The idea of ‘play’ as an art form has been floating around since Surrealism and Dada, yet people still tend to think of art and video games as being enemies. Art makes you culturally superior, while video games are for fat guys who sit around in their underwear eating bowls of cereal. It’s only in the last few years that the masses have become more open to the idea of digital interaction as a form of artistic exploration, but there are some artists who have been experimenting with technology, play, narrative and interaction since the early ‘80s. The Garden of Forking Paths draws together a range of historic and contemporary artists who have created boundary-pushing computer games that break the traditional shoot-em-up gaming orthodoxies. Jaron Lanier’s 1983 Moondust is the earliest example, even incorporating an ‘80s version of the Wii remote. Laurie Anderson and Hsin-Chien Huang’s 1995 Puppet Motel CD-ROM consists of a series of beautifully crafted interactive rooms filled with Anderson’s stories, imagery and music, giving the user no instructions as to how to interact with them. Artists Auriea Harvey and Michaël Samyn’s 2009 The Path reworks the Little Red Riding Hood story, delving into the psyche of the audience with a short horror game that blurs the line between art and video games. All of the works are interactive, with some installed on ‘antique’ computers sourced specially to allow viewers to experience the games with authenticity.
Surf culture is something Australians feel an affinity with even if they don’t surf. Who hasn’t gone through a phrase where it was only acceptable to wear stuff made by Billabong and Roxy, bought a Hawaiian shirt or maybe just called someone “dude”? It’s more firmly engrained in our culture than sarcasm and irony and, like both of these things, you don’t need to be particularly good at it to appreciate it. But of course surf culture is more enjoyable when you actually do surf, because then you can make the most of things like the Deus Surf Swap and get your board custom sprayed by Marty Worthington, splash out on one of the latest foam mowers from Bing Surfboards or flog your own sticks for surf art, posters, vintage bric-a-brac and retro surf wear. The organisers are a chill bunch and welcome everyone from pro surfers to those just wanting to deck out their lounge in sweet surf memorabilia, and even boogie boarders can come along if they keep quiet about it. All this is going down at Deus Ex Machina in Camperdown, which is remarkably un-salty but has an excellent collection of custom motorbikes. Image by mikebaird.
British band WU LYF are making their Australian debut at the Sydney Opera House next week, as part of the Vivid Festival. Part beat poet, part disenfranchised youth, part anarchist, this fascinating band from Manchester have been creating a few waves recently with their infectious and emotive self-coined 'heavy pop'. Determined not to sell their soul to the music industry, they've been cleverly manipulating the media and building a steady following over the last couple of years, whilst still remaining decidedly enigmatic. Perhaps even their name, an acronym for World Unite Lucifer Youth Foundation, is an ironic nod to their defiance. Attempts to scratch beneath their surface are met with fierce resistance though, and even on their own website they remain staunchly obtuse. Their story is told across numbered segments in semi stream of consciousness prose which, you'll soon realise, are out of sequence, rendering them nonsensical. The jury may still be out on whether they are bona fide rebels, or if it's all just an exceptionally clever PR stunt, but that's kind of missing the point. Their music is superb: deep, raw, emotive, yet accessible. This show may be a chance to witness the phenomenon that is WU LYF before they break into the big time.
Greece conjures up numerous thoughts. Philosophy? History? Democracy? Yes, yes and yes. Indie rock? Apparently so. GROUPLOVE founders Hannah Hooper and Christian Zucconi met on an artists residency on the island of Crete. Upon returning to the United States, they met drummer Ryan Rabin and began recording in his home studio. The sound they developed mimics their homeland of California. Their self-titled EP has received heavy play on Triple J, led by heir single 'Colours', and an album will be out soon. On their first trip to Australia, they are being supported by Young The Giant, and will bring their own brand of indie escapism to our shores.
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 third year, the sale has amassed the most designers in its short history and will be packing them all into Darlinghurst's District 01. These designers include Karla Spetic, Christopher Esber, Nathan Smith, Amy Kaehne, Friend of Mine, Story by Tang, Seventh Wonderland, Elke Kramer, Ausmode, We Are Handsome, Meadowlark, PAM, Rittenhouse, Marnie Skillings, Dannika Zen, Secret Squirrel, Eleventh Hour and My Pet Square. 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.
This year's Summer Opener takes place at Sun Studios, a recently renovated warehouse in Alexandria. With walls stretching up to 25 feet high and equipped with superb sound and lighting features, this is the perfect venue to host one huge New Year's Eve party. The line-up is fronted by Emerson Todd, a Berlin-based DJ who has also found considerable success in Australia. His popularity has been reflected in his work with the likes of Pnau and The Sleepy Jackson, as well as appearances on the festival circuit at We Love Sounds and Future Music Festival. He will be supported by Ft Mode, Eoin Brosnan and The Amateur DJs. The venue also includes a seperate bar and outdoor area. Ticket prices are inclusive of access to beer, wine and standard spirits as well as a summer barbeque. Head on over to the Summer Opener to welcome 2012 with music, friends and a good feed.
My biggest gripe with Woolloomooloo is that there’s no official abbreviation for it, which means that it’s really annoying to type on a QWERTY keyboard. Starry-eyed Frankie Jones, however, has bigger issues with the place. Arriving destitute in the inner-city suburb from Italy after her entire family dies and her financial situation hits rock bottom, Frankie begins to search for her long–lost cousin. What she finds, instead, is a job working the tables at Sydney’s most famous theatre restaurant, where she’s drawn into the secret theatre restaurant underworld by the terrifying Godmother of theatre, Mama Murkin. It’s “Muriel’s Wedding crossed with The Godfather, Pulp Fiction on a date with When Harry Met Sally, with a little pinch of La Dolce Vita.” Poor Woolloomooloo isn’t all complicated letter combinations and life-threatening theatre, however, it does have delicious Italian restaurant Puntino Trattoria, who are teaming up with theatre company Arthur Productions to put on this culturally and gastronomically rewarding evening.
If you’re heading to the movies without a picnic blanket this summer, you’re doing it wrong. Moonlight Cinema is back for its sixth season this year to prove that movies are better when you’re watching them outdoors, and best when you can bring your own food and booze without being super sneaky. The season kicks off with a preview screening of Alexander Payne’s comedy-drama The Descendents, while the rest of the cinematic lineup includes Woody Allen’s romantic comedy Midnight in Paris, the 2011 remake of The Muppets and the Hollywood neo-noir drama that cemented Ryan Gosling’s rank as the tenth sexiest man alive — claim your patch of grass early for Drive. Even The Twilight Saga might be remotely diverting when you’re sitting under the stars, and then there are the requisite screenings of The Breakfast Club, Top Gun and The Rocky Horror Picture Show. Also on offer will be NY-style street food, a fully licensed bar and gourmet picnic hampers you can book along with your tickets. Though the best way to do Moonlight is still with a bag of Cheezels and a bottle of wine. Gates open at 7pm and screening starts at sundown. Read Concrete Playground's guide to Summer outdoor cinema in Sydney
"A beautiful film… profoundly moving." Los Angeles Times "The Slumdog Millionaire of documentaries: an inspiring, deeply moving crowd-pleaser." Washington Post What happens in the world's largest trash city will transform you. Filmed over three years, Waste Land is the Academy Award-nominated documentary that follows renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world's largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of 'catadores' - self-designated pickers of recyclable materials. Concrete Playground is teaming up with Jameson and Hopscotch Films to present A Movie Night this Wednesday, November 30 at Cinema Paris, Fox Studios (where the film will be screening exclusively from December 1). At 6pm, we will be serving up some tasty cocktails prior to a special advanced screening of Waste Land at 7pm. To go in the running to win tickets for you and a friend, just make sure you are subscribed to Concrete Playground then email hello@concreteplayground.com.au by 5pm on Tuesday, November 29, 2011. Winners will be notified by email soon after. https://youtube.com/watch?v=0XCxpQMfGfc
A haunting new dance-based video work from Samuel James stages bodies against surreal surrounds, exploring the psychological and physical dimensions of places. Vivaria means literally 'place of life', but generally refers to enclosed areas where plants or animals are kept for observation or research. Within this hypnotic four-screen video installation, vivaria are shuffled and flipped like a child's toy blocks, allowing us to peer into strange and surreal worlds. These worlds are familiar yet not, urban places twisted into Escher-like repetitive architectural structures or fantastical landscapes. Within them, human figures appear, often tiny and seemingly overwhelmed by their surrounds, isolated and somehow disjointed. Soon, we realise that their strange movement is in synchronicity with their environment and, in moments where movement conjoins with architecture, we see that these humans have somehow adapted and become one with these alien places. The dancers involved are Martin del Amo, Peter Fraser, Linda Luke, Georgie Read and Lizzie Thomson, Sydney-based artists who are all incredibly unique, and this work reveals the great depth of their talents. Gail Priest's post-apocalyptic soundscape is a perfectly suited and carefully unobtrusive echo of the visual aesthetic.
There's probably not one among us who hasn't imagined their life playing out as if it were a film. We imagine the audience's reactions to our expressions, the camera's soaring view over our actions. But never has it been so beautifully described as it has by Oliver Tate, the young protagonist in the film Submarine. Directed and written by Richard Ayoade (based on a novel by Joe Dunthorne), it was inevitable that this film would emulate the endearing sweetness that Ayoade brings to his character Moss in the lovable IT Crowd. It's a simple story: boy has crush on girl, girl is slightly troubled pyromaniac, boy's parents are dealing with their own problems which might involve the reappearance of long lost sweethearts, and so boy attempts to assist their love life. Broken up into prologue, three acts and an epilogue, the film does almost read like a book but the spectacular mixed media photography including Super 8 footage, stills and brilliant use of slow motion adds a decidedly visual tonic to the movie's book-like script. Not that being book-like is a criticism: the characters all speak with a studied wit, delivered with natural grace. Sally Hawkins, who plays Oliver's mother Jill, is an engrossing actor who takes subtlety to a new level, and the young stars Yasmin Paige and Craig Roberts are staggering talents to be watched. Strangely enough for a small film shot in Wales, Ben Stiller pops up as an executive producer and also makes a small cameo in the film. Assuming that he was crucial to funding, I can only take my hat off to him. This was a slow burn film, with a moving soundtrack and skilled direction. I say slow burn, because it takes a while to realise just how endearing, humorous and touching it really was. But once you do, you'll probably want to see it again.
There is a lot of 'themed' stuff going on these days. I am guilty as charged. I wonder why this is - do we need limitations, something finite, contained? Why do we need this now? With the world so apparently royally screwed I am sure there is a little bit of fantasy escapism wrapped in there along with a sweet nothing whisper from Mr. Nostalgia who claims that it was all so much easier back then. Either way, this is 2011. Let's not think about it too much. Dress ups we like. And dress up we will. And from the kings of themed dress-up parties we come to The Lost Boys' latest offering, On the Catwalk. With a secret venue texted to you on the day and commitment to theme like no other - this party is sure to pout and pose and photoshop away all those weighty world blues. With a whole host of DJs it seems a little odd that one would be expected to dance - how to move in haute couture and six inch heels? - but hey, the topple from the catwalk is all part of the show. Tickets are on sale now (and tend to sell out super fast) so get in quick, or failing that get your people, to call my people and hey, we will go from there. Update: tickets are now sold out.
Hendrick's Refined Courtship Clinic is "offering etiquette tips to both singletons and couples looking to woo potential suitors and develop their relationships with a level of decorum... offering advice on all matters from polite body language to acceptable topics of conversation and procedures of courtship to reading signals from a lady’s fan movements." It's marketing, but not as we know it. Hendrick's, better known as boutique distillers of a cucumbery gin, also have a penchant for quirky events such as supporting the Chap Olympiad, which of course gives them a chance to put their tipple in front of new tastebuds. Their courtship clinic has helped lovelorn individuals internationally, and is setting up shop at 387 Oxford St Paddington for a few days, to be hosted by Dr Humphrey SixWivs and Mrs Isabella Forlornicate. No doubt tongue will be firmly in cheek, and a gin will be firmly pressed into your hand should you drop in for some help in the romance department.
Have you ever wandered down a suburban street at night, when everyone's living room lights are illuminating their dinner and TV watching activities, and taken a little peek inside? We're all a little voyeuristic by nature, but it's not just the big events in life that are interesting. Sometimes we need to satisfy our curiosity for seeing into the lives of others. The Living Room Theatre company has combined our curious nature with a three fold theatre performance. Combining film, a radio play and a live theatre performance, A Little Room will let you into the lives of three women as they experience moments of love lost and gained. It will explore what these little moments mean when the time for taking them for granted has past. Toying with ideas about memory, experience and how we cope with the loss of love, this production will inspire a whole new way of looking at your loved ones. Do you remember the little moments? What happens if memories are all you have left? Inspired by the work of Canadian sound designer Janet Cardiff and employing the compositional structures of of Steve Reich and Keith Jarrett, this will be an illuminating production.
One of the leading figures in post-war and modern Japanese photography, Eikoh Hosoe is renowned for his work that combines elements of theatre, dance, film and traditional Japanese art. The Theatre of Memory is a new exhibition at the Art Gallery of New South Wales that brings together four influential series' of works by Hosoe from the past five decades. The Butterfly Dream, Kamaitachi and Ukiyo-e focus on the avant-garde Japanese dance form of Butoh which, Hosoe was deeply fascinated by. Also known as 'the dance of darkness', Butoh seeks to explore the hidden, dark side of human emotions. These works prominently feature the two dances often cited with creating Butoh - Tatsumi Hijikata and Kazuo Ohno. The fourth work featured in the exhibition is Embrace, a series of abstract nudes focusing on the purity of human form.
When I was young, and my parents would visit Myer to buy, like, an iron, or a food processor to aid the making of vegan hedgehog slice (true story), I used to head straight to the toy department and wonder what would happen if I got locked in there overnight. I was pretty sure it would be terrifying, but as a reward for my bravery I would get to keep all the toys I opened. Late Night Library is the slightly more grown up Lucinda’s version of that dream. Since April this year, Surry Hills Library has played host to a series of after-hours talks, workshops and film screenings, a fair number of them on the naughty side. This Thursday, that repertoire will be expanded as singer/songwriters take the LNL stage. Performers include Jai Payne (The Paper Scissors), Camilla Hill and Cody Dillon in what has been termed (by whom no-one knows) ‘a 4 headed 8 armed singing-songwriting chimera of death’. I guess my younger self was right about this kind of thing being terrifying. Entry is free, but it’s recommended you book ahead by calling the library: 02 8374 6230
It's totally okay to go and spend your money at August's Big Fashion Sale. Not only will you be virtuously supporting the Australian fashion industry, you'll get the chance to try on and possibly go home with some very clever and attractive pieces of work. The usual story of samples and seconds, these events are also a good way to hone your overall shopping fitness. Identifying items in sizes and styles relevant to you and evaluating them according to the 'amount you want them' x 'condition they're in' x 'actual saving' x 'how much money you have' formula, requires mental agility, budgeting and prioritising, which reinforces your 'responsible adult' powers. Not only that, the change rooms at these things are a yoga experience if solo and a lesson in how-to-not-elbow-people-while-not-meeting-their-eyes when communal. This particular sale, in the new location of Darlinghurst's District 01, has pieces from Asuza Women's, Maurie & Eve, Shakuhachi, Lonely Hearts, Laurence Pasquier, Carly Hunter, Nathan Smith, Birthday Suit, Rittenhouse, Deadly Ponies, Ruby Smallbone, Elke Kramer, Nicola Finetti, myPetsQuare, Emma Jube, Seventh Wonderland, We Are Handsome, Story by Tang, Secret Squirrel, Shona Joy and Strummer. Options will run from denim to sparkles.
Secret Wars may not be quite as secret as it was when it started in 2006 in London, but the name still seems appropriate. After all, there’s always going to be something weirdly personal about watching two artists trying to outdo each other in a 90 minute race/battle. Perhaps it’s because the pursuit of art seems so solitary even when it’s an onstage competition. Perhaps it’s just that the contestants usually spend their time illustrating elaborate puns on their opponent’s names. In any case, it always makes for a great evening. This Wednesday, Oxford Art Factory will host the semi-finals of Sydney’s 3rd Secret Wars ‘Season’. HEESCO and VARS ONE will be trading ink in a fierce battle for a spot in the Grand Finals later this year. Remember to cheer extra loud for the artist you think deserves the top spot — the crowd vote is decided using a decibel reader.
Spirituality in cinema is a double-edged sword. From the works of Andrei Tarkovsky to the more recent A Prophet, films that delve into the unseen gears of faith and another world tend to laden themselves with a weight that will welcome dedicated viewers and drive the rest away. Of Gods and Men, directed by Xavier Beauvois, carries on the tradition with a piece that is beautiful, deeply meditative and, for those with the endurance, long drawn. The film takes place in and around a monastery in Algeria, during the mid-90s. A picturesque opening details the daily lives of the eight French Trappist monks who make their home here, and lays out their close relationship with the Muslim inhabitants of the neighbouring village. This is an image of pure, pastoral bliss, with the monks tending to their honey-making, their vegetable patches and their communal prayers. There is mutual respect and a genuine love between the two groups - monks and villagers - displayed both through the dedicated work of the doctor, Brother Luc (Michael Lonsdale), and through the monks celebrating birthdays with local families. Of course, such a peaceful opening begs to be overturned, and when Of Gods and Men's second act opens with the arrival of extremist Mujahideen soldiers, the violence of the outside world makes its presence felt. Like other films dealing with religion and spirituality, the arrival of the soldiers is the crucible of the monks' faith. Charged by their vows and their love to stand by the local villagers, sandwiched between the extremists and an increasingly paranoid government, the monks are faced with the question of whether they should leave or remain at the monastery where they will surely die. Often in spiritual films, the question of faith and the presence of a higher power is seen through the eyes of a sole believer. Not so in Of Gods and Men. Beauvois has worked with the ensemble cast to create a strong sense of communal faith, and this film renders a very human approach to an otherwise lofty genre. Supporting the cast and direction is Caroline Champetier's cinematography and Michel Barthélémy's production design. Both of these elements create a world that beguiles with its simplicity. Aside from questions of spirituality, these two elements gently place the idea of a slow, grassroots life, filled with bespoke knitwear and the comforts of tilled soil. Make sure that you're in the mood for reflection when you come to see Of Gods and Men. It will reward an unrushed viewing and subsequent pondering, but otherwise you will feel as if the film is half an hour too long.
A passing glance at Chunky Move's latest work, Connected, might conjure up images of medieval torture devices. For what other reason would someone be connected by strings from their back that run into what appears to be a Catherine Wheel? However, it is a closer look that reveals the sane, less bloodthirsty answer. Suspended above the performers is a complex web of paper, wire and string: a geometric net frozen in the air. Constructed by Californian artist, Reuben Margolin, this device echoes the movements of the connected dancers in real-time to produce temporary sculptures. While the principles behind the device's construction appear to be simple — a criss-cross of joints and bars — there is a wealth of mathematical brain-crunching driving their fluid articulation. As a result, Margolin's device becomes a major performer in Connected, working alongside the human dancers — directed and choreographed by Gideon Obarzanek — to create a series of clean, physical sequences that grow increasingly complex throughout the piece. Connected is a fantastic conceptual follow-up to Chunky Move's other works, Mortal Engine and Glow. Both of these earlier works explored the role of a human interface in manipulating audiovisual technologies. But, rather than hyperjumping to the far regions of digital performance forever more, Obarzanek has turned the clock back to old-school mechanics. The device at the heart of Connected does not run on electricity. Its movement is stimulated only by the dancer it is coupled to, and it is in this that the show presents a timely reminder. Technology may provide us with flashy new frontiers but, ultimately, what drives any application is still very much grounded in our humanity. Catch this living wave-form sculpture in Sydney before Connected jumps the oceans to South Korea and the USA. Image by Jeff Busby
An observant and sometimes handsome Englishman named G.K Chesterton once wrote that "Fallacies do not cease to be fallacies because they become fashions". What he might have meant is that popularity or acceptance does not necessarily determine something to be true or accurate; in fact the opposite is often the case. This opinion seems to work particularly well when considering the history of film and cinema, where narratives, roles, and stereotypes often find themselves in formulaic, fashionable loops (have you seen this one? Man loses girl so man does something, overcoming various obstacles, to get girl back). Think of all the remakes and sequels we witness each year in popular contemporary cinema that reinforce aged principles and tired behaviour. And, although we might consider ourselves astute viewers, we should probably admit that cinema is somewhat of a charismatic medium, often making it even more difficult to determine fallacy from fashion, social stereotype from social reality. Taking place at the always-rewarding Red Rattler, Seen & Heard is a free festival celebrating women filmmakers. And while this festival attempts to address and critique gender roles commonly occurring in both the production and exhibition of contemporary cinema, the festival organisers would contend with anyone wanting to pigeonhole women filmmakers with solely presenting and dealing with 'women's themes'. In fact the festival promises to "battle the celluloid ceiling" and deal with questions on "class, race, ability/disability, gender and sexuality". What seems promising here is that this festival looks as though it will be less about attacking gender restrictions in cinema and more about looking and listening at films that deserve attention, despite what the fashion may be. The schedule: Thursday January 14th - Stranger than Fiction: exhibiting both fiction and documentary shorts featuring guest speaker, filmmaker Sunny Grace. Friday January 15th - Scarlet, White and Blue: causing controversy over race relations in Australia. Saturday January 16th - Festival Gala night: featuring special guests Gurleseque and a live performance by Fag Panic. Sunday January 17th - She's So Unusual: experimental shorts with guest speaker, filmmaker Gillian Leahy.
The big haired, skinny jeaned UK outfit The Horrors are all pomp and dark romance. From the scuzzy thrash punk beginnings of their debut Strange House, they exploded in the UK with some serious NME cover time and have built a solid following around the world. They released Primary Colours last year, which saw them leaning more towards the sounds of post-punk/new romantics like Nick Cave and Joy Division, and shoe-gazers like My Bloody Valentine. The album was lauded by critics as phenomenal and it is really a fantastically moody yet poppy gem with aggressive but catchy hooks left right and centre. If you want to avoid the sweaty masses at the BDO then catch The Horrors' side show at the OAF.
Billed as "a unique collective of experimental pop, indie and electronic" The Sister Cities Music Festival would be graded as small on the festival-ometer, but still packs punch with some great bands and solo acts from Melbourne and Sydney. It's nice that they are trying to bring some unity to the table between these competitive sisters, and with acts like Sydney's Megastick Fanfare and Melbourne's The Emergency topping the bill we'll all learn there's nothing like percussive freak outs and dancing to bring cities and people together. It's a truly eclectic lineup with the folky/pop stylings of Shady Lane, and then Bon Chat Bon Rat - who win the obscure band name competition. The are a few unknowns on the bill also worth checking out: TST from Melbourne who do moody post-punk with Bloc Party-esque dueling guitars and disco beats, and Tantrums adding some more electronic tinges to the Fest with their glitchey melodies and beats. It should be interesting to see if it all comes together into something cohesive, though it probably won't and that could well be the charm of it.
What on Earth has Jim Cameron been doing for the past 12 years? Well, not much - technically - for he has gone virtual, turning that closely guarded world of gaming geeks into pure cinematic spectacle. And that is exactly what Avatar is: absolute spectacle â€" a big, bright and sweeping epic that demands to be seen on the silver screen, behind 3D glasses. The story itself is pretty basic, essentially Pocahontas meets Fern Gully, and considering Sigourney Weaver's presence, it has a few lashings of Aliens (by way of Gorillas in the Mist) as well. Of course none of these references make for a particularly pretty post-colonial reading of the film. Your world is on the brink of utter destruction? Ok, but be sure to waste precious time trying to save the white woman. Not to mention the classic white warrior "going native" and rescuing the noble savages from themselves. Then again, Avatar probably wasn't meant to stand up to such discourse, rather it exists in the world of fairytale; one not so far removed from its gaming brethren or Cameron's Terminator and Aliens shoot-em-ups. And then comes the heart, where, mercifully, Cameron dials back on the stultifying declarations rampant in Titanic, instead presenting the burgeoning love of Jake (Sam Worthington) and Neytiri (Zoe Saldana) as one born of the respect of warriors. And in keeping with the fairytale tropes, every character slots into their allotted caricature very well. Weaver is the impassioned scientist, Giovanni Ribisi the corporate stakeholder protecting his bottom line and, most amusingly, Stephen Lang is Colonel Quaritch the mercenary muscle as well as the source of much comic relief (be it intentional or not). So though you won’t get anything new narratively, Avatar is a visual feast, bountifully colourful with enough glowing UV colours to make a raver jealous. It’s clear Cameron and those talented Kiwis at WETA have absolutely gone to town creating Pandora, as well as the painstaking performance capture required to bring life to the inhabitants themselves. It’s just a shame that some of the brilliant action is sullied by exposition that caters to the lowest common denominator; in 12 years it seems Cameron still hasn’t grasped subtlety, though perhaps it’s better that way. https://youtube.com/watch?v=dyDQoXEBkGw
Touted as the dance event of the Sydney Festival, Bale de Rua is coming to town with a whole lot of sweet dance action that smacks of Brazil. Using original music, traditional melodies, dynamic percussion and ridiculously-impressive production design, the company has created a mini break-beat carnivale, big on energy and athleticism. With a cast of fourteen men and one woman who specialise in hip hop, breakdance, capoiera and congado, Bale de Rua (literally 'street ballet') traces the history of Brazil, from its African roots to contemporary times. It was a sell-out in Paris and massive in Edinburgh and London - sending the critics into praise spasms anywhere it goes. Founded by two street-taught dancers, Marco Antonio Garcia (apparently we'll be hard pressed to find a more sculpted human body), an ex petrol pump/supermarket attendant and Jose Marcel Silva, an ex coffee bean picker/bricklayer, Bale de Rua is both an internationally acclaimed company and a dance school. Most of the dancers are graduates and many of them now also teach Bale de Rua dance classes in the poor neighbourhoods of central Brazil. Photo by Eric Deniset https://youtube.com/watch?v=jlVWj6PdUbE
Master of the implied jazz hands, Rufus Wainright returns to Sydney in October to play an intimate man-and-piano show at the the Sydney Opera House Concert Hall. Son of the equally famed Kate McGarrigle and Loudon Wainright III, and brother to Martha Wainright, Rufus has a daunting musical pedigree, which he seems to have all but pushed aside to forge his own (intense) fanbase with his poetic, bare-all lyrics. His debut album, Poses, led to wide acclaim, as has every single thing he's been involved in since (except that drug addiction that led to temporary blindness, perhaps). Rufus Does Judy at Carnegie Hall, his take on Judy Garland's 1961 concert, a song-for-song show in 2006, has become something of an iconic moment in pop performance. After his cancelled shows earlier in the year, this is one event not to miss. Tickets go on sale on Friday, June 4, at 9am. https://youtube.com/watch?v=J_TxPQKcG7w
The words, "The Beatles" are never uttered in Sam Taylor-Wood's debut feature film Nowhere Boy, and, for the most part, neither are the screaming girls that the phrasing conjures. That's because the film focusses intensely on John Lennon's life aged fifteen-eighteen, an intimate portrait of a specific time period rather than the usual longwinded biopic. Aside from a few little wink-wink sight gags scattered throughout, Nowhere Boy could be the late adolescence of any boy growing up in Liverpool in the mid 1950s. Except of course, Taylor-Wood knows that we know he isn't.Confronted with the death of the uncle that raised him alongside the starched Aunt Mimi (Kristin Scott Thomas, perfectly buttoned up), fifteen year old Lennon (Aaron Johnson) is further thrown into confusion when his biological mother steps into the frame, at the cemetery no less. Anne-Marie Duff as Julia is more like an ebullient older sister, eager to welcome back Lennon into her rebuilt life, having abandoned him as a small child. She gently shoos her two daughters out of the way as she coos over John, fussing and â€" just a little â€" flirting. 'Rock'n'roll means sex', she teaches him, knocking him for six, as he begins to measure out his approach to life, and, more to the point, his music. There's an excellent scene showing them hearing and reacting to Screamin' Jay Hawkins I Put a Spell on You for the first time in Julia's lounge room, capturing the shock of the new and how something like a song at the right age can change everything.The film is less about John Lennon and his budding musical talent, perhaps because Johnson feels a little out of place with his cheeky, quick banter, but moreso that it's the story of the two women who raised him, from within the interior of a family melodrama. The stark contrasts between Mimi and Julia, with their own clashing notions of both parenting and living, form the spine of the film. Both show up to see his new skiffle band play at a local fair, but though their intent of support is the same, they are unable to do so together. The reason for his abandonment as a small, crying child (shown occasionally in unnecessary flashbacks) is revealed at one point, sadly the least triumphant moment of the film.Taylor-Wood, known predominantly as a photographer and video artist, in collaboration with screenwriter Matt Greenhalgh (he penned the Joy Division biopic, Control) has made a loving, intimate rendering of a snippet of a life. Beautifully shot, and with period perfect costuming ("it's my Buddy Holly look", says John to Paul McCartney, at one point), Nowhere Boy looks the part and feels genuine but not enough to linger, even if by the end of the film we understand that the boy is actually going somewhere. https://youtube.com/watch?v=Y6Km9L1Sqd0
One of the best things about living in Sydney is the good weather, particularly in summer. So, why not make the most of our fair city by drinking and dining al fresco? Round up your date or your mates and have a picnic in the sun. Lucky for you, we're giving away lush hampers filled with tasty snacks and top-notch Wolf Blass drops to three Sydneysiders, so you can take your picnic game to the next level — without spending a dime. The hampers will come with six bottles of Wolf Blass Makers' Project wine, including its popular pink pinot grigio, rosé and pinot noir, and a heap of gourmet goodies, including eggplant and chilli chutney, artisanal crackers, handmade chocolates, gingerbread bickies, nuts and mini meringues. So, should you win this prize, you'll be feasting away this summer, whether you choose to do so by the beach, in a park or in your own leafy backyard. To enter, see details below. [competition]791139[/competition] Remember to Drinkwise.
Rugby fans all across Sydney are primed for this weekend. The HSBC Sydney 7s returns for two jam-packed days of rugby matches with 28 of the world's best international men's and women's Rugby Sevens teams going head-to-head to be crowned tournament champions. While all that action-packed rugby will keep you busy over Saturday, February 1 and Sunday, February 2, there's a lot happening off the field, too. The annual event will also feature a mini music festival, the chance to meet some of the players and much more. Basically, it's an all-out party no matter which way you look, so here are all the other things you must check out while you're there. [caption id="attachment_758988" align="alignnone" width="1920"] Rugby AU Media[/caption] DANCE AT SATURDAY'S FESTIVAL For the second year running, the Sydney 7s weekend will have its very own music festival so, when you're not watching the footy, you can dance into the night. The festival will host live acts across the two days, starting with some of our city's best homegrown DJ talent on Saturday. Kicking off on the decks is Bondi's own Yolanda Be Cool from 4.30–5.30pm, followed by DJ Tigerlily from 6.30–7.30pm. Closing out the night is ARIA Award-nominated artist L D R U, who'll perform from 7.30–8.30pm. Heaps of supporting acts are on the docket, too. Head here for more details. [caption id="attachment_758963" align="alignnone" width="1920"] Rugby AU Media[/caption] ENJOY SUNDAY'S MULTICULTURAL PERFORMANCES On Sunday, you can expect the festival area to feature an impressive lineup of acts from across the globe. Headlining the day is Polynesian recording artist Fiji (George Veikoso). He's a leading force in the contemporary island reggae music scene, so expect epic beats paired with his smooth vocals. Alongside Fiji, other acts to take the stage include a Caledonian pipe band, a live brass band, an African drum group and cultural dance groups aplenty. Apart from performing at the festival stage, some of these groups — which also include crews from South Africa, Scotland, New Zealand and the Cook Islands — will also roam around the stadium and perform pop-up gigs throughout the weekend. For full details, head to the website. GRAB A FEED While you're welcome to bring food and non-alcoholic bevvies into the stadium with you, part of the fun of the day is exploring the many food options that Bankwest Stadium has to offer. Here, the food offering is inspired by western Sydney's diverse communities and promotes local merchants and producers. From the stalls, expect the likes of beef brisket, ribs and pulled pork rolls from Barbecue Pit, poke bowls and rice paper rolls from Nourish and salt and pepper squid and tempura prawns from Catch. There are also pizzas, burgers and specialty coffees on offer, plus footy staples like beef pies, sausage rolls, hot dogs and hot chips. You can check out the full details of the food and drink offerings here. And if you're headed in with a group, weekend hospitality packages are also on offer. [caption id="attachment_759236" align="alignnone" width="1920"] Rugby AU Media[/caption] PUT YOUR FOOTY SKILLS TO THE TEST While rugby is raging on the field, spectators can get in on their own sports action with games and activities set up all around the stadium. If you fancy yourself as good as the pros, grab a mate and start off with the kicking challenge, a virtual simulation game which tests your skills. Each player gets a chance to kick and will be scored on speed, difficulty, power, height and goal scoring. The duo with the highest daily team score will even win two signed jerseys. [caption id="attachment_758991" align="alignnone" width="1920"] Rugby AU Media[/caption] WIN HEAPS OF PRIZES Apart from signed jerseys, there are heaps of prizes and giveaways on offer throughout the weekend. On-field challenges, dance cam competitions and free merchandise are all on the docket, plus games like horizontal bungee, obstacle courses and inflatable passing challenges all come with potential prizes. And you'll find branded giveaways everywhere you look, including clapper banners to help you cheer on your team during the match. You can win tickets to the best seats in the house and bag gifts like Budgy Smugglers. Basically, you're almost guaranteed to leave with a few freebies. There's more information on games and activities available across the stadium here. [caption id="attachment_758994" align="alignnone" width="1920"] Rugby AU Media[/caption] MEET THE PLAYERS Sydney's instalment of the Rugby Sevens tournament doesn't just give fans the chance to watch their favourite players in action — spectators also have the rare opportunity to meet players from all over the world as they take a lap around the pitch post-game to take selfies and sign autographs. There are a few key players you should keep an eye out for including Australian women's players Ellia Green and Emma Tonegato and men's players Maurice Longbottom and Lewis Holland. Plus New Zealand's Michaela Blyde and Ngarohi Mcgarvey-Black are two to hope for — so far in the 2019-20 season, New Zealand is ranked first in both men's and women's standings. And the winning team of the men's 2018-19 Sevens series was Fiji, so watch out for that team, too. [caption id="attachment_759009" align="alignnone" width="1920"] Rugby AU Media[/caption] SPARE A THOUGHT (OR DOLLAR) FOR THOSE IN NEED Of course, this year's event couldn't pass without an acknowledgement of the raging bushfires that have devastated our country. Sydney 7s is doing its part toward bushfire relief — it's donated over 2000 complimentary tickets to the NSW Royal Fire Service alongside $5 from every ticket sold over the just-passed long weekend. Plus, World Rugby, Rugby Australia and Asics have joined forces to pledge a total $1500 Red Cross donation for each try scored by the men's and women's Australian teams across the tournament. Spectators are encouraged to join in the fundraising and do their part, too. Why not pledge $1 for every try your favourite team scores throughout the weekend? To purchase tickets to HSBC Sydney 7s, visit Ticketek, and for event updates follow @Aussie7s on Instagram. Then, find more ways to make the most of your weekend below. Top image: Rugby AU Media
If you thought The Soda Factory's Tuesday Dollar Dogs was generous, that’s just the tip of the iceberg. Having just surpassed the 10,000 like mark on Facebook, they’re hosting an event titled 10,000 Leagues Under the Sea to show their gratitude. This nautical bash will feature a complimentary seafood smorgasbord of gourmet fish and chips, salt and pepper squid and lobster sliders. There’ll also be complimentary cocktails for the early birds who arrive between 5-7pm. Rockabilly party-starters, The Two Timin' Playboys will be taking the stage from 7pm, followed by DJs spinning tunes into the wee hours of Thursday morning. Relatively new on the scene, The Soda Factory has quickly crept up the ranks of Sydney’s hottest bars. This dimly lit industrial space slathered with 1950s charm is the brainchild of Graham Cordery of Experience Entertainment and Michael Chase. In gutting out what was formerly Tone Nightclub to make way for this hip retro hangout, Corderoy told us before opening that whilst he enjoys a quirky decor and customised cocktail, what he doesn't enjoy is having to walk out at midnight. This is evidently a criticism that has struck a chord with many Sydneysiders — at least 10,000, in fact.
The Biennale kicks off with a special ARTBAR night at the Museum of Contemporary Art on Friday June 29. This is a new range of events for the MCA, and it’s exciting to see more Sydney institutions dip into the realm of late night programming with a focus on culture and community rather than clubbing and drunkenness. This second ARTBAR instalment, curated by former Concrete Playgrounder, Eddie Sharp, is all about the mechanics and bipolar excellence/strangeness of cinema. There’ll be pianos with pinballs, inflatable delusions, 1960s 3D cinema and the opportunity to view the Biennale exhibition spaces on levels 1 and 3. ARTBAR in June is part of the 18th Sydney Biennale.
Fightclub's Tyler Durden put it best: "You are not a beautiful and unique snowflake". We spend our lives at work - our careers are an enormous and contradictory part of how we value ourselves, how we're judged and how we relate to others. Through sculpture, installation and photography, the curators of Mostly Agree investigate the part corporate culture plays in forming our sense of individuality: how work at once directs us by injecting us with purpose, and throws us into despair and paralysis by narrowing that feeling of boundless possibilities we feel at points in our youth. There is a rich and familiar history of the conflict between the individual and contemporary corporate capitalism in popular culture. And some of the works in Mostly Agree fall back on stock ideas: the suited everyman, the ironically modified office suite. Sometimes it risks mimicking the greyscale culture it seeks to subvert. But the show is solid, and worth a visit just for the excellent stop-motion video work Reproduction by Emma White. In an endless 13second loop, a polymer clay photocopier methodically pumps out blank pages, then sucks them back in. There is no beginning, middle or end, only the slow time of nine to five. The attention to detail is exceptional, from the way the paper bends as it is ejected, to the flash of awful, cold light that periodically bleeps out from the side of the copier lid. Watching this video is as addictive and pointless as repeatedly pressing the refresh button of your Gmail account or Facebook news feed. It wonderfully expresses not just the inanity of many workplace tasks, but the joylessness of the silent bus stop queue, the dread of the monthly phone bill's arrival, the non-choice between forty near-identical tubes of toothpaste under fluorescent supermarket light, and all the other tiny, predictable habits that capitalism shoves us into. Reproduction is a precisely executed, brilliantly simple and infallibly wholistic piece of conceptual art. Jaki Middleton and David Lawrey's sculptural installation Consolidated Life aims for the same balance of dreadful beauty. A three metre high office block looks like a vogon spacecraft from Douglas Adams' Hitchhikers' Guide to the Galaxy, but is in fact a Tardis of sorts. Circle the building and you will find a window to a miniature interior. Using mirrors and optical trickery, the artists have created a deadly still and infinite grid of desks, conspicuously empty of workers and interrupted only by a single, eerily spinning office chair. Image: "Consolidated Life", 2010, kinetic sculpture (internal view) by Jaki Middleton and David Lawrey.
It's been a few years now since Head On first reared its head on the Sydney art scene. For a third year, it's covering Sydney in exhibitions, photos in parks and railway stations, and even a two day marathon seminar that covers a weekend with workshops enough to leave you full of photographic knowhow (assuming you're quick enough to book). In the art, Adam Sebire shows buried desert roads, Sun Studios examine the face of roller derby and indigenous themes hail from Manuwangku (our review of its previous showing), Tennant Creek and West Australia's Conversations with the Mob. Kids get let loose on cameras in a trio of shows spread around the suburbs with Penrith's Kingswood, the Japan Foundation's Messages For Our Children and MLC's Vintography at Chatswood's Concourse. Teacher Leslie Oliver, meanwhile, turns the camera onto her students and their own returning Love Stories. The Nikon-Walkley Photographer’s Slide Night returns for a third year (6pm May 9, RSVP) while in Leichhart Library, a trio of shows focus on Vietnamese Market Gardeners, the iconography of teenage bedrooms and the ubiquitous sky. MiCK Gallery explores other urban wastelands, Maunsell Wickes takes in some William Yang and Rowena Hall combines pregnancy with some freaky cool imagery at Pine Street. Not enough? Get some rock, immobile homes and aliens at Gaffa, a night in Rio in Paddington and a slice of Queensland's best at Depot's North by Northeast. Image from Manuwangku: Under the Nuclear Cloud by Jagath Dheerasekara.
Opening in late-2015 and closing its doors one year later, you could've blinked and missed Master. But if you did manage to make it into the Surry Hills restaurant during its short tenure, you'll definitely remember it. Blackened quarters of cabbage lathered in fish sauce butter, silky strips of scallop with XO and a side of heavy-metal tunes — Master stood out on its quiet stretch of Crown Street. And now, it's making a comeback — for two nights only. Chef John Javier is resurrecting the restaurant's menu for two nights, on January 18 and 19, at his current haunt, the Lord Wolseley Hotel in Ultimo. And while the setting is different — Sydney's narrowest pub bears little similarity to Master's former, two-storey monochromatic home — the menu will feature all the favourites. As well as the aforementioned scallop and cabbage, the ten-course share-style dinner will include a dish of raw lamb with oyster emulsion, ash and enoki; salt-and-pepper veal sweetbreads; and anise-spiked diamond shell clams topped with ribbons of honeydew. Master devotees will be happy to know that the famed sweet-savoury 'roasted potato' dessert will be making a return, too. If you're yet to encounter this dish — and are maybe skeptical of its viability — trust us, it's good. Potato ice cream is deep-fried and served with a crust of malt crumb and freeze-dried vinegar. This decuplet of dishes, plus a few snacks, will set you back a very reasonable $100. If you'd like to spend more on dinner, you can — Javier is offering up a limited number of black pepper mud crabs for $200 a pop. To snag a crab, and a spot at the dinner — we're expecting they'll both get snapped up pretty quickly — email masterdiningpopup@gmail.com. The Master Pop-Up is open from Friday, January 18 to Saturday, January 19, from 6pm at the Lord Wolseley Hotel, 265 Bulwara Road, Ultimo.
Improved strength and flexibility, a clear and calm mind, reduced stress and anxiety and better sleep — experience the many mental and physical benefits of a regular yoga practice at YogiShed. Located in Collaroy, YogiShed is a school specialised in yoga and wellbeing, which aims to promote health and personal development in a supportive and welcoming environment. At YogiShed, you'll meet new friends and become part of a community of like minded people while limbering up your body and slowing down your mind. There's group classes for all levels including prenatal classes, mums and bubs, as well as private classes and even yoga by the beach. If you've never done a sun salutation, and want to learn the difference between a downward dog and a tree pose, try YogiShed's introductory offer where you can test out an unlimited amount of classes over one month for $70.
When a global pandemic has left you spending two months indoors, at home and under lockdown, there isn't all that much to say cheers to. That's been the reality for Sydneysiders since late June, but Young Henrys has come up with one way to get folks clinking their glasses again: free beer. Yes, it's a simple idea. Yes, it's a welcome one, too. And, because it involves the Newtown brewery and schooners, Young Henrys has dubbed the concept the 'Young Henrys Deliverschoo'. Here's how it works: each Friday that Sydney remains under stay-at-home conditions — so, at this stage, on at least Friday, August 20 and Friday, August 27 — the Young Henrys' van will hit visit one particular Sydney suburb and let the free beer flow. It'll be doing contact-free delivery in that specific suburb, with up to 100 schooners available each week, and a four-beer cap per household. Wondering how the brewery will pick which spot to focus on? It's calling upon your submissions — and asking you to use your Instagram account. Each week, you'll submit your suburb on Young Henrys' Instagram Stories, and the brewery will then make its pick. That lucky suburb will be announced on Thursdays and, if you live there, you'll need need to send Young Henrys a DM with your name, address and number — still via Instagram — to be in the running to get that free beer brought to your door. View this post on Instagram A post shared by Young Henrys (@younghenrys) Obviously, this now means you'll be spending some of your lockdown time obsessing over Young Henrys' Instagram account — but when free beer is the reward, that's time well spent. And if you're thinking that 'deliverschoo' sounds a lot like Deliveroo, so is the latter. The delivery service isn't officially involved; however, it has reached out to Young Henrys with a 'cease and assist' letter. "We are certainly flattered by your imitation of Deliveroo and we applaud your team's ambition to "Serve The People" and bring the pub experience home," said Deliveroo's Ed McManus — and announced that the company will give a $100 Deliveroo credit to each of the 20 winning households who nab a free brew as part of Young Henrys' giveaway. The Young Henrys Deliverschoo will start delivering 100 free brews around Sydney each Friday during lockdown from Friday, August 20. For further details, head to Young Henrys' Instagram account. Updated August 20.
Summer is well on its way, which means it's time to kick back with mates in the sun, sip cocktails and and feast on delicious snacks. And you deserve to live it up a little (or a lot) after a few tough months. That's why we've teamed up with the folks at Disaronno to give away an epic brunch at your place. You and nine of your nearest and dearest will be treated to a fully catered Italian feast in your home or sunny backyard, which will be decked out with stunning flowers as part of the prize. You'll be tucking into the likes of stuffed olives, creamy burrata, antipasti, parfait and plenty of fancy cheese. And you'll score two bottles of the fine Italian liqueur, as well as your very own bartender to whip up elegant Disaronno Fizz cocktails. Keen to enter? Check out details below to be in the running. [competition]785612[/competition]
If brunch, lunch, dinner or drinks at Surry Hills' bills has long been one of your weekend go-tos, you'll want to rush into the Crown Street site before 3pm on Sunday, July 29. After that, the digs the eatery has called home for 23 years will be emptied out as the restaurateur Bill Granger makes a move. Don't worry, he's just shifting the place to the spot next door. To facilitate the move, the venue will shut down for four days before reopening at 7am on Friday, August 3 at the site previously occupied by Marque restaurant. Patrons will spot a few differences apart from the change of location — the new site will seat more customers (90, up from the current 74), and will also feature custom terrazzo tiles, Italian glass wall lights and an array of Australian artworks. A few pieces from the existing site will make the jump, however. "I love Surry Hills and the neighbourhood and those regulars who have joined us for breakfast, lunch and dinner for all those years. We are thrilled to be staying in the 'hood and moving into what is already a beautiful room," says Granger. Architects Meacham Nockles have overseen a refresh that highlights honey tones, deep neutrals and a modern vibe, with an aim of feeling fresh during brunch and cosy once evening hits. Find bills at 359 Crown Street, Surry Hills until 3pm on Sunday, July 29, and then at 355 Crown Street, Surry Hills from 7am on Friday, August 3. For further details, keep an eye on the eatery's website.
The Sydney Vegan Festival has arrived, and ethically minded eaters could not be happier. Topping the bill is Thug Kitchen, the infamous creators of the cookbook that told us all to "eat like you give a fuck" in 2014. "You bet your sweet ass everything we do is vegan. Every recipe on our site is completely plant-based," say creators Matt Holloway and Michelle Davis, the big vegan tickets for this year's festival. Jim Morris, a 79-year-old American bodybuilder, will also be in attendance and we're keen to hear how he keeps on keeping on. For those interested in vegan-focused business, there's Suzy Spoons of Suzy Spoons Vegetarian Butcher and Sadhana Kitchen's Maz Valcorza Pugoy. Considering the Vegan Festival will be held at the Factory Theatre, there's no way the event could go by without a bit of music, so Gaea will be performing. Food comes from the likes of Suzy Spoons, Superfood Sushi, Herbisaurus Green Goodness, Pana Chocolate, Funky Pies and Nomadic Cafe. Festivities continue until 6pm.
Remember that scene in Juno where an angsty Ellen Page disses one of the best guitarists of all time by saying that Sonic Youth suck and that they’re “just noise”? Well maybe Thurston Moore’s new stuff is more up her alley – the stuff some people are calling folk but which actually isn’t; which is comprised of nine beautiful songs and nary a distorted guitar in earshot. Let’s just get it out there — Thurston Moore is no longer a college dropout rollicking through the dirty streets of 1970s NYC. His new album Demolished Thoughts reflects this without totally abandoning the Sonic aesthetic. The guitars are now acoustic, there are harps and violins, but the sound and lyrics are as intimate as ever. It’s also produced by Beck, which is reason enough to start fanning out even before you’ve listened. His show at The Hi-Fi will have Moore playing tracks of this latest album plus a few from his solo back catalogue.
Back in 1962, in the first-ever Bond film Dr No, the suave, Scottish-accented, Sean Connery-starring version of 007 admires a painting in the eponymous evil villain's underwater lair. That picture: Francisco Goya's Portrait of the Duke of Wellington. The artwork itself is very much real, too, although the genuine article doesn't appear in the feature. Even if the filmmakers had wanted to use the actual piece, it was missing at the time. In fact, making a joke about that exact situation is why the portrait is even referenced in Dr No. That's quite the situation: the debut big-screen instalment in one of cinema's most famous and longest-running franchises, and a saga about super spies and formidable villains at that, including a gag about a real-life art heist. The truth behind the painting's disappearance is even more fantastical, however, as The Duke captures. The year prior to Bond's first martini, a mere 19 days after the early 19th-century Goya piece was put on display in the National Gallery in London, the portrait was stolen. Unsurprisingly, the pilfering earned plenty of attention — especially given that the government-owned institution had bought the picture for the hefty sum of £140,000, which'd likely be almost £3 million today. International master criminals were suspected. Years passed, two more 007 movies hit cinemas, and there was zero sign of the artwork or the culprit. And, that might've remained the case if eccentric Newcastle sexagenarian Kempton Bunton hadn't turned himself in in 1965, advising that he'd gotten light-fingered in protest at the obscene amount spent on Portrait of the Duke of Wellington using taxpayer funds — money that could've been better deployed to provide pensioners with TV licenses, a cause Bunton had openly campaigned for (and even been imprisoned over after refusing to pay his own television fee). First, the not-at-all-inconsequential detail that's incongruous with glueing your eyes to the small screen Down Under: the charge that many countries collect for watching the box. Australia and New Zealand both abolished it decades ago, but it remains compulsory in the UK to this day. As played by Jim Broadbent (Six Minutes to Midnight), Bunton is fiercely opposed to paying, much to the embarrassment of his wife Dorothy (Helen Mirren, Fast and Furious 9) whenever the license inspectors come calling. He's even in London with his son Jackie (Fionn Whitehead, Voyagers) to attempt to spread the word about his fight against the TV fee for pensioners when Goya's painting is taken — that, and to get the BBC to produce the television scripts he devotedly pens and sends in, but receives no interest back from the broadcaster. Even the Bond franchise couldn't have dreamed up these specifics. The Duke's true tale is far wilder than fiction, and also so strange that it can only spring from reality. Directed by Roger Michell (My Cousin Rachel, Blackbird) — marking the British filmmaker's last fictional feature before his 2021 passing — it delivers its story with some light tinkering here and there, but the whole episode still makes for charming viewing. Much of the minutiae is shared during Bunton's court case, which could've jumped out of a Frank Capra movie; that's the feel-good vibe the movie shoots for and easily hits. Such a move couldn't be more astute for a flick that surveys an incident from more than half a century ago, but reaches screens in a world where the chasm between the haves and the have-nots just keeps widening. Yes, it's basically a pensioner-and-painting version of Robin Hood. Decrying the gap between the wealthy and the not-so, calling out government priorities that only broaden that divide, fighting against injustice, sporting a healthy distrust of the powers that be: these all flicker through Bunton, his TV license crusade and his portrait-stealing trial, and through the movie itself. Michell and playwrights-turned-screenwriters Richard Bean and Clive Coleman (Young Marx) aren't shy about the anti-authoritarian sentiment, but package it up with can-do underdog cheekiness — the brazenness of the little guy sticking it to the man, naturally. That class clash gives The Duke depth as it dances through its caper, and does so with an upbeat, congenial and even farcical tone. Here, a feature can stress a point about the money-coveting state of the world and its impact upon the working class, and it can have an affable time saying it. Most opportunities to surprise disappear along the way, but the result is endearing and likeable rather than routine or pandering. The Duke's story was always going to demand notice, but it mightn't have proven so pleasing — so crowd-pleasing, to be precise — with any other casting. Although he ensures that it appears otherwise, the ever-reliable Broadbent doesn't have a simple role; veer too far in one direction and Bunton could've been seen as foolish, tip over to the other side too forcefully and he might've just been lecturing and scolding. When it comes to balancing the amiable and the passionate (someone winsome but with the strength of his convictions), the veteran on-screen talent hits the jackpot. Mirren and Whitehead's parts have fewer layers, but they each turn in engaging performances. And in Mirren's case, after her aforementioned spot in the Fast and Furious franchise, plus The Good Liar and Woman in Gold on her recent-ish resume, her love of heists and/or subterfuge shines through from beneath Dorothy's sterner surface. There's a cosiness and gentleness to The Duke, and an ease, sentimentality and sweetness. They all couldn't suit the film better, actually. With cinematographer Mike Eley (The Dig, Off the Rails), Michell gives the movie a comforting look and feel, too, but it's also lively, resonant and charismatic as well. It's little wonder, then, that feature slides nicely into the director's body of work alongside the likes of Notting Hill, Venus and Le Week-End. As many of those pictures did — and the tonally heavier The Mother and Enduring Love as well — The Duke has more than just entertaining in mind, though. Charting an escapade that no screenwriter could've convincingly conjured up, it rallies against societal divides and also wades through grief. Little is too shaken or stirred, but it all goes down smoothly and delightfully — and with some bite.
Blockbuster effects can't mask bland storytelling, as the execs at Disney dip back into their classic library with less than impressive results. An alternate take on the tale of Sleeping Beauty, the studio's latest sees the cackling, leather-clad sorceress recast as a figure of sympathy. Hard to pronounce and harder to sit through, Maleficent is a movie very much in the same vein as Oz the Great and Powerful or the recent Alice in Wonderland — which is to say that it's heavy on expensive-looking digital wizardry and light on just about everything else. Clumsy voiceover sets the scene, in a run-of-the-mill fairytale forest home to pixies, trolls and a curious winged girl named Maleficent (Isobelle Molloy). Although wary of the human kingdom that exists beyond the forest borders, when Maleficent catches an orphan boy named Stefan trespassing, a fledgling romance seems destined to ignite. But humans are a fickle bunch, and so as Stefan grows older he becomes swept up with ambition, culminating in a brutal betrayal in which he cuts off Maleficent's wings in order to secure a place on the throne. Devastated, a now adult Maleficent (Angelina Jolie) embraces her dark side, swearing vengeance on Stefan and placing a curse on his newborn baby, Aurora — spinning wheel, eternal sleep and all. The idea of a Wicked-style reversal on a classic Disney villain is an interesting idea, but first-time director Robert Stromberg — better known for the production design on films like Avatar and Alice in Wonderland — botches the execution. The sporadic voiceover and muddled editing makes the film seem oddly lacking in structure; much of the first half feels like a prologue, setting up what turns out to be an incredibly short and perfunctory climax. The CGI is admittedly pretty immaculate, but none of the designs are in the least bit distinctive. If one the creatures from Maleficent popped-up in The Hobbit or Snow White and the Huntsman, you wouldn't bat an eye. Angelia Jolie is enjoyable as the eponymous spell-crafter, especially in the one or two scenes where she gets to really lay the villainy on thick. On the other hand, the talented Elle Fanning is seriously underutilised as the teenaged iteration of Aurora, whose insipid purity melts Maleficent's heart while putting audience members to sleep. You could argue that the film deserves some credit for its empowered female characters, although the fact that Maleficent's arc is catalysed by a man does somewhat muddy those credentials. On a sidenote, one could also potentially read the film as a kind of PG rape-revenge narrative. The rawest emotional moment in the film comes when Maleficent awakens from a drug-induced sleep only to realise that her lover has forcibly removed her wings. The allegory is obvious, and Jolie completely sells the agony of violation. Ultimately though, any and all subtext is either mishandled, squandered or lost under a wave of glossily rendered pixels. In other words, it's business as usual for the folks at the Mouse House, who apparently don't even respect their own canon enough to get a reboot right. https://youtube.com/watch?v=w-XO4XiRop0
When it comes to originality, place Violent Night on cinema's naughty list: Die Hard meets Home Alone meets Bad Santa meets The Christmas Chronicles in this grab-bag action-comedy, meets Stranger Things favourite David Harbour donning the red suit (leather here, still fur-trimmed) and doing a John Wick impression. The film's beer-swigging, sledgehammer-swinging version of Saint Nick has a magic sack that contains the right presents for the right person each time he reaches into it, and screenwriters Pat Casey and Josh Miller must've felt that way themselves while piecing together their script. Pilfering from the festive canon, and from celluloid history in general, happens heartily and often in this Yuletide effort. Co-scribes on Sonic the Hedgehog and its sequel, the pair are clearly experienced in the movie version of regifting. And while they haven't solely wrapped up lumps of coal in their latest effort, Violent Night's true presents are few and far between. The main gift, in the gruff-but-charming mode that's worked such a treat on Stranger Things and in Black Widow, is Harbour. It's easy to see how Violent Night's formula — not to mention its raiding of the Christmas and action genres for parts — got the tick of approval with his casting. He's visibly having a blast, too, from the moment his version of Santa is introduced downing drinks in a British bar, bellyaching about the lack of festive spirit in kids today, thinking about packing it all in and then spewing actual vomit to go with his apathy (and urine) from the side of his midair sleigh. Whenever Harbour isn't in the frame, which occurs more often than it should, Violent Night is a far worse picture. When you're shopping for the season, you have to commit to your present purchases, but this film can't always decide if it wants to be salty or sweet. Harbour's Kris Kringle: saltier than a tub of beer nuts. Still, after his sloshed pub stint, he keeps grumpily doing his job, because Christmas Eve isn't really the time to quit. Then, at the Lightstone abode, aka "the most secure private residence in the country" as viewers are told, more booze and a massage chair calls him — and that butt-vibrating rest sees him unwittingly caught up in an attack on the property. As wealthy matriarch Gertrude (Beverly D'Angelo, Shooter) lords over her adult children and their families, mercenaries storm in with their sights set on the mansion's vault. What the self-described Scrooge (John Leguizamo, The Menu) and his interchangeable colleagues aren't counting on, of course, is a formidable Father Christmas skulking around. He's trying to get away more than initially save the day, but he'll happily dispense season's beatings to do both. Just as the John Wick films, then Atomic Blonde, then Nobody all knew — Bullet Train director David Leitch has either helmed or produced them all, doing the latter with Violent Night — there's visual poetry and visceral thrills to be found when someone super-competent at holding their own dispenses with nefarious foes. That's the case even when they're battling scenery-chewing, "bah humbug"!-spouting, Hans Gruber-wannabe antagonists like Scrooge, plus his flimsier henchmen. As that's happening, and frequently, Violent Night ticks off many a movie's wishlist, but that's only part of the premise here. Those Lightstone offspring include Jason (Alex Hassell, Cowboy Bebop), who has his ex Linda (Alexis Louder, The Terminal List) and seven-year-old daughter Trudy (Leah Brady, The Umbrella Academy) in tow, and wants this Christmas jaunt to be a permanent reunion. That's a layer of drama Violent Night doesn't need, adding nothing but filler, just like Jason's sister Alva's (Edi Patterson, The Righteous Gemstones) Succession-esque clamouring for the family company. There's usually never a bad time to eat the rich, but Violent Night's efforts are a half-chomp at best — the gun-toting crew of intruders trying to rip off millions of dollars are always the real bad guys, after all. Casey and Miller haven't penned a movie with much in the way of depth, and attempting to pretend otherwise proves as clunky as it sounds. The saccharine side that Trudy's presence brings is similarly just a way to take up time; Bad Santa's bad Santa has a pint-sized offsider, which means this flick's does as well, apparently. Trudy has also just watched Home Alone and screams about it (yes, the nods are that blatant). The sizeable scene that puts her fandom to good use, nails, bowling balls, sabotaged ladder rungs and all, is among Violent Night's most entertaining, though. The film knows how to make its familiar parts gleam when it wants to, but that isn't often enough. Director Tommy Wirkola must've been a simple hire for the job, however, thanks to Dead Snow and its sequel, plus Hansel & Gretel: Witch Hunters. The filmmaker has stuffed his stocking with high-concept this-meets-that flicks, the exact type of movie that Violent Night is from go to whoa to ho-ho-ho. Unsurprisingly, he fares best when his picture is letting loose and living up to its enticing idea, complete with kinetic fight choreography, blood and gory deaths, and everything from icicles to lit-up star tree-toppers used as weapons. In pure action terms, there's an around-the-world sleigh ride's worth of mileage in a literally killer Santa Claus turning slasher not in a horror-flick fashion (despite its many borrowings from elsewhere, this isn't a Silent Night Deadly Night do-over), but to play hero. Comedy isn't Wirkola's strength, or the feature's — see: the laboured attempts at laughs around Alva's actor spouse Morgan (Cam Gigandet, Without Remorse) and aspiring-influencer son Bert (Alexander Elliot, The Hardy Boys) — which is why all those nods to Gremlins, The Ref, National Lampoon's Christmas Vacation and more land with the hollow thud of an empty box. Holiday schmaltz and reminders that there's more to the festive season than material aren't highlights either, and Casey and Miller haven't stretched themselves in trying to come up with either amusing or heartfelt dialogue. Even with a The Northman-style backstory part of Violent Night's take on the jolly man, that leaves Harbour with a heap of heavy lifting in the film's first two thirds. He's up to the task — again, it's an ace premise with ace lead casting — but he's never walking audiences through an ultra-violent Christmas movie wonderland.
Stock characters and clunky, heavy-handed storytelling keeps Healing, the new Australian drama from Peaches director Craig Monahan, well and truly tethered to the ground. Co-scripted by Monahan alongside veteran TV writer Alison Nisselle, the film takes its inspiration from a real-life state prison program, in which inmates in minimum security help rehabilitate injured birds of prey. Despite the unique premise and setting, however, the film soon grows dreary and unfocused — leaving an unfortunate cast of workman local actors with no opportunity to soar. The most interesting thing about Healing is the location in which it takes place. A minimum security jail in bushland Victoria, the facility looks more like a camp site than a penitentiary, and offers an original spin on the traditional prison setting. The men housed here are at the end of their sentences, or have been convicted of lesser crimes. The focus is no longer on punishment, but on rehabilitation. It's in this setting that dedicated prison case-officer Matt Perry (Hugo Weaving), working in conjunction with staff at the nearby Healesville Sanctuary, decides to establish the avian care program. The timing coincides with the arrival of a new batch of prisoners, including sullen 18-year murder veteran Viktor Khadem (Don Hany). Despite the objections of his supervisors, Perry decides to put Viktor in charge of the initiative, in the hopes that caring for the animals will help prepare him for his imminent release. While the birds, particularly Viktor's favourite wedge-tailed raptor Jasmine, are undeniably majestic, animals yearning for freedom is a ham-fisted motif for a prison movie. Sadly, such clumsiness is all too typical of Niselle and Monahan's screenplay, in which plot points seem to vanish and personalities change drastically from scene to scene. Viktor goes from serene one minute to intolerably bull-headed the next, while antagonistic inmate Warren (Anthony Hayes) sneers constantly with one-dimensional villainy. Even worse, the arc of the film's most intriguing character — Viktor's drug-addled bunkmate Shane (a twitchy Mark Leonard Winter) — gets no resolution at all. Hany and Weaving are solid as always, but both have been far better elsewhere. For that matter, so has Monahan. Both Peaches and his debut feature The Interview had a certain edginess. Healing, on the other hand, feels safe to the point of total blandness. https://youtube.com/watch?v=RG7hQuVffOg
Two members of the Fratelli empire have teamed up to open a brand new restaurant and bar in Darlinghurst. Housed in the Exchange Hotel and known as Exchange Restaurant and Bar, the venue specialises in — you guessed it — fresh, authentic Italian food, as well as excellent wines. The restaurateur behind the eatery is Nina Gravelis, daughter of Fratelli's founders and a former student of Luke Mangan, Neil Perry and Christine Manfield. Taking care of the kitchen is Sean Corkery, who spent eight years as Fratelli's executive chef. He's nabbed two hats — the first at Cafe Sopra in 2012 and the second at Fratelli Bridge Street in 2014. Among the menu's light bites you'll find white and brown anchovy bruschetta and wood fired crumbed oysters. Come lunch or dinner, you'll be tucking into wood-fired pizzas, delivered straight to your plate from a traditional oven imported from Italy, as well as a variety of salads, pastas and mains. Standouts include prawn and celery salad with chilli dressing; risotto with lobster, mushroom and caramelised leek; and one-kilo bistecca (beef steak) with potatoes, salsa verde and salad. There's no need to go hungry, ever, as food is served from midday until midnight, seven days a week. Preface your meal with a classic or nostri cocktail, and find quality matches for your choices among the outstanding wine list and beers on tap. Exchange Restaurant and Bar is at 34 Oxford St, Darlinghurst. It's open 7 days a week, from midday till midnight. Food is available from midday till 10pm.
This is a sketch comedy show themed around Game of Thrones. What more do you need to know? The hilarity latent in the Seven Kingdoms and at the Red Wedding finally revealed. Everyone as well as Tyrion bringing the funny. The White Walkers twerking, probably. This show comes from Sydney University's home of comedy, Project 52 (which we named one of Sydney's best alternative comedy rooms), and is an offshoot of their weekly sketch night, Make Way for Ducklings. Book early, GoT fans. Read the rest of our top ten picks of the Sydney Fringe Festival 2013.
Until the end of August, Neutral Bay's little slice of Southern California is offering free tacos with every full-priced margarita purchased. The deal applies to all SoCal's margarita varieties — including its frozen margarita, watermelon margarita, mezcal margarita, and the classic Tommy's. This happy hour deal runs from 5–6.30pm, Monday–Thursday, and from 3–6.30pm on Fridays until August 30. Our recommendation? Give yourself an early mark at the end of the week and start your weekend as you mean to go one with three hours of on-the-house tacos and perfectly spicy sips.
