Artists and art-lovers alike will flock to the spectacular far South Coast in May for the award-winning River of Art festival. Set in the picturesque Eurobodalla region, the festival takes place over ten days — with a big first weekend from May 19–20 — and features more than 100 events encapsulating the best the region has to offer in visual arts, theatre, film, literature, live music and more. After this first weekend, the Art Trail remains open until May 26. There will be art exhibitions galore, as well as opportunities to visit the studios of local artists. For those wanting to get a little bit crafty, try your hand at some of the workshops including crochet, floristry and silversmithing. If something a little more theatrical takes your fancy, there'll be a host of comedy shows taking place, too. If you're an artist living on the NSW South Coast, you're invited to submit works for the Land of Many Waters exhibition or to enter the River of Art 2018 Art Prize.
The impact of Sydney's lockout laws might have held down partygoers in recent times, but that's not holding back Sydney promoters Picnic Music and their first foray into the festival scene. Taking over the entire six levels of the Kings Cross Hotel, Maximum Joy is a one-day event encompassing everything music, art and fashion. Headlined by nine international house and techno heavy hitters making their Australian debuts, including Americans Joe Claussell and Veronica Vasicka, it's a worldly affair with Germany's Dopplereffekt hitting the stage, as well as Japan's Dip in the Pool and Kuniyuki Takahashi. There'll also be 25 local DJs, so something is bound to get you dancing. The six levels have each been curated by a local or international music and fashion label, with Amsterdam's Music from Memory taking over the rooftop till close, while Sydney's Midnight Swim hosts the Disco Diner and Balcony room. In the Dive Bar, Maurice Terzini — admired hospitality guru and director of fashion label Ten Pieces — has teamed up with leading drag performers, plus local visual artist Dreamcatcher and musician Kali, to present an all-encompassing creative space called The Rude Club, which will also showcase the label's recent clothing collection. "Right in the middle of lock out dead zone Kings Cross we've set our sights on your comfort... in the cosy and rambling surrounds of the epic Kings Cross Hotel," says Picnic Music director Carly Roberts.
Christopher Nolan has never made a Bond film. He certainly didn't helm The Matrix franchise, either. But combine the two — picking and twisting elements of each, including narrative tropes, sci-fi trickery and special effects wizardry — and the writer/director's latest slick, bold, mind-bending action-thriller Tenet is the end result. The movie's spy flick credentials are established at the outset, thanks to a tense, taut, supremely well-executed opening attack on the jam-packed Kiev Opera House. In a sequence that feels especially unnerving in today's crowd-phobic world, Tenet's nods to late 90s and early 00s sci-fi are evident here, too. Guns fire frequently, but when one in particular discharges, a bullet returns to the weapon rather than shooting out from it. It doesn't occur slowly, yet it still happens noticeably; if you wanted to dub it 'reverse bullet time', that wouldn't feel out of place. Soon afterwards, in case viewers weren't already thinking about Bond or The Matrix, Tenet's CIA operative protagonist — who is literally called 'the Protagonist' (John David Washington) — navigates his way through a familiar exposition dump-style sequence. A scientist (Clémence Poésy) talks him through some of the nuts and bolts of the shadowy situation he finds himself in, including explaining the inverse trajectory of the bullets. She has gadgets to mention as well. Actually, she has a lot more to say, specifically about inverted objects being sent back through time from the future. They're "the detritus of a coming war," she advises, which the Protagonist needs to prevent or life as everyone knows it will cease to be. Tenet wants you to pay very close attention at this point, with the film laying out oh-so many of the details, tidbits and stakes its plot balances upon. But it's the sight of the Protagonist learning how to fire a reverse bullet, then exclaiming a Keanu-esque "whoa!", that's extra memorable. If Tenet's premise so far sounds a little vague and convoluted, well, that's its wavelength. As obsessed with time, space, existence and consciousness as many of Nolan's movies, the cerebral film doesn't get any less tangled or labyrinthine from there, and it doesn't ever try to. Teaming up with suave English handler Neil (Robert Pattinson), the Protagonist hops around the globe from India and Estonia to Oslo and the Bay of Naples, with the pair wearing immaculate suits and endeavouring to stop the impending battle. Getting to know an arms dealer, Priya (Bollywood veteran Dimple Kapadia), is a key part of the plan. So is becoming entangled in the strained marriage between art expert Kat (Elizabeth Debicki) and her thick Russian-accented, clearly up-to-no-good husband Andrei Sator (Kenneth Branagh) and, at Neil's suggestion, also crashing a large freight plane into an airport. There's more to Tenet — much, much, much more, including twists upon twists that are best experienced while watching. But, as it charts the Protagonist's quest, the film boasts the kind of plot that is actually quite straightforward, yet is told in an overly complicated fashion (and in a lengthy way as well, with the feature's 150-minute duration felt). Keeping viewers puzzling for as long as possible is the main aim, and that sometimes comes at the expense of telling a great story in the clearest possible manner. It's a tale that, as a result, can occasionally feel cumbersome instead of thrilling. Nolan likes messing with audiences' heads, as Following, Memento and Insomnia established early, the Dark Knight trilogy continued, and even Dunkirk's structural approach demonstrated, so none of this should come as a surprise. Here, however, he jumps even beyond Inception's leaps, The Prestige's magic tricks and Interstellar's temporal dilations. When Poésy's character tells the Protagonist "don't try to understand it; just feel it," she's obviously speaking to Tenet's viewers as well — and, regardless of who is in the director's chair, that's a lazy cop-out. Tenet is entertaining, though. When it's at its best, it's downright spectacular. Some of its big setpieces — the aforementioned opera house scene, a breathtaking fight that stretches, sprawls and weaves through narrow corridors, and a narratively superfluous but enthrallingly shot catamaran race, for example — are simply stunning. In fact, like The Matrix's bullet time, fellow action films will be trying to ape Tenet's standout moments for decades to come. Nolan's feature is also impeccably cast, with Washington as charismatic as he was in BlacKkKlansman, Pattinson continuing to choose excellent roles and Kapadia a shrewd delight. Debicki and a forceful Branagh play characters with one-note functions and arcs, but they still have a sizeable impact. Throw in the percussive, suspenseful score by Ludwig Göransson (The Mandalorian) doing his best Hans Zimmer impression, as well as evocative production design by Nolan regular Nathan Crowley and glossy visuals lensed by Hoyte Van Hoytema (an Oscar nominee for Dunkirk), as there's plenty here to love. That said, there's also a sense that Tenet is bounding forward in some ways, while also needlessly looping back on itself in others. This a film with a palindromic name, and that inverts and reverts time again and again, so that's apt — although, given how meticulous Nolan's work always is, including this movie, the end sensation is unlikely to be intentional. Tenet is stirring, but also laborious. It's designed to not just immerse viewers in an inventive head trip, but to overwhelm; however it makes the audience work hard and feel like they're working. It's intricate and exacting, and also messy and repetitive. Right down to its penchant for frustratingly drowning out some of the dialogue with its thrumming score, it's a Nolan film through and through, in other words — usually to a mesmerising degree, but too indulgently as well. https://www.youtube.com/watch?v=K3zIWteWCMY
Located on the site of a former brickpit, Henson Park is an inner west haven for sports lovers. The park is the home to NRL team the Newtown Jets, who compete in the Premier League (the highest rated NSW state rugby league competition). It also hosts some AFL matches and soccer clubs. To accommodate the spectators of all this action, there's a 1000-person grandstand, which was built back in 1937. There's also a grassy knoll and large car park, for those who want to watch from the grass or their car. Other sections of Henson Park include a grass running track, adjacent tennis courts and heaps of green space for visitors to enjoy a picnic or hang session with mates. The park also has the added benefit of being down the street from The Henson — one of the best pubs in the inner west. Stop by pre- or post-match for a cold one and a feed.
Trends come in cycles. That's a fact that everyone has not only heard but experienced, and it's also a reality that helps us travel back in time. Missed the grunge era? Fashion revived it in 2023. Love 80s synth sounds? They're not hard to find among pop tunes recently. Wish that you could deck out your home with 60s and 70s decor? In comes IKEA, which is making peering backwards its focus right now. The reason that the Swedish retailer is feeling nostalgic is the same reason that plenty of us do: a big birthday. In 2023, IKEA celebrated 80 years of operation. To mark the occasion, it unveiled the Nytillverkad collection, which scours the company's design archives to hero pieces that've proven a hit in the past, and also riff on its prior highlights in general. That wasn't just a once-off, either. Accordingly, the range keeps dropping new pieces, including a big dose of 60s and 70s items earlier in 2024, and now another batch that's especially fond of the period's flower power. The latest homewares will hit IKEA stores in Australia in April, focusing on bright colours, bold designs and retro florals. Sure, it's autumn here at the moment, but that doesn't have to be the theme of your interior decor. Highlights include floral patterns first introduced in the 70s by designer Göta Trägårdh, including on quilt covers and cushions; a pendant lampshade that initially hit IKEA in 1964; and plant stands and coffee tables that also debuted in the 60s. Or, there's the ÖNNESTAD armchair, which reincarnates the brand's GOGO chair that first arrived in stores in 1972 and remained on offer at the time for more than a decade. It's made out of steel tubes, with updating the piece seeing the chain cutting back from 6.8 kilograms to 3.3 kilograms of the material — and now using high-strength steel — so that it can create twice as many. Prices range from $8 for cushion covers to $199 for chairs, with everything from vases ($19) to mirrors ($99) — available in-between. If all these blasts from IKEA's furniture and homewares past has you thinking about its history, there's a reason that almost everyone can't remember a time before the chain was a homewares go-to. Started by Ingvar Kamprad, aka the IK in IKEA's moniker, it began in 1943 and moved into furniture in 1948. The company then opened its first store in Sweden a decade later — and came to Australia in the 70s. The latest pieces in IKEA's Nytillverkad collection will hit Australia, in store and online, from April 2024 until stocks last. Head to the IKEA website for further details.
There's nothing quite like Sydney in summer; the steady hum of cicadas, the sea breeze wafting through the air, the balmy days followed by the ever-reprieving southerly. Yep, when the sunny season hits, we Sydneysiders are always keen to get outdoors and discover new things to eat, see and do in our harbour city. And, to make sure you don't miss a sight, sound or sip this summer, we've partnered with Tanqueray to pull together a lineup of activities that'll see you enjoying the best of Sydney with, of course, a top-notch botanical tipple in hand. (Because everybody knows gin is the summer drink.) From dirty martini clubs to outdoor cinemas with blow-up beds, we've got all you summer-lovers catered for. JOIN THE MOYA'S DIRTY MARTINI CLUB Ah, finally a club that you'll actually want to be a member of. The Dirty Martini Club at Moya's Juniper Lounge is a new monthly gathering amass with gin lovers. The club pays tribute to one of the best juniper-based tipples, the Tanqueray dirty martini, which you can enjoy for just $10. Headed up by siblings Charles and Jess Casben, Moya's is a small, sultry bar with dim lights, vintage lounges and eclectic paintings adorning the walls. It's elegant and refined yet has a dark edge — much like the dirty martini itself — and is the perfect place to escape the heat and while away a summer evening. Head along on Wednesday, March 13 and Wednesday, April 17 from 8pm to mix among other martini devotees. SPEND THE DAY AT SOL SPA After a chock-a-block year and the endless December festivities, its time for a spot of relaxation. Treat yourself to a two-hour Absolute Pamper Package at Sol Spa, for tip-to-toe indulgence. The package includes a dry body brush and nourishing coconut scrub to rehydrate your skin, a full body massage to relieve tension and a blissful scalp massage. At $200, it's not exactly cheap but, hey, you've been working hard. Once you're sufficiently recharged, head next door to The Botanica Vaucluse for a post-preen Tanqueray No. Ten and tonic, and soak in the afternoon summer sun. SEE A FLICK AT SYDNEY'S OUTDOOR BED CINEMA Moore Park's Mov'in Bed is back for summer, running till Sunday, March 3. So, grab a buddy, curl up on a big blow-up bed with a blankie and bottomless popcorn to watch the latest films on the big screen. The program encompasses both old and new flicks — from A Star is Born and Bohemian Rhapsody to Beetlejuice and The Lion King — with every type of cinephile considered. After you've got your cinematic fix, take a short 30-minute stroll through Moore Park to cocktail mecca This Must be the Place. Order a 'Belafonte' spritz with Fino sherry, Tanqueray No. Ten, lemon, prosecco and basil to really get a taste of summer. Alternatively, grab a bottle of Tanqueray Flor de Sevilla and make your own Seville orange spritz at home. LEARN HOW TO MAKE SUSHI AND SASHIMI LIKE AN IRON CHEF Ever wanted to learn how to construct the perfect nori roll or to slice sashimi like Jiro Ono? (It's always good to aim high.) Head to Crane Bar in Potts Point for a sushi and sashimi masterclass, and learn the ins and outs of Japanese cuisine. Running every Saturday and Sunday from 1pm, the two-hour class will teach you how to expertly prepare and slice fish. You'll also be given a recipe book to take home, a certificate, and some nibbles to enjoy while you roll. Once you've finished with fish, savour a Tanqueray cocktail, like the White Lady, with Tanqueray, Cointreau, lemon juice and zest, or the Brambler, with Tanqueray, Chambord, lemon juice and sugar syrup, and cheers to your rolling success. ENJOY BAREFOOT BOWLS AT THE GREENS IN NORTH SYDNEY You might've been to this North Sydney stalwart before, but, let's face it, those city skyline views never get old. (And neither does going barefoot, especially in summer.) Grab some friends, kick off your shoes and see who is the best bowler in your crew. The Greens is open seven days a week and runs two-hour social bowls for $25 per person. No matter your sporting ability, bowls are a fun, relatively easy summer activity for all types. Yep, even your very uncoordinated best friend. When hunger strikes, order the Barman's Plate packed with cheese, olives and bread, along with a signature Green's Grove cocktail with Tanqueray No. TEN, yuzu, lemon, elderflower, cucumber and basil. Celebrate the return of summer with a Tanqueray tipple in hand at home or around your city. Top image: The Greens.
In these tumultuous modern times — these times of Pottermore, Fantastic Beasts spinoffs and The Cursed Child — it's comforting to be able to take it back to basics. Basics, here, meaning the score of the Harry Potter and the Philosopher's Stone film played live by the Sydney Symphony Orchestra. That's right — the SSO are taking us back to 2001 when the first of the eight Harry Potter films came out. It made us cringe (the acting — so bad but so good), marvel at how not hot Neville Longbottom was (boy, would we learn) and — most importantly — float away on a magical adventure thanks to the incredible score by John Williams. For four days next April, you'll be able relive the magic all over again when the Sydney Opera House screen the film scored by a real, live orchestra in the Concert Hall. Maybe they'll release live owls! Maybe not because that would be chaos. Maybe they'll release live rats? Actually, absolutely not — we all know rats are secretly fat old criminals hiding from magical law enforcement and waiting for the Dark Lord to rise again (lookin' at you, Pettigrew). As you might imagine, tickets are selling like pumpkin pasties so get in quick or spend eternity griping about it like some Moaning Myrtle-type character. Harry Potter and the Philosopher's Stone will screen in the Concert Hall at the Sydney Opera House on April 27, 28, 29 and 30, 2017. Grab tickets here. Updated: Tuesday, November 1.
Slinging fast-paced rhymes with a feisty attitude to match, Patricia Dombrowski (Danielle Macdonald) isn't naively chasing fame in Patti Cake$. With "mylifesfuckinawesome" one of her spirited rap anthems penned under the stage name of Killa P, she's certain that her music dreams will come true. The fact that she's stuck in New Jersey stringing together dead-end jobs to take care of her boozing mother (Bridget Everett) and ailing grandmother (Cathy Moriarty) might make it seem like her confidence is misplaced. But Patti's determination is as big as her smile. As quick as you can say "gender-swapped 8 Mile", Patti Cake$ takes its eager protagonist down the expected path, with her working-class background and plus-size shape thrown in as roadblocks. She's also got the requisite support from her old pal Jheri (Siddharth Dhananjay), as well as a new friend and collaborator in anti-establishment punk Basterd (Mamoudou Athie). They're soon laying down tunes, fighting for attention and eventually catching a few lucky breaks. It's all a bit predictable, but what this first feature from writer-director Geremy Jasper lacks in surprises, it makes up for in detail, heart and a stellar lead performance. With Jasper himself a Jersey native chasing dreams of his own, Patti Cake$ is filled with the kind of specificity that can only be plucked from real life. As a result, it has more than a few tricks up its sleeves. Audiences may be tempted to judge the movie prematurely due to its familiar narrative and slick-meets-gritty aesthetic. And yet, as the characters who underestimate Patti discover, there's a difference between appearances and reality. Just as there's more to Macdonald's protagonist than cruel nicknames like "Dumbo" and "white Precious", there's more to the film as well. Lurking within this standard underdog story is a clear-eyed portrait of small-town existence — from the sense of restlessness evident at every turn, to the need to seek escape by belting out tunes or taking to the bottle, to the distinct blend of hip hop and white working-class subcultures. Whenever the formula kicks in, the sights and sounds of Patti's mundane life don't quite counteract the obviousness of the plot, but they do give the film's feel-good trajectory weight and authenticity. There's bleak truth and an almost documentary-like spirit that accompanies every convenient twist and turn. Accordingly, when the big, crowd-pleasing moments come, the emotion that swells with them feels well and truly earned. The same can be said of Macdonald's efforts, with the Aussie actress dazzling in a way that would make her on-screen alter ego both proud and jealous. In her hands, Patti relishes the highs she has toiled for with the knowing smile of someone who has weathered the lows, and remains well aware that fantasies don't really come true overnight. It's a star-making turn in a movie that's all about chasing star-making chances, and it comes with excellent support from Everett and Moriarty. All that plus a catchy soundtrack will have your toes tapping even if Killa P's beats aren't your usual jam. https://www.youtube.com/watch?v=vLUqLITumZA
It's time to get the word "Jellicle" stuck in your head once more: to mark 40 years since it first hit the stage in Australia, Cats is prowling through theatres again in 2025. Back in July 1985, Aussie audiences initially experienced Andrew Lloyd Webber's acclaimed production, which turned a tale inspired by poems from T.S. Eliot's Old Possum's Book of Practical Cats into an award-winning theatre hit. The place: Sydney, aka where Cats plays again from Tuesday, June 17. Four decades ago, the show pranced through Theatre Royal Sydney — and the new season is scampering across the boards there again, too, to help you make some new Cats memories. If you're new to Cats, it spends its time with the Jellicle cat tribe on the night of the Jellicle Ball. That's the evening each year when their leader Old Deuteronomy picks who'll be reborn into a new Jellicle life by making the Jellicle choice. And yes, "Jellicle" is uttered frequently. Of late, audiences might be more familiar with Cats as a movie. In 2019, the musical made the leap from stage to screen with a star-studded cast including Idris Elba (Hijack), Taylor Swift (Amsterdam), Judi Dench (Belfast), Ian McKellen, (The Critic) James Corden, (Mammals) Jennifer Hudson (Respect), Jason Derulo (Lethal Weapon), Ray Winstone (Damsel) and Rebel Wilson (The Almond and the Seahorse) playing singing, scurrying street mousers. If you ever wanted to see Swift pouring cat nip on a crowd of cats from a suspended gold moon, or were keen to soothe your disappointment over the fact that Elba hasn't yet been James Bond by spotting him with whiskers, fur and a tail, this was your chance. For its efforts, the Tom Hooper (The Danish Girl)-directed film picked up six Golden Raspberry Awards, including Worst Picture. But while the movie clearly didn't hit the mark, you can see why this feline-fancying musical has been such a huge theatre hit thanks to its Aussie stage comeback. Images: Alessandro Pinna.
Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Leading the charge on-screen is Statham's Jonas Taylor, who also scores an early eco-warrior Bond stint. When his character is reintroduced, he's on a container ship in the Philippine Sea taking down pirates that are dumping radioactive waste. His next stop is the Oceanic Institute run out of Hainan in China, where the world's only megalodon in captivity lives — and where Jonas' friend Jiuming (Wu Jing, The Wandering Earth), uncle to teenager Meiying (Sophia Cai, Mr Corman), claims that he has the creature called Haiqi trained. Viewers of the first film might remember that oceanography runs in Meiying's blood, but her mother has been killed off between movies because Li Bingbing (Transformers: Age of Extinction) didn't return for the second production. Hence Jiuming's arrival, and also Taylor playing father figure to a kid he forbids from accompanying him on his latest deep-dive research trip. Meiying stows away, naturally. Off-screen, British filmmaker Ben Wheatley makes the leap to the Hollywood action fold with Meg 2: The Trench, a move that isn't as wild as it initially might seem — just like everything in his big-budget B-movie. Wheatley knows black comedy, with his 2012 film Sightseers an absolute masterclass in it. With High-Rise and Free Fire, he knew how to bring a spectacle, too. Alas, the director that also crafted Down Terrace, Kill List, A Field in England and Happy New Year, Colin Burstead, flitting between the dark and the trippy along the way, plus thrillers and dramedies, is saddled with a script that couldn't be more routine. Explaining his approach to problem-solving, including while submersed 25,000 feet below sea level in the Pacific, Jonas tells Meiying that "we do what's in front of us, then we do the next thing". Was that returning screenwriters Jon Hoeber, Erich Hoeber and Dean Georgaris' own mantra as well? Whatever is in front of Jonas, and audiences, usually involves a meg. When he descends into the titular ditch with Jiuming, Meiying and their team — among them is The Meg alumnus Page Kennedy (The Upshaws) as DJ, the forceful comic relief who has definitely seen Jaws' sequel — of course oversized sharks that died out millions of years ago IRL are lurking. When Jonas finds a rogue mining outfit pilfering the deep, of course stopping its ruthless leader Montes (Sergio Persis-Mencheta, Snowfall) becomes all the more complicated with megalodons as a constant threat, too. Wheatley wrings what tension he can out of a bottom-of-the-ocean walk in Iron Man-meets-RoboCop suits as hungry creatures linger, and also out of his riff on The Thing, Alien and every horror film set in an isolated space when Meg 2: The Trench's heroes get to the miners' base. What he can't do is make the movie's various contrived parts resemble a coherent whole, skew engagingly campy or feel like anything more than a knockoff of so many other flicks in The Meg's clothing. Another feat that Wheatley's turn at the franchise's helm fails to bite into: convincing special effects. While viewers don't go to a film that has basically swapped "you're gonna need a bigger boat" for "we're gonna fight a bigger shark" for the realism, Meg 2: The Trench's CGI is distractingly subpar. Anything busting out dinos not just post-Jurassic Park, but after Prehistoric Planet and its second season, is always going to struggle if their critters can't wow. Although the megs hardly fare any better, frequently focusing on a big fin sticking out of the water still remains as helpful a tactic as it did when Steven Spielberg defined the shark genre. Getting audiences terrified, perturbed or even just a little on-edge, though? Even when the obligatory jump-scares pop up, no one is leaving this flick afraid to go into the water. Whether he's starring in several Guy Ritchie films, turning The Transporter into a franchise, making a couple of Crank and The Mechanic movies, or showing up in six Fast and Furious-related entries so far, Statham does love repeating himself. Meg 2: The Trench doesn't ask him to do anything more than he did the last time that he faced sea-dwelling fears — but even he's just going through the motions. The rest of the cast, returning and new alike, are as disposable as anyone enjoying a dip to a meg. As trusty offsider Mac, Cliff Curtis (Avatar: The Way of Water) leaves the biggest impression among an ensemble that also spans Skyler Samuels (Aurora Teagarden Mysteries), Melissanthi Mahut (The Sandman), Sienna Guillory (Silo) and Whoopie Van Raam (Counterpart). Not that anyone is required to try, but no one can stop Meg 2: The Trench's most apt line from proving oh-so-true: "this is some dumb shit".
No doubt about it, there's something about Mary's. Due to popular demand, owners and all-round legends Jake Smyth and Kenny Graham opened up their second Mary's, slap bang in the middle of the CBD. And it's not just a your standard Mary's burgers either — the second joint has a thick shakes and breakfast burgers to help ward off those pesky hangovers, too. Located on Castlereagh Street, Mary's CBD has two floors, with the upper level functioning as a production space, while downstairs is the kitchen and takeaway counter. Similar in style to the original, the space is dimly lit with graphic murals and graffiti. There's also a heavy metal soundtrack playing at this otherwise conservative street address. The menu features the same burgers we know and love from Newtown. There's the mighty fine Mary's burger ($10), renowned for its mouth-wateringly tender med-rare beef patty slathered in liquefied cheese, as well as the cheeseburger ($10), which adds mustard and pickles, and the veg burger ($10) which has salad and one giant shroom. Add to that the new chicken burger ($12) — one hunk of southern-style crispy fried chicken served with Mary's special sauce and salad. It's everything you've dreamed of and more. If you come between 10am and midday, you'll also have access to the highly coveted breakfast burger ($12) made with a sausage patty, bacon, hash brown, HP sauce, maple syrup, cheese and an egg (+ $1). As for sides, there are the super crispy French fries ($3), or you can opt for a meal deal, which includes fries and soda ($15) or a thick shake ($17). The soda comes with unlimited refills, while the thick shake ($6) comes in strawberry, chocolate and vanilla, with the addition of a house-made seasonal flavour. Did someone say smoked maple? With nowhere to sit and barely anywhere to stand, take your burgers to the nearby Hyde Park for the best impromptu picnic of your life. Thanks for answering our prayers this Christmas, Mary.
Art goes through cycles. Artists rebel against an old idea and forget that the old one itself rebelled against the one before. Vermeer's generation discovered the appeal of new technology with the camera obscura. Picasso's discovered themselves through the informalities they saw, and thought they saw, in African Art. The Futurists rediscovered machines and thought they saw their lives in war and manifiestos. The four artists in the latest exhibition at the Paper Mill — Oogga Booga — have looked inside and turned back to their instincts for inspiration. Hossein Ghaemi channels things and people from deep inside himself, most often in the form of his artistic alter-egos. Ben Ryan brought his talents up from Hobart last year for First Draft's Names and Places, and this time plans to reeducate the audience's senses around the gallery space. Claire Finneran's work will delve into the yen for tribalism, while Ben Terakes explores nature and nurture. So enter the Paper Mill's triangular gallery and resist your natural instincts to roller-skate on its flat open spaces — while Oogga Booga's name may be flippant, the works themselves look at sterner things.
Part of Bondi’s resurgent dining and bar scene, The Bucket List are seafood specialists, offering the likes of lobster spaghetti, mussels and the ubiquitous fish and chips opposite the famous beach. Their weekend-long seafood fest offers the opportunity to attend a seafood masterclass (a bargain at $30 which includes a glass of wine and food) or you can simply wander through the stalls and feast on a range of seafood for as little as $10 a plate. Check out the rest of our top ten picks of Good Food Month here.
Prepare to spend more time scrolling through streaming queues — Apple is following in Netflix's and Disney's footsteps and releasing its own streaming platform. Called Apple TV+ and set to launch in spring this year — in the southern hemisphere — the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app. While the platform's exact release date hasn't been announced, nor has pricing or the regions that it'll be available in, the company has revealed a sizeable lineup of new series it hopes will attract your TV-loving eyeballs. Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series The Morning Show? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A revival of Steven Spielberg's Amazing Stories anthology series? A new docu-series from Oprah — and the return of her book club? They're all on the way. So is Are You Sleeping?, which is based on a novel about true crime podcasts and featuring Octavia Spencer and Aaron Paul; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. The list goes on, and includes a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new shows from both M. Night Shyamalan and La La Land director Damien Chazelle (separately, not together — although a collaboration between the two would certainly be interesting). In preparation for its new streaming service, Apple also announced an update to its existing Apple TV app, which'll be available from May. The app will also become available on Samsung Smart TVs in the second half of the year, and via Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future — meaning that you won't need an Apple device to watch Apple TV+. https://www.youtube.com/watch?time_continue=15&v=Bt5k5Ix_wS8 Also on the cards: Apple Arcade, a paid gaming subscription service that'll feature more than 100 new and exclusive games on an all-you-can-play, ad-free basis — and, crucially, with no additional in-game purchases required. It's due to release in more than 150 countries around the same time as Apple TV+, and will be accessible via a new tab in the App Store. For news junkies, the company also launched Apple News+. Available now in the US and Canada, but not coming to Australia until later this year, it offers access to more than 300 magazines, newspapers and digital publishers in one spot. Titles included range from Vogue to National Geographic Magazine to The Wall Street Journal, for the US price of $9.99 per month. Apple TV+ is set to launch in spring 2019, Australian and New Zealand time. We'll keep you updated with further details when we have them.
With Game of Thrones finishing its run a few months back, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show is set to go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender arrives this month, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel, which launched back in August, it'll soon drop new series The Witcher as well. In fact, the Henry Cavill-starring show will arrive on Friday, December 20, just in time for some Christmas break binge-viewing. As seen in both the initial trailer and the just-released new sneak peek, the witcher of the title is Geralt of Rivia (Cavill, sporting long blonde locks), a monster hunter who prefers to work — aka slay beasts — alone in a realm called The Continent. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. As well as Chalotra and Allan, it also features Jodhi May (Game of Thrones), MyAnna Buring (Kill List), Lars Mikkelsen (House of Cards) and Australian actor Eamon Farren (Twin Peaks). Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the latest trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=ndl1W4ltcmg The Witcher will hit Netflix on Friday, December 20. Image: Katalin Vermes.
UPDATE: June 5, 2020: Judy & Punch is available to stream via Stan, Google Play, YouTube and iTunes. Sometimes, a film lives and thrives thanks to its casting, benefiting from stellar actors who melt into their roles. That's the case with Judy & Punch, with Mia Wasikowska and Damon Herriman breathing life, depth and a roguish attitude into characters best known as wood, string and fabric. As the title makes plain, they're playing Punch and Judy, the puppet-show figures that date back more than three centuries. Still, while writer/director Mirrah Foulkes tasks her stars with fleshing out the marionettes' wholly fictional origin story, she doesn't rely on the duo to do all of the movie's heavy lifting. Her interpretation of the tale — the bold, subversive directions she takes it in, and the feisty, cheeky vibe the film adopts in the process — makes as much of an impact. Jumping behind the camera after acting in Animal Kingdom, Top of the Lake, The Crown and Harrow, Foulkes ensures that her filmmaking debut isn't the kind of feature that lights up screens often. The movie starts with two versions of Punch and his other half: one cavorting on stage, the other pulling the strings behind the curtain. The crowd roars as the perpetually drunken Punch (Herriman) and the long-suffering Judy (Wasikowska) manoeuvre and manipulate their inanimate counterparts, with the pair packing in shows in Judy's insular (and curiously inland) hometown of Seaside. Judy is actually the more dexterous and talented of the two, but Punch gets all the fame and acclaim — partly, reflecting his brutish personality, by making their puppet show literally "punchier". He makes their daily life punchier as well, and thinks nothing of treating Judy and their infant daughter with contempt, whether he's seeing another woman, complaining whenever Judy says a word or showing that he's the world's worst father. With the real-life Punch and Judy famously based on the former's slapstick violence towards the latter, you can be forgiven for feeling cautious about how a live-action version will play out. It sounds strange and inappropriate, but Foulkes is keenly aware of the material she's working with. In her hands, Judy & Punch takes puppet-show savagery and lets it loose in live-action, then rightfully questions why it's considered entertainment. And to really hammer home her point, she needs to unleash a flurry of physical and metaphorical blows. The filmmaker isn't subtle, but neither is a guy bashing his wife and child, which has happened in P&J since the 1600s. So, when Judy is the only person in the town to speak out against the communal stoning of women deemed witches — and, later, when a tragic turn of fate sees her seek solace among the local female outcasts, then plot her revenge — it's thoroughly designed to make a statement. Kudos to Foulkes for not only reclaiming P&J's problematic narrative for Judy, calling out Punch's boorishness and asking why women have so often been treated so poorly — by their partners, by complicit communities and by mobbish societies as a whole — but for clearly having fun while she's doing so. Where this year's thematically comparable and similarly excellent fellow Australian film, The Nightingale, leaned into bleakness and pain, Judy & Punch veers the other way. The movie is styled like a gothic fairytale, with its crumbling castle, sprawling woods and Elizabethan-era costuming, and it takes that look and feel to heart. Dark, fanciful, perceptive, often comic — this mix of elements mightn't sound like a natural fit on paper, but it works. Judy & Punch's tone definitely wavers, although that's on purpose too. And when François Tétaz's percussion-heavy score keeps echoing, it constantly reminds viewers of the thuds, shoves and worse that have long been baked into Judy and Punch's abusive romance, while also proving audibly playful. Given all of the above, you can excuse Judy & Punch for including a big speech at its climax; again, Foulkes isn't doing anything by halves. Nor is her cast, including the likes of Benedict Hardie (Upgrade), Tom Budge (Bloom) and Gillian Jones (Mad Max: Fury Road), who all help populate Seaside's chaotic masses. Wasikowska and Herriman are dream leads, though. She draws upon an ever-growing resume filled with fascinating and formidable women (Jane Eyre, Stoker, Tracks, Madame Bovary, Piercing… the list goes on), while he's having quite the malevolence-dripping year after stepping into Charles Manson's shoes in both Mindhunter and Once Upon a Time in Hollywood. Judy & Punch firmly tells Judy's story, so this is Wasikowska's film, but it highlights both of its main characters for a good reason. This thoroughly feminist hero doesn't just give a historic narrative a much-needed update and champion a timely cause — with their dynamic back-and-forth, she endeavours to cut Herriman's misogynistic weasel down to size, too. https://www.youtube.com/watch?v=63NAagrKOcc
Hear it on the grapevine in the Hunter Valley this December. For one day only, Pokolbin's Roche Estate is pairing its very best drops with a music lineup that'll make your head spin. The Wombats, Client Liaison, Miami Horror, Young Franco and Tkay Maidza are just some of the acts tapped for Grapevine Gathering 2018, the latest shindig from the team behind Hot Dub Wine Machine. While the wine-filled fiesta visited the Yarra Valley in 2017, this is the first year it'll be taking place in NSW. In addition to the tunes, punters will have access to an array of first-rate food options, including gourmet burgers, woodfired pizzas and slow-cooked smoked treats. And that's to say nothing of the drinks list, which will feature craft beers, cocktails, a wide array of wines and summery beverages. The festivities kick off at 1pm, and to help make commuting to-and-from Pokolbin a little easier, the festival has organised return buses from Sydney Central Station, Newcastle and Gosford. You'll just need to add a (slightly pricey) bus pass to your ticket, which you can purchase here.
After introducing its cookie pies to the world last month, followed by serving up an OTT red velvet one, Gelato Messina is bringing the decadent dessert back again. This time, though, it's filled with a gooey choc-hazelnut spread the gelato chain calls Messinatella. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two–six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. These pies are available for preorder from Monday, June 8 — so if you missed out last time, here's your chance to get yourself a piece of the pie. On its own, the indulgent choc chip pie will cost $20. But to sweeten the deal, the cult ice creamery has created a few bundle options, should you want some of its famed gelato atop it. You can add on a 500-millilitre tub for $28, a one-litre tub for $34 or a 1.5-litre tub for $39. To get your pie to your oven, you will have to peel yourself off the couch and head to your local Messina store between Thursday, June 11 and Sunday, June 14 to pick it up. Once you've got the pie safely home, you just need to whack it in the oven for 10-15 minutes and voila. You can preorder a Messina cookie pie from Monday, June 8 to pick up from all NSW, Vic and Queensland Gelato Messina stores (except The Star and Coolangatta) from June 11–14.
Ever wondered if it was safe to go back into the water? You have Jaws to thank. When the killer shark flick swam into cinemas in 1975, it didn't just become Hollywood's first blockbuster — it also sparked phobias that have lingered for generations. Almost everyone has seen the eerily effective creature feature. Too many movies since have wanted to be it, too. Even if you somehow haven't watched the famed horror film, you still know of it, and you likely get creeped out whenever you heard just a few notes from its oft-deployed score. But if it weren't for Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, Jaws may not have become the popular culture behemoth it is. It mightn't have had beachgoers thinking twice about taking a dip in the sea for the past 46 years, either, or had the same bite — or success — overall. Steven Spielberg directed Jaws, but the Taylors shot its underwater shark sequences — off the coast of Port Lincoln in South Australia, in fact. And, when one of the animals they were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident. As everyone who has seen the huge hit has witnessed, Jaws benefits significantly from the Taylors' efforts. Indeed, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco: the stunning archival footage, with Ron Taylor credited first among the feature's five cinematographers; and the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. The remarkable remastered clips shot by Ron make for astonishing and affecting viewing. Seeing the Taylors switch from chasing sharks to playing with and saving them does as well. Filmmaker Sally Aitken understands this and, helming her second big-screen documentary about an Aussie icon in the past four years — following 2017's David Stratton: A Cinematic Life — builds the bulk of her film around these decades-old materials. That choice also helps underscore Valerie and Ron's change of heart. Both were successful spearfishers, but Valerie is candid about the impact that killing a nurse shark in her line of work had. Helping to make 1971 documentary Blue Water White Death and then Jaws, the pair became committed to shooting with cameras rather than spears. Watching their footage, it's easy to see why. Valerie was known for her fearlessness (Ron even nicknamed her "give-it-a-go Valerie"), and her willingness to get up close and personal with the types of underwater critters most of us have nightmares about results in breathtaking imagery. Jean-Michel Cousteau, son of Jacques, is one of Playing with Sharks' other talking heads — and his dad wasn't envious of the Taylors' work, he should've been. All that footage should turn David Attenborough green-eyed as well; it brings him to mind more than once, actually. Playing with Sharks keeps its focus on Valerie — she isn't presented as a supporting player to her late husband, or appreciated here solely because she was once one of the rare woman working in her chosen fields — but the film's archival visuals also spark the kind of wonder and awe that's synonymous with Attenborough's documentaries. Some of the coral reefs dived by the Taylors no longer exist, but audiences can see them here. As images of her underwater frolics with sharks and other marine life fill the screen, Valerie speaks of the sheer abundance of critters she waded among, and the misguided 60s-era perception that that'd never change. The footage shot by the Taylors acts as a time capsule, harking back to a very recent stage in the earth's history that'll likely never be repeated. Even if it wasn't combined with Valerie's life story and reflections, these clips would still prove inspiring, especially when it comes to rethinking prevailing opinions about sharks — including great whites — and fighting for their conservation. Shark haters, consider this a warning: Playing with Sharks will have you reassessing your opinion. Any movie could've laid out the facts regarding shark behaviour, unpacked the hysteria or chronicled Valerie's impact, but her enthusiasm and passion are infectious here — including when the now 85-year-old pops a red ribbon in her hair again, slips her aching shoulder into her pink wetsuit, goes for a dive in Fiji and beams about how a shark just hit her. This isn't just a biographical doco about someone known for working with sharks; like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, it's a movie about being profoundly changed by the natural world and all of its splendour. Aitken doesn't take any risks with her format, and noticeably so — but given Valerie's powerful story, she doesn't need to.
When The OA arrived on Netflix in December 2016, inspiring many a binge-watch and just as many conversations, four words came to mind: like story, like show. In the sci-fi mystery series, an enigmatic young woman told a strange, sometimes creepy tale to a willing audience, demanding their faith and trust in return — and the eight-episode first season did exactly the same with streaming viewers. Now the show is back, with The OA: Part II due to arrive on March 22. Across another eight installments, the series will once again delve into the plight of Prairie Johnson (Brit Marling), a blind woman who went missing for seven years, returned suddenly with restored sight, and started calling herself The OA. In the first season, she would only relay the details to a group of followers — and both her story and its retelling featured near-death experiences, Russian oligarchs, tinkering with space and time, and interpretative dance moves. In the second season, The OA finds herself in an alternative dimension where Barack Obama has never been president. Meanwhile, a private detective tries to track down a missing teen and The OA's original pals once again try to work out what's going on. Marling created the series with director Zal Batmanglij, with both co-writing several episodes as well — and their pre-The OA filmography gives an idea of the kind of space the pair likes to play in. Festival circuit flicks Sound of My Voice and The East each delved into close-knit groups with charismatic leaders and murky conspiracies, the former in a cult with a ringleader who claims to be from the future, and the latter in an eco-activist group. Whatever The OA: Part II has up its sleeves, it won't be straightforward, but it'll likely inspire plenty of out-there sci-fi theories. Check out the trailer below — and start pondering just what's going on in the show's weird vision. https://www.youtube.com/watch?v=WlSXDaRR2bw The OA: Part II hits Netflix worldwide on Friday, March 22.
Australia has a long and illustrious history of banning, restricting or causing an almighty fuss over perfectly reasonable things. The newest incident is the banning of American director Travis Mathews' film I Want Your Love, which was brought to national attention this week when James Franco filmed himself sitting on a sofa in a Hawaiian shirt, declared the banning as "really silly" and posted it to YouTube. I Want Your Love, which was due to screen at both Brisbane and Melbourne's Queer Film Festivals was rubber stamped with the letters RC — Refused Classification — by the Australian Classification Board. The reasons for the board's decision were the film's depictions of explicit gay male sex. But the film is not pornographic, or extreme. Mathews explains that he "sought to capture honest and intimate depictions of modern gay life with everyday men". A film gets given an RC rating if it depicts scenes "in such a way that they offend against the standards of morality, decency and propriety generally accepted by reasonable adults". Yet the Australian Classification Board can be wildly inconsistent in what they see as morally offensive. Last year, a documentary called Donkey Love screened at Sydney and Melbourne's Underground Film Festivals about the special love between Colombian men and their donkeys. Within the first five minutes, a man was having sex with a donkey. It wasn't refused classification. The board maintains that they don't censor, they classify. While this is true, it remains a fact that when the board gives a film, publication, or game an RC rating it cannot be distributed in Australia, effectively censoring it. In what follows, we walk you through some of the most infamous incidences of head-shaking and pearl-clutching in Australia's censorship history. Ern Malley In the 1940s, Sydney poets James McAuley and Harold Stewart wrote a series of poems and submitted them to the journal Angry Penguins under the name Ern Malley. The poems were written to embarrass the journal and 'prove' that modernist poetry was nonsensical. But in the meantime, the police had impounded editions of Angry Penguins and the poems, on the grounds that they were obscene. So commenced the most ridiculous obscenity trials Australia has ever seen. The police took issue with the poem Night Piece, for instance, because "apparently someone is shining a torch in the dark, visiting through the park gates. To my mind they were going there for some disapproved motive ... I have found that people who go into parks at night go there for immoral purposes." Lady Chatterley's Lover Many of the best pieces of 20th-century literature were banned in Australia, including — but by no means limited to — Ulysses, Portnoy's Complaint, Lolita, and everything ever written by Henry Miller, Jean Genet, and William S. Burroughs. One of the most infamous banned books was D.H. Lawrence's Lady Chatterley's Lover, which describes scenes of explicit sex and delights in its use of the word 'cunt', seen as likely to cause the good ladies of Mosman and Toorak to collapse in a faint. In fact, not only was Lady Chatterley's Lover banned, but the book about censoring the book, The Trial of Lady Chatterley's Lover, was also banned. Salò, or The 120 Days of Sodom In 1975 Italian filmmaker Pier Paolo Pasolini released Salò, a film inspired by the Marquis de Sade. Due to scenes of extreme sexual violence and sadism, the film was immediately banned in Australia, as well as many other countries. The cult arthouse film became a cause celebre for Australia's anti-censorship campaigners and was eventually deemed suitable for screening in 1993. Then, five years later, in the early years of the Howard government, the ban was reinstituted. It was only in 2010 that Salòwas given an R18+ classification and made available on DVD. Grand Theft Auto It was only at the start of 2013 that video games could be given an R18+ classification in Australia. Before, anything that exceeded MA15+ was automatically banned. Grand Theft Auto was continually subject to this problem. In 2002, Grand Theft Auto III was withdrawn because it allowed players to have virtual sex with virtual prostitutes, and then violently murder them. It was re-released when the ability to solicit sex was removed, but players were still perfectly free to violently murder prostitutes if they so wished. Explicit sex also caused the Vice City and San Andreas editions of the series to be withdrawn. Ken Park In 2003, Ken Park, an American arthouse film, was refused classification by the board. The film, which had been due to screen at that year's Sydney Film Festival, was banned because it portrayed real-life sex scenes involving characters that were supposed to be minors (the actors weren't actually minors). In defiance of the ban, Ken Park was given a public screening at Balmain Town Hall, but it was shut down by the police. Among those arrested was Margaret Pomeranz. They arrested Margaret Pomeranz. Need anything more be said? The Peaceful Pill Handbook In 2007 pro-euthanasia campaigners Philip Nitschke and Fiona Stewart published The Peaceful Pill Handbook, intended to give the elderly and seriously ill information about the legal and moral aspects of suicide as well as how-to instructions for painless and non-violent suicide methods. After an appeal by Right to Life, the book was pulled from the shelves. While The Peaceful Pill Handbook is available in other countries, there remains a ban on both importing and distributing the book in Australia. Bill Henson While Bill Henson's photography wasn't banned, the mainstream media gave it a red-hot go in 2008. The scandal occurred when the police shut down an exhibition at Sydney's Roslyn Oxley9 gallery after accusations that the images of young girls displayed in the exhibit were pornographic. Henson was cast as a paedophile by the likes of Miranda Devine and had Kevin Rudd declare the photographs "absolutely revolting". Despite the uproar, the Department of Public Prosecutions dropped the case after Henson's images were declared "mild and justified" and given a PG rating by the board, in one of the most sensible decisions they ever made. https://youtube.com/watch?v=-3rbDIsT4f0
UPDATE, March 25, 2022: The Worst Person in the World is currently screening in Australian cinemas, and is also available to stream via Google Play, YouTube Movies, iTunes and Prime Video. When Frances Ha splashed a gorgeous portrait of quarter-life malaise across the screen nearly a decade back — proving neither the first nor last film to do so, of course — its titular New Yorker was frequently running. As played by Greta Gerwig, she sprinted and stumbled to David Bowie's intoxicating 'Modern Love' and just in general, while navigating the constantly-in-motion reality of being in her 20s. It takes place in a different city, another country and on the other side of the globe, but The Worst Person in the World's eponymous figure (Renate Reinsve, Phoenix) is often racing, too. (Sometimes, in the movie's most stylised touch, she's even flitting around while the whole world stops around her.) Norwegian writer/director Joachim Trier (Thelma) firmly understands the easy shorthand of watching someone rush — around Oslo here, but also through life overall — especially while they're grappling with a blatant case arrested development. Capturing the relentlessly on-the-go sensation that comes with adulthood, as well as the inertia of feeling like you're never quite getting anywhere that you're meant to be, these running scenes paint a wonderfully evocative and relatable image. Those are apt terms for The Worst Person in the World overall, actually, which meets Julie as she's pinballing through the shambles of her millennial life. She doesn't ever truly earn the film's title, or come close, but she still coins the description and spits it her own way — making the type of self-deprecating, comically self-aware comment we all do when we're trying to own our own chaos because anything else would be a lie. The Worst Person in the World's moniker feels so telling because it's uttered by Julie herself, conveying how we're all our own harshest critics. In her existence, even within the mere four years that the film focuses on, mess is a constant. Indeed, across the movie's 12 chapters, plus its prologue and epilogue, almost everything about Julie's life changes and evolves. That includes not just dreams, goals, fields of study and careers, but also loved ones, boyfriends, apartments, friends and ideas of what the future should look like — and, crucially, also Julie's perception of herself. As the ever-observant Trier and his regular co-screenwriter Eskil Vogt track their protagonist through these ups and downs, using whatever means they can to put his audience in her mindset — freezing time around her among them — The Worst Person in the World also proves a raw ode to self-acceptance, and to forgiving yourself for not having it all together. They're the broad strokes of this wonderfully perceptive film; the specifics are just as insightful and recognisable. Julie jumps from medicine to psychology to photography, and between relationships — with 44-year-old comic book artist Aksel (Anders Danielsen Lie, Bergman Island), who's soon thinking about all the serious things in life; and then with the far more carefree Eivind (Herbert Nordrum, ZombieLars), who she meets after crashing a wedding. Expressing not only how Julie changes with each shift in focus, job and partner, but how she copes with that change within herself, is another of The Worst Person in the World's sharp touches. At one point, on a getaway with friends more than a decade older than her, Julie is laden with broad and trite generalisations about being her age — which Trier humorously and knowingly counters frame by frame with lived-in minutiae. A place, a person, the chaos that is being an adult (and, with the latter, the truth rather than the stereotypes): across three thematically connected films, spanning 2006's Reprise, 2011's Oslo, August 31st and now The Worst Person in the World, that's been Trier's formula. Calling it a pattern or recipe does the trio an injustice, though, because each feature is as individual as any person. Here, Trier is clearly aware of how romantic dramedies like this typically turn out, and ensures that his movie never simply parrots the obvious — unless it's unpacking the chasm between the standard big-screen story we've all seen too many times and the tangled reality. This isn't the usual cliche-riddled affair, and that commitment to transcend tropes, and to truly contemplate what growing up, being an adult and forging a life is really like (including at both the sunniest and the most heartbreaking extremes), both feeds and enables Reinsve's astonishing work. Sometimes, a performance just flat-out shakes and startles you — and Reinsve's falls into that category. That's meant in the greatest of ways; she won the 2021 Cannes Film Festival Best Actress award for her efforts, and turns in a complex, layered and no-holds-barred portrayal that's one of the finest of the year. She could've waltzed into the film straight out of any twentysomething's circle of friends. She plays her part with exactly that air, and she's magnificent. In a movie that proves a discerning and disarming character study above all else, and a masterpiece of one, her performance soars with heart and soul when Julie is at her best, sparkles with chemistry with both Danielsen Lie and Nordrum — both of whom are terrific, too — and seethes with both pain and growth in the character's hardest moments. It shouldn't come as a surprise given how much bobbing around it does — between chapters and the parts of Julie's life they cover, between all the things earning her attention at any given moment, and within Reinsve's multifaceted performance — but The Worst Person in the World is also a tonal rollercoaster. Again, that's a positive thing. As a snapshot of an age and life stage, Trier helms a film that's canny and incisive, also perfects the sensation of constantly zipping onwards even when it seems as if you're stuck, and knows how to find both joy and darkness in tandem. That kind of duality also graces the screen visually, in a feature that can be both slick and naturalistic, which is another deft touch. There's an enormous difference between telling viewers what it's like to be Julie and showing them — and The Worst Person in the World makes sure its audience not only feels it, but feels like they're running through it with Julie as well.
Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Lucas didn't come up with the story for Indiana Jones and the Dial of Destiny, though, in a first for the saga that he conjured up as a new version of 30s and 40s movie serials. Steven Spielberg (The Fabelmans) similarly steps away from directing, which is also uncharted Indy territory. But Logan and Ford v Ferrari filmmaker James Mangold knows the drill, as do his co-screenwriters Jez Butterworth and John-Henry Butterworth (both alumni of the helmer's latter title), plus David Koepp (Kimi). To be fair, everyone knows the drill: see above. It isn't hard, then, for Indiana Jones and the Dial of Destiny to surpass the woeful Indiana Jones and the Kingdom of the Crystal Skull, which it does. Still, it isn't easy for it avoid playing like a copy of Lucas and Spielberg at their much-earlier Indy best, something that it can't manage. Mangold and company's initial step is to start by pretending that they're making an Indy flick decades back with a younger Ford. Hollywood's digital de-aging technology gets its latest workout in Indiana Jones and the Dial of Destiny's opening sequence — and a more-than-passable one — where it's 1944 and Nazis lurk. World War II is waning. Hitler is in his bunker. His underlings are scrounging up all the antiquities they can. Enter Indy spying with his British friend Basil Shaw (Toby Jones, Tetris); physicist Jürgen Voller (Mads Mikkelsen, Fantastic Beasts: The Secrets of Dumbledore) being certain that he's found part of the Archimedes Dial, aka the Antikythera; and showdowns on a loot-filled train to get the titular object away from the Third Reich. From there, Indiana Jones and the Dial of Destiny's bulk takes place in 1969. The film reteams with Indy as a moon-landing party wakes up the about-to-retire professor from a whisky-ushered, underwear-clad slumber in his armchair — and he isn't happy. Ford in cranky and cantankerous mode, but with tenderness inside, remains a gem to watch. It worked in TV series Shrinking earlier in 2023 (one of his two recent TV roles, alongside Yellowstone prequel 1923), and it would've been the heftiest surprise that the Indy movies have delivered if it didn't also shine in his current big-screen franchise revival of late (after Blade Runner and Star Wars, obviously). Ford bickering gruffly is equally gleaming, which is where Waller-Bridge fits in as Helena Shaw, Basil's daughter and Indy's goddaughter, who wisecracks back, can hold her own in a fray and car, and says she wants help locating the entire Antikythera. If everyone could be taken at their word, this wouldn't be an Indy entry, just like if the MacGuffin was simple to source and protect, travelling by map didn't feature and, since Raiders of the Lost Ark, well-loved faces stopped resurfacing. Indiana Jones and the Dial of Destiny ticks all those boxes and always feels as if it's making a show of ticking them — regularly, gleefully, less gracefully and convincingly digging into the franchise's past Star Wars: Episode VII — The Force Awakens nod-and-reuse style. There's the old hat again, no matter what's atop Ford's head. Lacking Spielberg's knack for memorable action, many of the chases and puzzles have an urgent, immediate yet been-there-done-that air (and the setpieces keep coming, involving horse-and-motorcycle pursuits, subway tunnels, tuk tuks, underwater jaunts, eels, tombs and more). Mangold tries to patch over the boilerplate plot, but those efforts are as flimsy as anything that's ever threatened Indy's world-saving goals. Indiana Jones and the Dial of Destiny didn't need to stretch out this latest go-around to the series' longest running time yet — 154 minutes — but with Ford and Waller-Bridge at the movie's core, understanding that choice isn't difficult. Although they're better than the material again and again, as is Short Round replacement Teddy (Ethann Isidore, Mortel), it's entertaining to bask in the pair's back-and-forth as Indy and Helena zip through the franchise-standard challenges. There's the new whip, because Ford and Waller-Bridge are that crucial to giving Indiana Jones and the Dial of Destiny any spark and charge. While the five-film promise is now fulfilled and this has been dubbed the saga's star's last ride, a tighter and bolder follow-up with them at the centre wouldn't be unwelcome if there have to be more Indy movies, which money dictates there'll have to be. And if not, passing the satchel and leather jacket to Everything Everywhere All At Once Oscar-winner Ke Huy Quan, marking his return after making his acting debut in Indiana Jones and the Temple of Doom, would be one of the Indy franchise's most cracking moves.
He's directed a mockumentary about sharehouse-dwelling vampires in Wellington, one of the most offbeat and adorable fugitive films there is, and the best big-budget blockbuster about a certain cape-wearing, hammer-wielding Norse god- turned-superhero that's reached screens so far. Now, after winning hearts and laughs with not only What We Do in the Shadows, Hunt for the Wilderpeople and Thor: Ragnarok, but New Zealand comedies Eagle vs Shark and Boy too, Taika Waititi has turned his attention to making fun of Hitler. His latest movie is called Jojo Rabbit, with the beloved filmmaker not only writing and directing, but starring as the Nazi. It's a satire, obviously, following a bullied but nationalistic young German boy called Jojo (newcomer Roman Griffin Davis) who discovers that his mother (Scarlett Johansson) is hiding a Jewish girl (Thomasin McKenzie, Leave No Trace) in their attic. He doesn't quite know what to do, so he asks the obvious person for help: his imaginary friend Adolf Hitler. World War II-set films are a very common sight on the big screen, so if you feel like you've seen every possible take on that period of history, Jojo Rabbit is here to change your mind. As the movie's initial teaser and its just-released full trailer both show, this isn't your usual grim, serious war flick. Premiering at the Toronto International Film Festival this month, and based on the book Caging Skies by Christine Leunens, it's being badged as an "anti-hate" comedy, should you need more of an idea of the tone that Waititi is going for. As well as the writer/director himself, the film co-stars the high-profile likes of Sam Rockwell, Rebel Wilson, Stephen Merchant and Alfie Allen. It's not the only project that Waititi has in the works — it was just announced last week that he'll be directing the next Thor film, Thor: Love and Thunder — but it is the only one where he gets Hitler to call himself a lunatic and a psycho. Check out the new trailer below: https://www.youtube.com/watch?v=tL4McUzXfFI Jojo Rabbit releases on December 26 in Australia.
UPDATE, November 11, 2020: Goldstone is available to stream via Stan, Netflix, Google Play, YouTube Movies and iTunes. Australian cinema has a new hero — or heroes, to be exact. In case 2013's neo-western crime thriller Mystery Road didn't make that apparent, Goldstone shouts it across the outback. On screen, Indigenous police detective Jay Swan (Aaron Pedersen) stalks through another remote desert town searching for the truth. Behind the camera, writer-director Ivan Sen guides another insightful examination of race, prejudice, inequality and exploitation inextricably linked to the Australian landscape. Indeed, across their two features to date, both the character and the filmmaker confront not only the challenging reality of present day Australia, but the deep scars left by the past. Accordingly, as much as Goldstone is a follow-up, it's also far more than just a narrative sequel to Mystery Road. Instead, the companion piece expands upon its predecessor's themes to explore a host of different topics, including human trafficking and the government-sanctioned mining of resources, in order to further push Sen's ongoing cinematic conversation about the state of his country today. Swan isn't quite the same no-nonsense cop viewers will remember from the previous film. When he's first spied driving drunk on the outskirts of the titular mining community, local officer Josh Waters (Alex Russell) is surprised to find a police badge stashed amongst his belongings. Reports of a missing Chinese woman, possibly linked to the town's brothel, have sparked Swan's visit, but he's hardly given a warm welcome. Josh is reluctant to help, mayor Maureen (Jacki Weaver) oozes malice behind her big smile, and goldmine boss Johnny (David Wenham) is clearly unhappy about strangers rolling into town. Given all that, it's hardly surprising when bullets start flying in Swan's direction. With the narrative also exploring Swan's links to his heritage via Aboriginal elder Jimmy (David Gulpilil), as well as the dynamic between a madam (Cheng Pei-pei) and her reluctant workers, Goldstone dives into complex territory. And yet, with Pedersen always front and centre as the unflappable Swan, the film filters its many threads through a confident, commanding central presence. Amidst an excellent cast, Pedersen demonstrates why he's one of the country's most talented actors, in a portrayal that conveys more through glances and body language than most say with words. His is a performance of quiet determination, and of breaking through pain to find a way forward. In fact, Pedersen is so convincing that Sen's decision to drop back into Swan's story after significant unseen turmoil feels completely natural. And just as the character refuses to give up, the writer-director (who also serves as producer, editor, cinematographer and composer) refuses to underestimate the audience's ability to piece the necessary parts together. Some of the dialogue is a little bit blunt, but sometimes both force and nuance are required to make a strong statement. It's how Sen balances the two that's pivotal. As it alternates between intimate close-ups and vast aerial shots, punctuating a contemplative pace with expertly choreographed gun battles, Goldstone proves a masterclass in maintaining that balance.
With every Australian state and territory doing its own thing regarding borders during the COVID-19 pandemic, travelling around the country isn't a simple feat in 2020. But, if you're planning ahead, you might want to add Western Australia's Kalbarri National Park to your must-visit list — especially given that it has just opened a 100-metre-high skywalk perched atop Murchison Gorge, complete with mighty impressive views. Welcoming the public since mid-June this year — just WA residents so far, with the state's border currently closed to residents of the rest of Australia — the Kalbarri Skywalk features two cantilevered platforms over the 80-kilometre-long gorge. When you're standing on either of the two lookouts, you'll also be located 100 metres above the ground, with cliffs falling beneath you. The pair of platforms are within easy walking distance of each other, too, with one jutting out 17 metres from the cliffside and the other reaching out 25 metres. Built as part of a $24 million project, the Kalbarri Skywalk is also accompanied by an environmentally friendly kiosk that's designed to operate off the grid on low to no emissions, shade shelters, toilets and parking, as well as 22 kilometres of park roads, plus upgrades to existing tourist sites at Meanarra Hill and Z Bend. Also onsite: recognition of the region's Nanda Traditional Owners, their culture and stories, including via an entry sign emblazoned with 'kaju yatka' — the Nanda words for 'sky' and 'to walk' — and other artistic elements. https://www.youtube.com/watch?v=aZK7MtyuZNs&feature=emb_logo Located 150 kilometres north of Geraldton and almost 600 kilometres north of Perth, Kalbarri National Park welcomed more than 450,000 visitors in 2019 — so, when the rest of the country is permitted to enter WA again, expect to have company. If you're wondering about finding your way around the park, the WA Parks Foundation has just added Kalbarri National Park to its Smart Park mapping program, too, which allows you to download a park map, then navigate through the area offline and in real time. Find the Kalbarri Skywalk in the Kalbarri National Park, Kalbarri, in Western Australia's mid-west region. For further details, visit the park's website. Top image: Shem Bisluck/Department of Biodiversity, Conservation and Attractions.
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There's never a bad time to be in Brisbane. Year-round sunshine, a booming cultural scene and plenty of excellent things to eat, drink, see and do make the river city one of the most exciting places in the country. We've teamed up with Hennessy and the W Hotel to give you the perfect reason to head there — or, if you're a Brisbane local, the perfect excuse for a staycation. You and a lucky plus one can escape to the sunny state with an overnight stay in a Marvellous Suite at the five-star W Brisbane. Set in the heart of the city on the banks of the Brisbane River, it's the perfect spot to soak up the best of the city thanks in no small part to the incredible views you'll get from your room. [caption id="attachment_831071" align="alignnone" width="1920"] Marriott International Hotel[/caption] Wake up in the laps of luxury and indulge in breakfast for two in the hotel's signature restaurant, Three Blue Ducks, before spending the day chilling out on the jazzy pool deck. Later, you can glam it up for an evening with Hennessy cocktails in the Living Room Bar (pictured above). That's a $1000 stay – and you won't have to pay a cent. To be in the running, enter your details below. [competition]831077[/competition]
Just over 12 months ago, in January 2023, Danny and Michael Philippou's Talk to Me screened at the Sundance Film Festival. From there, it was picked up by A24, released to hefty crowds and fanfare midyear, and collected 11 nominations from the Australian Academy of Cinema and Television Arts Awards. Now, at the Aussie organisation's night of nights, the homegrown horror hit has won eight accolades, the most of any movie — including Best Film of 2023, plus Best Director for the RackaRacka YouTubers-turned-filmmakers. It's official: Talk to Me is the top Australian flick of the past year, a huge feat not only for a horror movie but for the Philippou brothers' first feature. In the film categories, it had company from Warwick Thornton's The New Boy, which picked up four awards from 12 nominations. A heap of other pictures collected a prize each: Noora Niasari's Shayda, with one win from nine nods; The Rooster, with one from four; Ivan Sen's Limbo, Carmen and John Farnham: Finding the Voice, each with one from three; and Ego: The Michael Gudinski Story and The Giants, with one from two apiece. That's an impressive spread, including the Best Actress accolade going to Talk to Me's Sophie Wilde, Best Actor to The New Boy's Aswan Reid, Best Supporting Actress to Deborah Mailman for the latter film and Best Supporting Actor to The Rooster's Hugo Weaving. The AACTAs aren't just about the big screen, however, also rewarding the year's best TV efforts. There, The Newsreader and Deadloch each picked up five awards — including Kate McCartney and Kate McLennan nabbing Best Screenplay in Television for writing Deadloch. Across the small-screen fields, they were joined by fellow big winners Colin From Accounts, The Lost Flowers of Alice Hart and Love Me. The hefty affair, which was held on Saturday, February 10 on the Gold Coast for the first time amid a four-day AACTA Festival, also found more than one way to give Margot Robbie and Barbie some love. Cue Robbie receiving the annual Trailblazer Award, plus the Audience Choice Award for Favourite Actress. Also among the public's picks was Barbie for Favourite Film. And, the list of gongs goes on — for Robbie and Barbie, and in general, with International Awards also handed out. Succession, The Bear, Oppenheimer, Poor Things: they all earned a shiny trophy or two as well. Here's the full rundown: AACTA Nominees and Winners 2024: Film Awards: Best Film Of an Age Shayda Sweet As Talk to Me — WINNER The New Boy The Royal Hotel Best Indie Film A Savage Christmas Limbo — WINNER Monolith Streets of Colour The Rooster The Survival of Kindness Best Direction Jub Clerc, Sweet As Kitty Green, The Royal Hotel Noora Niasari, Shayda, Danny Philippou, Michael Philippou, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Lead Actress Zar Amir Ebrahimi, Shayda Shantae Barnes-Cowan, Sweet As Cate Blanchett, The New Boy Julia Garner, The Royal Hotel Sarah Snook, Run Rabbit Run Sophie Wilde, Talk to Me — WINNER Best Lead Actor Elias Anton, Of an Age Simon Baker, Limbo Thom Green, Of an Age Phoenix Raei, The Rooster Aswan Reid, The New Boy — WINNER Osamah Sami, Shayda Best Supporting Actress Alex Jensen, Talk to Me Deborah Mailman, The New Boy — WINNER Tasma Walton, Sweet As Mia Wasikowska, Blueback Ursula Yovich, The Royal Hotel Selina Zahednia, Shayda Best Supporting Actor Mojean Aria, Shayda Eric Bana, Blueback Wayne Blair, The New Boy Rob Collins, Limbo Zoe Terakes, Talk to Me Hugo Weaving, The Rooster — WINNER Best Screenplay Kitty Green, Oscar Redding, The Royal Hotel Noora Niasari, Shayda Danny Philippou, Bill Hinzman, Talk to Me — WINNER Goran Stolevski, Of an Age Warwick Thornton, The New Boy Best Cinematography Carl Allison, Godless: The Eastfield Exorcism Sherwin Akbarzadeh, Shayda Aaron McLisky, Talk to Me Katie Milwright, Sweet As Warwick Thornton, The New Boy — WINNER Best Editing Dany Cooper, Carmen Katie Flaxman, Sweet As Geoff Lamb, Talk to Me — WINNER Michelle McGilvray, Matt Villa, Courtney Teixera, Scarygirl Nick Meyers, The New Boy Best Casting in Film Run Rabbit Run Shayda — WINNER Sweet As The New Boy The Royal Hotel Best Costume Design Blueback Carmen — WINNER Seriously Red The New Boy The Rooster Best Original Score Blueback Godless: The Eastfield Exorcism Suka Talk to Me — WINNER The Big Dog Best Production Design Carmen Scarygirl The New Boy — WINNER The Portable Door True Spirit Best Sound Godless: The Eastfield Exorcism Scarygirl Seriously Red Talk to Me — WINNER Three Chords and the Truth Best Short Film An Ostrich Told Me the World is Fake and I Think I Believe It Ashes Finding Addison — WINNER Jia Mud Crab Not Dark Yet Documentary Awards: Best Documentary Ego: The Michael Gudinski Story Harley & Katya John Farnham: Finding the Voice — WINNER The Dark Emu Story The Giants The Last Daughter This Is Going to Be Big To Never Forget Best Cinematography in a Documentary Australia's Wild Odyssey Shackleton: The Greatest Story of Survival The Dark Emu Story The Giants — WINNER This Is Going To Be Big Best Editing in a Documentary Because We Have Each Other Folau Harley & Katya Queerstralia The Australian Wars — WINNER Best Original Score in a Documentary John Farnham: Finding The Voice Kindred Splice Here: A Projected Odyssey The Dark Emu Story — WINNER Under Cover Best Sound in a Documentary Ego: The Michael Gudinski Story — WINNER John Farnham: Finding The Voice Kindred Memory Film — A Filmmaker's Diary The Dark Emu Story Television Awards: Best Drama Series Bay of Fires Black Snow Bump Erotic Stories Love Me The Newsreader — WINNER Best Narrative Comedy Colin From Accounts — WINNER Deadloch Fisk Gold Diggers Upright Utopia Best Miniseries Bad Behaviour In Our Blood Safe Home The Clearing The Lost Flowers of Alice Hart — WINNER While The Men Are Away Best Lead Actor in a Television Drama Tim Draxl, In Our Blood Travis Fimmel, Black Snow Joel Lago, Erotic Stories Sam Reid, The Newsreader Richard Roxburgh, Bali 2002 Hugo Weaving, Love Me — WINNER Best Lead Actress in a Television Drama Kate Box, Erotic Stories Aisha Dee, Safe Home Bojana Novakovic, Love Me Teresa Palmer, The Clearing Anna Torv, The Newsreader — WINNER Sigourney Weaver, The Lost Flowers of Alice Hart Best Acting in a Comedy Celeste Barber, Wellmania Kate Box, Deadloch — WINNER Patrick Brammall, Colin From Accounts Harriet Dyer, Colin From Accounts Kitty Flanagan, Fisk Nina Oyama, Deadloch Helen Thomson, Colin From Accounts Julia Zemiro, Fisk Best Comedy Performer Tom Gleeson, Hard Quiz Jim Jefferies, The 1% Club Luke McGregor, Taskmaster Australia Rhys Nicholson, RuPaul's Drag Race Down Under Nina Oyama, Taskmaster Australia Charlie Pickering, The Weekly with Charlie Pickering Natalie Tran, The Great Australian Bake Off Cal Wilson, The Great Australian Bake Off — WINNER Best Supporting Actress in a Television Drama Alycia Debnam-Carey, The Lost Flowers of Alice Hart Marg Downey, The Newsreader Michelle Lim Davidson, The Newsreader Heather Mitchell, Love Me — WINNER Leah Purcell, The Lost Flowers of Alice Hart Brooke Satchwell, Black Snow Best Supporting Actor in a Television Drama Tim Draxl, Erotic Stories Alexander England, Black Snow William McInnes, The Newsreader Bob Morley, Love Me Hunter Page-Lochard, The Newsreader — WINNER Guy Pearce, The Clearing Best Direction in a Drama or Comedy Ben Chessell, Deadloch (episode one) Emma Freeman, The Newsreader (episode four) — WINNER Glendyn Ivin, The Lost Flowers of Alice Hart (episode one) Matt Moore, Colin From Accounts (episode six) Trent O'Donnell, Colin From Accounts (episode three) Best Direction in Non-Fiction Television Katie Bender Wynn, Matildas: The World at Our Feet (episode two) Stamatia Maroupas, Queerstralia (episode one) Josh Martin, Adam and Poh's Great Australian Bites (episode one) Rachel Perkins, Dylan River, Tov Belling, The Australian Wars (episode one) — WINNER Henry Stone, Aaron Chen: If Weren't Filmed, Nobody Would Believe Best Screenplay in Television Patrick Brammall, Colin From Accounts (episode six) Harriet Dyer, Colin From Accounts (episode three) Kate McCartney, Kate McLennan, Deadloch (episode one) — WINNER Adrian Russell Wills, The Newsreader (episode four) Lucas Taylor, Black Snow (episode one) Best Cinematography in Television Sam Chiplin, The Lost Flowers of Alice Hart (episode one) — WINNER Earle Dresner, The Newsreader (episode four) Aaron Farrugia, Aunty Donna's Coffee Cafe (episode one) Tania Lambert, Erotic Stories (episode two) Katie Milwright, Deadloch (episode one) Best Editing in Television Peter Bennett, Aunty Donna's Coffee Cafe (episode one) Danielle Boesenberg, Colin From Accounts (episode three) Angie Higgins, Deadloch (episode one) — WINNER Angie Higgins, The Newsreader (episode four) Deborah Peart, The Lost Flowers of Alice Hart (episode one) Deborah Peart, Dany Cooper, The Lost Flowers of Alice Hart (episode six) Best Entertainment Program Dancing with the Stars Eurovision Song Contest 2023 — WINNER Lego Masters: Grand Masters Mastermind The 1% Club The Amazing Race Australia: Celebrity Edition Best Comedy Entertainment Program Hard Quiz — WINNER RocKwiz Taskmaster Australia Thank God You're Here The Cheap Seats The Weekly with Charlie Pickering Best Factual Entertainment Program Alone Australia Gogglebox Australia Kitchen Cabinet Old People's Home for Teenagers — WINNER Take 5 with Zan Rowe Who The Bloody Hell Are We? Best Documentary or Factual Program Matildas: The World at Our Feet Ningaloo Nyinggulu Queerstralia The Australian Wars — WINNER War on Waste Who Do You Think You Are Best Children's Program Barrumbi Kids Beep and Mort Bluey — WINNER Crazy Fun Park The PM's Daughter Turn Up the Volume Best Standup Special Aaron Chen: If Weren't Filmed, Nobody Would Believe Celeste Barber: Fine, thanks Hannah Gadsby: Something Special — WINNER Jim Jefferies: High & Dry Lizzy Hoo: Hoo Cares!? Rhys Nicholson's Big Queer Comedy Concert Best Lifestyle Program Adam and Poh's Great Australian Bites Gardening Australia — WINNER Grand Designs Australia Love It or List It Australia Selling Houses Australia The Great Australian Bake Off Best Reality Program Australian Survivor: Heroes v Villains FBOY Island Australia Hunted Australia MasterChef Australia — WINNER Real Housewives of Sydney RuPaul's Drag Race Down Under Best Casting in Television Colin From Accounts Deadloch — WINNER Safe Home The Lost Flowers of Alice Hart The Newsreader Best Costume Design in Television Ten Pound Poms (episode one) The Claremont Murders (episode one) The Clearing (episode one) The Newsreader (episode four) — WINNER While the Men Are Away (episode two) Best Original Score in Television Bad Behaviour (episode one) Deadloch (episode one) — WINNER Fisk (episode four) In Limbo (episode one) RFDS (episode five) Best Production Design in Television Beep and Mort (episode two) Black Snow (episode one) Deadloch (episode one) Gold Diggers (episode three) The Lost Flowers of Alice Hart (episode one) — WINNER The Newsreader (episode four) Best Sound in Television Black Snow (episode six) Last King of the Cross (episode four) The Clearing (episode one) The Lost Flowers of Alice Hart (episode six) — WINNER The Newsreader (episode six) Best Online Drama or Comedy Appetite Latecomers — WINNER Me & Her(pes) Monologue The Disposables The Future of Everything AACTA Audience Awards: Audience Choice Award for Favourite TV Show Ginny & Georgia — WINNER My Life with the Walter Boys Outer Banks The Kardashians The Summer I Turned Pretty Young Sheldon Audience Choice Award for Favourite Film Barbie — WINNER Mean Girls Saltburn Taylor Swift: The Eras Tour The Hunger Games: The Ballad of Songbirds & Snakes Wonka Audience Choice Award for Favourite Actress Jenna Ortega Jennifer Aniston Jennifer Lawrence Margot Robbie — WINNER Millie Bobby Brown Sydney Sweeney Audience Choice Award for Favourite Actor Adam Sandler — WINNER Chris Hemsworth Jacob Elordi Ryan Gosling Timothėe Chalamet Vin Diesel Audience Choice Award for Favourite Australian Media Personality Abbie Chatfield Chloe Hayden Em Rusciano Jimmy Rees Shameless Podcast Sophie Monk — WINNER Audience Choice Award for Favourite Australian Digital Creator Anna Paul @anna..paull Bridey Drake @brideydrake Georgia Productions @georgia Indy Clinton @indyclinton Kat Clark and family @katclark — WINNER Luke and Sassy Scott @lukeandsassyscott Maddy MacRae @maddy_macrae_ Sofia Ligeros @sofialigeros Audience Choice Award for Favourite Australian Sporting Moment AFL: Carlton reach the finals AFL: Grand Final Collingwood vs Brisbane F1: Daniel Ricciardo returns to F1 Netball: Australian Diamonds win Netball World Cup NRL: Grand Final Panthers vs Broncos Soccer: Matilda's World Cup run — WINNER AACTA International Awards: AACTA International Award for Best Drama Series Beef Succession — WINNER The Crown The Last of Us Yellowjackets AACTA International Award for Best Comedy Series Only Murders in the Building Sex Education Ted Lasso The Bear — WINNER The Marvellous Mrs Maisel AACTA International Award for Best Actor in a Series Kieran Culkin, Succession Matthew Macfadyen, Succession Pedro Pascal, The Last of Us Jeremy Strong, Succession Jeremy Allen White, The Bear — WINNER AACTA International Award for Best Actress in a Series Elizabeth Debicki, The Crown Helen Mirren, 1923 Bella Ramsey, The Last of Us Sarah Snook, Succession — WINNER Ali Wong, Beef AACTA International Award for Best Film American Fiction Barbie — WINNER Killers of the Flower Moon Oppenheimer Poor Things AACTA International Award for Best Direction in Film Greta Gerwig, Barbie Martin Scorsese, Killers of the Flower Moon Bradley Cooper, Maestro Christopher Nolan, Oppenheimer — WINNER Yorgos Lanthimos, Poor Things AACTA International Award for Best Lead Actor in Film Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Cillian Murphy, Oppenheimer — WINNER Andrew Scott, All of Us Strangers Jeffrey Wright, American Fiction AACTA International Award for Best Lead Actress in Film Cate Blanchett, The New Boy Lily Gladstone, Killers of the Flower Moon Carey Mulligan, Maestro Margot Robbie, Barbie — WINNER Emma Stone, Poor Things AACTA International Award for Best Supporting Actor in Film Matt Damon, Oppenheimer Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Jacob Elordi, Saltburn Ryan Gosling, Barbie — WINNER AACTA International Award for Best Supporting Actress in Film Penélope Cruz, Ferrari Vanessa Kirby, Napoleon — WINNER Julianne Moore, May December Rosamund Pike, Saltburn Da'Vine Joy Randolph, The Holdovers AACTA International Award for Best Screenplay in Film Cord Jefferson, American Fiction Greta Gerwig and Noah Baumbach, Barbie Bradley Cooper and Josh Singer, Maestro Christopher Nolan, Oppenheimer Tony McNamara, Poor Things — WINNER The 2024 AACTA Awards were announced on Saturday, February 10. For further details, head to the awards' website.
How do you make a concert film when no concerts can be held to film? Australian director Andrew Dominik (Chopper, Killing Them Softly) and his now two-time subjects Nick Cave and Warren Ellis have the answer. How do you create a personal documentary that cuts to the heart of these Aussie music icons when, whether stated or implied in their vibe, both are hardly enamoured with having their lives recorded? Again, see: Dominik's new Cave and Ellis-focused This Much I Know to Be True. Performances in cavernous empty British spaces fill the movie's frames but, via stunning lighting, staging and lensing, they're as dazzling as any IRL gig. The interludes between tunes are brief, and also intimate and revealing. The result: a phenomenal doco that's a portrait of expression, a musing on an exceptional collaboration and a rumination upon existence, as well as a piece of haunting cinematic heaven whether you're an existing Cave and Ellis devotee, a newcomer or something in-between. Dominik, Cave and Ellis initially teamed up when the latter duo scored the former's The Assassination of Jesse James by the Coward Robert Ford. Later this year, when upcoming Marilyn Monroe biopic Blonde hits screens, the same arrangement will provide its soundtrack. But in the middle sits 2016 doco One More Time with Feeling and now This Much I Know to Be True, as entrancing a pair as the music documentary genre has gifted viewers. The first factual flick found Cave and Ellis recording the Nick Cave and the Bad Seeds album Skeleton Tree, as Cave also grappled with the death of one of his sons. Here, its follow-up is shaped by the first performances of Cave and Ellis' latest albums — the Bad Seeds 2019 release Ghosteen, and Cave and Ellis' 2021 record Carnage — plus the pandemic and the lingering effects of grief. Chatter precedes tunes to begin This Much I Know to Be True — talk, a revelation and a mini art exhibition, in fact. To the camera, Cave quips that he's "retrained as a ceramicist, because it's no longer viable to be a musician, a touring artist". He's joking about giving up music, of course, but serious about his foray into porcelain. Donning a white lab coat, he walks the audience through his workshop, sharing a series he's dubbed The Story of the Devil in 18 Figurines. That'd make a phenomenal title for one of his tracks, but it isn't. One piece's individual moniker, The Devil's Last Dance, also sounds like a song title. Unsurprisingly, Cave unfurls the same kinds of tales while explaining his ceramics — about a figure he's clearly long been fascinated with, and about choices, family, loss, redemption and mourning — as he always has behind the microphone. This attention-grabbing introduction serves several purposes, from pointing out the English government's patently ridiculous advice to artists during COVID-19 to setting the film's tone. There's always been a bewitching blend of the ethereal, mysterious and dark to Cave's music, and a sense of poetic preaching to his lyrics; his early musings here about the devil at various moments in his life earn the same description, and establish the movie as a type of spiritual experience. Fans of any star are guilty of seeing their hero's work in that light. It's especially true of musicians, who innately turn concert venues into altars for their disciples to worship their output. Still, when This Much I Know to Be True hones in on Cave at his piano, or behind the mic, spotlights casting him in a hypnotic glow while bathing his surroundings in blackness, that feeling couldn't be more blatant — and earned. This Much I Know to Be True takes its name from lyrics from Cave and Ellis' 'Balcony Man', the final track on Carnage — their first-ever solo record together beyond their many film-score collaborations — and ponders belief, gratitude and acceptance. Those same themes flicker through the movie, but largely while immersing viewers in Cave and Ellis' songs rather than addressing that trio of notions directly. And what performances they are, stripped back and gloriously theatrical at once, with Dominik, extraordinary cinematographer Robbie Ryan (C'mon C'mon, Marriage Story, The Favourite) and lighting designer Chris Scott crafting a mesmerising visual experience. Watching the camera circle, bulbs pop and dim, and shadows and shine make Cave's distinctive face look like a spectacular work of art, it's impossible not to surrender to the film's thrall. Layer in Cave and Ellis' grand sounds, as backed by singers, a string quartet and a brief appearance by Marianne Faithfull, and it's simply transcendent. Faithfull also gets the film's funniest line: "did he just call you Waz?". Usually seen prowling around Cave as he croons — conducting, playing instruments and sometimes singing himself — Ellis explains Australia's fondness for shortening words in such a fashion, and also happily becomes the film's scamp, a part he's obviously enjoyed for decades with his long-standing creative partner. While This Much I Know to Be True isn't short on standout moments, including whenever Cave and Ellis perform, the separate but intercut discussions between Dominik and the pair about their working relationship is a delightful highlight. Ellis is mischievously candid about his disdain for order. Cave is frank about the chaos that happens between them in the studio. He's also a game interviewee about Ellis' growing influence; "he took a subordinate role and slowly, one by one, took out each member of the Bad Seeds," Caves notes. "I'm the next to go. He's singing a lot more, I've noticed." There's tenderness and openness in these conversations; introspection, existential musings, bold self-insights and joy, too, and tussling with simply getting on with each day as it comes. Moviegoers and music aficionados alike haven't lacked chances to see Cave in cinemas recently — including in 2014 docudrama 20,000 Days on Earth and 2020 concert film Idiot Prayer: Nick Cave Alone at Alexandra Palace — but there's a particular perceptiveness and poignancy pulsating through This Much I Know to Be True. Cave captures it when he talks through his responses to his The Red Hand Files website and emails, where anyone can ask him anything. The questions he receives cut deep and, advising that he has to force himself to consider them carefully and with empathy, his answers do as well. He approaches them not as a star, musician or writer, but as a person, husband, father and friend who makes stuff, which is also how he now prefers to describe himself, he says. As much as anything else — and this sublime, vivid and potent doco is many things — This Much I Know to Be True is a heartfelt ode to that truth. Top image: Nick Cave Productions.
With filmmaking in her blood, Alice Englert makes her directorial debut with a movie about a mother and daughter with cinema similarly pumping through their veins. The creative force behind Bad Behaviour is the offspring of Oscar-winner Jane Campion (The Power of the Dog) and fellow helmer Colin Englert (The Last Resort), but here focuses on actor Lucy (Jennifer Connelly, Top Gun: Maverick) and stunt performer Dylan (Englert herself). There's a knowing, winking vibe to this New Zealand-shot dramedy, then, including in the Labyrinth-starring Connelly playing a former child star, as she is; Campion popping up for a memorable cameo; and Bad Behaviour's writer/director taking on the progeny-to-a-household-name part. The internet ensures that avoiding Englert's family ties is impossible, so she wryly leans into everywhere that life can and does inspire art; however, this bold and involving spiritual retreat-set feature isn't about nudges and nods, or even built on them. When there's evident parallels between what's on-screen and reality, a question springs: take all those links away and does the film still hit its marks? The answer for Englert's first stint behind the camera after acting in Ginger & Rosa, Beautiful Creatures, Campion's Top of the Lake, Them That Follow, Ratched, You Won't Be Alone and more is a resounding yes that could be shouted from the mountaintops. Bad Behaviour savvily satirises the wellness and enlightenment industry with the look of the also Aotearoa-made Nude Tuesday, but with a finely balanced understanding of its indulgences and its meaning to attendees. There's a glorious slice of The Lobster to the picture's tone, and not just because Ben Whishaw (Women Talking) features in both. Englert also constructs two phenomenal character studies, all while never being afraid to take wild turns that push everyone out of their comfort zones on- and off-screen. Open to splashing cash but closed to almost everything except her own pain, Lucy is Loveland Ranch's latest arrival, hitting the Oregon venue seeking what everyone is paying for: bliss, peace, reassuring words, kindly ears, shoulders to lean on, a renewed sense of self and the knowledge that all is well. If Lucy also decamps to the remote spot amid towering ranges to escape her own complications, that won't be on the itinerary. A phone call en route teases what loiters elsewhere, with strain echoing down the line as she tells Dylan — who is in NZ working on a big film — where she's going. It takes time and a shocking-but-earned twist to get Lucy and Dylan in the same space in Bad Behaviour's second half, when they're each weathering their own mayhem while also sifting through shared baggage, and the tension and anxiety between them seethes with a lifetime's worth of fractures and fraying. At Loveland, new-age sessions run by guru Elon Bello (Whishaw) are meant to get spiky, process trauma and demand hard work. That's even more true with its latest attendee, her dripping cynicism and her immediate distaste for self-obsessed model Beverly (Dasha Nekrasova, Succession). Everyone lapping up Elon's teachings has woes to wade through, with Lucy's distress at the path her life has taken since her heyday — she mentions a "warrior princess" role — just one problem put to the group. She's trying yet she's also igniting in a place where platitudes are doled out as wisdom and no one truly wants to do anything but hog the limelight. That the camp insists on silence between therapy chatter is an astute comic touch from Englert: the facility's customers gleefully believe that it'll help, purchasing the privilege of being told so and also struggling to comply; as scripted and portrayed, they'd also genuinely benefit from stopping to think through rather than natter about their emotions. As Lucy is stuck in agonising mother-baby role-play classes that go as well as anyone would expect — although in Englert's hands, nothing plays out as anyone could anticipate — Dylan is on set. There, plying her trade, getting bruises for her efforts and sporting a crush are her daily minutiae. Penned with precision, both of Bad Behaviour's threads tease out details about its two central women, whether unpacking Lucy's unhappiness, guilt and contempt, or exploring why Dylan seeks peril professionally and personally alike. A mother-daughter reckoning is always coming, though. Englert not only makes the build-up and the fallout equally knotty, revelatory and compelling — she commandingly establishes the ins and outs of her two protagonists beyond the most important relationship in their lives. More than four decades after her first-ever screen credit and two since winning the Best Supporting Actress Oscar for A Beautiful Mind, Connelly remains a reason to seek any project out. While she isn't Bad Behaviour's sole highlight, she's that good. Of late, she's been stellar in the TV version of Snowpiercer as well (also navigating uneasy parental bonds), but this film boasts one of her next-level performances. Stepping into Lucy's shoes is a go-for-broke effort to dive into the character's many complexities and conflicts, and Connelly is not only excellent but rivetingly raw and deeply resonant. She's also delightfully funny in the film's wry way. Englert has cast herself well, too, showing off her wit and empathy as an actor in a feature with no weak on-screen links, Whishaw, Ana Scotney (Millie Lies Low), Beulah Koale (Dual) and Marlon Williams (Sweet Tooth) among them. References to Englert and Connelly's pasts aren't all that Bad Behaviour wears proudly, clearly; thorniness is embraced just as strongly and ambition gleams bright. There's no doubting that this picture is the product of someone who knows what she wants to dig into, shower around, contemplate, excavate, call out and laugh at — and that it's made by a filmmaker who is as certain of how she wants her feature to look and feel at every moment. As cinematographer Matt Henley (Coming Home in the Dark) takes in the surroundings, it isn't difficult to spot New Zealand standing in for Bad Behaviour's American half, although there's a fitting air to that to that move in this movie. Perspective is a core part of this emotionally lingering flick, as is seeing intricacies in multiple lights as Englert shines the torch.
Opera Australia is going back to where it all began for their annual outdoor opera extravaganza. What was first seen as a bold, expensive experiment in 2013, Handa Opera on Sydney Harbour has now become an international tourist icon, drawing crowds from all over the world to experience the grandeur of opera in the grandest of locations. Georges Bizet's famous opera Carmen is the perfect fit for such a lavish spectacle — love, treachery, civil war and two of the best-known of all opera arias, portrayed with a realism and intensity that remains affecting and bracing nearly 150 years after it was written. On-stage a world-class cast of singers, dancers and physical performers (plus a nine-metre-high Hollywood-style sign spelling CARMEN) will bring to life the torrid world of Franco-era Spain, accompanied by a full chorus and orchestra (and, at times, fireworks). The offstage offerings only add to the spectacle, with five dining areas, including a tapas bar, a paella bar, a Spanish cantina and The Platinum Club, where you can book in for a sit-down three-course meal. They'll host some 3000 audience members, who will come from far and wide to see a highlight of Sydney's cultural calendar in its sixth year each night. Image: Prudence Upton.
OK Democracy, We Need to Talk is Campbelltown Art Centre's response to the recent election. The exhibition brings together 12 newly commissioned works by local artists, who posed interventions on ideas of democracy and were encouraged to talk to journalists on how tokens of the free world can be presented to its inhabitants. The pieces include a series of works by Deborah Kelly that both pay homage to John Lennon and Yoko Ono and make statements on Australia's environmental politics, and Lara Thoms' video portrait of Harper Nielsen, the nine-year-old that caused a stir among politicians when she refused to stand for the national anthem at her school in 2018. Western Sydney's own Abdullah MI Syed has even created a series of garments out of real bank notes. In addition to the exhibition, the gallery will host a free day-long symposium on July 27. Developed by UNSW Art and Design lecturer Simon Hunt — perhaps better known for his 1990s satirical character Pauline Pantsdown — the day will include panels, workshops and performances that further explore topics from the exhibition.
Get lost in an immersive and inflatable installation called Harbour Garden this winter. Located by the water at the Australian National Maritime Museum, the pop-up artwork is inspired by what lingers under the sea. Expect to encounter ocean creatures big and small as you explore the artwork. It's been designed by Studio A, an organisation that supports artists living with intellectual disability, and Goldberg Aberline Studio, which has created large-scale sculptures for the likes of Sculpture by the Sea and Mardi Gras. In a big win for those with light pockets, you can explore Harbour Garden without spending a cent, too.
There is no doubt Guy Ritchie has stamped his mark upon Sir Arthur Conan Doyle's iconic Sherlock Holmes. Ritchie's now trademark temporal jumps, bare-knuckled fighting and fraternal banter is all well translated into late 19th Century London. Cobbled streets and carriages may have replaced Ritchie's previous preoccupation with the modern gangster, but this slower pace suits him well. Indeed the Holmes stories provide the filmmaker with the crime caper he is so fond of, but one pared back to a much simpler, linear and more accessible storyline. And a familiar one at that; given the black magic plot, Sherlock Holmes borrows (or is that reclaims?) a lot from Harry Potter, even down to a wand, of sorts. This tale sees Holmes (Robert Downey Jnr.) and his exacerbated partner in solving crime Dr. Watson (Jude Law) packing up shop after solving their final case, only to find Lord Blackwood (Mark Strong) has cheated death to pursue his sinister, imperialistic plans. This revelation distracts Watson from his engagement to the spirited Mary (Kelly Reilly), while also bringing femme fatale Irene Adler (Rachel McAdams) back into Holmes' orbit. Convoluted powers of deduction, disguises and energetic fight scenes ensue. Though the final act drags, some of the set pieces feel too contrived and Downey Jnr's precocious interpretation of the famed detective may well rankle purists, it's very hard not to enjoy spending time with Holmes and Watson. Downey Jnr. and Law revel in their roles as the bickering couple; theirs is a love far more compelling than their (underused) female partners, and it's an absolute delight to watch. The film leaves the casebook wide open for a sequel featuring Holmes' arch nemesis Professor Moriarty (rumoured to be Brad Pitt), so one presumes Ritchie is just itching for the chance to delve back into the annals of Britain's greatest detective. https://youtube.com/watch?v=nZvKvrLXP30
Walk into this coastal boutique and you'll find it packed with one-of-a-kind homewares, all ethically sourced from Africa. This is because Africanologie's owner Dael Lane was born in Zimbabwe and brought her passion for African arts and crafts — and love for her home — Down Under in 2004. Naturally, the store champions makers and creatives from all over the continent, selling everything from handcrafted artefacts and gifts to artworks, unique furniture, lights and bespoke pieces. Africonologie has a buyer based in South Africa, ensuring the store is constantly sourcing and commissioning new products. The team prides itself on working closely with the artists and helping to support their local communities. And, if you'd like some guidance on styling your pad, Africanologie offers an interior styling service.
When you see a flag flapping in the wind, do you feel pride? Ownership? Oppression? Throughout this year's Sydney Festival, there'll be a large-scale art installation of 250 flags representing Australians' diverse views on land and country, belonging and possession. The free artwork at Barangaroo Reserve is just the beginning, as the festival is asking participants to submit their own images of their connection to land via an online portal.
Sydney-based queer comedian Cleo is back for another year of Bondi Feast, and this time she's brought her queens (sorry, kweens). Holding court in the Parlour Tent for one night only will be the likes of Axis of Awesome singer Jordan Raskopoulos, the acerbic 2018 Raw Comedy Winner Bec Melrose, legendary drag kings Dazza and Keif (who will, fair warning, be talking quite a bit about their 'crown jewels') and the eternally enigmatic Hey Puss Puss. The Kweens are promising a 'cosy night of laughter', but you'd be a fool not to expect some daggers to fly as well. You don't get to be royalty without stepping over a few bodies. Kweens of Comedy is happening on Tuesday, July 16 as part of Bondi Feast 2019. For more information and to purchase tickets, head this way.
UNSW Galleries has finally reopened to the public, and it has done so in a big way — by unveiling a major LGBTQIA+ exhibition. Running until Saturday, November 21, Friendship as a Way of Life celebrates LGBTQIA+ visibility, intimacy, collaboration, sex and knowledge. Curated by the UNSW Galleries Director José Da Silva and Deputy Director Kelly Doley, the exhibition features more than 20 artists — including ALOK, Camilo Godoy, and Gavin Kirkness and the Australian AIDS Memorial Quilt project, along with material from the Australian Lesbian and Gay Archives. A highlight: the re-staging of a major work by American artist Macon Reed, titled Eulogy for the Dyke Bar 2016. The installation recreates the interior of a lesbian bar and acts as a community space for performances, conversations and socialising. This 'bar' will host a full program of events come October and November, including a performance by Australian musician June Jones. [caption id="attachment_776611" align="aligncenter" width="1920"] Macon Reed, Eulogy for the Dyke Bar 2016. Installation and programming series. Installation view: UNSW Galleries, Sydney. Courtesy of the artist[/caption] Several new works are also featured, like the photographs by Helen Grace, which document Amazon Acres, an all-female community in northern NSW. Then there's Ella Sutherland's new prints, which pay tribute to Australia's lesbian erotic magazine Wicked Women. And collaborative duo Parallel Park will present a a new performance video that explores interpersonal relationships. International works by Scandinavian duo Elmgreen & Dragset's The Incidental Self 2007 will be on display too — with this installation spanning hundreds of photos that are making their Australian premiere. Alongside the physical exhibition is the online series Forms of Being Together, which will share weekly talks, conversations and digital projects from the exhibiting artists and other local creatives. New content will be shared each week, with highlights including live talks on the history of Australia's gay motorcycle groups with leather historian Timothy Robert, the importance of QPOC (Queer People of Colour) party spaces by DJ Sezzo, and a discussion on queer parenting and surrogacy with First Nations writer and activist Nayuka Gorrie. Also, an online video commission by Nikos Pantazopoulos will explore the history of Sydney's Oxford Street — by focusing on two homoerotic paintings salvaged from Midnight Shift prior to its closure in 2017. And DJ Gemma has curated a special mix of music that captures Sydney's underground queer dance scene. Friendship as a Way of Life runs until Saturday, November 21. The exhibition is open to the public free-of-charge every Tuesday–Saturday from 10am–5pm. Images: UNSW Galleries. Installation views: Friendship as a Way of Life. Photography: Zan Wimberley.
Spring has finally sprung. What better way to enjoy the warmer and brighter evenings than by toasting the change of seasons at Darlinghurst stalwart East Village Hotel? In collaboration with Roku Gin, East Village is hosting 'Spring Nights' on its rooftop terrace. From Tuesday to Sunday from 4pm onwards, guests can enjoy bespoke Roku Gin cocktails — only available on the rooftop bar — and a special bar snack menu. For the event, the three-tiered pub has transformed its rooftop terrace into a sakura springtime wonderland, with fairy lights and cherry blossoms adorning trellises and the bar. There are three cocktails to choose from: Some Other Spring (with Roku Gin, dry vermouth, yuzu, peychauds and orgeat, garnished with cucumber ribbons), Kitsuka (Roku Gin, elderflower, orange blossom, citrus and soda, garnished with a fresh orange slice and flowers) and the aptly named The Golden Hour (Roku Gin, umeshu and orange bitters in a Nick and Nora glass). East Village is also slinging three bar snack plates to enjoy with the cocktails: citrus-cured salmon on crispy rice cake, chicken tsukune skewers and housemade vegetarian gyoza with ponzu dipping sauce. There's even an offer for two plates and two cocktails for a special price. In Japanese, Roku means "six". As part of Roku's commitment to shun — a Japanese practice of enjoying food and drink in its proper season — each of its six botanicals (sakura leaf, sakura flower, sencha tea, gyokuro tea, sansho pepper and yuzu) is harvested at the peak of its maturity. The cocktails crafted by East Village attempt to showcase the botanicals while also being an ideal choice for sunset drinks after work on the terrace. Roku Gin Spring Nights at East Village Hotel is on from Tuesday, September 19 until Tuesday, October 31, from 4–10pm. Walk-ins are accepted, but bookings can be made on the East Village website. Images: Brooke Zotti
When it comes to musical families it doesn’t get much more talented than Kitty, Daisy and Lewis Durham. This sibling trio's live shows cover everything from R&B, swing, jump blues, country and western, blues, Hawaiian, and good old fashioned rock 'n' roll, so get ready to fly from one genre to the next. On top of this, the Durhams are multi-instrumentalists, who easily move between guitar, piano, banjo, lapsteel guitar, harmonica, double bass, ukulele, drums, trombone, xylophone and accordion throughout their sets. Singles ‘No Action’ and ‘Don’t Make A Fool Out Of Me’ are straight-up excellent tunes to get sassy to, so do yourself a favour and drop in on these guys while they’re in town for Splendour.
This editorial is sponsored by our partner, King Street Wharf. King Street Wharf is an often overlooked section of Sydney's waterfront when it comes to finding a place for lunch. We often forget that there are a string of restaurants lining the Darling Harbour foreshore offering thoroughly decent dining options. But King Street Wharf, tucked away between Barangaroo and Pyrmont, is now arguably one of the best places to find lunch in Sydney's CBD. Until June 13, the precinct — including I Thai, La Cita, Cargo Bar and Wharf Teppanyaki — will host a special lunchtime menu designed for time-poor office workers. The restaurants are offering special menus priced between $10 and $20, with many offering takeaway options, in the interests of providing Sydneysiders with good food and a waterfront view without needing a long, luxurious lunch break. Because there's nothing more spirit-crushing than spending your precious half-hour of freedom trapped in the depths of a CBD food court. Below, we present you with our pick of the best meals under $20 available at King Street Wharf. 1. Seafood Okonomiyaki from Wharf Teppanyaki Wharf Teppanyaki has a great array of $20 meal options, including a wagyu burger and wafu chicken piccata, but we’re quite fond of the seafood okonomiyaki. The meals are served with a choice of garlic fried rice, egg fried rice, seasonal salad, red and white miso soup and Teriyaki chat potatoes, so it’s also guaranteed to keep you full until dinner. 2. Duck Noodle Soup from I Thai A plastic take-away box full of pad thai or mee goreng is a lunchtime staple, and while I Thai have those things on offer as well, you can also find something extra special. For something rich and warm to keep the chills away as autumn rolls in, you can't go past their duck noodle soup. 3. Quesadillas from La Cita La Cita does quintessential Spanish and Latin American fare — you can even salsa dance there at night-time if you fancy. But at lunch, the best thing to do is take them up on their quesadilla special — a two-course meal of quesadillas with a choice of chicken thigh, rump steak or tandoori lamb, served with chips and salad. 4. Bento Box from Kobe Jones The Bento Box from Kobe Jones isn't like the regular dry rice topped with fish you get at sushi hole-in-the-walls. King Street Wharf's answer to Japanese cuisine offers a $20 bento box including one of the chef's signature entrees, a selection of beef, chicken or vegetarian pieces, red and white miso soup, steamed nishiki rice and a dessert of the day. 5. King Prawn and Fennel Risotto from Vessel Italian & Bar Vessel is a big sprawling space with both a restaurant, a bar and a cafe serving up quality Italian meals. For only $15 you can score a risotto of king prawn and fennel guaranteed to keep you full and warm for the rest of the afternoon.
"I'm lost already," said my partner about a minute after we'd turned left (or was it right?) past yet another steel cluster of hutches otherwise known as the residences of Zetland. Some minutes later, we entered a mall across the road from an Audi dealership and were seated inside the Zetland edition of the Darlinghurst legend Lucio Pizzeria. Believe it or not, it's not (pure) snobbery that wonders how the cosy, brusque bustle of the Darlinghurst restaurant would translate here. The clientele are different. They are both younger and older than the Darlinghurst mob and also include the lunchtime business crowd (selling cars is hard work). It was good thinking then, on the part of owner/chef Lucio De Falco not to attempt a direct translation of his original Italian masterpiece but rather to reinterpret it. And that reinterpretation includes some fine additions that bring the food of the south of Italy to the fore. Before I go any further, I will confirm that after sampling the 'Lucio' ($20), a half calzone half margherita combination, the famous pizza is here in all its silky, blistered glory. But if I can tear you away from the pizza for even a moment, you must, I mean must try the lasagne ($22.50). Unlike its northern counterpart, this one has no bechamel, very little cheese and pulled beef instead of mince. It arrives with a prettily charred edge like a the lacy hem of a gypsy's skirt, a tomato sauce richer and more velvety than a cardinal's cloak, and silky sheets of handmade pasta that slip and slide with an unctuousness that is more satisfying than any bechamel. Also wonderfully southern is the thoughtful selection of mozzarella and accompanying cured meats that make up the 'mozzarella bar' part of the menu. An excellent waiter isn't hesitant about recommending a burrata ($14) accompanied by prosciutto ($12.50). Good on him. The neat little white cloud of burrata that hails from the Caserta region of Campania gives out at the pull of a fork, breaking and tearing into sublimely subtle, milky wisps of cheese. The southern beauty that closes is the Pastiera Napoletana ($12.50). A cake made of ricotta and cooked wheat grains, its flavour is made bright and warm with the addition of orange (not far off the spiced fruitiness of panettone) and a flaky shortbread base. As we leave, we notice two young fellow diners heading home across the street, clutching their leftovers in a box. I look a little harder into the greys of the steel hutches and see the odd pot plant, soft toys suctioned to windows and curtains filtering the glow of bulbs. After a meal that so firmly referenced its home, even if it was eaten opposite a car dealership, such tiny signs are proof enough that no matter the place, home is where there is heart.
One of the most significant fashion designers of the past century is the subject of one of Australia's most significant fashion exhibitions, with the National Gallery of Victoria dedicating its big summer blockbuster show to the late, great Alexander McQueen. For fans of pioneering, boundary-pushing threads, Alexander McQueen: Mind, Mythos, Muse's four-month season promises to be better than Christmas — complete with more than 120 garments designed by the icon, plus artworks, sketches, videos and photographic works that inspired him. First revealed back in May, and now on display from Sunday, December 11, 2022—Sunday, April 16, 2023, Mind, Mythos, Muse has taken over the NGV International. Inside the Melbourne cultural institution, fashion devotees will find walls and halls filled with a stunning display, as created in collaboration with the Los Angeles County Museum of Art (LACMA). All things McQueen first graced LACMA, and now it's Australia's turn. While the LA venue organised the exhibition, drawing upon more than 60 garments and accessories from its own holdings, it contacted NGV about both contributing and running its own season. That's where 50 designs by McQueen from the NGV Collection come in, plus other artworks from each institution. The NGV has been hoping to put an exhibition like this together ever since the designer first made a splash in the early 90s, and Mind, Mythos, Muse does indeed venture back that far. The showcase features McQueen-designed items dating back to 1994, and 25 different seasonal collections — with 20 seasons covered from its the NGV's own holdings alone. Accordingly, attendees can check out examples from the autumn-winter 1995–1996 Highland Rape collection, the autumn-winter 2006–2007 The Widows of Culloden range, and spring-summer 2010's Plato's Atlantis, McQueen's final complete collection before his death in February 2010. Various sections of the exhibition dive into McQueen's oeuvre in different ways. With Mythos, for example, three collections inspired by mythological and religious belief systems sit together. Then, in Fashioned Narratives, four collections that showcase his knack for world-building are in the spotlight. Next comes Evolution and Existence, which hones in on his interest in life cycles and the human condition — and Technique and Innovation, which is rather self-explanatory. Finally, Dangerous Bodies is all about early collections with a focus on eroticism and empowerment. Helping pull together all of the above are behind-the-scenes snaps by photographer Robert Fairer, taking audiences backstage at McQueen's shows — because his parades were an event and an art — and 80-plus historical artworks spanning painting, sculpture, photography, decorative arts and works on paper, all hailing LACMA and NGV's collections.
While the rest of Sydney spends its summer on the white sands of Bondi Beach, do one better, and slip away to The Pacific Club on Campbell Parade for kombucha coladas in the sun and freshly shucked rockies from the dedicated raw bar. The art deco 'sandcastle', propped just opposite Bondi's golden shores, has made the most of its million-dollar waterfront space with a luxe fit-out by Michael McCann from Dreamtime Australia Design, the studio behind Mr Wong, The Argyle and Felix. Cash has well and truly been splashed ($2 million, to be exact) with grand timber columns, marble slabs and shiny brass fixtures brightening up the soft, cream-coloured space. We wouldn't recommend waltzing in with a surfboard, sandy feet and dripping natural dreads. Heading up the kitchen is executive chef Bret Cameron (ex-Four in Hand and Harvest Newrybar) who has put together an outback-inspired menu, peppered with bush foods and native goodies. Breakfast impresses, even in this part of town, with woodfired crumpets ($15) — their bubbly, burnished centres just begging to be spread with the house-churned wattleseed butter, whipped white chocolate and a drizzle of bush honey. The campfire theme continues with an upmarket egg in a hole ($23), paired with smoked belly bacon and a kangaroo and bush tomato banger. A serve of smashed avo ($15) is given an eastern suburbs makeover, starting with a feathery crumbed charcoal bread lathered with a luscious macadamia ricotta, avocado slices and zesty pops of finger lime caviar. Just one slice feels a little stingy, but that's the seaside surcharge for you. As the sun moves further across the sky, The Pacific Club's raw bar comes to life with freshly shucked oysters ($4.50 each) and ceviche bathed in buttermilk, fresh apple and dill fronds ($23). Sourced from Ballina, giant prawns are torched on the open hearth, their white bellies basted with kelp butter and picked sea lettuce. Still here? In the evening, a brass fire pit at the entrance is lit up, Survivor-style, the flames fuel the night time party vibes. Pretty young things gather around the floating bar, clutching kombucha coladas, native strawberry gum spritz and other alcoholic tonics. All that's needed is an outdoor area to truly bring the beach club theme to life. From what we understand, council approval is already on the way. Images: Caroline McCredie
Crank up Hozier — you're heading to church for dinner on your next trip to Bathurst. Well, it's not church, exactly, but a former church schoolhouse. Known as Church Bar, this candlelit hideaway serves up cocktails and woodfired pizzas. It's got over 20 types of pie, including two dessert ones: the Rose ($20) with white chocolate, mixed berries and homemade crumble and the Charlotte ($20) with melted milk chocolate, vanilla ice cream, strawberries, bananas and choc fudge sauce. But, before you get your sugar hit, try the Russel ($23), with sautéed mushrooms, grilled asparagus, a poached egg and parmesan cheese, drizzled with white truffle oil. Or, there's the spicy Piper ($21) with spicy chorizo, capsicum, jalapeño and chilli, one wih slow-cooked lamb shanks, sweet potato, rosemary and feta ($25) or the simple (but delicious) Vale ($17) with Napolitana sauce, buffalo mozzarella and fresh basil. For drinks, expect classic such as a caipiroska ($16), french martini ($17), bloody mary ($17) and espresso martini ($18) alongside the bar's signature cocktails.
You could probably make a mildly amusing SNL skit out of the idea behind The House. A full-length movie? Not so much. It's safe to say that no one wins big in this decidedly unfunny comedy, which marks the directorial debut of Bad Neighbours writer Andrew Jay Cohen. Not stars Amy Poehler, Will Ferrell, Nick Kroll and Jason Mantzoukas, and definitely not the audience. Poehler and Ferrell play Kate and Scott Johansen, proud parents to college-bound teen Alex (Ryan Simpkins) — until a town-sponsored scholarship falls through, that is. When their recently-separated gambling addict pal Frank (Mantzoukas) suggests turning his home into an illegal casino to cover Alex's tuition fees, they're wary. But helping their daughter pursue her dreams soon wins out, even with a suspicious local cop (Rob Huebel) and city councillor (Kroll) wondering just what it is they're up to. As anyone who's ever seen Parks and Recreation knows, Poehler is a comedic treasure, who frankly should be on our screens much, much more often. Ferrell's movie track record mightn't be stellar as of late, but when he's at his Ron Burgundy best, it's easy to forget his less successful efforts like Get Hard and Daddy's Home. Kroll and Mantzoukas, meanwhile, were both great on The League. The point is, if you're a fan of any of these funny folks, you'd have hoped that together they could deliver at least a handful of chuckles. On paper, it doesn't seem like much of a gamble. Sure, watching middle-aged suburbanites behaving badly doesn't sound particularly new or exciting, but skilled performers can make anything better, right? Yet, in a breezy, montage-heavy flick that thinks overt nods to Casino, The Sopranos and Terminator 2 are enough to garner giggles, there's little they can do. A hip hop heavy soundtrack can't liven things up, and neither can YouTube-like sketches or a big-name cameo in the final act, no matter how much the movie tries to prove otherwise. At one point in The House — immediately after the main trio ponders "what if we were the house?", in case the premise wasn't already clear — a character makes a speech about clichés. Unfortunately, it doesn't do anything to make the ones in the film any less obvious or infuriating. It's never a good sign when a movie's best moments come during the obligatory over-credits blooper reel, as viewers are left to wonder why the stuff that did make the cut was so routine and uninspired. Maybe the producers made a bet that they could squander their cast with as bland a so-called comedy as possible? If that's the case, then they've really hit the jackpot. https://www.youtube.com/watch?v=gx9s-jbSG2s
Being careful what you wish for sits at the heart of most superhero movies. As advice for Spider-Man, Stan Lee even penned an oft-quoted adage about that very notion. Shazam! Fury of the Gods' caped crusaders all know that using their super skills wisely is a duty — yes, with great power comes great responsibility — and they're aware that doing just that comes with struggles. They aren't great at unleashing their magical talents, however, earning the nickname "the Philadelphia Fiascos". But the folks truly realising they should've been more cautious with their dreams are this Shazam! sequel's viewers. Another riff on Big, The Goonies, Ferris Bueller's Day Off and Ghostbusters in DC Extended Universe packaging like its 2019 predecessor sounds a heap better than the forgettable superheroes-versus-gods fare that's eventuated — a movie that isn't that fussed with the powers it has and sports zero responsibility for barely managing to be average. Shazam! Fury of the Gods hasn't completely moved on from nodding to beloved 80s flicks, though, or from referencing other films in general. Early on, it gives 'Holding Out for a Hero', which was originally recorded for the OG Footloose, a perfunctory spin. And, where the first Shazam! instalment was earnest and enthusiastic around all those winks and all that pilfering, this second effort uses E.T. the Extra-Terrestrial's Reese's Pieces product placement as a guide for shoehorning in a Skittles commercial. When it isn't having someone yell "taste the rainbow", it also likes name-dropping titles owned by Warner Bros, which owns DC Studios — or movies connected to its on- and off-screen players. So, in a picture that's about kids and teens transforming into spandex-wearing saviours when they say "shazam!", then fighting the mythical Daughters of Atlas, audiences are subjected to clunky, self-conscious Game of Thrones shoutouts and Fast and Furious gags (a dragon sparks the former, and star Helen Mirren and co-screenwriter Chris Morgan's experience with Vin Diesel's high-octane saga revs up the latter). Speaking of F&F, Shazam! Fury of the Gods also goes all-in on family — but Billy Batson (Asher Angel, High School Musical: The Musical — The Series) and his pals are too young to knock back Coronas. Also, Shazam! Fury of the Gods isn't much concerned with Billy in his normal guise, giving his Shazam self (Zachary Levi, Apollo 10 1/2: A Space Age Childhood) the bulk of the character's screentime. The time for origin stories has been and gone here, but largely ditching Angel robs this franchise-within-a-franchise of one of its main points of difference in the DCEU. None of the series' other flicks are about awkward adolescents learning to grapple with power, and understanding that their wildest dreams aren't as easy as they'd always hoped. Shazam! Fury of the Gods still manages to hit some of those notes thanks to a bigger focus on Billy's best friend and fellow foster kid Freddy Freeman (Jack Dylan Grazer, We Are Who We Are), a person with disability, but sidelining the teenager who turns into Shazam is clumsy and noticeable. Similarly plain as day from scene one: that Shazam! Fury of the Gods got as lucky as any superhero movie can with its new cast members. The film opens at the Acropolis Museum in Greece, where two of Atlas' offspring are determined to get back the Wizard's (Djimon Hounsou, Black Adam) broken staff and reclaim their dad's magic — and those two daughters, Hespera and Kalypso, come in the form of Mirren (1923) and Lucy Liu (Strange World). Despite splashing around the film's fondness for dim lighting and dull CGI early, this introductory sequence lets its big-name talents make more of an imprint standing around in their costumes and looking formidable than much that follows. Indeed, whenever Mirren and Liu are on-screen, and West Side Story's Rachel Zegler as well, Shazam! Fury of the Gods makes a case for pushing aside not just Billy, but Shazam and everyone else. This is still a Shazam! movie, of course, and not solely a vehicle for Mirren, Liu and Zegler to play goddesses and have fun. So, returning director David F Sandberg (Lights Out, Annabelle: Creation) and screenwriters Morgan (Fast & Furious Presents: Hobbs & Shaw) and Henry Gayden (Earth to Echo) have motions to go through. Cue Billy aka Shazam, Freddy aka Captain Everypower (Adam Brody, Fleishman Is in Trouble), and their foster siblings Eugene (Fresh Off the Boat's Ian Chen, then 13 Reasons Why's Ross Butler as a superhero), Pedro (Snowfall's Jovan Armand and From Dusk Till Dawn: The Series' DJ Cotrona), Darla (This Is Us' Faithe Herman and Harlem's Meagan Good) and Mary (Fall's Grace Caroline Currey as both versions of the character) trying to save Philly. And, in the process, cue their efforts to work out how to be careful with their fantastical abilities. Amid the bland jokes, The Avengers get a callout. Rather than being cheeky or funny, that quip among many flat quips acts as a glaring reminder that caped-crusader team-ups are oh-so familiar. Marvel's and DC's superhero franchises both include several, with Shazam! Fury of the Gods hardly distinguishing itself from any apart from its magic utterances. The pixel-frenzy battle scenes definitely don't dazzle, whether or not they involve Skittles. That said, some might've if the monster menagerie conjured up by Hespera and Kalypso had boasted a Ray Harryhausen-style approach. Yes, there's a lot of woulda, coulda, shoulda about the Shazam! films' second outing, which might be its last depending on what new DC Studios heads James Gunn (the director of The Suicide Squad) and Peter Safran (a producer on the same flick, and on this, the first Shazam! and Aquaman) summon up. New head honchos, new era: that's where the DCEU currently stands, with Gunn and Safran taking up their jobs in late 2022. Changes have sprung swiftly, including badging what'll come after 2023's The Flash, Blue Beetle and Aquaman and the Lost Kingdom as just the DC Universe. Henry Cavill has been scrapped as Superman, but the Man of Steel will get a new flick helmed by Gunn. Also, more Black Adam is off the cards. The Batman will score a sequel, but there'll also be a Batman who isn't played by Robert Pattinson (and not just because The Flash co-stars Ben Affleck and Michael Keaton). It's little wonder then that Shazam! Fury of the Gods doesn't just feel routine — rarely has a big-budget franchise entry felt like it matters less. At least it gave us Mirren, Liu and Zegler, a trio that everyone should wish for, livening up a by-the-numbers affair.
Nature's Energy offers relaxing indulgent experiences to make you feel as wonderful as you truly are. Alongside its well established bathhouses in Balmain and Newtown, the Glebe day spa is the largest of the three featuring 16 treatment rooms, a wet room, steam and sauna. There are a number of treatments to choose from including hair, massage therapy, acupuncture, facials and many others to help you look and feel relaxed and radiant. The spa also caters to hens parties and offers workshops in tarot reading for treatments that are a little outside the box.
Fancy prancing through fields laced with the charm of provincial France? It's just casual summer weekendery when So Frenchy So Chic is in town. The ever-popular one-day French festival is waltzing back to Bicentennial Park in Glebe for its sixth year running on Saturday, January 19. If you haven't been before, expect an entire afternoon of French-inspired niceties, including (but not limited to) gourmet picnic hampers, tartlets and terrines, offensively good wine and croquet all to a chill French soundtrack. So Frenchy hinges around a solid lineup of eclectic artists you may be yet to meet — and this year, they're all female. Parisian solo artist — and former Nouvelle Vague frontwoman — Camille will top the lineup, returning to Australia for her first shows since 2011. Her most recent album was recorded in a 14th century monastery, which might give you a bit of an idea of what to expect from her otherworldly live set. Don't miss electronic pop trio Yelle, either — the group has performed at Coachella three times and its music is played in venues across France. Other on the lineup is up-and-comer Clara Luciani and jazz pop artist Cleéa Vincent. If you're not the most organised of picnickers, So Frenchy is putting on the works again with fancy picnic boxes and cheese plates. Filled with stuffed baguettes, niçoise salads, mini créme brûlées and goose egg meringues, the picnic boxes are one to preorder if you don't want to miss out. But So Frenchy won't let you go hungry; there'll be a huge banquet of seafood, charcuterie, crepes and more available on the day. And of course, there'll be plenty of Laurent Perrier Champagne, French beer, and rosé, red and whites whines as well. Early bird tickets are now on sale for $82 a pop. If you've got kids, you'll be happy to know that the whole thing is very family friendly, and children under 12 can get in for free.
