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.
Chronicling encroaching maturity: it's the ambit of so many coming-of-age features that the idea has become its own cliche. With Boyhood, writer/director Richard Linklater takes the concept a step further — and though his method isn't unique, even to his own work courtesy of his Before trilogy, the film that results is. His portrait of growing up charts twelve years, shooting over the same period. Mason (Ellar Coltrane) is introduced staring at the sky, a six-year-old bundle of daydream-fuelled introversion and mischievous curiosity. He spars with his older sister Samantha (Lorelei Linklater), traverses the life dictated by the choices of his mother (Patricia Arquette) and wishes for more time with his father (Ethan Hawke). The years pass, and over the movie's 165 minutes, Mason evolves from a child into a man. Most movies mark the process of becoming an adult through major milestones, but Boyhood reflects upon quieter moments. Linklater doesn't follow an overarching narrative, apart from Mason's ageing and his mother's romantic and career changes. The big developments are largely inconsequential, excised in favour of everyday ephemera. It is in the spaces between — as Mason tests boundaries and forms his own identity, whether playing in the park, camping with his dad, passing notes with a pretty girl, having his first drink or finding an affinity for photography — that the film lingers. That's the key to Boyhood — the minutiae of getting older, by virtue of avoiding the usual contrivances of impending adulthood, always feels authentic and relatable. Mason's tale isn't just his own but belongs to everyone who was once a child navigating difficulties mundane in their ordinariness but influential in their individual impact, whether recently or remembered in a wave of nostalgia. In keeping with his layered storytelling, Linklater's filmmaking is unobtrusive, stitching together the familiar with finesse — pop culture references and all. His camera is enamoured with Mason, and though divorcing the time-conscious technique from the story is impossible, every image does more than capture a character ambling towards the age of 18. The intimate and unembellished slices of a young life each visual offers appear aesthetically and narratively drawn from reality, even as the constructed nature of the film remains apparent. Coltrane, of course, is the centerpiece of Boyhood, the figure upon which everything hangs. Calling his performance naturalistic states the obvious, but his ability to convey Mason's blossoming into a smart, sensitive young adult cements the film as truly special. Linklater took a risk on an ambitious way to relate an oft-told tale, and in his newcomer lead and career-best turns from Arquette and Hawke, he succeeds. And then there's another feat that can't be overlooked — starting a film with Coldplay's 'Yellow' and still making a masterpiece. https://youtube.com/watch?v=b70esOwsOf4
Established in 2009 to discuss difficult issues, push boundaries and inspire debate, Sydney's Festival of Dangerous Ideas has spent a decade exploring provocative topics — and it's celebrating its tenth anniversary in the same fashion. This year's event will tackle the theme 'dangerous realities', focusing specifically on racism, surveillance and climate change. After postponing its weekend-long Town Hall event in April due to the government's ban on non-essential gatherings over 500 people, FODI has decided to return next month with a succinct digital program for 2020. It's called FODI Digital, aptly — and fans will be happy to hear that headliner Edward Snowden is still on the docket. The whistleblower will — of course — examine the reality of mass governmental surveillance system. As expected, he was always planned to appear via livestream rather than in person, so not much has changed. The one-hour conversation will take place on Thursday, September 24 from 7pm. Alongside Snowden, the program features Professor Marcia Langton AM on Thursday, September 10 and Journalist David Wallace-Wells on Saturday, October 11. Langton will discuss the truth about racism in relation to Australia's Indigenous people, as well as our society's resistance to accepting our racist past. Meanwhile, Wallace-Wells will dissect the climate crisis in a conversation titled The Uninhabitable Earth. As all events will be live-streamed, tickets will cost just $10 for Langton and Wallace-Wells and just $15 for Snowden — or nab tickets to all three for $30. FODI is presented by The Ethics Centre, who co-founded the fest with the Sydney Opera House, then partnered with UNSW for the 2018 version of the event on Cockatoo Island. While this year's digital season is decidedly different from past iterations, it still boasts the fest's usual high-calibre range of speakers — so another eyeopening FODI season awaits. FODI Digital will take place across three separate online conversations on Thursday, September 10; Thursday, September, 24; and Saturday, October 11. For tickets, visit the festival's website. Top image: Jodie Barker
The long-standing and much-loved Newtown branch of Berkelouw Books is set to close in the week commencing September 8. Despite being currently advertised as a "relocation" on the Berkelouw website, the branch is closing down permanently with no set relocation destination at this point in time. Berkelouw Newtown has been a familiar face on the inner-west literary block for many years and even though it survived the Great Gentrification of King Street and Surrounds in the late-noughties, the bookstore has failed to make the cut this financial year and will be shut by early September. As hard as this news is to swallow for bibliophiles everywhere, you will have a chance to pay your final respects at the 'relocation sale', beginning on Saturday, August 17, where you can find up to 50 percent off all new and secondhand books, stationery and gifts. As the store boasts a collection of over 50,000 used and rare books, the sale is a delicious invitation to broaden your belletristic horizons. While the vindictive among us may want to draw a correlation between this unfortunate termination and the sudden meiosis of frozen yoghurt franchises in Newtown recently, it may be comforting to take respite in the ongoing resilience of Gould's, Elizabeth's and Better Read Than Dead. Lest we forget.
From its corner perch in Taylor Square, the restaurant, neighbourhood bar and creative space that is Cafe Freda's does its usual thing five days a week. On Sundays from May 2, however, it's introducing a new series of pop-ups. Each will run as a one-off event, and bring the food — and the energy and vibe — of top-notch local chefs to the venue. Kicking things is Hugh Piper, with his Sunday pop-up dubbed the Buena Vista Ceviche Club. From 12–10pm for that one day only, diners can tuck into a South American-style menu, including oysters a la chalaca, crudités with huancaina sauce and lamb belly seco (or stew) with potato and salsa criolla. The lineup goes on, and also includes pisco sours on the drinks list. Walk-ins are welcome, or you can book — and, in terms of influences, Piper is taking his cues from the Peruvian side of his family, his time working at Astrid y Gaston and his passion for adapting Peruvian food to Australia. [caption id="attachment_810052" align="aligncenter" width="1920"] Marco Fanuli[/caption]
Phillip Island's ever-popular little penguin residents have scored themselves an upgrade, with the new-look, revamped Penguin Parade visitor centre opening its doors this week. The colony of tiny birds and their waterfront digs have long been one of Victoria's iconic tourist destinations, with the sunset penguin viewings pulling over 700,000 visitors each year. Now, with the help of $48.2 million funding from the Labor Government — along with an extra $10 million from the not-for-profit Phillip Island Nature Parks — the world-leading penguin research precinct has had a long-awaited makeover. In good news for its pint-sized inhabitants, the mammoth infrastructure project has restored over six hectares of penguin habitat, reclaiming the site of the former visitor centre building to create extra homes for up to 1400 breeding penguins. As for the new centre built in its place, it boasts a state-of-the-art theatre, a suite of interactive activities and educational installations, along with a selection of retail and dining options. Here, you'll be able to browse a range of commissioned penguin-themed designs, from bamboo tumblers to tea towels, along with a line of sustainability-focused products including reusable veggie bags and stainless steel straws. An onsite restaurant will be dishing up plates like slow-cooked lamb shanks and a classic chicken parma, while the cafe is your go-to for sandwiches, sushi and pies. On the educational side of things, you'll find a realistic habitat space offering a penguins-eye view of the world, a range of penguin statues for those selfie snaps and a display sharing the story of the Summerland Peninsula's historic buy-back scheme and restoration of the penguin habitat. You'll also score a close-up glimpse of the penguin life cycle, as told through the journeys of resident birds Pudding, Ava, Peter and Flynn. The interactive installation allows you to see what's likely happening in penguin world during various seasons and months. The building's design has also earned some serious street cred, being named as a winner at the recent 2019 International Architecture Awards. And, in a win for those penguins, the building is especially environmentally friendly, featuring 666 rooftop solar panels, low-carbon building materials throughout and a water filtration system that recycles rainwater for non-potable use. While the visitor centre is entirely new, the program of penguin-viewing experiences remains the same — including the popular underground viewing platform and the ranger guided tours. You can find the new Penguin Parade Visitor Centre at 1019 Ventnor Rd, Summerlands.
More dogs. That's it, that's our wish list. There can never be enough dog-friendly bars, dog-centric events, creative food for dogs, doggo movie screenings or just good ol' dog parks, and there never will be. Also, as the ABC's new Tony Armstrong-hosted three-part doco series A Dog's World with Tony Armstrong clearly realises, there can't be too many shows about these four-legged cuties either. Netflix already gave us two seasons of the docuseries Dogs, recent big-screen release Stray spent time with puppers in Istanbul and there's even a whole streaming platform made for woofers — as every pooch owner knows, they like to watch TV, too — but none of them enlist the former AFL player turned ABC News Breakfast sports presenter to explore the world of canines. Obviously, given its title, A Dog's World with Tony Armstrong definitely does. Across the three-part series, he won't just be surrounded by canines, but will also interview top canine researchers, step into the evolution of dogs, explore their senses and help provide advice for your own barking bestie. "When I was approached about the possibility of being involved in A Dog's World, I don't even think I got to the end of the email before I was agreeing to take part," says Armstrong. "It was amazing being involved in the project, I learned a lot and I hope everyone who watches enjoys it as much as we enjoyed making it!" The ABC has just dropped a trailer for the series and, yes, it looks as super-cute as it sounds. The dogs featured even just in the 100-second sneak peek firmly fit that description. If you're keen to watch, add 8.30pm on Tuesday, March 22 to your diary — which is when A Dog's World with Tony Armstrong will start airing on ABC TV and streaming via ABC iView. Check out the trailer for A Dog's World with Tony Armstrong below: A Dog's World with Tony Armstrong will be available to watch via ABC TV and ABC iView on Tuesday, March 22.
UPDATE, October 27, 2022: Bodies Bodies Bodies is available to stream via Google Play, YouTube Movies, iView and Prime Video. The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. The palatial compound where Bodies Bodies Bodies unfurls belongs to David's (Davidson) family, but it's hurricane-party central when the film begins. That said, no one — not David, his actor girlfriend Emma (Wonders), the no-nonsense Jordan (Herrold) or needy podcaster Alice (Sennott), and definitely not Greg (Pace), the latter's swipe-right older boyfriend of barely weeks — expects Sophie (Stenberg) to show as they're swigging tequila poolside. She hasn't responded to the group chat, despite claiming otherwise when she arrives. She certainly hasn't told them, not even her childhood ride-or-die David, that she's bringing her new girlfriend Bee (Bakalova) along. And Sophie hasn't prepared Bee for their attitudes, all entitlement, years of taken-for-granted comfort and just as much mouldering baggage, as conveyed in bickering that's barely disguised as banter. When the weather turns bad as forecast, a game is soon afoot inside the sprawling abode. Sharing the movie's title, the fake murder-mystery lark is this crew's go-to — but, even with a hefty supply of glow sticks (handy in the inevitable power outage), it doesn't mix too well with booze, coke and Xanax. The essentials: pieces of paper, one crossed with a X; everyone picking a scrap, with whoever gets the marked sliver deemed the perpetrator; and switching off the lights while said killer offs their victim, which happens just by touching them. Then, it's time to guess who the culprit is. That's when the mood plummets quickly, because accusing your friends of being faux murderers by publicly checking off all their shady traits will do that. It gets worse, of course, when those bodies bodies bodies soon become literal and everyone's a suspect. "It gets worse" could be a life motto for Sophie and her clique; they're at that stage of adulthood where their whole lives are supposed to await — until Bodies Bodies Bodies, the game, happens — and yet a whirlwind of disappointment and uncertainty lingers. Their friendships are stormy yet stagnating, old scores and misdeeds clattering down, secrets spilling, and past romantic entanglements still causing hail. Tension and unhappiness rains over their fragile arguments about grudges and jealousies, hate-listening and the word 'gaslight', and why 40-year-old Greg is even there as well. No one is making great decisions, or wants to be making decisions at all, and insular couldn't describe better the atmosphere that greets the quiet, reserved, clearly-not-as-wealthy Bee. Initially blissfully head-over-heels in that newly smitten, six-weeks-in way, "it gets worse" also starts to echo for her as the dynamic with Sophie unsurprisingly changes. As the kills keep coming, twentysomething malaise, mania and stupidity gets worse, too — and Bodies Bodies Bodies relishes it all. The dialogue is as sharp as a blade, and yet also like eavesdropping on any cohort of potential horror-movie victims trying to stay alive when they're being picked off one by one in a fancy abode; again, by design. Yes, there's much in the screenplay that's easy to spot. Toying with those formulaic pieces is the other game within the feature's fast-paced and tightly wound game, however, as bloody mayhem ensues sans internet, electricity, sobriety, trust and common sense. Capitalising upon the sense that everything is in a hurry, plus the careening cinematography by Jasper Wolf (Monos) that stalks and roams around the house, to mirror Sophie and her friends' inner chaos is a shrewd touch. That's Bodies Bodies Bodies all over, with Reijn utilising every shot, claustrophobic use of torches and lit-up mobile phone screens to light scenes, mischievous note in Disasterpiece's (Triple Frontier) score, obvious plot inclusion and buzzword-heavy line to irreverently rip into the film's many genres and targets. Bodies Bodies Bodies unpacks us all, to be fair; who isn't a few unexpected shocks away from bedlam, from their flaws being exposed and their worst instincts kicking in (especially without wifi as a crutch, the film jokingly/half-jokingly posits)? This romp of a slasher-comedy shreds almost everything in sight but takes care not to tear its characters down — we've all stumbled, fumbled and fought to survive in our own ways, and life is uneasy for all of us. The cracker of a punchline conclusion is full of heartily dark laughs, not terrors, which is Bodies Bodies Bodies' entire approach to parodying and slicing everything it can. Managing all of the above with a killer cast, too? Especially with Stenberg playing it loose and mesmerising, Bakalova pitch-perfect as the wary but enterprising newcomer, Davidson doing his usual charismatically goofy thing, and Sennott and Pace stealing every moment they can with her lively ditziness and his hanger-on swagger, Bodies Bodies Bodies slays slays slays.
Any night of the week, you're guaranteed a good feed in Sydney. But during Sydney Solstice, the city's dining scene is taking things up a notch. The new two-week event is taking over more than 200 bars, restaurants, art galleries and live music venues across multiple suburbs for a series of magical feasts, devilish dinners and food-filled street parties. Running from Tuesday, June 8 till Sunday, June 20, the event series will feature a midnight feast at CBD dumpling master Mr Wong, a wine series with Opera House views at Aria and a free beer fest at Pyrmont's Terminus Hotel — and that's just the start. We've teamed up with NSW Government via Destination NSW to round up nine Sydney Solstice experiences to lap up this winter if you, like us, are always thinking about food and booze.
Jiro is an idealistic young man obsessed with the concept of flight. His poor eyesight means he can never be a pilot, so he becomes an engineer, designing planes that go as fast as is humanly possible. As Japan finds itself embroiled in the Second World War, Jiro falls in love with Naoko, and is torn between his desire to be with her, and his duty to his masters. Japanese animation maestro Hayao Miyazaki — best known for classics such as My Neighbour Totoro, Spirited Away, Howl's Moving Castle and Ponyo — creates what may be his final film ever. (Miyazaki has announced his retirement many times in the past, and did so in the lead-up to this film. There are claims that he has backtracked this one as well.) If it is his last, it's a fitting coda. It's not difficult to see Miyazaki in Jiro: a single-minded focus with an artistic endeavour to the point of obsession. Despite being based upon a true story, a significant amount of creative licence is taken. This is, counter-intuitively, a good thing. Often, the more reverential a biopic attempts to be, the less interesting a film it is. This is a film about artistic passion, and there are more important truths about life during wartime that are illuminated in a way that a simple recounting of events would not. The film studiously avoids the cliches one would expect from this setup. It refuses to shy away from the questionable decisions made by Japan during wartime, but nor does it allow the idea of the country as the destined defeated to overwhelm what is ultimately a tale of human passion and endeavour. It's hard to think of a more measured film about non-violent people in wartime. Much of the controversy surrounding the film has focused on the fact that the protagonist is developing planes that will eventually becomes those that attacked Pearl Harbour. But that is the exact position of the myopic Jiro, who at one point expresses frustration that the planes must carry weapons and bombs, for they will slow down his masterpieces. And that's the point of the film: that the purity of artistic endeavours are often destroyed by those more concerned with conflict and battle. Madman Entertainment is releasing the film in both English and Japanese with English subtitles. You'll have to check to see which version your local cinema is playing, but if you have a choice, the Japanese language one is always preferable. There's something about the formality and manner of Japanese speech that doesn't translate well into English vocals, and even the most careful redubs often sound silly and awkward. Moments of sincerity can often sound funny, so exercise discretion. On the other hand, the English version has Werner Herzog as a German spy, so you can't really go wrong either way. It's a bold, unapologetic film that is not always completely successful, but there is a confident vision at play, and that is always welcome. https://youtube.com/watch?v=RzSpDgiF5y8
More than most games, Dungeons & Dragons thrives or dies based on the people rolling the dice, creating their own characters and casting spells. Whether Stranger Things' demogorgon-slaying teens are hunched over a table imagining up their fantasy dreams, or flesh-and-blood folks who aren't just part of a TV series find themselves pretending that they're fighters and clerics, an adventure or campaign is only as good as the party at its core. Writer/directors Jonathan Goldstein and John Francis Daley understand this. The latter definitely should: the one-season TV great Freaks and Geeks, which gave him his start as an actor when he was just a kid, threw D&D some love, too. As filmmakers, Goldstein and Daley jump from Game Night to Dungeons & Dragons: Honour Among Thieves with a clear mission: making the swords-and-sorcery flick's cast its biggest strength. This game-to-screen flick sports a stacked roster, starting with Chris Pine (Don't Worry Darling) as Edgin Darvis, a bard and former member of the Harpers who turned petty thief — complete with a Robin Hood-esque attitude — after his wife passed away. Since his daughter Kira (Chloe Coleman, Avatar: The Way of Water) was a baby, he's been co-parenting with his gruff best friend Holga Kilgore, a stoic exiled barbarian, who is played with exactly the stern look that Michelle Rodriguez (Fast & Furious 9) was always going to bring to the part. When Dungeons & Dragons: Honour Among Thieves opens, however, Edgin and Holga have been in prison for almost two years thanks to a job gone wrong. Brought out of their dank dungeon to plead for their release, Edgin and Holga are determined to get free by any means necessary. And, once they're out, they're equally as committed to reuniting their makeshift family. Yes, a dungeon is indeed sighted within seconds of the film starting. Dungeons & Dragons: Honour Among Thieves doesn't skimp on dragons when it's their turn to arrive, either. But there's more cast members to bring into the fray — and, handily, Edgin and Holga had a whole gang back in their escapade-heavy days. Rogue and con artist Forge Fitzwilliam (Hugh Grant, Operation Fortune: Ruse de Guerre) was one such party member. Simon Aumar (Justice Smith, Sharper), a sorcerer with hefty confidence issues, was another. These days, Forge has turned nefarious, seized guardianship of Kira, become Lord of Neverwinter, and gotten far too friendly with the fierce, fearsome and necromancy-loving Red Wizard of Thay Sofina (Daisy Head, Wrong Turn). Simon is still trying his magical luck, which is quickly needed, alongside help from tiefling druid Doric (Sophie Lillis, IT and IT: Chapter Two) and paladin Xenk Yendar (Regé-Jean Page, The Gray Man). As Dungeon Masters — co-scripting with Michael Gilio (Jolene), and working with a story by him and The Lego Batman Movie's Chris McKay — Goldstein and Daley thrust their various figures together, then shape a story around them. So, it's all classic D&D, just on-screen with copious amounts of special effects (some overdone in the usual CGI-dripping fantasy blockbuster fashion, some pleasingly looking more tangible, such as reanimated corpses voiced by Aunty Donna Down Under) rather than sitting around a board. Dungeons & Dragons: Honour Among Thieves' tale couldn't be more straightforward, or fittingly episodic — with actions to complete, skills called upon and combat unleashed. There's no 20-sided die, but there is said bard and barbarian, and the sorcerer, druid and paladin with them, battling a rogue and wizard. And, straight out of the Monster Manual, owlbears, displacer beasts, red dragons and gelatinous cubes all make an appearance. Whether they first had everyone moving miniatures or mashing buttons, games are having a heap of big- and small-screen moments in 2023. The Last of Us is one of the year's very best new TV shows, a film about getting Tetris out of Russia and to the masses makes for a tense and entertaining streaming thriller, and The Super Mario Bros Movie gives the Nintendo favourite the animated treatment. A question lingers over all of them, though, and for fans and newcomers alike: would it be more engaging, and more fun, just to play? Dungeons & Dragons: Honour Among Thieves answers by giving the act of watching the feel of playing regardless of whether you're a level zero or level 20 with its mythology — in its light, jovial and energetic tone, with the film taking itself earnestly but never grimly seriously; and in no small part thanks to its array of faces. Stranger Things has been helping broaden D&D's influence for nearing a decade now, but everything from E.T. the Extra-Terrestrial, Futurama and Community to Buffy the Vampire Slayer, The IT Crowd and Gravity Falls have nodded its way, too — and Goldstein and Daley also understand this. Their take on the game is welcomely accessible, while appropriately loving and still packed with nudges and references. That said, it's also padded and repetitive the more that it goes goes on. And Dungeons & Dragons: Honour Among Thieves does go on, clocking in at 134 minutes. Some lengthy films make the time fly by — see: John Wick: Chapter 4, which could've lasted forever — but this one doesn't quite realise when a good time becomes an overly formulaic one. The fights and confrontations, the quips and character beats, the beasts and underground cells: after a while, a fantasy-101 feeling sinks in, especially in these days of ample worshipping thrown Game of Thrones, Lord of the Rings, The Witcher and company's ways. Mostly, Dungeons & Dragons: Honour Among Thieves is enough of a romp — a romp with clear franchise-starting ambitions, even though there's already been three D&D movies dating back to 2000, but a romp nonetheless. Take out Pine and his on-screen pals, though, and it would've been all over the map. His charm is breezy, and his rapport with Rodriguez gives the film a likeable chalk-and-cheese duo. Page is as smooth as ever — yes, Bridgerton-level smooth — and Grant is visibly having a blast of a time getting villainous Paddington 2-style. Head, daughter of Buffy and Ted Lasso's Anthony Stewart Head, frequently shows up the pixel wizardry with just her glare and makeup. Yes, Dungeons & Dragons is all about the folks playing both on- and off-screen, and Dungeons & Dragons: Honour Among Thieves' bunch makes viewers want to play along with them.
Provided you're not lactose intolerant (or you are, but have your lactase at the ready), chances are that melted cheese is at the top of your winter favourite food list. Well, Swissôtel has something to fulfil your ooey gooey cheese dreams well past the cold weather and into the end of the year. The alpine-inspired hotel on Market Street is hosting Swiss fondue for two (or more) every Thursday, Friday and Saturday night this winter. The team at Swissôtel has developed a fondue based on traditional recipes featuring emmental and gruyere melted together with white wine and garlic and delivered to your table in a warm pot for $34 per person. Upon request (and for an extra charge), chefs will add other flavours like gorgonzola and truffle to enhance the dip. Now, cheese connoisseurs will know that the biggest factor to consider with fondue is what bite-sized sides you'll coat with the decadent cheese blend. You'll have your pick of the classics like baguette and vegetables, but Swissôtel is also serving up some next level dip-ins if you're willing to shell out some extra cash: spiced meatballs, salami, potato rosti, prawns and more. With copious amounts of savoury tastes, you may need something sweet to balance out the night. Swissôtel is also offering a milk chocolate fondue option for $25 with sides like marshmallows, pound cake and strawberries for your dipping pleasure. There's a list of beverages, too — with mulled wine, peach schnapps and calvados to name a few — to pair with your fondue for a flavour-filled evening. This is a cosy date night or crafty dinner option with mates. We suggest following the tradition where the person that loses their bread in the pot buys the group drinks. Dip responsibly, friends. Images: Jesse Jaco.
It has been eight months since The Handmaid's Tale dropped its first teaser for its upcoming fourth season, which, like plenty of other things over the last year, was postponed. Over that time, it was also announced that the dystopian series would bless our screens for even longer, with a fifth season green-lit before the fourth even airs. But fans keen to actually step back into the show's story, rather than just hear news about it, have been hanging out to do exactly that for quite some time. Thankfully, that delay is about to come to an end, with a US release date just announced for the next batch of episodes. The Handmaid's Tale will start its fourth season in America on April 28 — and while just when it'll air Down Under hasn't been revealed, you shouldn't expect that there'll be much of a wait. Hulu, the platform that airs The Handmaid's Tale in the US, has also just dropped a new trailer for the fourth season, so you can get another glimpse of what's about to hit. In its opening moments, the tense score and images of empty streets are accompanied by a radio broadcast‚ with the resistance in full swing. And yes, the show's protagonist, June (Elisabeth Moss), is still battling against Gilead after season three's cliffhanger ending. Toppling a totalitarian society that's taken over the former United States, tearing down its oppression of women under the guise of 'traditional values', and fighting for freedom and equality doesn't happen quickly, after all. If you're wondering what else in store in the award-winning adaptation of Margaret Atwood's 1985, June's quest isn't likely to be easy — because everything in this series comes with risks and challenges. Check out the latest season four trailer below: https://www.youtube.com/watch?v=pmcWPOH4Yqw The fourth season of The Handmaid's Tale will hit US screens from April 28, and it's likely it'll start airing on SBS in Australia around the same time. We'll update you with further details when they're announced.
While seeing fruit mince pies in your local shopping centre in October feels downright disturbing, there's one Christmas treat that no one ever minds arriving early: Four Pillars annual Christmas Gin. The latest iteration of the Healesville distillery's seasonal sip is coming in strong, set to hit shelves on Saturday, November 2. It's the delicious result of a yearly tradition that sees a bunch of Christmas puddings handmade with distiller Cameron Mackenzie's mother's recipe — the 1968 Australian Women's Weekly recipe, in fact — distilled with various festive botanicals to create a sought-after tipple that pretty much screams December 25. The flavours of an Aussie Christmas are captured in notes of cinnamon, star anise, juniper, coriander and angelica. The Christmas gin is then blended with some earlier gin that's been carefully ageing in 80-year-old muscat barrels. It's all finished with a hit of Rutherglen muscat for a bit of added richness and complexity. Each year, a new unique label is chosen to wrap up this Christmas creation, setting out to evoke that same festive spirit. The 2019's bottle design is the work of artist Tim Summerton, who lives on a property in the Southern Highlands where he grows hundreds of Indigenous Australian plants. The bottle is decorated with one of them: vibrant red Illawarra flame trees. The distillers recommend you sip the limited-edition gin straight over ice, mix it with ginger ale or whip up a Christmassy martinez with gin, vermouth, Benedictine and Angostura bitters. Or you can just splash a bit of it on your own Christmas pudding. If you want to nab a bottle, have your fingers poised over the 'buy' button when they go on sale online on November 2. Alternatively, you can stop by the Four Pillars HQ in Healesville, Victoria. Bottles are $100 a pop and would make stellar Chrissy pressies, if you're already thinking about that. Four Pillars Christmas Gin is available from November 2, in selected retail stores and online. But you'd best be quick — there's only a limited amount of bottles.
Vivid might be turning off the lights in June, but Sydney's indoor galleries are turning on their own sparkle. Survey the current happenings in contemporary video art at the pop-up Sydney Film Festival Hub, see strip clubs meet geometric abstraction at Firstdraft and get a flash of '70s SoCal at Blender Gallery. Top image: Sydney Film Festival Hub.
Hear it on the grapevine in the Hunter Valley this November. For one day only, Pokolbin's Roche Estate is pairing its very best drops with a music lineup that'll make your head spin. Irish indie rock band Two Door Cinema Club and Aussie electro duo Flight Facilities are two of the big acts tapped for Grapevine Gathering 2019, the latest shindig from the team behind Hot Dub Wine Machine. They'll be joined on the winery stage by Crooked Colours, Mallrat, Jack River, Touch Sensitive, Late Night Tuff Guy, Kira Puru, Lovebirds and Big Words. It's going to be a big day of tunes, folks. 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 and summery beverages. Oh, and a heap of wines, of course. The gates open at midday, and to help make commuting to-and-from Pokolbin a little easier, the festival has organised return buses from Sydney Central Station, Newcastle, Gosford, Maitland and Cessnock. You'll just need to add a (slightly pricey) bus pass to your ticket. Pre-sale tickets drop at 6pm on Tuesday, June 11 (you can sign-up for those here) with general tickets going on sale at midday on Wednesday, June 12.
What's better than one new episode of Black Mirror in a six-month period? A whole new season. After Black Mirror: Bandersnatch dropped in the last few days of 2018, unleashing its movie-length choose-your-own-adventure mysteries upon the world, just when the show's fifth series would hit was anyone's guess. Now, all has been revealed. Mark Wednesday, June 5 in your diary and prepare for quite the unsettling night. Yes, if you're super keen on bleak technological tales that explore just how dystopian our world could become, you'll be able to knock the new season out in a single evening. While more Black Mirror is always a good thing — especially more Black Mirror arriving so soon — this run will only include three episodes, just like the show's first two seasons. Although specific storylines haven't been completely revealed, the series' first trailers do give away a few hints. Unsurprisingly, the pesky buzzing of mobile phones features prominently, as does the growing prominence of social media, artificial intelligence, smart technology and virtual reality. A police standoff, a lonely teen getting empowering feedback from a desktop robot and the troubles of stardom all earn a mention in the teaser's montage of clips, too. As always, that's certain to be just the beginning. Also familiar: a hefty lineup of familiar faces, with the Charlie Brooker-created series continually going above and beyond on the casting front. This time around, Miley Cyrus, Anthony Mackie, Topher Grace, Andrew Scott and Aussie actress Angourie Rice lead the way, alongside Nicole Beharie, Pom Klementieff, Madison Davenport, Ludi Lin, Damson Idris and Yahya Abdul-Mateen II. Check out the trailers below — including the overall series trailer, plus individual episode trailers for the three instalments, which are called Striking Vipers, Smithereens and Rachel, Jack and Ashley Too: https://www.youtube.com/watch?v=2bVik34nWws https://www.youtube.com/watch?v=ssr40U3-do0 https://www.youtube.com/watch?v=2SybklT8k1k https://www.youtube.com/watch?v=-qIlCo9yqpY Black Mirror's fifth season drops on Netflix on Wednesday, June 5. Updated May 23. Images: Netflix / Pedro Saad.
It seems it's not enough for George Clooney to simply write, direct and act in compelling stories — they also need to be important. They need to have meaning. They need to prove the Hollywood machine isn't a Sophie's Choice between entertainment and education. As an audience member, Clooney wants you to know you can have both and you should have both, and with Goodnight and Good Luck, Syriana and The Ides of March, he made his point well. Then came The Monuments Men, and — on paper at least — it seemed he'd found his perfect project. Based on true events, the story is endowed with all the elements of an old-time war classic: a rag-tag bunch of recruits, a secret mission behind enemy lines and — most importantly — importance. Not only was this a film set in one of the 'good wars' (WWII) but it was centred around something far more 'meaningful' than a conflict over territories and ideologies. This was about art; about buildings, monuments, history and enlightenment. As Clooney's character explains, "If you destroy an entire generation of people's culture, it's as if they never existed." For that reason, the eponymous 'Monuments Men' were dispatched to Europe charged with protecting the continent's great works from both thievery and ruin on both sides of the War. It is, in all, a fascinating, beautiful and mostly untold tale of courage and dedication — the only problem being, the film doesn't do it justice. It's a tonal defect more than anything else. The first half strays so close to comedy it almost feels like Stripes meets Saving Private Ryan (and not just because the antiquities troupe boasts both Bill Murray and Matt Damon). The music, especially, is distractingly full of pomp and pageantry, a sort of Oh! What A Lovely War without the irony. As the team disembarks to one particularly sanguine number on the beaches of Normandy, you find yourself thinking: "…you guys do know what just happened here, right?" It is, to be fair, a somewhat defensible flaw, since the Monuments Men did enter the latter stages of the war thinking it more an adventure than a perilous and uncertain undertaking. Moreover, as the reality of their situation makes itself devastatingly apparent, so too does Alexandre Desplat's score shift moods, but from then on, the tonal problems are replaced by shortcomings in both pacing and subtlety. Rarely a quiet moment is permitted to pass without Clooney's Lt. Frank Stokes reminding his brothers in art why they're there, or repeatedly asking (then answering) whether a man ought rightly give his life for antiquity. Similarly, when there is action, it comes so quickly and so sporadically and in so many different locations that it robs the film of both suspense and cohesion. It's not a bad movie, and with a top-heavy ensemble cast that also includes Cate Blanchett, John Goodman, Bob Balaban and Jean Dujardin, the performances were never going to be a problem. It's just that — with a few excellent scenes notwithstanding — The Monuments Men feels altogether flat and expressionless, like a punctured tyre that gets you to your destination yet denies you the pleasant diversion along the way. https://youtube.com/watch?v=SziPDANik18
When the Godzilla franchise first started rampaging through Japanese cinemas almost 70 years ago, it was in response to World War II and the horrific display of nuclear might that it unleashed. That saga and its prehistoric reptilian monster have notched up 38 movies now, and long may it continue stomping out of its homeland (the American flicks, which are set to return in 2024, have been hit-and-miss). In such creature-feature company, the films of Makoto Shinkai may not seem like they belong. So far, the writer/director behind global hits Your Name and Weathering with You, plus The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words before that, sadly hasn't applied his talents to good ol' Zilly, either. But Japan's animators have been musing on and reflecting upon destruction and devastation for decades, too — stunningly and heartbreakingly so. In Studio Ghibli's Nausicaä of the Valley of the Wind, Grave of the Fireflies and The Wind Rises — in Howl's Moving Castle, Porco Rosso and From Up on Poppy Hill as well — conflict lingers in a variety of ways. In 2016's gorgeous and affecting In this Corner of the World, war is utterly inescapable. And in Shinkai's recent work, it's another catastrophe that casts a shadow: the Great East Japan Earthquake and the resulting Fukushima nuclear disaster. He's made his past three movies, including his latest beautiful and heartfelt effort Suzume, with that incident clearly in mind. Indeed, although it hops all over Japan, acting like a travelogue in magnificently realistic animated form, this new tale about a teenage girl, matters of the heart and the earth, supernatural forces and endeavouring to cancel the apocalypse firmly has its soul in the part of Honshu that forever changed in March 2011. Suzume meets its namesake (Nanoka Hara, Guilty Flag) on Kyushu, Japan's third-largest island, where she has lived with her aunt Tamaki (Eri Fukatsu, Survival Family) for 12 years. More than that, it meets its titular high schooler as she meets Souta (SixTONES singer Hokuto Matsumura), who catches her eye against the gleaming sea and sky as she's cycling to class. He's searching for ruins, and she knows just the local place — an abandoned onsen, which she beats him to. There, Suzume discovers a door standing mysteriously within a pool of water, then opens said entryway to see a shimmering sight on the other side. That's an ordinary act with extraordinary consequences, because Shinkai adores exactly that blend and clash. To him, that's where magic springs, although never while spiriting away life's troubles and sorrows. Every single door everywhere is a portal, of course, but this pivotal one takes the definition literally. Suzume can't walk through the opening; instead, she's left peering at the enticing evening-hued realm lurking within its frame. That said, she does unwittingly unleash a monster that Souta and his family have spent generations trying to contain. The worm lives up to its moniker, sprawling high into and across the sky, and sending its red tendrils far and wide. As his grandfather was, plus a long line of other relatives before that, Souta is a closer, which means he's tasked with shutting the doors that pop up at Japan's abandoned places — including a school and an amusement park — to keep the worm away and humanity safe. Sometimes, he needs a keystone to do so; however, the one in Suzume's hometown turns into a cat when she picks it up. Also transforming, but not by choice: Souta himself, who swiftly takes the form of a three-legged yellow chair that his new pal has owned and loved since she was a pre-schooler. What's a girl, a walking-and-talking seat and a tiny white kitty — Daijin, aka that metamorphosed keystone, which can also speak (as voiced by newcomer Ann Yamane) — to do? The latter cutely but quickly scampers, unsurprisingly attracting ample social-media attention, while Suzume and Souta follow as fast as they can. Most road trips don't involve attempting to save the planet, but Suzume's is as scenic as any cross-country jaunt by ferry, scooter, van, train and car thanks to one of Shinkai's ever-reliable hallmarks: his breathtaking visuals. Whether or not any member of the film's audience has been to Japan themselves, watching this spectacular affair feels like stepping right into Miyazaki, Shikoku, Kobe, Tokyo and more. Once again, as he did with Your Name and Weathering with You as well, Shinkai brings the Japanese capital to the screen with detail so gloriously lifelike that it makes for simply exquisite animation. That gift is shared with everywhere that Suzume, Souta and Daijin visit, mesmerisingly so. It's both a fitting and knowing touch to get Suzume's heroine residing in the city that shares its name with Studio Ghibli great Hayao Miyazaki. By the watching world, Shinkai has been anointed the Spirited Away and My Neighbour Totoro filmmaker's successor frequently since Your Name proved such a delight and smash — and so stirring, melancholy and dazzling — and, while thoroughly earning those comparisons yet another time, he leans in. Whisper of the Heart, which is similarly about a teen chasing a cat, gets a direct (and lovely) shoutout. Nods to Kiki's Delivery Service also ripple, again thanks to the crucial adorable feline. As its characters tumble through episodic adventures sparked by that fateful first door, Suzume adds references elsewhere, starting with Alice in Wonderland. It's easy to see the thematic trilogy it's happily forming with Shinkai's last two movies, too. There's a mythic air and a determination to make something meaningful and with a message that's oh-so Ghibli always, though; like the animation house, Shinkai crafts films as devoted to getting viewers marvelling at the planet, life on it and the relationships forged as they are committed to entrancing the eyes with their radiant sights. Already the fourth-grossing Japanese film of all time globally — Your Name is third, and Weathering with You ninth — Suzume is vivid in every moment. Aided by its music from Shinkai regulars Radwimps and composer Kazuma Jinnouchi (Star Wars: Visions), it's rousing in all the fashions that a feature can be, in fact. Its guiding light makes cosmic romances, fantastical voyages and supernatural disaster flicks as well, plus contemplations of growing up and taking care of nature, and ensures that they swell and swirl with all the emotions that they demand. In a national cinema industry so well-known for confronting the country's past that it turned part of it into a giant stalking lizard, Shinkai keeps finding bewitching and sensitive methods to achieve that feat, and wonderfully. Here, as Suzume battles her own hulking force, she faces life-changing heartache that no one can ever truly get over, still learns how to go on but never lets her history slip away. It's no surprise that Suzume is as sweet and swoonworthy as Shinkai's work comes, and as earnest, intricate, intelligent, involving and enchanting.
As the title of a franchise, Insidious has already been taken. Which is unfortunate, because it would have suited the pictures of Michael Haneke perfectly. Although his movies don't comprise an interconnected series, they're linked by the filmmaker's continued obsession with the way people really behave. In the work of the acclaimed writer-director, seemingly ordinary situations become something else entirely, whether it's strangers knocking at the door in Funny Games, a family going about its normal business in Cache, or an elderly couple at the end of their lives in Amour. With considerable cunning, Haneke's stories unsettle by gradually exposing the facade behind which we all live — particularly when matters of love, loyalty and the complicated bonds of blood are involved. Sporting an ironic moniker, Happy End is no different. If you're onboard with the type of humour Haneke demonstrates in those two words, then you're well prepared for the sly comic social critique that follows. Setting the subject of social media firmly in its sights, the director's latest film doesn't hold back, tearing down humanity's contemporary fondness for screens over in-person interactions. What we're snapping, filming, uploading, posting, emailing, reading, watching, scrolling through and clicking on is one of Haneke's two main targets. How we treat even our closest relatives when we're more concerned with likes, shares and our own busy lives is the other. Opening with Snapchat footage, it's quickly apparent that something sinister is brewing. Although we don't initially know who's responsible, seeing a hamster being drugged doesn't paint a contented picture, and nor does vision of a clearly miserable woman. Then Happy End introduces 12-year-old Eve Laurent (Fantine Harduin), who is bundled off to stay with her father (Mathieu Kassovitz) and his incredibly wealthy extended family after her mother overdoses. Not that anyone in her new mansion home pays the girl much attention. They're as content to ignore her as they are her increasingly senile grandfather Georges (Jean-Louis Trintignant). As Eve's stepmother (Laura Verlinden) fusses over her new baby, her aunt Anne (Isabelle Huppert) prepares to take over the family construction company, and various family crises bubble up, the pre-teen and the octogenarian form a bleak kind of bond. Other than his new social media savvy (and a standout karaoke scene soundtracked to Sia's 'Chandelier'), Haneke ticks plenty of recognisable boxes with Happy End. A little too many, perhaps. He doesn't lose his ability to intrigue, but it's obvious that he's relying upon his established tricks and trademarks, almost as if he's making his own greatest hits package. In a way, keeping to his usual beats supports the recurring message in many of his movies: that life's woes and worries tend to repeat. That said, when spotting the filmmaker's familiar flourishes is more interesting than sections of the narrative, it's also a problem. Still, even when he's retracing his own footsteps with a knowing wink and smile, Haneke's work sits in its own category. The playfulness paired with grim scenarios, the long shots urging viewers not to tear their eyes away, the unease oozing from every scene and performance: it's all there, deployed with the requisite finesse. And while the final result isn't among Haneke's best films, when it comes to plunging into the chilling darkness behind carefully cultivated public personas, no one does it quite like the Austrian master. https://www.youtube.com/watch?v=Q8Jn1AIzcBQ
Picture this: you're on a weekend escape in the Central Coast and you've just spent your day at the beach, swimming and baking in the sun, or going on an invigorating walk along the Bouddi Coastal Trail. As the sun starts to dip, you (like us) might start contemplating a refreshing cocktail or two. Which is fair, you're on holidays after all. For this, there are many options, but if you're near Terrigal, you'll want to head to Pocket Bar. Sister to Sydney's Stitch Bar and Button Bar, Pocket Bar is situated opposite the beach and pairs modern twists on classic cocktails with fun bar snacks. For drinks, you'll be sipping on the likes of a watermelon martini ($19), a raspberry lolly-inspired daiquiri ($18), the Gold Digger ($18) — the bar's version of a whisky sour with honey, chocolate liqueur, amaretto and burned coconut — and a maple-infused highball ($18). If you're hungry, there are plenty of dishes with which to line your stomach. Think wild mushroom arancini ($10), cheeseburger spring rolls ($18), beer-soaked corn ($9), chilli salt squid ($12) and jerk chicken wings ($12).
Fries, mash, rösti, gnocchi, dauphinois — has ever a vegetable been as universal, as chameleonic in its deliciousness as the potato? Considering that you can't even eat one of these guys raw, it's amazing what the humble spud can do when it's given a tiny bit of love. That's why the Ballarat Potato Festival is such a draw. On for one day only this winter, the festival features some of the Ballarat foodie scene's best eateries, each putting their own spin on local taters pulled from nearby farms. Considering this is one of Victoria's main potato-producing regions, there'll be no shortage of material to go around. The festival will certainly be your main, if not only opportunity this year to try twice-cooked potato halwa. Other tastebud-tickling delights on the menu incluce potato pancakes, savoury spiced potato doughnuts and potato-stuffed naan bread. Traditionalists will not be left disappointed, either — if chips and gravy is your truest heart's desire, no one will stand in the way. Discover all the Potato Festival stalls with just a gold-coin donation for entry on Saturday, 30 June, at the Ballarat Mining Exchange. The event is part of the Ballarat Winter Festival, so once you've had your fill of potato knishes and knödels, you can head out and explore the Winter Wonderlights in Sovereign Hill (think White Night meets Christmas in July), jump on the pop-up ice-skating rink or contemplate Into Light, the exhibition of 19th- and 20th-century Parisian painting at the Art Gallery of Ballarat. Come back in July if you want to get in on more foodie events that celebrate the region, like the Salumi and Charcuterie Festival on July 21 or the Red Series back at the Ballarat Mining Exchange on July 28. To prep for the trip and discover more things to do in winter around Ballarat, visit the Wander Victoria website.
This Christmas, Disney+ is giving us all a shiny new present, with the streaming platform adding another Home Alone movie to everyone's festive viewing rotation. Right now, it's also kickstarting the merriment early — by dropping the first trailer for Home Sweet Home Alone, the fifth flick in the holiday-themed franchise. Pick a number between five and 100, and that's the average number of times you've probably watched the first Home Alone. You'll note that we haven't dared to suggest you've only seen it once, or twice, or even just three or four times, because we know how unlikely that is. We're guessing you've viewed the first sequel to the 1990 favourite quite a bit, too, because we all have. If you haven't given Home Alone 3 and Home Alone 4 as much love, though, that's understandable. Here's an important question for you moving forward, however: how many times do you think you'll give Home Sweet Home Alone a whirl? Available to stream from Friday, November 12, Home Sweet Home Alone jumps back into the franchise that's all about being left behind by your family at Christmas. On paper, the overall concept doesn't sound all that jolly — but as we all know, these flicks have been an end-of-year staple for three decades. And the Mouse House is messing with its winning formula here, either. This time around, a kid called Max Mercer is the focus — as played by Jojo Rabbit's Archie Yates. Obviously, he's left at home while his family goes away. They head to Japan for the holidays, he gets forgotten, and soon he's fending off a couple that's trying to break into his house. We all know how the story is going to go from there, with this remake even giving a screenplay credit to the original's writer/director John Hughes. Filmmaker Dan Mazer is in the director's chair on Home Sweet Home Alone, after previously helming I Give It a Year and Dirty Grandpa, and writing Bridget Jones's Baby, Office Christmas Party and Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan. On-screen, Yates is joined by Ellie Kemper (Unbreakable Kimmy Schmidt) and Rob Delaney (Wrath of Man) as the crooks trying to bust into Max's home, while Aisling Bea (This Way Up) plays his mother — and Kenan Thompson (Saturday Night Live), Tim Simons (Veep) and Chris Parnell (Rick and Morty) also feature. There have been rumours that Macaulay Culkin will make an appearance, too, but you'll obviously need to watch the full movie to see if that pans out. Check out the Home Sweet Home Alone trailer below: Home Sweet Home Alone will be available to stream via Disney+ from Friday, November 12. Images: courtesy of Disney+. © 2021 20th Century Studios.
You might've felt a cool reprieve from the summer heat over the past couple of days; that's because autumn is coming, and unlike John Snow and winter, it's actually a good thing. (White Walkers don't really do the whole wading through fallen red and orange leaves, pumpkin spice latte in hand.) The new season brings with it that nice jeans-and-sweater weather, meaning you no longer need to be glued to your fan or air conditioner. Go on, venture outside to explore the city, without sweating bullets. To make sure you don't miss out on any autumnal antics, we've partnered with Tanqueray to bring you some top activities to tackle this season. From Vivid light show to Sydney Comedy Festival, there's plenty to keep you (and your cosy new sweater) entertained with, of course, a gin in hand. TAKE AN AUTUMNAL COOGEE TO BONDI WALK Okay, this is not going to be a Northern Hemisphere-style autumn walk where crimson leaves fall from the trees and crunch beneath your feet. We are still in Australia. But, the Coogee to Bondi walk in autumn is still very pretty; you can never really get sick of those ocean views. Plus, you won't be overheated at the end like you were all summer. Once you've finished your stroll by the sea, head to the newly opened Rosenbaum and Fuller to reward yourself with a post-walk tipple. Headed up by a team of hospitality legends, you know you're in safe hands. Opt for something cool and simple like the Gin and Juice with Tanqueray gin and watermelon juice. [caption id="attachment_683381" align="alignnone" width="1920"] Caroline McCredie.[/caption] TUCK INTO AN ALL-DAY DEGUSTATION Park hangs and picnics by the water are so last season; autumn is all about day-long degustations. Sounds kind of lavish we know, but the produce available in the autumn months is worthy of a decadent multi-course tasting. And it doesn't have to be a degustation in the traditional sense, pop by The Pacific Club in Bondi with a few mates and DIY deg featuring a whole slew of native ingredients. Kick things off with The Nut Cracker cocktail (macadamia oil washed Tanqueray, herbs de provence vermouth and lemon myrtle), then order a selection of small plates, like chargrilled octopus with fermented capsicum and radish, kangaroo tartare with native currants, pickled quandong and mountain pepper crisp, and woodfired bug with smoked macadamia cream and pancetta crumb. Sure beats sweaty cheese and crackers on the beach. CATCH SOME STAND-UP AND COCKTAILS Each year, Sydneysiders are treated to side-splitting comedy and big belly laughs during the Sydney Comedy Festival. Running from Monday, April 22 to Sunday, May 19, the festival will see hundreds of comedians take to stages across Sydney to make us smile. This year, the program includes big international acts, like David O'Doherty (IRE), Ron Funches (USA) and Ross Noble (UK), as well as a ton of celebrated homegrown comedians, like Cal Wilson, Fiona O'Loughlin and Nina Oyama. Head to a show, have a laugh, then make a beeline to Jacoby's Tiki Bar in Enmore for some post-comedy cocktails. We suggest The Zappa, made with Tanqueray gin, cachaça, honeydew melon, kefir, passionfruit and lemon. [caption id="attachment_708644" align="alignnone" width="1920"] Cole Bennetts.[/caption] EXPLORE VIVID THEN HEAD FOR A NIGHTCAP Vivid Festival is back for another year, lighting up the Sydney skyline and feeding the city with music and new ideas. The festival runs from Friday, May 24 to Saturday, June 15, so you have plenty of time to plan your night out. If the neon lights and vibrant installations aren't enough to tempt you, it's been announced that legendary post-punk band The Cure will headline. Just imagine: you can get a picture of you while listening to Pictures of You at the illuminated Opera House. After you've got your bright-light fix, take a short walk to the 1950s-inspired cocktail bar Maybe Sammy in The Rocks to unwind with a Silver Slipper: that's Tanqueray gin, Oscar 687 Bianco vermouth, chartreuse, verjuice and clarified lemon cordial. [caption id="attachment_621101" align="alignnone" width="1920"] Orpheum Picture Palace in Cremorne.[/caption] WATCH A MOVIE AT AN ACTUAL CINEMA The outdoor cinemas did their dash in summer and we loved it, but now it's time to swap the openair experience for a cinema with the roof intact. This season there are some real humdingers gracing the silver screen, like Captain Marvel from March 7, Us from March 14 and Top End Wedding from May 2, to name but a few. And while you're making those all-important seasonal switches — thongs to boots, singlets to sweaters, etcetera, etcetera — it's time to farewell the summertime spritz and imbibe some earthy autumnal flavours. Drop by celebrated cocktail bar PS40 for a Thyme to Turnip the Beet cocktail, featuring beet-infused Tanqueray gin, Manzanilla sherry, turnip puree, thyme and egg white. Celebrate the return of autumn with a Tanqueray tipple in hand at home or around your city. Top image: Vivid 2018 by Cole Bennetts.
Playa Takeria prides itself on being Sydney's authentic Mexican taqueria. So where better to spend Cinco de Mayo this year than under the gaze of their mural of saluting Frida Kahlo, where you can find cactus in your salad or corn smut (the delicacy/corn fungus also known as Mexican truffle) in your taco? Cinco de Mayo may originally have been a holiday celebrating Mexico whipping France back in the 1800s in the city of Pueblo, but it has become a day across the globe to celebrate all things Mexican and to ingest as much guacamole as you humanly can. For the festivities, Playa will be hosting a Cinco de Mayo Dinner Fiesta, with special edition tacos – including the Senioritas Taco, the Barbacoa and the My Hot Mexican — as well as $5 Coronas and $20 buckets of Corona. Head along between 11am and 3pm or stick around from 6pm until late and spend your Cinco de Mayo sharing an ice bucket of beers filled with limes and stuffing your face with some of the best Mexican fare in the city.
Tucked away between Topshop and Sydney's iconic State Theatre is Gilt Lounge. As QT Hotel's sultry grown up cocktail lounge, Gilt takes things to a whole new mixology level. And this place is tops, quite literally. Walk past Parlour Lane Roasters, up the elevators, through Gowings Bar & Grill and up another flights of stairs. Welcome to Gilt. Gilt is the femme fatale of Sydney's bar scene: smoldering, secretive and sophisticated. Think eclectic, industrial chic for the interior; the large space is broken up into clusters of soft couches and dim mood lighting. As the name suggests, the venue is a place to linger and lounge. It's a destination, rather than a stopover, for conversation and cocktails. The steady stream after-workers passing in and out of the bar gives it an upbeat buzz without feeling over crowded. And what you're really here for are the expert cocktails. Shakers will be tossed in the air and drinks finished with a flourish. A must-try is the Applewood Bacon Old Fashioned ($19), a wild combination of Applewood bacon-infused buffalo trace bourbon, black peppercorn-infused demerara sugar, creole bitters chocolate covered bacon and flamed orange. Yes, you read right. Chocolate. Covered. Bacon. It's a flavour fusion gamble that definitely pays off. Another hit is the Sweet Lady ($18) — ciroc vodka, lemon balm, sugar, fresh lime, egg white, mint bitters — a twist on the classic One Lady cocktail. This is a great option to accompany food; the lemon balm provides a palette cleansing burst while avoiding that minty aftertaste that stops you from enjoying following flavours. A good match is the Bringing Back The Vol-Au-Vent ($15) that is filled with house-made ocean trout tartare, sterling caviar and quail eggs. The bar menu is considered. Choose from sub-categories such as snacks, bite-size nibbles, sliders and more substantial. And we reckon after cocktail number two, three and four you're going to need to indulge some of Gilt's tasty bites. Gilt is Sydney's newest CBD hidey hole perfectly suited to sneaky after work drinks for couples, small groups and bona fide cocktail aficionados. The only kind of guilt you'll experience here is that of not having come earlier.
Ending the nine-to-five grind with a beverage can make any working day better. Pair that tipple with cheap seafood, and you'll be counting down the minutes until knock-off time. Fratelli Fresh is clearly keeping that idea in mind this March — by serving up $1 oysters all month long. You don't just have to head by after work, however, with the deal on all day, every day throughout the whole month. And there's no missing numeral in the price, although you do need to order a minimum of six and buy a drink as well. You can also order as many oysters as you like, if six just isn't enough, although you'll have to purchase a drink with every half dozen. If briny seafood is not your snack of choice, Fratelli Fresh is also offering $1 scoops of gelato at all of its stores, all month. Choose from 16 different flavours, including black forest, cookies and cream, tiramisu, Nutella and passionfruit and raspberry sorbet. Also on offer — yes, the deals keep on coming — are ten different spritzes for $10 each. Like the gelato, these are available all-day and all-month long. Fratelli Fresh's $1 oysters, $1 scoops of gelato and $10 spritzes are available across all of its Sydney stores.
This foreshore Pyrmont park, named after what the area was known as to the local Eora People, is a favourite among visitors and locals alike. Located within a sheltered bay, it overlooks the quieter side of Darling Harbour as well as the Anzac Bridge to the west. The grassy, 1.8-hectare park offers heaps of shaded space for picnicking, plus barbecue facilities and a playground. There's also an onsite cafe (set adjacent to the playground) for those who are too lazy to pack a picnic. When you're not lounging in the grass, go for a walk along the waterfront, or grab a seat on the steps and cool your feet in the sparkling water. On a warm day, be sure to bring along your swimmers for a full dip, with a designated swimming hole available. Image: James Horan, Destination NSW
Here is a little glimpse into a bizarre future where ideologies are amalgamated and the boundaries between class, sex and race have been erased. This is the forecast of Los Angeles-based artist Mark Whalen, who will be presenting Improper Fraction at Chalk Horse Gallery in May 2015. As you will see, the ceramic works in the show take the form of hand-sculpted books, which can be seen as the keys to unlocking his curiously complex paintings. Harking back to high modernism, his practice evokes the mathematical spiritualism of movements such as De Stijl and the Bauhaus painters. On first glance, these intricate paintings look like flat and futuristic adaptations of MC Escher drawings. He is also inspired by the fantastical chaos of Hieronymus Bosch; however, Whalen’s geometrically precise worlds have a certain order and rhythm — like neat little computer-generated packages. Come along for the exhibition opening on Thursday, May 7, at 6–8pm.
A CBD institution, Frankie's Pizza is known for its live music, pinball machines, freshly squeezed apple juice an,d of course, its pizza menu. The much-loved pizza menu is now getting a revamp, however, with the help of Swillhouse collaborator Dan Pepperell (Restaurant Hubert, Alberto Lounge) and a trip to New York City. Pepperell and Swillhouse co-founder Anton Forte headed on a research trip to New York back in a pre-COVID February 2020 to experience the best pizza by the slice the city had to offer. The pair returned to Sydney with a swathe of new ideas for the Frankie's and have subsequently conjured up the venue's new menu. Along with a new dough recipe that includes a three-day fermentation process, Frankie's has introduced 13 new pizza toppings for you to get your mouths around. Leading the charge are new takes on classics like a three-cheese margherita, the pepperoni featuring Frankie's hot honey and a rosemary number with scamorza and garlic. On the more extravagant side of things, you'll be able to grab yourself a slice of zucchini pizza with lemon, chilli, garlic, stracciatella and mint; the Texas, which combines two different cheeses, roasted corn, red onion, jalapeños; or the Bismark with truffle salami and egg yolk. You can add on dipping sauces for $3 a pop, too, and a tin of Cuca anchovies for $6. Plus, despite the makeover, the venue's pizzas are available at an affordable $6 a slice. The venue has also expanded its already extensive beer list in conjunction with the new menu, which now stars the likes of a wasabi porter, a blood orange gose from California's Anderson Valley and Moon Dog's Coconut Cake imperial dark ale. You can find the full menu here. If you're looking for an excuse to stop and try the new range of pizza on offer, you can catch Frankie's House Band every Monday, karaoke and trivia every Tuesday, and bands every Wednesday, Thursday, Saturday and Sunday.You can check out what's on at Frankie's at its website. Frankie's Pizza is located at 50 Hunter Street, Sydney and is open 4pm–3am Saturday–Thursday and 12pm–3am Friday. Top image: Katje Ford
High in the sub-alpine region you'll find the remote Gummi Falls Campground, which is well and truly out there in the wild. You'll need to take a 4WD to access this untamed, natural bit of country, but don't worry, there are barbecue facilities and toilets once you're there. Spend your day mountain biking or horse riding through the many trails that surround the bewitchingly beautiful region, and try to spot elusive native fauna like the long-nosed potoroo, spotted-tail quoll and powerful owl. If you fancy a different angle, drop a line in the crystal clear Manning River, known for its abundant supply of freshwater bass. Image: Elliot Kramer
Trolls brings its tiny, brightly coiffed creatures to the screen with plenty of baggage. You might have played with the toys that the film is based on. You probably don't have particularly fond memories of many other toy-based franchises – think Transformers, G.I. Joe and Battleship. At the very least, you've almost certainly had Justin Timberlake's inescapable 'Can't Stop the Feeling', which features in the flick, stuck in your head for months. Here's the good news: as directed by SpongeBob SquarePants veterans Mike Mitchell and Walt Dohrn, Trolls is far from the eye-roll-worthy effort it might seem like on paper. On a scale ranging from The Smurfs to The LEGO Movie, it falls firmly in the middle — even if it does little more than swap blue critters for their brightly coloured counterparts, with elements of Cinderella thrown in as well. Here, trolls are "the happiest creatures the world has ever known," and don't they like to sing, dance and hug about it. The scrapbook-loving, party-throwing Princess Poppy (Anna Kendrick) often leads the charge, and she has plenty to celebrate. Twenty years earlier, the pocket-sized folk were frequently scooped up and eaten by huge, hungry beings called Bergens, but quick thinking on the part of King Peppy (Jeffrey Tambor) saw them escape and live joyously ever after. But their idyllic existance is suddenly shattered when an evil chef (Christine Baranski) stumbles upon their habitat. Soon, a handful of trolls are destined for the plate of Bergen Prince Gristle (Christopher Mintz-Plasse), leaving Poppy with the task of saving them, and cranky survivalist Branch (Timberlake) begrudgingly lending his assistance. There's a reason that the Bergens are so keen on catching and munching on the rainbow-hued critters: when they do, they experience a burst of ecstatic contentment that's probably on par with humans eating Nutella-slathered doughnuts. That sensation, of course, ties into the lesson at the heart of the film. As Trolls works towards the song we all know is coming — and throws up various other pop covers along the way — it serves up a heavy-handed moral about finding happiness from internal sources rather than external ones. Still, somehow the movie manages to find a balance between loud, shiny and sickly sweet, and entertaining enough. Kendrick's enthusiastic voice work helps, as do the handmade-looking visuals, which make the film's CGI appear as though it's fashioned out of felt and other crafting products. On the joke front, just as many light-hearted gags and pop culture references land as languish, which is a better strike rate than many other family films. A word of warning though: it might be dressed up in fuzzy packaging in more ways than one, but Trolls also remains the kind of flick that features glitter fart clouds and cupcakes poop. Consider yourself warned.
When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. To watch this 2023 Best International Feature Film Oscar-nominee, 2022 Cannes Film Festival Grand Jury Prize-winner and recipient of Sydney Film Festival's top 2022 gong is to feel, to an extent that cinema only rarely manages. In fact, Léo and Rémi's camaraderie is that vibrantly depicted, and performed with portrayals that naturalistic and unaffected, that it's three things simultaneously here: a once-in-a-lifetime marvel, as innate as the act of growing up, and instantly relatable and recognisable to anyone who has ever had their own inseparable BFF as a child. That bond is such a given for the pair themselves, and that status quo is so entrancingly communicated by the movie, that questioning it is a shock for everyone. These friends have forged their identities as a duo, but they're also at that awkward coming-of-age stage where the wider world starts intruding upon their wants, likes and senses of self, and enforcing its traditional ideas of masculinity. Bluntly, the girls in Léo and Rémi's grade ask if the two are a couple. More than that, they contend that the boys are one without even realising it. Enter the overwhelming weight of the society's norms, as Léo struggles with the schoolyard query and slowly pulls away. Words have consequences in Close. Actions do along with them. What kicks off as a portrait of a perfect friendship then segues into the agony of an idyll bursting. As homophobic jeers echo, Léo withdraws, boisterously palling around with other classmates instead and opting to take up ice hockey. Rémi keeps trying to reach out, and keeps showing his pain and confusion as Léo ditches him at breaks, after lessons, and on their usual rides to and from class. In a sensitive script penned with his Girl co-scribe Angelo Tijssens, Dhont understands the heartache and heartbreak of a boyhood bond dissolving. His feature ripples with grief on a variety of levels. But the filmmaker and the film alike also deeply appreciate the heady jubilation of its opening third. They relish it. Close's second half is shattering; however, this is a movie that knows that to have forged such a connection is a thing to treasure even when it's lost. Close's second half wouldn't devastate as it does if its first wasn't so keenly felt. This isn't an overplayed picture — understatement is one of its key and crucial elements — but it's expertly attuned to what it's like to have a kindred spirit in your youth, and to the immense void left when that's gone. Perhaps the best way to describe Close is with its homonym's antonym: open. Even when Léo begins closing himself off to Rémi, the film he's in remains unguarded in its gaze and emotions — and Dambrine and De Waele's performances retain the same trait as well. To watch Close is also to peer into the faces that fill its frames, as lensed vividly in claustrophobic closeups and telling wide shots by cinematographer Frank van den Eeden (Nobody Has to Know, and also Dhont's Girl), and to embrace the swirl of sentiments lingering inside. Looking at the movie's two young stars never simply involves seeing them overtly shift in tone. Spending more time with Dambrine isn't just a case of watching conflict, sorrow, realisation and guilt flicker in his eyes, either. Similarly, when Close intently observes the always-excellent Drucker in a pivotal mid-movie moment, then gives Dequenne more attention in its later scenes, it's open to — and tender about — how complicated its scenario and feelings have become. The details in Close are everything, as they are in all relationships. Here's a mere four examples: the alternating closeness and space that van den Eeden spies when Léo and Rémi share a mattress, as kids at sleepovers do; the pride that wells in Léo's eyes as he watches skilled musician Rémi play the oboe; the seconds that stretch like lifetimes as Léo, Drucker and Dequenne process trauma right in front of the audience; and the seasons passing, as marked by the flower farm's rainbow of colours revolving through its annual cycle. As set to a subtly rousing string-and-oboe score by Valentin Hadjadj (another Girl returnee), every aspect of this delicately crafted gem is personal yet universal, as it should be considering its origins. Dhont harked back to his own close friendships as a teen, while also taking inspiration from psychologist Niobe Way's Deep Secrets: Boys' Friendships and the Crisis of Connection, a study of 100 boys aged 13–18. It's no wonder, then, that Close couldn't feel more raw, rich and authentic.
So, you're the eager kind of bastard (not the Snow type mind you) who likes to throw spoilers in the face of your lessers? Lucky for you, the Game of Thrones edition of Goodgod Trivia is open to lovers of the books and TV series, so you'll be able to use that smug mouth to win. Or die. Costume is not mandatory, but greatly rewarded, with furs and armour specifically mentioned. White walkers, maesters, red priests, naked extras and dung-faced peasants will also most likely be in abundance, so if you really want to impress you'll need to think outside the boxset (someone had better turn up as the animated map of the opening credits, is what we're saying here). A host of prizes are on offer, presumably for things such as witty team names like 'The Rains of Can We Get Free Beer', a pin-the-scowl on Cersei, and the team that completes the quickest beheading that you least expected. Grab a table early, because it's winter soon.
Do you hear the people sing? Singing the songs that aren't quite clear. It is the music of the musical we love and hence our fear. For while Hooper's craft is strong, And The King's Speech touched us all, There is a humph bl'furston — wait...what did Hugh just saaaaay? Such is the astounding opening sequence of Tom Hooper's eagerly anticipated Les Miserables. Not the song, of course (that one comes later), but there is music and it is muffled. That's because the opening shot, like most of the film, is an exercise in sensory overload: a raging sea, a heaving ship in ruins, and hundreds of bedraggled convicts hauling it into dry dock whilst belting out 'Look Down'. All the songs were recorded live on set to give the film a greater sense of realism, and while Hooper succeeded on that front, it regrettably comes at the expense of clarity, with lyrics often drowned out by extraneous events. Still, this is one of musical theatre's most famous stories, and, thankfully, it's beautiful, rousing melodies can only be subdued so far. Anne Hathaway leads the charge with her exquisite, tearful rendition of 'I dreamed a dream' and it takes just seconds to entirely forget SuBo ever happened. This sublime single shot on the transformed Hathaway ensnares unreservedly and sets an almost impossible benchmark for her co-stars to achieve. Coming closest behind, though, are Hugh Jackman as Jean Valjean and Samantha Barks as Eponine. Both lend their characters vital stage experience, whilst others like Russell Crowe, Sasha Baron Cohen, and Helena Bonham Carter struggle for their lack of it. Eddie Redmayne is the surprise standout, delivering a moving rendition of 'Empty Chairs at Empty Tables', while Amanda Seyfried absolutely fits the bill as Cosette. Les Miserables is one for the whole family, so long as the family is prepared to discuss prostitution, murder and revolutionary war. It sounds a little tough, but not nearly as tough as trying not to sing along and aloud to all those memorable tunes.
"You'll flip over our burgers" is the catch cry of this American diner which serves up indulgent food and good ol' fashion fun. There's rock 'n' roll tunes, mirrors galore, stools that spin and themed outfits for the waitstaff. Oh, and they have some American fizzy drinks — grape Fanta anyone? It's a dentist's nightmare in a can. Batch Burger delivers everything you'd expect from an American-style diner menu. For breakfast try the American stack with fried egg, American bacon and maple syrup ($15). It's bound to make any home sick American weep with joy over the sweet and savoury combo. If you're starving (read: hungover), try the good value big breakfast ($16) and wash it down with a cold drip coffee which changes weekly ($4). Or be a bit more adventurous with a root beer float ($6). The cheeseburger grande ($12.50) can't be ignored. It's full of bacon, cheese and tomato, with American mustard (of course) and fruit relish on a seeded brioche bun. And the tell-tale sign of a good burger place? When they ask how you want your beef burger cooked (and when they cook it to perfection). The fries (side $2.50) were indeed fries. Nothing special. And the corn ($4) was a bit sad and dried out — with faux grill marks and lacking the juicy corn crunch you'd expect. It wasn't quite the paprika and lime mayo experience that the menu spoke of. There are also salad options. But no-one's really there for the salad. To finish, there's the option of a soft serve cone ($3) and for an extra 50 cents scatter on some chocolate and nuts. The food is far from fancy, but that's not what this place is trying to do. It's the full on diner experience, but just down the road from the Prime Minister's Lodge. Much cheaper than an airfare to the US of A, and perfect for the expat friend catch-up. The burgers are juicy and delicious, and full of those all American condiments and relishes that make people drool. It's also got the novelty factor working for it. While some dishes aren't amazing, some are just meant to be simple. Image credit: Andrew Worssam Photography
When we take that first sip of our barista-brewed coffee on a workday morning, a lot of us can't actually imagine living without coffee. But what about living without a roof over your head or a guaranteed meal? Unfortunately, this is what many homeless people around Australia face each day, but on Friday, August 4, you can help your fellow Aussies out simply by buying a coffee as part of CafeSmart. CafeSmart is an annual event from StreetSmart that raises money and awareness for the homeless and is back for its seventh year running. This year over 500 cafes will aim to raise more than last year's total of $160,523. So how does it work? From every coffee purchased on August 4 at a participating cafe around Australia, $1 will be donated towards local projects. So if your go-to local isn't participating, shake things up for a day and head to one that is. Prefer a hot chocolate? You can also donate at the counter. Simply by aiming for a bighearted cafe, you'll be helping some of our country's most in-need humans, so treat yourself to a third or fourth coffee guilt-free. There are a heap of cafes participating across the city, but some include: The Grounds of Alexandria The Boathouse Bills Artificer Coffee Tea and Me Single O Three Blue Ducks Brewtown Newtown Daisy's Milkbar
First things first: Lady Macbeth isn't about William Shakespeare's famous character. It does, however, bring some of the Bard's best-known words to mind. "A rose by any other name would smell as sweet," he waxed lyrical in Romeo and Juliet. It's a statement that rings true here, in a film about a woman every bit as calculating, ambitious, disarming and deadly as her notorious namesake. In adapting Nikolai Leskov's 1865 novella Lady Macbeth of the Mtsensk District, first-time feature director William Oldroyd delivers a stunning character study, an unnerving portrait of the female experience in the 19th century, and a tense psychodrama. With playwright turned screenwriter Alice Birch moving the action from the book's Russian setting to Northern England, Lady Macbeth explores the married woes of young Katherine (Florence Pugh), who is wed to the unkindly but wealthy Alexander (Paul Hilton), confined within his family's rural estate and treated like property. As her overbearing father-in-law Boris (Christopher Fairbank) explains, she has been bought and paid for; accordingly, tending to her husband's needs should now be the only reason for Katherine's existence. Exploring the dismal way English women were treated just 150 years ago drives much of the film's first act, as it touches on not only gender but also race and class courtesy of Katherine's black housemaid Anna (Naomi Ackie). Showing how Katherine plans to break free from her restrictive regime underscores everything that follows. When an affair with one of Alexander's handsome groomsmen, Sebastian (Cosmo Jarvis), gives her a glimpse of a different life, she's reluctant to return to the drudgery that comprises her version of normality. In fact, she's reluctant enough to scheme, flout convention, and generally do whatever it takes to regain her independence. If you're familiar with Macbeth, you'll have an idea of the kinds of plots she conjures up. If you're not, let's just say that getting caught in Katherine's way isn't recommended. In other hands, Lady Macbeth might've been more of a bodice-ripper. Constraining undergarments are indeed torn open and tossed aside, a sexual awakening takes place, and passions refuse to be contained. And yet it's the intensity of Katherine's feelings, not only for Sebastian but also for control over her life, that Oldroyd and Birch thrust to the fore. The film is austerely shot and composed; Australian cinematographer Ari Wegner (The Kettering Incident) keeps the visuals largely still, gloomily lit and posed from a distance, allowing the underlying emotions to bubble up against bleak images and a dour atmosphere. Of course, the movie's stylistic restraint serves another purpose. When such a potent figure stalks through almost every frame — as brought to life with such a stunning central performance — dialling back everything around her is an astute choice. And what a force to be reckoned with Pugh turns out to be, so assured that it's hard to believe that Lady Macbeth is only her second big screen role (she previously appeared in The Falling). Then again, perhaps it's apt: this is a tale of a young woman defying expectation to make a bold statement, after all. Either way, no one will forget her in a hurry — the actress, or the character she plays. https://www.youtube.com/watch?v=xQAG253WWZU
Call it bad timing. Call it ignorance. Call it laziness. Whichever you choose, Gringo has a problem. A couple of years ago, a film could probably call its villain "the Black Panther" and ignore the fact that the comic book character exists. Now, mere months after the first-ever standalone Black Panther movie became one of the highest-grossing superhero flicks ever made, the name is impossible to overlook. Every time it's mentioned in this crime comedy, the moniker sounds awkward. More than that, it also sounds like screenwriters Anthony Tambakis (Jane Got a Gun) and Matthew Stone (Soul Men) just thought the name was cool, but didn't think much more about it. That seems to have been their general approach anyway — well that and filling the script with as much caper chaos as possible. Despite regularly travelling to Mexico for his pharmaceutical job, Nigerian immigrant Harold (David Oyelowo) is unaware of the Black Panther's (Carlos Corona) existence. The same can't be said for Promethium's ruthless CEOs, Richard (Joel Edgerton) and Elaine (Charlize Theron). The scheming duo happily took the drug lord's money and supplied him with their medical marijuana pills, but now they're keen to end the arrangement so they can sneakily sell off the business — something else they're keeping from Harold. Of course, when Richard and Elaine accompany their underling on his latest trip across the border, they discover that the Black Panther doesn't want things to change. Rather, he wants the formula to the firm's lucrative product and will do whatever it takes to get it. That includes kidnapping Harold, although the secret recipe is yet another thing the lackey doesn't know. Complicating matters is the fact that, in response to his growing personal and professional troubles, the mild-mannered middle manager has already decided to pretend that he has been abducted. Gringo's needlessly convoluted narrative is just getting started, with Harold's unhappy wife (Thandie Newton) and Richard's ex-mercenary brother (Sharlto Copley) also playing their parts. So does a young woman (Amanda Seyfried) with no idea that her boyfriend (Harry Treadaway) is trying to smuggle Promethium's drugs back into the US. To the surprise of no one, there's more than one link between the various characters, and between the array of intertwined plot threads. Jam-packed would be the nice way to describe the movie, which has been spliced together by three editors yet drags over its 111-minute running time. Overblown, unfunny, messy and meandering is another way to put it. If there's any sliver of a saving grace, it comes from Oyelowo and Theron, who stand out among the film's high-profile cast. While neither are at their best, you could put these two in nearly any picture and they'd make a considerable difference, even when they're saddled with woefully underwritten roles. Oyelowo almost makes the hapless Harold's journey believable — emphasis on "almost", because the character's jump from believing in the American dream to breaking bad for revenge feels incredibly convenient. Theron has plenty of fun chewing the scenery as the wily, icy Elaine and certainly makes more of an impression than Edgerton, not to mention the rest of the acting lineup. The last time Edgerton starred in a big-screen effort by his director brother Nash, the end result was the ace 2008 Australian crime thriller The Square. Nominated for seven AFI Awards, the film boasted well-executed twists, genuine tension and smart black comedy — and Joel co-wrote the script. With a much weaker screenplay, Gringo plays like an overdone, ineffective attempt to up the ante, using similar components but boosting the star power and budget. Still, Nash demonstrates a definite eye for action with his second full-length film, as evident in the movie's shoot-outs and chase scenes. But by the time these antics properly kick in, it's a case of too little, too late. https://www.youtube.com/watch?v=sx0KDIFCAu0
Sometimes the best stories are the ones that are true. Soon, you'll be able to catch a selection of the best from around the world, as Antenna Documentary Film Festival returns to Sydney with a stellar program. Celebrating its 14th edition from Thursday, February 5–Sunday, February 15, more than 50 docos are screening over the festival's 11 days, with Q&As, retrospectives and the much-loved Doc-Talk series rounding out this year's happenings. Opening the festival is the Australian premiere of The Last Guest of the Holloway Motel, a character-driven portrait of a former football star who vanished from public life in 1970s Britain, only to re-emerge decades later as the manager and sole resident of a crumbling Hollywood motel. Then, you can absorb the slow, measured narration of documentary icon Werner Herzog as his latest film, Ghost Elephants, follows an expedition into Angola's highlands in search of a legendary elephant herd. Par for the course, really. https://www.youtube.com/watch?v=cqIPJcfPodU Other highlights include Elon Musk Unveiled – The Tesla Experiment, a new documentary that pulls back the curtain on Musk's empire through the testimonies of close confidants, whistleblowers, victims and former high-ranking Tesla employees. Plus, The Clown of Gaza captures how performer Alaa Meqdad keeps hope alive in Palestine by becoming Aloosh the Clown, bringing joy to children in hospitals and on the streets. Antenna Documentary Film Festival will also feature a special guest appearance from American filmmaker and cinematographer Kirsten Johnson (Citizenfour, Cameraperson) and a retrospective celebrating Gillian Armstrong. Best known for the coming-of-age film Little Women, Antenna focuses on Armstrong's long-running documentary project tracing the lives of three Adelaide teens into their late 40s and beyond, with two of them joining Armstrong for an on-stage Q&A. Antenna Documentary Film Festival is held Thursday, February 5–Sunday, February 15, with screenings happening at Dendy Newtown and The Ritz Cinema, Randwick. Head to the website for more information.
Whether you're a day tripper, a holidaymaker or a local, there's no denying that Sydney is an incredibly photo-friendly city. Truly, the sheer breadth of stunning vistas is bordering on ridiculous. From sun-kissed beaches to world-famous landmarks and remarkable architecture, there really is something for everyone. We've teamed up with Samsung to pick out the best spots in Australia's largest city to take Insta-worthy pics that will be the envy of all your followers. Handily, we've also split them up into daytime and night time selections, as the camera on the Samsung Galaxy S22 Series is equipped with an incredible Nightography feature that means you get pin-sharp pictures and videos, even in low light. [caption id="attachment_702755" align="alignnone" width="1920"] Manly Beach by Paros Huckstepp[/caption] DAY Wendy's Secret Garden For three decades, Lavender Bay resident and artist Wendy Whiteley has dedicated her life to the design and upkeep of a patch of land just beyond her home, turning it from abandoned train yard into a stunning living artwork which now has official public park status. Deliberately unsignposted and full of sculptures and artefacts, Wendy's Secret Garden feels like an oasis right on the harbour, with countless beautiful nooks and crannies in which to get that perfect shot. Curl Curl Ocean Walk Any walk along the Northern Beaches coastline is beyond picturesque, but for the best views, you can't beat the one-kilometre boardwalk between Curl Curl and Freshwater. Along this oceanside stretch, you get to walk atop the cliff edge as the waves crash below. Travelling north from Freshwater also affords you the opportunity to see the underrated Curl Curl Beach arcing out before you and the incredible, endless ocean to your right. On a sunny day, there's nothing like it. Shelley Beach Manly Beach is one of Sydney's most famous, and rightly so, but it's difficult to photograph a beach when you're actually on it. A short coast-side walk from Manly brings you to the gorgeous Shelley Beach. There's all manner of vantage points where you can to capture this slice of paradise, but it's also a perfect spot from which you can see Manly, Freshwater, Curl Curl and Dee Why beaches, and, on a really clear day, beyond Long Reef headland to Collaroy and Narrabeen. Opera Bar There's no way to go to Opera Bar and not feel impossibly bougie. There can't be many places on earth with a more iconic view, and a waterside table makes for a perfect pano. In just a few seconds, you can capture the Harbour Bridge, the Opera House and Luna Park, not to mention ferries and boats zipping in and out of Circular Quay. Any non-Aussie friends on your timelines will be amazed that so many famous landmarks are viewable from just one spot. The Strand Arcade To step into The Strand Arcade is to step back in time. First opened in 1892 and originally one of five Victorian arcades in Sydney but now the only one that survives, The Strand has undergone several restorations over the years that have enabled it to retain as many of its historic features as possible, from its neoclassical columns to its famous tessellated tiled floor. Bonus fun fact: part of the music video for David Bowie's 'Let's Dance' was shot on the ground floor. Central Park Chippendale urban renewal project Central Park Sydney contains all the features that make cityscapes great. There's artwork that responds to changes in wind speed and there are two separate parks: Balfour Street Park and Chippendale Green. What dominates the landscape, however, is One Central Park — an award-winning residential and commercial tower that's known for its vertical hanging gardens which features a mixture of plants, flowers and vines that stretches over 50 metres from top to bottom. Royal Botanic Gardens Every corner of the Royal Botanic Gardens is a killer pic just waiting to happen. Whether it's the unparalleled collection of plant life, the myriad views over the city, or even a shot of the futuristic-looking Calyx, there's something to take your breath away at every turn. And, because it's bursting with flora, no two visits are ever the same, meaning your pictures will always be unique based on the season and what's in bloom right now. Bar 83 Why is it called Bar 83? Quite simply, because it's on the 83rd floor of Sydney Tower, meaning there are few places in the city from where you can see more. Until relatively recently, this floor was a private events space, but it's now open to the public as a cocktail bar inspired by the era in which the tower was built: the 1970s. So, not only do you get views for days while you sip away in Sydney's highest bar, the retro-chic of the décor is also worth making an appearance in your photo. [caption id="attachment_706664" align="alignnone" width="1920"] Cole Bennetts[/caption] NIGHT Luna Park Is there anything that evokes childlike wonder quite like a trip to the fair? And by approaching Luna Park on the water, you get to experience the excitement building as you inch ever closer. By night, Luna Park is an explosion of light, with the gigantic mouth through which visitors enter being visible from practically anywhere in the harbour, signalling fun for miles around. Chinatown Sydney's Chinatown is a bustling hive of activity at any time of day, but it truly comes alive when the sun goes down. It really does feel like wandering the streets of a charming Chinese city as brightly lit stalls and restaurants vie for your attention, all punctuated by the rows of lanterns that criss-cross the laneways. For an extra treat, head down on Friday night, when a weekly market adds even more activity to the mix. MCA Watching the lights from the ferries dance across the water at Circular Quay is photo-worthy in itself, but the nearby Museum of Contemporary Art really pulls its weight alongside some of the more famous landmarks in the vicinity. It's an imposing, impressive building on its own, but it's become known for its light shows which see the façade of the building become a riot of kaleidoscopic colour. You won't be able to resist pulling out your phone for a snap. Wynyard Station/George Street The bustling heart of the CBD is replete with bars, pubs and restaurants – there's always something going on. On top of that, you have Wynyard station and the light rail running along George Street. The end effect is the very best of the light-strewn, busy global city that Sydney truly is. It's a sight that, after the last few years we've all endured, makes you extremely grateful to live somewhere that's so vibrant and teeming with life. Coca-Cola Billboard It might seem a little odd to be leading you to a billboard for an American company, but the Coca-Cola logo is arguably the most famous in the world. But you can, famously, find an oversized version at the entrance to Kings Cross. Such a monument to capitalism is an incongruous sight in a country so famous for its beaches and bushland but here, lit up and surrounded by cars, buildings and lights, it somehow makes perfect sense. Observatory Hill Observatory Hill might feel a little way away from where all the real action is, but your slightly higher vantage point affords you the opportunity to gaze upon the southern hemisphere's most famous skyline and harbour. Up here, you'll find the view that travellers picture when they think of Sydney and, on a clear night, it's a complete no-brainer as to why. Sydneysiders might have seen this view a million times, yet it's impossible to ever tire of it. Make nights epic with Samsung Galaxy S22. For more info, head to the website. Top image: Benjamin Sow (Unsplash)
