimes passionate, sometimes tentative chatter — reigning supreme. Still, marking just the fourth time that prolific novelist McEwan has adapted his own work for the screen, the movie benefits from one of the writer's trademarks. Conveyed here through flashbacks to various points during the couple's courtship, On Chesil Beach never forgets that every single moment, act and discussion is the culmination of a lifetime's worth of desires, woes, emotions and experiences. Unsurprisingly, the resulting film is filled with complex characters not only navigating a difficult situation, but brandishing intricate histories. Meticulously and delicately directed by Cooke with an eye for the blandness of routine British life, the scenic glory of the movie's titular location, and the growing space between his protagonists, On Chesil Beach is also a film that's vastly improved by its stars. As astute and insightful as McEwan's narrative is, it's the performances that give texture to a tale that otherwise works better on the page — including in its ending. That Howle more than holds his own against three-time Oscar-nominee Ronan is no minor achievement, and together they make this thorny fictional romance seem devastatingly real. https://www.youtube.com/watch?v=I9ChbMk1e6Y
The MCA's free music series Sounds on the Terrace is back for the sixth year running. And, once again, the gallery is teaming up with Young Henrys. The Newtown brewers will curate the music lineup and, you guessed it, add a healthy dose of craft beer to the drinks list. The rooftop sessions returned on Wednesday, September 5, kicking off with Sydney hip hop/jazz producer Godriguez and seven-piece soul band New Venusians. The last after-dark session for 2018, taking place on Wednesday, December 5, will feature performances by local Sydney acts Not a Boys Name, Fiction Writer, Ben Panucci, Froyo and China Beach. It's no coincidence that Sounds on the Terrace is concurrent with the MCA's Lights on Later program either. In between sipping on Young Henrys' summery The Lagertia cocktail — a combination of beer and tequila — and snacking on tostadas created by the MCA Cafe, you can take a wander through the gallery, which, until March 3, 3019, will house an Australian-first retrospective of famed South African photographer David Goldblatt's works. While Wednesday, December 5, signals the end of Sounds on the Terrace for 2018, it'll be back in early 2019 — we'll update you with more information soon.
For the past 11 years, the Sydney Underground Film Festival has walked on the weirder, wilder side of cinema, and 2018 is no exception. In fact, with its 12th program including everything from a time-travelling New Zealand comedy to a bloody Christmas flick to Nicolas Cage at his most unhinged, this year might just be more over-the-top than ever. Returning to Marrickville's Factory Theatre from Thursday, September 13 to Sunday, September 16, SUFF kicks off with what could just be the next great (and greatly hilarious) Kiwi effort. Mega Time Squad stars What We Do in the Shadows' Jonny Brugh, and follows a small-time crook who steals an ancient time-travel device, only to be forced to face the demonic consequences — as happens in madcap NZ movies, obviously. Then, at the other end of the festival, get ready to go full Cage on SUFF's closing night. Sure, you've seen Nicolas Cage do plenty of strange things on screen, but Mandy dials his antics up a few notches and then some. Charting a lumberjack's quest to save his girlfriend from a creepy cult and a trio of satanic bikers, it features a vodka-swilling, revenge-seeking, angrily growling Nicolas Cage that really has to be seen to be believed. Throw in lurid visuals and an intoxicating soundtrack, and it demands to be experienced in a cinema. In between SUFF's two big events sits 25 other features, 13 documentaries, four shorts programs, eight workshops and the return of the late-night cereal cartoon party, so prepare to get comfy across the festival's four-day run. Feature highlights include the Aubrey Plaza and Jemaine Clement-starring An Evening with Beverly Luff Linn, Ethan Hawke stepping behind the camera with music biopic Blaze, the violent vengeance of French effort Revenge and Sion Sono's undead extravaganza Tokyo Vampire Hotel. Or, there's also Guy Maddin's San Francisco mashup The Green Fog, stylishly sensory spaghetti western homage Let the Corpses Tan, and the hypnotic Madeline's Madeline — with the latter about a teenage acting student channelling her woes into her work, complete with a incredibly memorable lead performance. On the documentary front, SUFF-goers can step into a varied array of subjects, including folks who believe the earth is flat, the world's first all-girl punk group, legendary exploitation filmmaker Larry Cohen and another director who has made more than 180 movies in 20 years. The list goes on, but this year's fest wouldn't be complete without the man, the myth and the enigma that is Bill Murray — or a documentary about him, more accurately, although he will be in the country later this year.
If your festival budget this year is a little skint and you've resigned yourself to missing out on seeing bands on hills in your gumboots this summer, don't fret just yet. EDGE is a new — and free — arts and cultural festival program launching in Sydney's inner west. EDGE will include a cacophony of arts, music, light projections and performance events throughout its 2018 and 2019 run. While the events for next year have not yet been announced, the festival's inaugural event is a four-day celebration taking places this September. And it's starting with a free opening night party in Ashfield Town Centre on Thursday, September 6. Headlining will be diverse fusion band Worlds Collide, accompanied by sound installations, light projections and dance performances happening throughout the evening. The celebration will continue for the rest of the weekend, too, with pop-up performances in Ashfield Town Hall, Sydney Sacred Music Festival, sound and light-filled exhibition Ritual Lanterns by Jayanto Tan and a folklore flower trail, Bloom. Ashfield Town Centre will also light up with Three Generations, from September 6-9, giant projections of local people and their stories, done by Esem Projects. EDGE will expand during the course of 2019 — beginning in Ashfield and spreading to more of Sydney's inner west — with hundreds of local artists and performers jumping onboard. If you want to register your interest, you can here. Image: Bec Taylor
Tarantino fans, it's the moment you've all been waiting for — and it just might be even better than the world-famous Jackrabbit Slim's twist contest. In a massive overnight movie marathon (dusk till dawn included), Palace Chauvel Cinema is showing its love for the filmmaker responsible for making everyone think twice about Madonna's 'Like A Virgin', Royales with cheese, getting sword-wielding vengeance and getting caught in Minnie's Haberdashery during a snowstorm. With more enthusiasm than the man-in-question's fondness for rapid-fire dialogue, retro soundtracks and paying homage to every film he's ever seen, Tarantino Fest will train the James Street cinema's projector on some of QT's finest from 1pm on December 9. The next 19 hours or so will be filled with flicks helmed by Tarantino, written by Tarantino and/or starring Tarantino. On the agenda: Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, From Dusk till Dawn, both volumes of Kill Bill and The Hateful Eight, in that order. Breaking out your best yellow jumpsuit, bathrobe, Hawaiian shirt, daggy tee and shorts combo, or flight attendant's uniform is heartily recommended. And if you want to dance to 'Stuck in the Middle with You' or 'Girl, You'll Be a Woman Soon' in the foyer, we're guessing that no one will stop you.
"Goodbye Christopher Robin," announces the title of this treacly biopic. Goodbye subtlety and and emotional nuance, too. A true tale about Winnie-the-Pooh author AA Milne, his son, and the loveable bear that made them both famous, this is a movie that doesn't trust its audience to laugh or cry without being told when and how much. Eeyore's constant moping and Tigger's bouncy zest seem almost restrained in comparison. The handsomely staged effort sets its sights on a shell-shocked Milne (Domhnall Gleeson) in the wake of the First World War. He's rattled by London life following his experiences on the battlefield, much to the dismay of his socialite wife Daphne (Margot Robbie). A move to the country doesn't seem to help matters either — or at least it doesn't until a stint in the surrounding forest without Daphne or live-in nanny Olive (Kelly Macdonald), when the writer and his eight-year-old son Christopher Robin (Will Tilston) imagine a whole new world with the help of some stuffed toys. If it worked for Peter Pan and Mary Poppins, then it can work for Winnie-the-Pooh. Or at least, that's what director Simon Curtis (Woman in Gold) appears to think. Indeed, as Finding Neverland and Saving Mr. Banks did before it, Goodbye Christopher Robin presents itself as a behind-the-scenes origin story, but soon proves more interested in riding an easy wave of affection. Given that everyone's favourite fictional bear is involved, there's ample love flowing, of course. Alas, though the movie's approach is well-intentioned, the end result remains noticeably heavy-handed. An overwrought score, uninspired cinematography and pacing that pauses for impact every time something notable happens are just a few of the film's particularly grating elements — although arguably the biggest problem is the mismatch between the script and the way it's been executed. Screenwriters Frank Cottrell-Boyce (The Railway Man) and Simon Vaughan aren't afraid to take the narrative to darker corners, touching on the trauma of war, the difficulties of marriage and motherhood, the struggle of having your childhood suddenly opened to the public, and the distance that can grow between a father and a son. Sadly, Curtis would rather skip nostalgically past the bleaker material, or wring it to inspire easy waterworks. Filmmakers underestimating their viewers isn't new. Nor is spoon-feeding plot developments and signposting sentiment, pairing a cute kid with a grumpy adult, or leaning on pop culture commodities. Goodbye Christopher Robin is guilty of all of the above — but, more than that, it's guilty of squandering its potential. As the great performances from young Tilston and the suitably conflicted Gleeson both show, there's plenty of emotion and drama to be found in the Milnes' story without smothering it in honey. As Winnie himself would say: "oh bother." https://www.youtube.com/watch?v=jb6gC-G2-6c
Perhaps it was timed to coincide with the centenary of the Russian Revolution, but Griffin Independent and Little Ones Theatre appear to have pulled off a serious coup here. Merciless Gods is short story collection by Christos Tsiolkas, author of The Slap and a man renowned for not being afraid to jab at the darkest and most shameful aspects of Australia's national character. Upon publication, the anthology was widely praised, but also described as "out there" and "shocking", with reviewers teasing fictional worlds governed by brutal sex, murder and random violence. Difficult subject matter on the page and not an obvious candidate for a theatrical reworking. Nevertheless, Dan Giovannoni, of Melbourne queer theatre collective Little Ones Theatre, has managed to prise Tsiolkas' savage stories off the page and craft them into a fierce script. By all accounts, the performance adds another, very visceral layer to the already charged stories, without overlooking the vein of human tenderness running beneath.
Music. Art. Maker stalls. Street food. DJs. Workshops teaching some ace skills. Birthday parties can be pretty fancy these days, but most five-year-olds don't get to enjoy all of the above. Of course, COMMUNE isn't like most, well, anything. Their Erskineville and Waterloo spaces are all about creativity, bringing people together and having a collaborative, artistic good time — so it should come as no surprise that their celebration of five years in business offers all of that. Taking place from midday on December 2, the COMMUNE Block Party will turn its Waterloo warehouse precinct into an overflowing shindig, complete with a lineup of their curated pals from across their existence to date. That means lyricist OKENYO, DJs Levins and Franco, and hip hop selectors Flex Mami and DJ Nes, plus Goodgod's Jimmy Sing, roots reggae act The Strides, seven-piece Ghanaian drumming and dance outfit Karifi Ensemble — and more. On the learning side of things, you can discover how to spin tracks with DJ James De La Cruz, make your own electronic music with Heaps Decent or get your hip hop dance on with Groove Therapy and Feras. A group exhibition and art installation, locally made and vintage markets, and food and drinks aplenty are also part of the fun. Early bird tickets are now on sale, starting from $35 + booking fee, with taking part in the classes adding another $20–30 to the price.
Russian punk band Pussy Riot were famously jailed for "hooliganism motivated by religious hatred" following an anti-Vladimir Putin protest in 2012, and the three band members spent over a year in prison. Since her release, Maria Alyokhina has continued to make music as well as founding an independent media outlet in Russia, and now returns to Australia with Riot Days. A 'punk opera'/documentary/performance art piece about her arrest and imprisonment, it is a ferocious call to arms for the resistance. "Freedom doesn't exist unless you fight for it every day," Alyokhina says. "The choice is very simple – to act or to stay silent. What we are showing is just one small example."
The way the festival scene is going, the summer of 2016/17 is going to be epic. The latest in the series of boutique festivals to join the summer calendar is Tell No Tales, a one-day techno bonanza inspired by the hedonism of the European summer festival scene. The lineup gets on board with the European theme too. They've released the first round of artists (yeah, you read right — this is only the first round) including Ricardo Villalobos, a Chilean-born and Berlin-based minimalist techno god who's been dominating the scene for nearly 20 years; Pan-Pot, another Berlin-based outfit; Audion, a techno mainstay who's just dropped his first album in ten years; Agents of Time, an Italian trio who stick strictly to analogue; and Nastia, a Ukrainian DJ who's rocketed to fame in the last few years. The festival will off in Melbourne before coming up to Theatre of the Horse at Randwick Racecourse on Sunday, December 4. The first release of tickets have sold out already, so keep your eyes peeled for a second round. Image: Stephen Arnold.
One of the most important films of 2016, Chasing Asylum tears back the curtain on Australia's brutal immigration policies. Directed by Eva Orner, the Oscar-winning producer of Taxi to the Darkside, this confronting documentary explores the human cost of mandatory detention, combining interviews with whistleblowers — who risked jail to speak out — and sickening hidden camera footage from inside detention centres on Manus and Nauru. "I think we all need to stand up and say enough is enough," Orner told us in May. "I just read this thing where Malcolm Turnbull said, 'Let's not get misty-eyed about offshore detention.' People are lighting themselves on fire. Children are being sexually abused. People have died." One Day Entertainment and the Factory Theatre are presenting a special screening of Chasing Asylum, with all proceeds from the night going to the Refugee Advice and Casework Service. Tickets are now sold out, but watch the Factory Theatre's Facebook page for announcements. Read our interview with Chasing Asylum director Eva Orner here.
Sparkling wine is often relegated to pre- or post-degustation status. But, at this long, long dinner, you'll be sticking to bubbles all evening long. Because it's in sparkling varieties Prosecco, Lambrusco, Franciacorta and Spumante that chef Paola Toppi has found inspiration for each of the six courses in this special one-off dinner held as part of the Bolle Italia sparkling wine festival and Good Food Month. All in all, you'll get to try no fewer than 11 Italian drops. The feasting and sampling will take place under the watchful eye of Bar Machiavelli's black and white projections. Formerly a tyre factory, the restaurant is now a paean to Italian culinary excellence, from the fresh house-made pastas to the cracking wine list. The dinner costs $145 per person but includes six epic courses and 11 (yes, 11) sparkling wines. You will be rolling out of there.
Have you ever wondered why the Mad Hatter is so mad? No, of course you haven't. One of the wonders of Lewis Carroll's Alice's Adventures in Wonderland is that it doesn't try to explain the headwear enthusiast's mental state — it just accepts him for who he is and lets him get on with his tea party. Movie adaptations have done the same to date, including Tim Burton's 2010 live-action effort Alice in Wonderland. Alas, Disney is intent on sharing the origin stories of every classic literary figure it can think of, leaving Alice Through the Looking Glass to explore Hatter's background. In fact, with Alice (Mia Wasikowska) out in the real world, sailing the seas and attempting to save her mother's house, it's the plight of Hatter (Johnny Depp) that actually brings her back to the fantastical Underland. This time he's the one who's lost much of his muchness, thanks to his newfound belief that his long-gone family might still be alive. To help her truest friend, Alice visits Time himself (Sacha Baron Cohen), then goes jumping back through Hatter's history. His past isn't his alone, with his tale intertwined with the feuding antics of Red Queen Iracebeth (Helena Bonham Carter) and her White Queen sister (Anne Hathaway). As such, Alice Through the Looking Glass is both a prequel and a sequel. Given that its predecessor made more than a billion dollars at the global box office, the reason for the film's existence is obvious — as is the determination of director James Bobin (The Muppets) to follow in Burton's footsteps wherever he can. More peculiar is the decision of writer Linda Woolverton to turn Alice into a little more than an observer in the story, making her character the least interesting part of the movie in the process. As a result, Wasikowska is left largely watching on, even if she does ensure Alice seems suitably older and wiser. And while Depp receives top billing, he's carefully deployed — a little of his all-too-familiar wackiness goes a long way. With Bonham-Carter cartoonish and Hathaway mostly placid, it's left to Baron Cohen to bring the liveliness the film so badly needs. Sadly, despite his best efforts and never-ending supply of time-based puns, Alice Through the Looking Glass is never the energetic adventure it so desperately wants to be. That said, Bobin's movie is never boring — only misguided. Trying to ape Burton's over-the-top sensibilities was always going to be difficult, but simply shifting focus to the kookiest figure, throwing together similar set-pieces and asking most of the cast to repeat their previous performances isn't the way to go about it. Even the candy-coloured visuals don't shine as brightly this time around. That the film's most striking imagery stems from scenes of decay says more than it probably should.
The best joke in The Boss is the one that no one talks about. Whatever Michelle Darnell (Melissa McCarthy) is wearing, her outfit includes a turtleneck jumper pulled up over her chin. Whether it's meant to be slimming or is simply an eccentric style option, it looks as ridiculous as it sounds — and while there's no avoiding the silly sartorial sight that greets viewers every time the protagonist graces the screen, the unusual clothing choice is actually among the film's most subtle elements. The fact that it remains hilarious while never earning a mention or explanation is refreshing, particularly in a movie that takes every other chance it can to either state or rely upon the obvious. At the beginning of the film, which McCarthy co-wrote with her director husband Ben Falcone, Darnell is a self-made titan of business. After wheeling and dealing her way to the top, she's the 47th wealthiest woman in America, and at the filling stadiums, splashing cash around and dispensing self-help advice stage of her career. Alas, all it takes is an insider trading charge and a stint in prison for her fame and fortune to disappear. With nowhere to go upon her release, Darnell turns to her former assistant Claire (Kristen Bell) to help get her life back on track — and seizes upon a brownie-selling opportunity inspired by Claire's young daughter Rachel (Ella Anderson). The Boss is an awkward film, and not just because it pairs a predictable storyline with clumsily inserted scenes of outlandish behaviour. It's the kind of movie in which school girls brawl with their mothers in the street, and swearing and physical antics are presented as the height of comedy. Yet the bulk of the awkwardness stems from McCarthy herself. Arguably The Boss ranks alongside The Heat and Spy as one of the actresses better starring roles, but with Identity Thief and Tammy also on her resume, that's not saying much. As committed as she remains to doing whatever it takes to garner laughs, there's no escaping the feeling that she's done it all before. The fact is, audiences may well be getting tired of watching McCarthy bear the brunt of violence, become the butt of jokes and deliver expletive-filled dialogue. Showcasing rather than stretching the energetic performer's many talents is the movie's main aim, however it actually fares best in quieter, less exaggerated moments. There's an astuteness and understanding in the ever-changing dynamic between McCarthy and Bell, even if the latter frequently threatens to steal the show from the former. Dissecting the ways women can both come together and tear each other apart, their exchanges provide The Boss with its much-needed heart. Of course, such moments of depth are few and far between, as is demonstrated by McCarthy's other main adversarial relationship with an over-the-top Peter Dinklage as her ex-boyfriend turned rival. That the end result proves a jumble of earnest sentiment, too-easy gags, one-dimensional characters and inconsistent absurdity is hardly surprising. But at least there's always those unexplained turtlenecks to keep you chuckling.
As far as folklore villains go, Baron Samedi is one of the most mysterious. He's an ancient spirit (or Loa) of Haitian Voodoo, the leader of the Guédé, guardian of the afterlife, and associated with magic and death. He's got a skull-like face and donned in a top hat, black tail coat, dark glasses (prepared for burial, Haitian-style). Now, he's returned from the underworld. This week Baron Samedi Spiced announced its arrival on Australian shores with a super stealthy gig by triple j Hottest 100 winners The Rubens — but that's not the only feisty fun this new spicy spirit has in store. There's a reason that the beverage — made with Caribbean rum and spices such as vanilla, cacao, cinnamon and native Haitian spice Vetiver — takes its name from Loa; it's a dash of cheekiness and mystery, all rolled into one. It's the spirit that sums up yours, and it's also the reason to head to Surry Hills every Friday and Saturday night until June 4. Baron Samedi will be taking over The Beresford both nights from 7-11pm for four weeks and, should you dare to step inside, you'll enter a shadowy rum-fuelled underworld rife with magic, music and lots of tastings. Indulge in vanilla, cacao and cinnamon-flecked cocktails served by colourful characters, and get sucked into an evening of dark adventure. That it all kicks off Friday the 13th couldn't be more fitting. Sounds intriguing, doesn't it? Well, it should. Whether the Baron Signature (with ginger beer, fresh lime and bitters), the Baron Iced Tea (with rooibos tea, lemon, star anise and mint) or Hoodoo Voodoo (with Cinzano Rosso vermouth, pomegranate, blackberries and lemon) takes your fancy, you'll be one of the first in Australia to taste them.
At the heart of Queen of the Desert sits Gertrude Bell, a real life historic figure who was anything but ordinary. A writer, photographer, traveller and more, Bell bucked traditional gender roles, blazed a trail for women working in international politics, and ultimately played a key part in establishing the modern borders of Iraq and Jordan in the years following WWI. Sadly, while the film that tells her tale doesn't ignore those achievements completely, its primary concern instead seems to be her love life. That's how an account of Bell (Nicole Kidman) and her time in the Middle East becomes an episodic effort tied to the men she fell for and worked with. After begging her aristocratic father to send her anywhere outside of England, she is dispatched to Tehran to stay with her diplomat uncle (Mark Lewis Jones), and swiftly succumbs to the charms of embassy secretary Henry Cadogan (James Franco). When their courtship ends, Bell takes to the desert, forming a platonic bond with T.E. Lawrence (Robert Pattinson). And largely via letters, she also connects with Charles Doughty-Wylie (Damian Lewis), a married British consul stationed in Damascus. Writing and directing his first fiction feature since 2009's My Son, My Son, What Have Ye Done, Werner Herzog wants to have his cake and eat it too. He obviously intends to depict Bell as a fiercely independent woman, and yet he can't resist indulging in overwrought relationship melodrama. While such a contradiction might reflect life (and suit Herzog's fascination with existential contrasts, as seen in his other films such as Rescue Dawn and Grizzly Man), Queen of the Desert just can't seem to strike the right balance between empowered adventure and lovelorn longing. Instead, the film becomes a sweeping but standard epic, hoping to blend the emotion of The English Patient and the spectacle of Lawrence of Arabia, and ultimately proving as formulaic as that sounds. At least the latter inspiration provides striking, sun-drenched imagery, with the film at its best when it's charting a lush visual excursion across the plains. As for its worst — well, that's where the performances come in. In the cast's defence, there's a big difference between bad acting and portrayals that are stifled by bad material. Kidman, Franco and Pattinson are all serviceable, but simply aren't given the room they need to turn thinly drawn characters into something more. Kidman certainly tries in one of her most committed efforts in recent years, yet as she flits between yearning and determined, the true spirit of Bell never shines through. Accordingly, Queen of the Desert feels more like routine historical romantic fodder rather than a genuine biopic. Given the woman at its centre, that's hardly a satisfying outcome.
When We Will Rock You initially ventured beyond Britain, Australia was the musical's first stop. The year was 2003, and the Ben Elton-directed effort proved as much of a success here as it did in the UK. Spinning a show around Queen's hit songs, the production said it would rock us — and boy did it live up to that promise. That's the crazy little thing about jukebox musicals: with the right tracks, tale and talent, they can make audiences feel like they're the champions of the world. Who doesn't want to see a narrative set to their favourite tunes, and sing along as it all unfolds? Yes, this is real life. No, it's not just fantasy (although the resulting story of Galileo Figaro, Scaramouche and Killer Queen is, of course). Yep, the three iconic characters are back as We Will Rock You returns to Australia for the first time in more than a decade — and the iconic sounds of 'Radio Ga Ga', 'Under Pressure', Another One Bites the Dust' and 'Fat Bottomed Girls' do as well. With Gareth Keegan, Erin Clare, Casey Donovan and Brian Mannix among the cast, the new production is certain to break free of all expectations. Our tip: find somebody to love to take along. Image: Jeff Busby.
Celebrate the Year of the Rooster by feasting like a pig at Spice Temple this Chinese New Year. From January 23 until February 5, the restaurant will be offering a special banquet menu devised by Neil Perry and Head Chef Andy Evans, featuring ingredients meant to promote good fortune in the coming year. Priced at a pretty reasonable $95 per head, banquet dishes include raw tuna with spicy orange and iceberg ("prosperity"), stir-fried wagyu brisket with lucky money dumplings and baby eggplant ("longevity"), roast pork belly ("harmony") and caramel ice cream with praline ("love"). Matching wines are also available, for an extra $55 per person.
Rabbits: not traditionally a symbol of environmental responsibility or sustainability. Nevertheless, two blindingly white critters, looking like they've barely escaped an evil magician's clutches, have been chosen as the mascots of Penrith City Council's inaugural health and environment festival. But we digress. Real Festival is kicking off in Penrith this weekend at the Tench Reserve on the banks of the Nepean River. It's a night and day of workshops, food, music and art to promote sustainability and healthy living. Activities range from ornithology to kayaking (with ornithayaking for the experienced). Gardening Australia's Costa Georgiadis will be doling out gardening tips, while Black Pebble and Charlie Darling will be running classes on how to resurrect busted up furniture and how to become an eco-aware kid, respectively. Some of Sydney's most popular food trucks, like Knafeh Bakery, will also be on hand to make sure getting closer to nature doesn't become a Lord of the Flies situation. The festival is free, but a lot of the activities require bookings. All you need to do is hop onto the Council's website and follow the white rabbits.
With spring firmly established, Kensington Street Social is kicking off its Social Sunday series, starting this Sunday 13 November. Spend your afternoon drinking, feasting and listening to live music. The first step is to choose your beverage of choice. For just 35 bucks, you'll get a stream of bottomless sparkling, or, for $16, a glass of frosé. Next up, you'll want to cast your eye over the new Social Sunday menu. Tasty morsels include Kangaroo Island scallop with blood orange ponzu, green apple and shiso; tataki hiramasa kingfish with dill and kale togarashi; and beef tartare with beetroot jam, oyster emulsion, horseradish and wasabi leaf. Finish off with dessert in the form of marinated blueberries with almond cream, warm chocolate mousse and milk crisp. Once the feasting's done and dusted, you're invited to shift into the Old Clare, where you'll be settling in for live tunes, and, yep, you guessed it, more drinks.
Consider yourself a bit of a wine expert? Can you swish with the best of them? Can you hold long conversations about tasting notes and ageing barrels? Or are you more in the Leslie Knope school of thought when it comes to wine sampling — couldn't tell you the difference between a Cab Sav and a Merlot, but it's tasty and I'll go with it? Wherever you sit on this spectrum, Mental Notes promises to have something for everybody on the wine enthusiast scale. Returning for their second event on October 25, Paddington Town Hall will be hosting winemakers from all over Australia and beyond, giving keen wine-drinkers the opportunity to taste a cheeky wine, or three. With over a hundred wines available for the tasting, you can drink your way through the country's vineyards, and learn a trick or two from the winemakers themselves. If this wasn't already a pretty sweet deal, there will also be a smattering of food stalls on the day to complement (read: soak up) some of that sweet wine goodness thanks to Mary's. Hosted by Joel Amos (DRNKS) as well Kenneth Graham and Jake Smyth of Mary's and The Unicorn fame, there will also be a casual bar operating during the wine tasting — with a wine list that will be changing every hour — because, can you ever really have enough booze at a wine event?
If you haven't yet had a gander at Harold Park's just-opened Tramsheds, here's your excuse. Every Thursday in October for Good Food Month, various eateries at the new foodie hotspot will be hosting their take on Food Tales. In other words, they'll be telling you all the stories — old and new — about the dishes they serve up. Ever wondered where pasta comes from or what eating it means to the Italians? Curious about how sustainable fishing works and why it's important? Not sure how Gelato Messina started and when it got so damn big? Get yourself along and find out. While you're there, check out the Shoot The Chef photography exhibition. Image: Steven Woodburn.
It should've been so easy. Everybody loves Christmas films that revel in the raucous side of the season, as the likes of Bad Santa (forget the sequel) and The Night Before demonstrated. Everyone loves Office Space-style workplace comedies as well. Combine the two, throw in a host of funny folks, and the jokes should write themselves… shouldn't they? Perhaps that's the problem with Office Christmas Party — maybe directors Josh Gordon and Will Speck (The Switch, Blades of Glory), as well as the six different writers involved with conjuring up the story and screenplay, just assumed that's what would happen. They certainly thought that sticking to a formula as bland and straightforward as the film's title would work, and that mentioning beloved pop culture brands and figures such as Fast and Furious, Mad Men, David Bowie and Prince would rustle up some added affection. Alas, the last time office-based festive antics proved such a mess, it was in Die Hard. We all know how that turned out: fantastic as far as action flicks are concerned, but not so well for the people trapped inside Nakatomi Plaza. Here, a Chicago building inhabited by the local branch of a computing firm provides the site of the chaos. Head honcho Clay Vanstone (T.J. Miller) wants to throw the kind of annual party his dad, the former company head, would've been proud of — not the non-denominational holiday mixer with a gouda-stacked cheese platter that HR rep Mary (Kate McKinnon) is putting together. When his sister and interim CEO Carol (Jennifer Aniston) not only cancels the shindig, but threatens to lay off almost half of his staff, Clay and his chief technical officer Josh (Jason Bateman) spring into action. They plan to woo a possible big-shot client (Courtney B. Vance) by throwing an epic rager, with an inappropriate eggnog delivery system, a basketball star and all-round debauchery included. Great party movies, like the recent Tina Fey/Amy Poehler vehicle Sisters, make you wish you were there. Bad party movies usually make you cringe — and no, that's not what Office Christmas Party actually wants to do. Frankly, it's attempting too much already. With X-Men: Apocalypse's Olivia Munn, Workaholics' Jillian Bell, Saturday Night Live's Vanessa Bayer and The Neon Demon's Abbey Lee also among the cast, the film isn't short on subplots involving professional and romantic troubles. As if that weren't enough, a revolutionary new way to access the internet also plays a significant part in proceedings. Mixing an over-stuffed story, predictably bad behaviour, and Santa suits and Christmas lights aplenty, Office Christmas Party proves the type of supposedly outrageous comedy that feels like it was designed by committee. To be fair, that is how most real-life workplace gatherings of the sort come together, and they don't have the scene-stealing McKinnon to liven things up. Still, a party that's only enjoyable when one specific person pops up will always remain a drag, be it off-screen or on.
Watsons Bay Boutique Hotel is the hero of old-world seaside charm. Its stripy umbrellas, schoolyard benches and Breton-striped wait staff make it the perfect place to while away a summer afternoon with a drink. The Beach Club has sprawling outdoor seating, a fresh-not-fancy menu and a view so palm-tree perfect it could be a postcard. Every Sunday from February 5 to March 26, Watsons Bay Boutique Hotel has a summer-perfect Aperol Spritz pop-up bar and drink special. Finish off what has been an amazing summer season by heading down to Watsons Bay on the weekend and grabbing a $10 Aperol Spritz in the sunshine. The drink special runs all day, there will be summer DJs to set the mood and a pop-up lifeguard tower to get the perfect photo. We can't think of a more perfect lazy Sunday. On Sunday March 5, Messina are teaming up with Aperol and Watsons Bay Boutique Hotel to create an Aperol-flavoured gelato. You can sample it from 2pm-5pm in the sunshine.
If you'd lived in Sydney 100 years ago, the Queen Victoria Building would've been your go-to farmers' market. Local growers and makers would pour in, peddling fresh produce, groceries and textiles. To celebrate this delicious history, the QVB has decided to host a pop-up foodie market this August. For five tasty, tasty days between Wednesday, August 3 and Sunday, August 7, a crowd of Sydney's favourite providores will take over the building's first floor. You'll be able to wander from stall to stall, browsing, sampling and deciding which morsels to take home. If dairy is your weakness, get into Pepe Saya's perfectly creamy, cultured butter, which will be sold alongside a stack of artisanal breads. Also delivering on the freshly-baked front will be Sonoma, with their 36-hour-made sourdough. Meanwhile, Salt Meats Cheese will be serving up three-cheese truffle mushroom toasties. Once that's done and dusted, move onto Vanto's Naples-style wood-fired pizza. Next up is dessert. There'll be no shortage of choice for sweet tooths, with Nutorious selling caramelised nuts and popcorn prepared in an old-school copper barrel, Spoon and Fork offering a selection of too-good-looking-to-eat cakes and biscuits, Koko Black taking care of chocoholics and Doughnut Time presenting a new, QVB-inspired creation. Wash it all down with a coffee from Kikko Cafe and pick up a bunch of Mr Cook flowers on the way out. The QVB Marketplace will open 10am-4pm, from Wednesday, August 3 to Sunday, August 7. On the Thursday, opening hours will extend to 7pm. Image: Pepe Saya.
"For some reason, everything has become a metaphor," newly widowed investment banker Davis Mitchell (Jake Gyllenhaal) writes in a letter to a vending machine company. Uttered in voiceover partway into Demolition, it's not just a cringe-worthy piece of dialogue designed to provide an insight into his grieving mindset. It's also a dangerous sentiment for a character in a film to express — particularly in a feature that dedicates the bulk of its running time to becoming the movie equivalent of this statement. Davis' life has been torn apart by a car accident that claimed his wife (Heather Lind), though he managed to escape without a scratch. Barely shaken by the tragic turn of events — and clearly not visibly upset enough to satisfy his father-in-law and boss, Phil (Chris Cooper) — Davis begins to see everything around him as a reflection of his predicament. When he's not pouring his thoughts onto the page, initially trying to obtain compensation for a packet of undispensed peanut M&Ms but really just looking to share his lack of pain, he takes to dismantling the physical objects around him. A phone call from pot-smoking customer service representative Karen (Naomi Watts) proves similarly disruptive. Director Jean-Marc Vallée might be known more for his style than his subtlety, but the aptly titled Demolition takes blatant expressions of emotional states to a new level. Gone is the evocative earnestness and thematic texture that made the Quebecois filmmaker's French-language fare such as C.R.A.Z.Y. and Café de Flore work so well, even when they veered into heavy-handed territory. Instead, it's the contemplative simplicity of his most recent English-language efforts — AIDS drama Dallas Buyers Club and soul-searcher Wild — that's on display, coupled with a fondness for obviousness. Accordingly, Demolition proves an elegantly shot and deftly edited but ultimately empty series of scenes depicting its titular process in various forms: the initial crash, the destructive manner in which Davis behaves in the aftermath, and more than a few instances of both items and relationships being smashed to pieces, often in slow motion. While there's truth behind the broader observations Vallée is keen to stress, there are few new insights on offer. That screenwriter Bryan Sipe also penned the script for this year's Nicholas Sparks' adaptation The Choice gives an indication of the level of depth — or absence thereof. Alas, Demolition isn't a film that can be saved by its cast either. Gyllenhaal is solid and convincingly imparts some much-needed levity, but demonstrates exactly the amount of nuance he's asked to. While it shouldn't be surprising that yet another movie about a man's attempt to find himself wastes its female talent, Watts' nothing part is still disappointing. Playing Karen's teenage son, it's actually relative newcomer Judah Lewis (TV's Game of Silence) that fares best. His story arc might be designed to increase drama, but he conveys his character's journey without resorting to the movie's favourite tool, on-screen and off: a sledgehammer.
With winter finally digging its claws in, there's nothing like a quality, spiced spirit to get you through those long, cold nights. Luckily, Baron Samedi — not only an Haitian voodoo spirit, but a spirit of the liquid kind too — is coming to your rescue. Having popped up at Taylor's Rooftop in June, the good ghost is back and, this time, he'll be hitting the North Shore. You'll find him in residence at Lane Cove's Longueville Hotel, serving up cockle-warming cocktails featuring Baron Samedi Spiced, ginger beer, lime and bitters, as well as cups of Voodoo Punch. Yet to be acquainted with Baron Samedi Spiced? Well, it's a Caribbean spirit laced with an exotic mix of spices, including vanilla, cacao, cinnamon and Haitian native, vetiver. Its namesake, Baron Samedi, is a master of all trades, from voodoo to guédé to gatekeeper of the afterlife. We're afraid we'd be ruining the fun, were we to let you in on too many more specific details.But we will say that there will be drink specials and a few surprises along the way. So get on down the Longueville this winter and experience Baron Samedi Spiced for yourself.
Have you ever fallen asleep while reading a classic text, and dreamt of something much more lively? One assumes Seth Grahame-Smith has, given that his main claim to fame is taking iconic characters and mashing them up with the undead. Having already seen an Abraham Lincoln: Vampire Hunter adaptation, a big screen take on his 2009 novel Pride and Prejudice and Zombies seemed like only a matter of time. Unfortunately, the film follows in the footsteps of its presidential predecessor, failing to provide either laughs or gory thrills. To be fair, Pride and Prejudice and Zombies makes a much more convincing attempt than Grahame-Smith's take on honest Abe. You can see how writer-director Burr Steers (Charlie St. Cloud) is trying to splice together his seemingly conflicting components. Sadly, you can see the gaps as well. It's not the concept that the film struggles with, but the tone and the requisite balance, never managing to be as funny or as ridiculous as its director so desperately desires. The film concerns the Bennet sisters, trained zombie killers on the lookout for suitable husbands. Second sibling Lizzie (Lily James) is less than enthused about matrimony, despite the pleading of her father (Charles Dance) that she think about her future, and the machinations of her mother (Sally Phillips) to see her daughters married off to wealthy men. As her sister Jane (Bella Heathcote) courts wealthy new neighbour Mr Bingley (Douglas Booth), Lizzie can't help noticing the stern but somewhat mysterious Colonel Darcy (Sam Riley). He's not the only potential suitor in her midst however, with her pompous cousin Parson Collins (Matt Smith) and debonair soldier Mr Wickham (Jack Huston) also making their interest clear. If the above description emphasises the romantic aspects of the story, it's simply taking its cues from the film. Think of it as Pride and Prejudice with a few zombies thrown in as a gimmick; a way to differentiate the movie from the numerous other big screen versions of the tale. Those familiar with Austen's prose might raise a smile as Lizzie's headstrong ways find a perfect outlet in combat, and will likely enjoy scenes of banter paired with physical duels. As a matter of fact, Pride and Prejudice and Zombies offers a surprisingly serviceable interpretation of its original source material. Those after literal brains, however, will find very little in the blood and gore department. What Steers fails to realise is that there's more to a zombie flick than talking about them, training montages, and throwing in a few shots of decaying faces now and then. Given the charm James shows as a feisty heroine fending off flesh-eating foes, it's disappointing she's not given more opportunities for action. Along with the rest of the cast, she does her best to act like she's in the kind of movie Pride and Prejudice and Zombies should be, rather than the one it actually is.
Get your fill of the best vegan food in town at the fourth annual Vegan Day Out. This weekend in Sydney and Melbourne, The Cruelty Free Shop is putting together a walking tour of vegan cafes, restaurants and retailers, many of which will be offering discounts, deals and free samples to anyone who stops by. On March 5 and 6, socially conscious eaters can stop by The Cruelty Free Shop on Glebe Point Road in Sydney or Brunswick Street in Melbourne and grab a map outlining their route. Whether you're a dyed in the wool vegan or just giving it a go, you'll find a whole world of retailers catering to animal-free eating, offering meal deals, two-for-ones, complimentary coffee, wine tastings and savings on vegan groceries. The Cruelty Free Shop will also be running its own tastings throughout the day, as well as offering discounts on more than 400 different products.
Sometimes, a film's premise is all there in its name. In 2008's Kung Fu Panda, a cuddly animal tried to master a skill he didn't appear all that suited for. His exploits blended an underdog story with physical comedy, wrapped up in vibrant animation and leaning on the voice talents of Jack Black. Of course, the movie that resulted hit all the anticipated beats: the training montages, the heart-warming journey from uncertainty to self-confidence, and the repeated sight-gag silliness of a panda showing off his martial arts prowess. Two films later, and not much has changed. Just as you can expect a movie called Kung Fu Panda 3 to feature 'Kung Fu Fighting' on its soundtrack, you can also expect it to stick to the established formula. That's how franchises are made, after all — if it ain't broke, don't fix it, as the old saying goes. When a series is built on little more than a one-joke concept boosted by its cuteness and saddled with a feel-good message, however, it's hardly surprising when it wears thin a few installments in. Po (Black) might have accepted his unlikely status as the Dragon Warrior — the sole kung fu master capable of harnessing limitless power — yet he's still not that comfortable in the role. In fact, he's daunted when he's told by his teacher, Master Shifu (Dustin Hoffman), that he'll now be training his pals (voiced by Jackie Chan, Lucy Liu, Seth Rogen, Angelina Jolie and David Cross), and is thus happily distracted when his long-lost biological father, Li Shan (Bryan Cranston), arrives to whisk him back to a secret panda village. But when the menacing Kai (J. K. Simmons) breaks free from the spirit world with a mission to capture other kung fu warriors' chi, Po has to find a way to believe in himself, unleash his full potential and save his friends. With Po's adopted (James Hong) and birth dads jostling for attention, and a pretty panda (Kate Hudson) vying for his affection, there's plenty going on in the Alessandro Carloni and Jennifer Yuh Nelson-directed effort — though the fact that the duo have worked on the series before, as have writer-producers Jonathan Aibel and Glenn Berger, is telling. The stakes might be raised, and many more pandas thrown into the mix, but even younger viewers will be able to see where it's all going, and how they're supposed to feel about it. As too often proves the case with all-ages animated fare, it's left to the film's images to brighten things up with colour and movement, and to add some personality in the process. Kung Fu Panda 3 may not offer up a new narrative, but it tries — and almost manages — to compensate with lively 3D visuals. The voice acting attempts to inject the same kind of energy, although a little bit of Black goes a long way. That said, if another round of laughing at pandas busting kung fu moves and listening to a message about being yourself is your idea of easy, undemanding entertainment, then the film's been-there, done-that approach won't worry you.
