Not sure how to top last year's Halloween? Celebrate the holiday like they do in Guadalajara, at one humdinger of an all-night party at Barrio Cellar in Martin Place. The Mexican-themed basement bar is throwing a huge October 31 shindig inspired by Dia de los Muertos. We're talking serious amounts of street food, free face painting, cheap tacos, DJs and live music. Also tequila. Lots and lots of tequila. The sinister celebration begins at 5pm on Halloween. Partygoers can get feasting on $3 tacos before washing them down with mezcal or $10 Black Widow Margaritas. Don't have a costume? Stop by the free face painting area — but if you're gung-ho on taking out the best-dressed bar prize, a little more preparation may be required. The music roster, meanwhile, will feature a solid lineup of locals including Daniel Lupica, Michelle Owen, Marc Jarvin and Karim. It's free entry, and if you're feeling fancy you can book a table for the VIP treatment — shoot an email to info@barriocellar.com.au. The Day of the Dead party is just one of several killer events Barrio Cellar have in the works this spring. Check out their Melbourne Cup Mexican Degustation — for just $65pp you can indulge in an huge Mexican canapé degustation ranging from poached lobster wraps to braised short rib croquettes and confit pork belly tacos. It's a top spot for the Cup, with large screens, prizes and cocktails, and a huge afterparty from 4pm with $10 margaritas and $3 tacos to celebrate your wins or forget your losses.
Move over, Andrea Bocelli. If you've been thinking the robot takeover will apply only to telemarketers, cashiers and drivers, it might be time to think again. FODI guest and author of The Rise of the Robots Martin Ford tried to warn us that the automaton revolution could be far more widespread than we're anticipating. And now, Wade Marynowsky is bringing Robot Opera to Carriageworks. This futuristic project represents Marynowsky's most gargantuan effort to date. The stars of the show are eight custom-built robots — don't expect to see a human anywhere. Viewers won't be merely standing on the sidelines, but getting in on the action. Yep, you get to dance with robots! Collaborators Branch Nebula have concocted a virtuosic light show and some viral-level choreography, in response to a score dreamed up by music experimenter Julian Knowles. Expert glitchy electronica, sub bass and ambient drones. Robot Opera hopes to bring hitherto unconsidered perspectives to our relationship with technology, entertaining us but leaving us feeling a wee bit concerned at the same time.
If you've been hankering to get on your bike, but Sydney traffic has been freaking you out, there's now no excuse. The 2015 Sydney Rides Festival has rolled up. For three magnificent, two-wheeling weeks, there are more reasons to ride than you can poke a spoke at — from pedal-stroke yoga sessions and bike-inspired film nights to lessons in how to cycle in style and roller racing competitions. On Saturday, October 10, head to St Peters' Sydney Park for Sydney Rides the Park. There'll be bicycle-dedicated markets, a BMX arena, a mountain boarding slope, a bike-powered juice lounge, food trucks and more. Then, on Tuesday, October 20, the chairman of Denmark's Cycling Embassy, Marianne Wienreich, will be speaking at Customs House about how we can "Copenhagenise" Sydney (i.e. turn it into a place where half of all commuters travel by bike). And the finale will be happening on Saturday, October 31. Dubbed Light the City, it's a nocturnal event that will transform Mrs Macquaries Road into a 2.5 kilometre, illuminated, car-free cycle route. Come dressed in your Halloween-inspired finest for a chance to win some serious prizes, including a $1,000 voucher at a local bike store. Check out the rest of the Sydney Rides Festival program at the Sydney Cycleways website.
Texas Chainsaw Massacre-style BBQ brisket, creepy costumes and freaky roaming performers will be haunting Centennial Park this Halloween night. A Moveable Feast is inviting a select number of Sydneysiders to gather in the moonlight for a high-end Halloween banquet, complete with drinking, fine dining and spooky live entertainment. And as for costumes? Think slasher movie chic. The exclusive monster bash will take place from 7pm to 11pm on October 31 amidst the shadows of Centennial Park's pine forest (or 'Sleepy Hollow' for the night). Getting in isn't easy though — a seat at the table will cost you $65, but you have to be invited first. That means schmoozing one of the 'Heads of Clan', each of whom are given 28 invitations to hand out as they see fit. You can apply to become a Head of Clan by emailing hello@amoveablefeastevents.com.au — but you'd best be quick about it. Assuming you manage to get your hands on an invitation, there are two different dinner options which can be pre-ordered online. The 'Epicurean Halloween Harvest' ($200 for two people) includes iberico jamon, petuna smoked ocean trout, Texas Chainsaw Massacre-style BBQ brisket and slow roasted Voodoo lamb shoulder, while the 'Vegetarian Thriller' ($170 for two people) features a thyme, cherry tomato and goats curd tart and a bleeding grilled aubergine stack. Both options also come with Children of the Corn on the cob, sweet pumpkin pie and pecan crunch, edible cotton candy art, and doughnuts by Glazed, among various other tasty treats both savoury and sweet. You can also pre-order booze, or purchase it from the bar on the night. The guest code is listed as scary glam, fashionably creepy or strangely wonderful, which should give you ample room to manoeuvre. That being said, we'd probably recommend wearing something in which you can comfortably bust out a few dance moves — since odds are they'll be blasting 'Thriller' at some point before the night is out.
Sydney's newest urban playground will host its first major shindig as part of the 2015 Sydney Architecture Festival. Opening to the public at the end of August, The Goods Line is a 500m pedestrian walkway that connects Central Station with Darling Harbour that has been touted as Sydney's answer to New York City's High Line. Now it's time to see if it's worthy of the comparison. Set to take place on Saturday, October 3, #TheGoods (actual name) will be a daylong activation within this year's Architecture Festival, and will see The Goods Line come to life with a wide range of free and ticketed events. Things begin at 8am with yoga and tai chi sessions on The Goods Green, followed by drawing and photography classes led by prominent Sydney architects and artists. The program also features a number of talks and panel discussions, culminating with a symposium on architectural innovation. Those of you with home renovation plans, meanwhile, can take advantage of a Meet an Architect session and nab 15 minutes of face time with a leading local architect. Other notable events throughout the day include a zine fair featuring independent publications from local students and creatives, a self-sustaining garden designed by engineers from the University of Sydney, and an after-dark showcase of architecturally themed short films at The Goods Line Amphitheatre on Mary Ann Street. There will also be a Pressed Juice pop-up to keep visitors refreshed, while some of Sydney's leading food trucks will fire up their engines in time for lunch.
In the guise of her character Jess, Drew Barrymore is crying when Miss You Already starts — and the audience likely will be when the film finishes. Tissues are necessary for what overwhelmingly and shamelessly qualifies as a weepie. Expect tears from a movie that knows how to wring them out of you. Expect to know that's exactly what it is trying to do, too. Barrymore's American in London is the more down-to-earth life-long BFF of outlandish Brit Milly (Toni Collette), their friendship as firm as it is frenetic. They've been there for each other since meeting in primary school, but when Miss You Already opens, Jess is in labour and yearning for her pal before talking viewers through their shared history. That colourful past takes a turn for the catastrophic when Milly is diagnosed with breast cancer, much to the distress of Jess; Milly's rock 'n' roll-roadie-turned-family-man husband, Kit (Dominic Cooper); and their two young children. At the same time, Jess is struggling with trying to get pregnant through fertility treatment with her partner Jago (Paddy Considine). As has constantly happened throughout their years of closeness, when it comes to life-changing drama, Milly's situation trumps her own. If the combination of gal pals, a potentially terminal condition and baby craziness hasn't already given it away — and it should've — Miss You Already is solidly aiming for sometimes gently funny, often waterworks-inducing chick flick territory. That the film stems from the real-life experiences of actress and writer Morwenna Banks (perhaps best known for TV's Saxondale and Skins) helps ensure that its sentiment and depiction of illness doesn't feel fake, even if it comes on thick and paints by the numbers. Indeed, director Catherine Hardwicke moves on from the teen-focused fare of Thirteen and the first Twilight film to offer up an account of the ups and downs of female friendship, with the latter prominent when trouble and tragedy strikes. Her approach is brightly shot to look like fondly Instagrammed memories, though it also barely lingers on anything but the obvious as it flits between Vine-like vignettes. Heartstrings are tugged across the usual moments — news both good and bad, hospital visits focused on life ending and beginning, a road trip to Yorkshire's Moors, and fights and fancy occasions among them — yet every new occurrence seems like the filmmaker is ticking off a checklist. With no hunks in sight here, what the film boasts instead is chemistry between the two leads. The plot points might be routine, but the bond the talented duo of Barrymore and Collette cultivate comes across as authentic. In fact, none of the cast puts a foot wrong, including a brief but well-played appearance by iconic actress Jacqueline Bisset as Milly's TV star mother. They're Miss You Already's most effective element, other than using all the life, death, love, loyalty and friendship pressure points to manipulate salty moisture into streaming from your eyes.
With the rise of the mp3 and the gathering of the cloud, the concept of physically owning your music has gradually begun to disappear. Yet for many music lovers, the tactile nature of analogue media still holds a powerful nostalgia. How else do you explain last year's record-breaking vinyl sales? But while the record may have experienced a bit of a resurgence as of late, what about the humble audio cassette? Well, it turns out there may be a market for that too. Inspired by the success of Record Store Day, Cassette Store Day is a celebration of all things magnetic tape and plastic. Its third iteration is set for October 17 — and for the first time, the southern hemisphere is getting in on the action. Australian label Rice Is Nice and New Zealanders Arch Hill Recordings will join Germany’s Mansions & Millions, America’s Burger Records and original UK founders Suplex Cassettes, Kissability, and Sexbeat in organising the 2015 edition, an international party marked by a slew of events, sales and releases. Last year saw such big name artists as Karen O and There Might Be Giants drop tapes for the occasion, among more than 300 others. Of course, not everyone is so enamoured with these chunky slabs of plastic. Last year Tone Deaf penned an article titled ‘Why International Cassette Store Day is Stupid’, arguing that the event is simply nostalgia taken too far. And look, the killjoys may have a point. Although vinyl fans insist that records sound ‘warmer,’ it’s a lot harder to make that argument for the compact cassette. Still, anything that gets people supporting local music stores is okay by us. Besides, who doesn’t secretly want an actual mixtape from their crush? CASSETTE STORE DAY AUSTRALIAN RELEASES Courtney Barnett — Sometimes I Sit And Think And Sometimes I Just Sit Summer Flake — Time Rolls By EP Bloods — Work It Out Ocean Party — Light Weight Step-Panther — Strange But Nice Dollar Bar — Paddington Workers Club Dollar Bar — Hot Ones Red Riders — Drown In Colour Demos The Finks — Lucklaster Fraser A. Gorman — Slow Gum Ouch My Face — Bunyip Raindrop — Crowded Brain EP Rice Is Nice Records — Vol. 3 Mixtape (various artists) Ft. Blank Realm (unreleased), Black Zeros, Tired Lion, Lowtide, The Living Eyes, Pearls, Love of Diagrams, Day Ravies, Us The Band, Zeahorse, White Dog, Weak Boys Wonrowe Vision — Triple Cassette Mortification — Scrolls Of The Megaloth Double Cassette Barrow-man — Dog Tales Betty & Oswald — King Of Bohemia Tutu and the Bodyrockets — The Ballad of Bonnie Bigfish Hills Hoist / Piqué — Cool Change / Kitty Image: Dollar Photo Club.
Whether you're after beer, tea, clothing or plants, you can find a local in the inner west to meet your needs. To celebrate the slew of creative and culinary talent that gives the area its special vibrancy, COMMUNE, Newtown's legendary co-working space, is hosting a 'locally made' makers' market on June 21. We can't tell you exactly where yet, as the location is top secret until the day. (To make sure you find out, hit up COMMUNE's Facebook page). But we can tell you that a mighty list of locals is planning on turning up. These include Young Henrys Brewery, Food Rascal smoked briskets and spit roast, Chai Walla with fresh chai and coffee, The Vegan Teahouse, O!momo, Kaleido, JP Finsbury Bespoke Joiners, Rising Sun Plants, Hennah By Hannah, Lemunkytoto and Vilify Apparel. Once sun has set on the market, the party will kick on at Newtown's Union Hotel.
Immersive theatre experts Mongrel Mouth are returning to The Rocks in June. Last year, they took you deep into The Age of Entitlement. This time, they’re going to lock you inside a 166-year-old mansion in The Rocks, where nine ex-psych patients, drugged with narcissism, will be let loose. Obsessed with selfies and power struggles, let still seeking love, they flounder and flail in a world without meaning. You’ll have eight rooms and two levels to explore. And you’ll be free to wander at will, getting as close to the action as your fear — or sense of humour — can handle. "This show submerges the audience into a world of pure madness, where nonsense in the new normal," says Mongrel Mouth and Like Me director Duncan Maurice. "It is inspired by French dramatic master Jacques Lecoq’s Bouffon, which features a performance style based on clownish mockery and the absolute ridiculous. This style of comedy gives us hope, as laughter might be the only we have left to save our sanity.” Read our interview with director Duncan Maurice about previous production The Age of Entitlement.
Early risers, yoga fiends and peaceful art lovers, this one's for you. Celebrating the MoMA exhibition Yoko Ono: One Woman Show, 1960–1971 and the 50th anniversary of Ono’s 1964 New York performance of Morning Piece, the MCA is presenting Yoko Ono Morning Peace 2015, the Sydney's instalment of a global event that salutes the sun on June 21. Reconnect with the early morning with a free giant art-making Mandala workshop on the lawn, outdoor drawing classes on the sculpture terrace, yoga workshops on the rooftop terrace and front lawn with lululemon athletica (June 21 also marks the United Nations’ inaugural World’s Yoga Day). The MCA will be open early from 9am, including the Light Show exhibition and the MCA Cafe, which will be putting on a special New York-themed breakfast menu (cronuts, mimosas, bagels, Belvedere Bloody Marys). So what are we actually celebrating this early in the morning? It's been 50 years since Ono's Morning Piece was first performed in Tokyo in 1964. The work saw audiences gather at sunrise to meet Ono, who sold artworks with attached pieces of paper on glass, picking out a particular period of morning (e.g., “February 3, 1987 after sunrise,”). Ono would encourage each 'owner' to look through the glass to the sky, with the knowledge they possessed a 'future morning'. Pretty lovely stuff. Galleries around the world are uniting to present this event. If you can't make it to the MCA, you're encouraged to host your own Morning Peace event, according to the following instructions “On the solstice at sunrise / celebrate mornings of / past, future, and now./ Listen to the world./ Touch each other / when the sun comes up.” (Yoko Ono, spring 2015).
Future Process at Artereal Gallery is all about reconciling traditional craft with new technologies. Curators Ryan McGennisken and Michael Staniak share an interest in reclaiming the relevance of painting and sculpture. Reflecting on the ‘de-skilling’ phenomenon that developed out of Postmodernism, they have selected artists who are part of a ‘re-skilling’ trend in contemporary art. Although there are subtle similarities between them, each artist in this group show has a unique approach to image production. Featured are Nyah Isabel Cornish, Portland Francis, Nicholas Ives, Ryan McGennisken and Dean Thompson.
In the opening moments of Nasty Baby, we're introduced to Freddy, played by director Sebastian Silva. Freddy is a Brooklyn-based performance artist whose latest work involves him rolling around on the floor, screaming and gurgling like a newborn child. Sounds deep, huh? Among those working on the project with him are his boyfriend Mo (Tunde Adebimpe) and their mutual friend Polly (Kristen Wiig), who is also trying to convince Mo to help her conceive a child. Freddy and Polly, in particular, are revoltingly self-absorbed – older but no wiser that the characters in outwardly similar New York narratives such as Girls and Frances Ha. But there's an important difference between Silva and his would-be contemporaries. While storytellers like Lena Dunham and Noah Baumbach purport to shine a critical eye on their characters, at the end of the day they tend to pull their punches since they want their characters to be likable – at least to a degree. Silva, on the other hand, shows no such mixed emotions. From the get go it seems clear he views these people with disdain, their privilege and self-importance born of a poisonous hipster culture that indie film increasingly tends to celebrate. That disdain is really crystallised in the film's shocking final act, which we'll do our best to talk about without spoiling. Put vaguely, after an hour of relatively low-stakes drama, Silva pulls the rug out with a vicious narrative turn, leaving both his characters and his audience struggling to find their feet. It's jarring and unpleasant and viscerally effective, but most importantly it speaks to Silva's broader thematic point. People this self-centred aren't just annoying. They're dangerous. The film's three leads are all appropriately understated, with Wiig in particular showing strong dramatic chops in her most interesting film role to date. The other big highlight is Reg E. Cathy, best known for his work in various HBO shows and Netflix's House of Cards. Here he plays Bishop, a mentally unstable old man who lives on Freddy's block, who Freddy regularly antagonises, and whose actual problems throw those of Silva's protagonists into sharp relief. Nasty Baby will no doubt prove divisive. The best films usually do. But love it or hate it, recognise it for what it is: timely social satire of the most scathing and cynical kind. https://www.youtube.com/watch?v=__uqpDQ9ARs
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
Do you sometimes lack confidence, or luck? Do you feel like you try more than you succeed? Do you seesaw between hoping things will go well and avoiding anything that could turn out badly? Of course you do — and so does Charlie Brown. For 65 years, the main character in Charles M. Schulz's Peanuts comic strip has captured the routine struggles of everyday life, acting as everyone's cartoon surrogate through life's eternal ups and downs. His troubles often involve kicking a football and flying a kite, but they're the kind of average antics anyone can relate to. That's one of the reasons why Peanuts has remained a comic strip favourite — and why a new big-screen outing has been eagerly anticipated. The makers of Snoopy and Charlie Brown: The Peanuts Movie know this, and they've acted accordingly. Their film might bring this ordinary boy, his beagle and their buddies into the 21st century, but it doesn't stray far from all the things that have made Peanuts such a cherished property for decades. Story-wise, that means a raft of scenarios fans will instantly recognise, and even the most casual of Peanuts readers or viewers probably will as well. Charlie Brown doesn't just tussle with his preferred outdoor activities, but with getting the attention of the Little Red-Haired Girl. His pals all continue to hang around, including his little sister Sally, best buddy Linus, the opinionated Lucy and tomboy Peppermint Patty. Back at home, mischievous pooch Snoopy dreams up a novel involving his World War I pilot alter ego, his girlfriend and his nemesis. If you're buzzing with not only nostalgia, but déjà vu, that's understandable. With Schulz's son Craig and grandson Bryan among the film's writers, The Peanuts Movie was always going to tread gently in its predecessors' footsteps. In what amounts to a series of interlinked vignettes, the film tells fond and familiar tales about beloved characters, with a tone of adoration more important than offering up any surprises. Indeed, consider the first Peanuts flick in 35 years a best-of compilation or a greatest hits package. The affectionate tribute that results comes complete with gorgeous 3D CGI animation that mimics pen strokes, a score that's appropriately jaunty, and the smart use of children instead of famous actors as voice talent. And while the movie's episodic nature means that some segments soar above others, when they do, they're something special. Charlie Brown's attempts to read War and Peace and his reaction when his classmates brand him a genius aren't just earnest and endearing — they're easily the film's highlights. Director Steve Martino (Ice Age: Continental Drift) might not be able to sustain the Peanuts magic for 88 minutes, but he certainly whips up a couple of memorable chapters. Of course, adapting comic strips into movies is a tricky task, even with ample material to call upon. Gags that work so well over four illustrations don't always translate to the cinema, particularly when pieced together and stretched out to feature film length. Accordingly, The Peanuts Movie is as slight and patchy as it is sweet, charming and amusing. When it all comes together though, it fittingly serves up another lesson about taking the good with the bad.
Ask a comedy fan what they'd do if they could make any of their dreams come true, and they might well wish for a new movie with a Monty Python pedigree. Perhaps Terry Jones, who helmed Holy Grail, Life of Brian and The Meaning of Life could write and direct. Perhaps he could recruit the rest of the Python alum — aka Michael Palin, Terry Gilliam, John Cleese and Eric Idle — to voice some aliens? Perhaps Simon Pegg could star, and the film could ponder the very topic of being able to fulfil one's desires with just the wave of a hand? Absolutely Anything delivers all that — and offers up Robin Williams' last movie role, albeit as a talking dog — yet it's hardly a feature that anyone might hope for. Alas, it's an effort that does little more than bring in some beloved talent, play with a fantastical concept and let silliness ensue. The result? Ample silence where audiences can only assume Jones intended to inspire laughter. An unhappy schoolteacher by day and aspiring writer by night, Neil Clarke (Pegg) is the recipient of the extraordinary ability that gives the movie its moniker. What he doesn't know is that he's merely part of a test, with a council of extraterrestrials using him to decide whether humanity should be saved or annihilated. Rather than carry out great acts of good or evil, he takes the largely selfish, mostly harmless approach. Helping his best pal (Sanjeev Bhaskar) with his love life, giving his pet pooch (Williams) the gift of speech, and increasing his manhood comprise his early demands. Yes, Neil messes about his new skill, the intergalactic beings observe and comment from above, and that's all there really is to Absolutely Anything. A love interest pops up in the form of his neighbour, Catherine (Kate Beckinsale), complete with an obsessed American ex (Rob Riggle) in tow, but all either do is add to the parade of over-the-top, immature antics. Neil is supposed to learn that there's more to life than wish fulfillment, but Jones clearly hasn't heeded the same lesson. Instead, he's caught up in making anything he can happen on screen, mainly through unconvincing CGI, and with little care for coherence. Jones and co-writer Gavin Scott (Small Soldiers) beef up the script with more than a few jokes that could've been ripped from the pages of The Hitchhiker's Guide to the Galaxy – which gives an indication of how not-so-fresh they feel. Indeed, the screenplay for Absolutely Anything has been floating around for 20 years, and Douglas Adams apparently perused it before his death in 2001. Sadly, a long-gestating project results in a final product that squanders any potential it might've once had, including its main cast, both seen and heard, and the involvement of the likes of Eddie Izzard and Joanna Lumley. In fact, a song could do better than Absolutely Anything's clumsy, contrived and hardly comic contemplation of how someone would cope if they had all the power in the world — and did, when The Flaming Lips sang about it in their 2006 single, ' The Yeah Yeah Yeah Song'.
If you've been to Chippendale of late, you'd know that Kensington Street has undergone a revolution. The street's distinctive, heritage-listed workers' cottages have enjoyed an industrial glam-up and are now home to a spiffing design precinct. We're talking boutique shops, small bars and specialised eateries. To celebrate this transformation, a free food, art and design shindig is in the works. Happening on Sunday, November 1, from 11am and hosted by Fenella Kernebone (Art Nation, In Design and triple j), the event will centre around a monumental, 50-metre long installation of assorted sculptures, created by a variety of local artists. They'll all be for sale. While you're contemplating your purchase, sample some authentic Asian street food from one of the vendors in Kopi-Tiam Spice Alley and keep your ears out for live music. The event coincides with Sydney Open, so get there between 10am and 2pm to chat to architects Tim Greer and Paul Davies, who'll be discussing Kensington Street's multi-layered, rum-fuelled colonial past. Image by Bodhi Liggett.
The Winery Fashion Markets are a bit like having several incredibly stylish friends who allow you to raid their wardrobes (which are enviably full of international and Australian designer labels) behind a Surry Hills wine bar. The Winery has taken to transforming the laneway behind their bar into that marketplace once a month. Some of Sydney's leading fashion identities — bloggers, stylists and fashion publicists — will be selling their own pre-loved clothes. Confirmed for the August 28 iteration are Shannon Thomas (Désordre), Edwina Robinson (Aje), Sylvia Jeffreys (the Today show), Violeta Tentomas (West 14th) and Bonél PR. Plus, prettying up the surrounds are flowers by Think Flowers Company, and Botanica will be serving up fresh cold-pressed juices.
It starts and ends with the recognisable sounds of 'Holiday Road', and fills the time in-between with repeated refrains. It follows a formula established 32 years ago, and touches upon the same characters. The film in question is Vacation, the fifth and latest in the series. That it trades upon nostalgia is a given. That it doesn’t do a good job of doing so sadly is as well. Indeed, Rusty Griswold (Ed Helms) similarly relies upon his ill-thought-out fondness for things and times gone by to spark the feature’s story. Though he’s devoted to his wife, Debbie (Christina Applegate), and kids, James (Skyler Gisondo) and Kevin (Steele Stebbins), he can sense they’re not as excited as he is about their upcoming holiday. To facilitate some big-time family bonding, he changes their plans, hiring a mini-van and plotting a course across the country to theme park Walley World. Rusty is also driven by another reason: the trip to come, and the destination, mirrors the memorable jaunt he had with his parents (Chevy Chase and Beverly D'Angelo) and sister (now played by Leslie Mann) three decades earlier. That writing-directing duo John Francis Daley and Jonathan M. Goldstein shoehorn in a discussion about the pointlessness of rehashing past territory prior to the Griswold’s escape doesn’t really justify the episodic mess to come. Using a tongue-in-cheek exchange of dialogue to signify the script’s recognition of the weakness in trying to relive former glories is one thing; making a genuine effort to avoid falling prey to the laziness that often comes with such do-overs is another, and one the feature shows no evidence of trying to achieve. So it is that Vacation cycles through incident after incident, and throws nonsensical gags — a ridiculous Albanian car and a repeated shout-out to Seal’s 'Kiss from a Rose' among them — into the mix. When brief appearances by bit-players, such as Keegan-Michael Key, Nick Kroll and It's Always Sunny in Philadelphia's Charlie Day and Kaitlin Olson, command more attention and interest than the leads and narrative, you know that everything is far from ideal. Playing up his attractive appearance, Chris Hemsworth becomes the movie’s star player simply by proving the most committed. Though his character, Stone Crandall, the weatherman husband to Rusty’s sister, is largely saddled with mentioning faucets, his dedicated delivery makes the absurdity amusingly stick. There could be a message in the fact that the folks the Griswolds cross paths with along the way to their ideal getaway make more of an imprint, and the film certainly tries to push the theme of appreciating what you’ve got; however, overthinking the material gives the movie too much credit. Mostly, it remains content to strand the usually enjoyable Helms and Applegate in embarrassing situations and have them utter crude jokes. Vacation also remains content with looking like a sleek but messy holiday video. Actually, that's exactly what the feature delivers: a clumsy compilation that's supposed to capture better days. That you'll be pleased every time 'Holiday Road' pops up — because it means that this cinematic road trip is making its way towards its destination — makes the most telling statement.
Keen on journeying around the globe through film? Then prepare to make the Arab world your next stop. At the Arab Film Festival Australia, you can speed around the streets of West Bank and venture across the Arabian Desert, thanks to its small but vibrant program. The Australian premiere of Lebanese effort Ghadi ranks among the festival's highlights, in a heartwarming exploration of the realities of families with special needs children. Cairo Time changes the mood in a collection of six characters and three stories across the Egyptian capital, while In the Sands of Babylon contemplates Iraq after the Gulf War. In its twelfth year, the community-based and -driven film festival not only showcases the best in contemporary Arab cinema to Australian audiences, but provides a unique opportunity for cross-cultural exchange. The movies featured attempt to address the frequent misrepresentation of the Arab culture — all while offering entertaining, engaging and thought-provoking viewing experiences, of course.
Raise the roof with a pack of tracksuit-wearing grannies when Indeedy Musical Bingo moonwalks into Sydney in a couple of weeks' time. Part dance party, part game show, this kitsch-tastic musical phenomenon will make its Australian debut at The Forresters in Surry Hills on Thursday, October 15. Expect singing, dancing and ridiculous prizes ranging from vintage records to inflatable bananas. Created by Jess Indeedy and her husband Charles 'DJ Helix' Brockbank, Indeedy Musical Bingo is more or less what it sounds like: bingo, but with songs instead of numbers. Eagle eared players cross songs off their list as they hear them, in a high stakes contest to claim whatever ridiculous prizes happen to be on offer. Game themes may include dance anthems, hip hop, yacht rock, motown or just about anything else. Indeedy hosts, and will be joined on stage by a team of dancing old ladies known collectively as The Granny Pack. It may all sound ridiculous (and we suspect it probably is), but Indeedy Musical Bingo has been popular in London and New York for a while now, in venues such as Shoreditch House, Shop & Do, Soho House New York and The Bell House Brooklyn. Their Sydney shenanigans will kick off at 8pm on October 15 and should wrap up just before midnight – depending on how people are keen to keep dancing.
If you can find a better date than free comedy in an art gallery, we'd love to hear about it. The Art Gallery of New South Wales is about to become a sort of pop-up comedy club, featuring some of Australia's best comedians every Wednesday of September — for free. In conjunction with the Archibald Prize exhibition and as part of the Sydney Fringe Festival program, Late Night Laughs is the Gallery's September comedy series. Stand-ups and caricaturists aplenty will hit the gallery for Art After Hours, putting their spin on the people we love and love to paint. First up on September 2, Paul McDermott and Paul Livingston (of Good News Week and legendary Doug Anthony Allstars fame) team up as Cocky and Pompous. Joined by acclaimed maestro Stu ‘Errol’ Hunter on keys, Cocky and Pompus invite you to an intimate concert of comedic tomfoolery in honour of only themselves. Then on September 9, sardonic comedian, art documentary maker and Please Like Me favourite Hannah Gadsby brings her quick-witted comedy to the Gallery fresh from her shows at Darwin Festival. New Zealand export we'll always claim as our own, Cal Wilson will join the Gallery on September 16, a perennial Spicks and Specks, Good News Week and Thank God You're Here favourite. And finally, on September 23, multi-award-winning comedian Ronny Chieng will finish up the month with his celebrated absurdist comedy — a rare, free show we're certain will be pretty damn packed. Each comedy show will be happening at the Gallery from 6.30pm every Wednesday from September 2 and is 100 percent, completely, ridiculously free. LATE NIGHT LAUGHS - ART AFTER HOURS: September 2 — Cocky & Pompous September 9 — Hannah Gadsby September 16 — Cal Wilson September 23 — Ronny Chieng While you're there, why not check out the Archibald Prize?
Dance meets the world game in a new show presented by Performance Space, Blacktown Arts centre and Mobile States. SDS1 is the latest solo work from former soccer player Ahilan Ratnamohan, one very much inspired by his experiences on the pitch. Running for just four nights from Wednesday, September 2, to Sunday, September 6, the piece will draw on the physical, theatrical and psychological elements of the game, focusing on the parallels between sport and dance — the discipline, the focus, the athleticism — in order to delve into the psyche of the player/performer. The two disciplines might not seem like natural bedfellows at first, but then again, let's face it: no one who's ever watched the World Cup could deny that there's a heavy element of theatre at play. Since 2012, Ratnamohan has been developing his working methodology in Antwerp, Belgium, but prior to that he honed his craft with some of Australia's premiere physical performance ensembles, including Urban Theatre Projects, Branch Nebula, Legs on the Wall, PACT, Powerhouse Youth Theatre, Theatre Kantanka, Martin del Amo and Campbelltown Arts Centre. SDS1 plays at Blacktown Arts Centre from September 2–6. To book your tickets, visit the Performance Space website.
After seasons in London, New York and Brazil, two one-act plays from smart playwright Jane Bodie will make their Darlo debut in September. And you can see them both in one evening, on one ticket. The first, Ride, begins when two naked, hungover strangers wake up with next to no recollection of how they met — let alone ended up in bed together. They then set about working out what happened — or didn't. The second, Fourplay, is a warm, funny, honest tale about four city slickers discovering love, friendship and closeness in places you wouldn't expect. Director Anthony Skuse, who was last at the Eternity Playhouse with Constellations, will be making a return, to direct a cast featuring Emma Palmer (Constellations, War Horse) and Tom O’Sullivan (Wonderland, Cat on a Hot Tin Roof) in Ride, and Gabrielle Scawthorn (The Young Tycoons, Stop Kiss) and Aaron Glenane (Orphans, Deadline Gallipoli). “Jane has a wonderful ear for language, rhythm and cadence,” Skuse said. “Fourplay and Ride were written independently of each other, but they complement each other beautifully. Both plays are concerned with how we negotiate our relationships and how we use language to conceal desires or needs as much as reveal them.”
From Aldous Huxley's Brave New World to Ridley Scott's Bladerunner, writers, filmmakers and artists have tried to predict what nature and science will do to one another in centuries to come. Now, 11 local creatives are giving us their take on the theme for a design exhibition in Sydney. Titled Future Nature, it will be held at the Australian Design Centre (the new incarnation of Object that's taken shape in Darlinghurst), in collaboration with the Australian Museum, from August 28 to October 16. Each designer has taken inspiration from the museum's collection to create his/her own cabinet of curiosities. And they're promising us escapee rabbits, organic telescopes, synthetic crickets and 'active' sculptures. Future Nature is the result of two years of conversation about bio mimicry and design, which started with Issue 63 of the Australian Design Centre's magazine, Object.
South African Magnum photographer Mikhael Subotzky has descended upon the Sherman Contemporary Art Foundation with an epic installation. Titled WYE, this triple screener immerses you in the past, present and future — all at once. Visions of 19th century history, when colonial powers were busy forcing their way into strange lands, interweave with impressions of the present, lurching from ambivalence to trauma. Meanwhile, the future is depicted in a dystopic light, ravaged by humanity's carelessness. The work simultaneously takes us on a geographical adventure, spanning Australia, South Africa and England, the epicentre of the British Empire. Subotzky spent two years developing his narrative before shooting on location in South Africa with German cinematographer Jörg Schmidt-Reitwein (Werner Herzog's Nosferatu the Vampyre and Woyzeck). Born in 1981, Subotzky has exhibited in the Museum of Modern Art and the Guggenheim in New York, as well as the V&A Museum and Tate Modern in London, and won a slew of awards, including the 2012 Standard Bank Young Artist Award, the 2012 Discovery Award at Arles, the 2009 Oskar Barnack Award and the 2008 ICP Infinity Award.
When Kate Mercer (Charlotte Rampling) starts to interrogate the lifetime she has spent with her husband Geoff (Tom Courtenay), she's not just dissecting her own relationship. She's also pondering one of humanity's great concerns. The pair argue about times gone by as they plan the party for their 45th wedding anniversary, and while the details prove specific to their situation, the broader questions they raise are universal. 45 Years echoes the thought everyone has had at least once: how well can we ever really know those closest to us? The Mercers' predicament arises, as these worries often do, after a blast from the past interrupts their present. When Geoff receives word that the body of his former girlfriend has been found, frozen in ice for half a century, his devastated reaction causes Kate to re-assess their romance. The duo should be commemorating their lengthy union, but instead they're drifting apart. In their countryside home, he's sorting through old photos and wallowing in memories, and she's looking at everything they've ever shared with fresh eyes. 45 Years tells of roads not taken, of buried doubts unearthed, and of the consequences of choices. But more than that, it tells of two people trying to understand their connection with each other. It might seem like a simple topic, as well as an oft-seen one; however Andrew Haigh's effort, adapted from the short story In Another Country by David Constantine, never comes across as just another relationship drama. Indeed, while bickering wives and husbands are hardly uncommon in film, marital issues take on a different tone and texture when they stem from such an extensive bond. With that in mind, 45 Years understands the closeness and complexity that can only come with time, as well as the heightened devastation unexpected revelations can cause. It's another insightful, empathetic offering from writer/director Haigh — and given that he previously delved into the first flourishes of love in Weekend, the poise and perceptiveness he demonstrates at the opposite end of the temporal scale can't be underestimated. Ever the intimate filmmaker, he once again strands his protagonists largely in a single setting, often letting scenes play out with minimal edits. He knows that his audience can see what will happen next; his films find their power and poignancy not in surprises, but in waiting for the expected emotions to unfurl. As a performers' showcase, 45 Years excels, with its central portrayals perfecting the requisite balance of affection and uncertainty. While Rampling proves the more animated of the pair, both convey the film's underlying contemplation of the true nature of personal connections. Together, they're the image of the couple everyone does and doesn't want to be. A long-term on-screen duo has rarely felt as real as this. https://www.youtube.com/watch?v=qXAnjA9tAnQ
In October 2013, graffiti artist Banksy travelled to the United States for a month-long ‘residency’ on the streets of New York City. Every day for 31 days, the anonymous artist revealed a new work somewhere in the five boroughs, sending art lovers, journalists and local law enforcement into a frenzy. Produced for HBO, Chris Moukarbel’s documentary Banksy Does New York chronicles this city-wide scavenger hunt in a mostly engaging fashion, although it unfortunately lacks much of the sardonic energy of the artist whose work it follows. In some ways, you’ve got to feel sorry for Moukarbel and company, given that their film’s most obvious compatriot is Exit Through the Gift Shop. Directed by Banksy himself, that film has the distinction of being one of the best documentaries of the past decade — unique, funny, audacious and with a surprising amount to say about the nature of art, hype and commerce. Banksy Does New York, on the other hand, was made without the artist’s involvement, and as such plays like a much more conventional film. Not that there’s anything particularly wrong with that. Although the doco’s execution is a little by the numbers, Banksy still makes for a fascinating subject — as do the crowds of New Yorkers who flock to see his art. Pieces in his New York residency range from relatively simple stencilled graffiti to elaborate installations and performances. His most overtly political works include a fibreglass Ronald McDonald statue scowling at a real-life shoeshine boy and a truck full of wailing stuffed animals parked outside a city butcher. At times, you wish Moukarbel would engage more critically with the artwork, rather than simply documenting it for an audience. Various people interviewed in the film offer their opinions on the artistic and commercial value of Banksy’s work, from a pair of rabid fans who post their Banksy-hunting to YouTube to a writer for the New York Observer who dismisses it as “art that hits you over the head.” Yet the debate remains fairly surface level. For this reason, how much you like the movie will largely depend on how much you like the art. For the record, we like it quite a bit.
When a Gossip Girl leaves the world of backstabbing teen chatter behind, she becomes an ageless woman. Well, at least, that's the path Blake Lively has taken. After flirting with a few supporting film roles around the television series that made her famous, she has found a star vehicle. It feels fitting that Lively plays Adaline Bowman, a character most notable for continuing to look strikingly youthful even as the years pass. That's the type of obvious film The Age of Adaline is as it tells a lovesick tale of a long life half lived. Even when heavy-handed narration is explaining the movie's gimmick through cosmic forces and lightning strikes (yes, really), it takes the most earnest path. Adaline was born in 1908, growing from a child into an adult in an unremarkable fashion. She marries, becomes a mother and then a widow, before an unusually snowy evening sees her car veer off the road. After the accident, she's inexplicably trapped at the age of 29 and immune to the ravages of time. As the decades roll by, Adaline changes her identity and moves around to avoid arousing suspicion, with only her daughter, Flemming (first played by Cate Richardson, and then by Ellen Burstyn), aware of her secret. A celebration of eternal youth, this is not, with the film taking a more dramatic approach to remaining young in appearance but getting older in the heart. The Age of Adaline is a gentle story of sacrifice and yearning told as such, gliding slowly by as it recounts Adaline's fate. It's also a sentimental account of the power and necessity of love, as her lonely life is changed on the eve of her 107th birthday. That's when she meets philanthropist Ellis Jones (Michiel Huisman), his instantly smitten perseverance threatening to crack through her time-hardened shell. Cue the kind of sweeping, star-crossed romance typically relegated to the cheesiest, sappiest movies, though much better made, more genuine in its emotions, and with stronger-written characters here. The usual suspension of disbelief is required, and the standard complications arise, involving reconciling the past with the future. It's a considerable change of pace for director Lee Toland Krieger, making his first feature after his breakout hit Celeste & Jesse Forever; however, he never flounders in such drastically different territory. Indeed, he takes to telling a leisurely love story with elegance and enthusiasm, never more so than in his affectionate eye for period details. From the costumes to the sets, this is a movie as handsome as it is unashamedly heartfelt. As for Lively, she may be the star of The Age of Adaline, looking the part and acting suitably restrained, but she's far from the film's shining light. Instead, that honour goes to Huisman, ramping up his Game of Thrones charm to maximum levels. Though he shows up late in the game, Harrison Ford also does well as a blast from Adaline's past. They're exactly the kind of modest highlights that help the movie stick together so well, making something that could've been silly surprisingly sincere from start to finish — and somewhat timeless, too, as far as old-fashioned fantasies are concerned.
For anyone with even the slightest claustrophobic tendencies, submarines probably don't sound too appealing. Nor will 12 men headed for wet depths, fighting over a pile of Russian gold and trapped in a secondhand vessel barely fit to sail. In fact, it sounds quite torturous. That's the predicament at the heart of Black Sea, an underwater heist film bursting with pressure of both the deep-sea and crammed-together varieties. When veteran salvage captain Robinson (Jude Law) is given his marching orders after more than a decade of service, he cottons on to a guaranteed get-rich-quick scheme. Rounding up a crew of other discarded workers, he heads to the ocean floor to trawl for a treasure trove once meant for the Nazis. Everything that can go wrong does, to paraphrase Murphy's law. Tensions rise between the half English, half Russian shipmates, with loud-mouthed diver Fraser (Ben Mendelsohn) particularly unhappy about splitting the loot with his comrades. The presence of the American representative (Scoot McNairy) of the mission's wealthy backers only makes everyone anxious. And the rusty, submerged boat springs more than its fair share of breaks and leaks on its voyage. There's a formula at work, filled with dire circumstances, desperate deeds and double-crossing, but there's also the involvement of director Kevin Macdonald, whose skills can't be underestimated. Few filmmakers make terse tales like the man behind Touching the Void and The Last King of Scotland, with Black Sea a worthy, if workmanlike addition to his growing resume. Macdonald styles the movie not as a gold-snatching drama or a watery adventure, but as a horror movie steeped in greed. His film lays bare humanity's most self-serving motivations in an every-man-for-himself display of selfishness and survival, while heightening the oppression of the enclosed space. With its sustained atmosphere of unease and kill-or-be-killed progression, Black Sea is surprisingly more than a little reminiscent of that other great trapped-in-close-quarters effort: Alien. Yes, really. The end result makes you sweat, even though guessing where the story is heading isn't difficult. And in a feature that really is about the journey rather than the destination, top marks must also go to cinematographer Christopher Ross (Sex & Drugs & Rock & Roll), who contrasts the many jumps and slides through cramped hallways with an unsettling awareness of the dark depths that surround the submarine. Then there's the excellent cast, led by Law continuing his recent hot streak of good performances in things that aren't called Sherlock Holmes. He ensures Robinson avoids coming across as stir-crazy; with a weathered face and a furrowed brow, he's simply willing to do whatever it takes to turn every losing hand he is dealt into a win. While McNairy plays to type, as does Australia's latest great acting export, Mendelsohn, watching both doing what they do the best is never unwelcome. Claustrophobia, be damned: these are fine folks and a finessed film that you'll want to sink to the bottom of the ocean with.
Sure, you've seen plenty of films before — but have you smelled one? Well, here's your chance. The inimitable Odorama experience sends all kinds of scents towards willing nostrils, and it's coming to Sydney's Golden Age Cinema. The film to smell above all others? Why, it's John Waters' Polyester, of course! The cult film to end all cult films, and one intended to be as picturesque as it is pungent, Polyester is the ultimate scratch 'n' sniff movie. When it was released in cinemas in 1981, audiences were famously given numbered Odorama cards to scratch at specific moments, unleashing a wave of odours — some pleasant, some not so. The full bouquet of Polyester features smells ranging from dirty shoes to pizza to new car. Starring the one and only Divine, the film offers a frenzied tale to match its fun gimmick, delving into the anarchic lives of the Fishpaw family. Francine's world is falling apart, and trouble just keeps on coming. Her husband, Elmer (David Samson), is a polyester-clad pornographer having an affair with his secretary (Mink Stole). Her daughter, Lu-Lu (Mary Garlington), is pregnant by her delinquent boyfriend, Bo-Bo (Stiv Bators). Her glue-sniffing son, Dexter (Ken King), could possibly be the sought-after 'Baltimore foot stomper'. Francine's sole ray of sunshine comes in the form a Corvette-driving suitor, the dashing Todd Tomorrow (Tab Hunter). Since 1981's screenings of Polyster, Odorama has had few outings, so this is an very rare treat. Seeing and smelling Polyester takes cinema to another level. Steel your senses for a trip to the movies like no other. Warning: this may not suit those with weak stomachs. https://youtube.com/watch?v=fwtbY9zfOMA
Melbourne four-piece The Harpoons have just released their debut album Falling For You, which features singles such as the utterly gorgeous 'Unforgettable' and slightly more chilled gem 'Can We Work This Out'. To celebrate this long-awaited LP, they’ll be playing shows in Melbourne, Brisbane and Sydney. The Harpoons consist of brothers Jack and Henry Madin, stunning vocals from Bec Rigby and man about town Martin King (you might remember him from the likes of Oscar and Martin) Sweet one moment, breathtakingly soulful the next, get ready to go through a kaleidoscope of emotions and feel all the feels. The Harpoons pair flawless vocals with hypnotic beats and Aunty aptly described them as the R'n'B of both today and yesteryear. Their album launch at Good God will include other favourites like That Feel and Yon Yonson.
Ever wanted to watch Simon Pegg recreate Eat Pray Love? Then you're in luck. It may head to China, Africa and Los Angeles in a quest for contentment, but there's little in Hector and the Search for Happiness that wasn't first seen in that well-known book turned film — other than numerous references to Tintin, that is. Pegg plays the titular therapist, living a seemingly satisfactory life with his devoted girlfriend, Clara (Rosamund Pike). He thinks he is happy, until a dream featuring Hergé's boy adventurer starts him wondering about the meaning of the word. His practice is flourishing and patients accept his guidance willingly, yet he's no longer certain his orderly existence qualifies him to dispense advice. Broadening his horizons becomes the obvious course of action, as Hector sets off around the world in the pursuit of exhilaration and enlightenment. Food, spirituality and romance ensue in the adaptation of psychiatrist-turned-author François Lelord's novel of the same name, in an effort comprised of episodic encounters with thinly drawn characters. A wealthy businessman (Stellan Skarsgård), ruthless drug lord (Jean Reno), former flame (Toni Collette) and distinguished professor (Christopher Plummer) cross Hector's path, each imparting life lessons. To ensure audiences are paying attention, every piece of wisdom Hector gleans is also emblazoned on the screen in scribbled handwriting. In a travelogue film brimming with platitudes, it feels fitting that what is seen in Hector and the Search for Happiness — scrawled statements of supposed knowledge aside — fares better than what is heard. The feature's central performances are amiable, with Pegg more earnest than usual, and Pike luminous, though barely used. From the UK to the US and everywhere in between, the far-flung settings are handsomely and brightly photographed. Alas, a likeable cast and lush images can't overcome trite and troubling material that shouts its sentiments as loudly as it can. Though poised as a warm comedy, there's little that's funny about a script sketchily espousing "be yourself" teachings likely to be found in fortune cookies and overdosing in schmaltz as Hector mingles with babies and the dying — and they're the less concerning elements. Insensitive cultural tourism reinforces stereotypical perceptions and highlights the film's privileged perspective, as does the handling of Hector and Clara's relationship, with marriage and parenthood posed as the real sources of happiness. Coming from the director of Hannah Montana: The Movie and Serendipity, Peter Chelsom, the feature plays out like a cartoonish fairytale, but the lack of serious intent and the overt adherence to formula doesn't excuse its offensiveness or laziness. The Secret Life of Walter Mitty did soul-searching globetrotting before, and better. Hector and the Search for Happiness merely wades along the shallow and sugary edges of the self-help pond. https://youtube.com/watch?v=JElca1Latos
It's bands like Bloods that make you proud of the Australian music scene. Their crazy addictive fusion of pop and garage punk are just the kind of tunes for letting loose on the dance floor, with their catchy guitar riffs and gritty vocals calling back to an era of Joan Jett bad-assery. After previously supporting bands like the Dum Dum Girls and DZ Deathrays, it's great seeing Bloods embarking on a nationwide headline tour of their own to promote their debut album. While they've released a steady stream of singles and EPs since first coming onto the scene in 2011 – Golden Fang, We Are Bloods, among others — it was only this year that the trio have finally put together their first full-length, Work It Out. It has everything you'd expect from a Bloods record: hook-filled headbangers spliced with a couple of mellow slow burners (just to catch your breath a little). Bloods are one of the most loved local live acts around right now, and for good reason. Catch 'em in these cosy venues before they get snapped up by the big ones. https://youtube.com/watch?v=9QNxOsDeot8
David Lynch has dabbled in as much music as he has weird, weird television, film and art — the 68-year-old's quite the multitasker. Having delved into versions of Roy Orbison, David Bowie and Chris Isaak's work, Lynch has continued to gleefully haunt and hypnotise audiences over an epic career. So now, as part of the epic Music at the House program to hit the Sydney Opera House this summer, a tribute to the Twin Peaks mastermind, 'In Dreams: David Lynch Revisited' will see Australia’s Mick Harvey (ex-Bad Seeds) and Sophia Brous (Brous), New York City-based Cibo Matto and Irish-chanteuse Camille O’Sullivan venture through Lynch's covers, original music, as well as his work with Angelo Baladamenti. New additions to the Lynchy lineup have just been announced. In what will be his only Sydney performance, Polaris Prize-winning composer, multi-instrumentalist and dreamboat vocalist Owen Pallett will join the 'In Dreams' lineup, as will Sydney's tale-weaving, ARIA-winning Sarah Blasko, ever-eclectic Sydneysider Kirin J Callinan and celebrated harpist Marshall McGuire. Check out the rest of the Music at the House program here.
Join your favourite little person — and delight your own inner child — at this adaptation of Kit Williams' much-loved children's book, brought to life onstage by playwright Kate Mulvany. With music performed live by Mikelangelo and the Black Sea Gentlemen, Masquerade follows the courageous adventure of a little boy and his mother who find themselves in an imagined world where the moon loves the sun and hidden treasure, riddles and talking hares collide. It's sure to be a beautiful adaptation by Mulvany, who credits the book with helping her through her own childhood experience with cancer.
Revving up for a string of final tour shows, for the 14th time in fact, Cell Block 69 are putting on a Christmas bash that's worth cancelling your weekend plans for. A revival '80s rock band like no other, this eight-piece act will be delivering their power ballads, synth pop classics and 'Totally Awesome Rock Hits' at their annual festivities once again. 'The many faces of Corey Tour 2014' sees the band's members (all sporting the first name 'Corey') hit the Oxford Art Factory in spectacular style. Renowned for their psychedelic strobe-lit performances, Cell Block 69's shows call back to the sell out stadium gigs of their iconic predecessors. Well, in their minds at least. Part parody, part homage rock group; these guys are a whole lot of hilarious. Spending your Saturday night rocking out to a smoke-filled spectacle of unparalleled excess, get ready for a night of headbanging beats and cringeworthy dance moves.
Whip out those leg warmers, it's time to get physical. Brand X and Electrofringe are putting on an art-meets-sport event guaranteed to get the blood pumping. Game Set Patch is the name of the game; showcasing sport-inspired art, live music-scored aerobics and Jane Fonda's unmistakable workout vids. Hosted by sports-venue-turned-studio-space Tempe Jets on Holbeach Avenue, gear up for an afternoon of good ol' fashioned fun. Ride into the day with the bike brigade (hitting the road from the Sydney Park stacks at 1:45pm), and descend into this sweaty celebration of music and art in Tempe. Collarbones/Black Vanilla's Marcus Whale brings back your repressed PE-class nightmares with his noise beep test, while Sydney duo Fishing will be providing the raging dance set needed to raise heart rates all round for an aerobics session. Prefer a slower pace? Set yourself up in Spoonty's e-games lounge, grab a 'gym and tonic' and load up on some homemade protein bars to keep spirits (and energy levels) high. Fitness fanatics and couch potatoes, consider yourselves both taken care of. Image: The Royal Tenenbaums.
If you could travel back in time via a Delorean, phone booth, hot tub or some other nifty gadget, what would you do? Making the world a better place, rewriting dark chapters in history and solving global problems are great responses, but they’re also the replies people think they should give. Be honest: if you thought no one was watching or judging you, what would you really do? Many films about temporal trickery actually answer this question accurately, understanding that we’re all just pursuing our own happiness. That excellent adventure Bill and Ted took was a by-product of trying not to fail their history class, after all. The slackers wanted to hang out, chase girls and dream of rock 'n' roll stardom — without worrying about Ted being sent to a military academy. Project Almanac might start with science wiz David (Jonny Weston) attempting to impress his way into a college scholarship, but that doesn’t last. After building a time machine from a blueprint found in his basement, David, his friends (Sam Lerner and Allen Evangelista) and younger sister (Virginia Gardner) chase fun, success, popularity, money, revenge and romance. Sure, David would like to reunite with his father, who passed away a decade ago and shares links to his new toy, but he’s more interested in ensuring his schoolyard crush, Jessie (Sofia Black-D'Elia), falls in love with him. So far, so standard, including the butterfly-effect-style realisation that actions in the past have consequences in the present, and that selfish deeds always have repercussions. Also standard is the approach chosen, and not just in affectionate name-checking of — and offering homages to — all the other time travel films you know and love. Sci-fi meets party movie wasn’t enough in the familiar stakes, so Project Almanac throws found footage into the mix as well. Think Chronicle crossed with Project X, without the surprise of the former and with the excess of the latter. It’s a gimmick plastered over a gimmick, seemingly justified because everyone everywhere apparently films everything these days — or so the movies tell us. For the first-time filmmaking team, it’s an excuse to cover up obvious plot points and generic teen tropes with a frenetic, frenzied style. Sometimes it works, the handheld, hurried camerawork matching the energy of the characters, copying their largely carefree point of view, showcasing the likeable cast and allowing the feature to rush through numerous fun situations such as winning the lottery and going to Lollapalooza. There’s a hollowness that lingers in the selfie-esque imagery, though, like putting on a fake smile and pretending that you’re enjoying yourself. Michael Bay’s name has featured heavily in Project Almanac’s marketing, not because of any giant, intergalactic, transforming robots or a semi-clad Megan Fox, but because of his involvement as a producer. Perhaps it is fitting that his brand of always shiny, sometimes entertaining emptiness is being used to draw people in. Like the believable motivations of the teens within the film in jumping into the past to seek pleasure and act in self-interest, that’s certainly honest.
Ever wanted to get your mitts on Ryan Gosling's washboard abs without doing prison time for assault? This one's for you! In an undeniably genius move by the wax museum that takes our rising Celebrity Worship Syndrome to the next level, Madame Tussauds is taking you far away from your planned Valentine's Day Notebook solo sobfest and putting you right in front of the man of your erotic, erotic dreams: Ryan Gosling. And his 'interactive abs'. MT's are bringing the actor's dreamy but creepo wax figure out to Sydney to join the permanent A-List Zone on show from February 15. But if you turn up a day early with roses and heart in hand on Valentine's Day, there's a free pop-up photo booth where you can pose with ol' mate Gosso and create your very own "take-home Hey Girl meme" — actual quote. Suppress that bile, you know you want one. Needless to say, get ready to line up early and with angry, horrific Goslovers. According to the MT's team, this is "a once-in-a-lifetime opportunity to gaze into the A-lister's baby blue eyes, and even take a sneak peek under his suit to have a feel of his famous washboard abs!" Feel 'em! And no jail time for you! Hooray! Oh, Johnny Depp, Leonardo DiCaprio and Brad Pitt's wax figs will be lurking around too, but y'know. 'Interactive abs.' The Ryan Gosling pop-up photo booth runs Saturday 14 February, from 11am to 3pm. Then the A-List Zone opens Sunday, February 15 (ticketed). Find Madame Tussaud's in front of the IMAX Theatre in Darling Harbour.
Purveyors of fine pork and Prosecco Swine & Co. have earned the bragging rights as both one of Sydney's fanciest after-work hangs and the go-to for pork lovers wanting to fork out with their fork out. After twelve successful months of Milk Fed Macleay Valley suckling pig, wagyu brisket Reubens and Mad Men-themed nights, Swine & Co.'s art deco-styled walls have seen a significant amount worth celebrating. So they're going all out and giving their first birthday a Hollywood theme, taking it back to the '50s and keeping things classic. Head chef Michael Box is creating specially-designed morsels for the occasion, while bar manager David Lloyd will be shaking the usual drinks menu up with bespoke cocktails. Horns-happy jazz outfit The Martini Club will be sassing up the joint with their particular brand of yazz alongside local DJs. And if you've ever wanted to see a Marilyn Monroe impersonator sing 'Happy Birthday' to a porky restaurant mascot, this is your kind of party. Swine & Co.'s first birthday is open to all, all you have to do is register for the guestlist here and arrive before 6:30pm.
Seems Sydney's monarchs of dumplingdom weren't content with being top of the bao chain. They needed to get a little more height. Din Tai Fung is set to open a pop-up dumpling bar in the Sydney Tower Eye, celebrating Chinese New Year. Yep, on the Observation Deck. If you like your dumplings with extra chilli and a terrifyingly glorious 360 degree panoramic view of Sydney (stretching 80km in all directions, 300 metres from the ground) get to the elevator. Up top, DTF will be serving up their signature pork and vegetarian buns, black sesame dessert buns and specially created lychee-mint bevs. But most importantly, the pop-up will function as a key venue to grab those adorable little lamb buns we had a kitten over last week. Seriously. LOOK AT THEM. Of course, you can't just waltz into Sydney Tower Eye. It's $18.55 per person if you book online ($26.50 in person, ouch), so you're kind of playing for the view while you nom. But you won't just find Din Tai Fung up there. Celebrating Chinese New Year, the STE Observation Deck will be converted into a little Chinatown with decorations and daily traditional Chinese lion dance performances from 2-2.30pm. Visitors will also be able to share their Chinese New Year wishes on a wishing wall. Din Tai Fung will be open in the Sydney Towere Eye between 11.30am-2pm and 5:30-8:30pm from February 19 to 22.
When Jurassic Park opened in 1993, Steven Spielberg presented us with dinosaurs of such terrifying and spectacular realism, they've not been bested in the more than two decades since. So too the giant, wreathing CGI tornados of 1996's Twister, upon which Spielberg acted as executive producer. Special effects have come a long way since then, and one unfortunate corollary has been the proliferation of movies based on them rather than bolstered by them. Consider the latest offering: Into The Storm — another 'nature attacks humans' film where the only twist is it wasn't directed by Roland Emmerich. Here, a series of twisters are on a collision course with a small American town, imperilling not only its inhabitants but also the storm chasers determined to film from within the eye of the tornado. Some kids get stuck in a mill, more get trapped in their school and… that's it. There's the plot. Storm come. Storm big. Storm destroy. Most annoying of all, this is another addition to the found footage genre of film — an entirely unnecessary device that's almost always ignored as soon it becomes too difficult to explain how or why someone was filming every single moment (in this case, a dramatic shot of 747s swirling around inside a giant tornado was not, presumably, filmed by a pigeon with a Go-Pro). Found footage also has a knack for making even decent actors look rubbish, as is the case here with Richard Armitage, aka The Hobbit's Thorin Oakenshield. His dialogue, whether scripted or improvised, seems horrifically forced throughout, representing a sort of poor-man's Frank Underwood narration. There is one drawcard here, and it's the weather. The menacing skies are spectacular and the force of the winds is well captured in the action sequences, yet it's nothing we'd not already seen all the way back in 1996. So, if it's a twister film you desire, save your money and revisit the only one actually worthy of the name. https://youtube.com/watch?v=A_kj8EKhV3w
For seven years now, Oxford Street's long-thriving, immersive, experimental, multifunctional venue has been bringing its Warhol-influenced inspiration to Sydneysiders. It's since become a favourite for many a major touring artist, as well as the go-to for innovative mini-festivals, music-meets-art extravaganzas and all-round good times. To celebrate, OAF is hosting a massive, multi-roomed party — and entry is absolutely free (just make sure you RSVP online). On the main stage, a seriously solid lineup of Australian DJs and producers will deliver electronic, tropical vibes all night long, with appearances from Kilter, Oscar Key Sung, Hatch, Kanyon, Meare, Phondupe, Le Fruit DJs and Geoffrey James. But if live bands and sleazy rock are more your thing, there'll be plenty of satisfaction in the Gallery, where you'll find yourself face to face with The Gooch Palms, Flyying Colours, The Upskirts, The Dandelion, Smaal Cats and Dr GODDARD — OAF's got some great friends. To carry home a long-lasting memento of the evening, visit the Hunter and Fox Tattoo Parlour, which will be inking on a first-come, first-served basis from 8pm. Image: Hermitude, Meg Hewitt.
Rizzy’s 18th Birthday Party isn't your standard boozy 18th. Part film, co-directed by S. Shakthidaran and Guido Gonzalez, and part nice 'n' close live music experience, Rizzy is the first in a connected series of works by Shakthi as part of his role as Carriageworks’ first-ever associate artist. Through his work as founder and artistic director at CuriousWorks, Shakthi engages with marginalised communities, empowering them with the tools they need to artistically tell their own stories. Eleven years ago, Shakthi met co-director Guido at one such project in south-western Sydney and it’s a story from Guido’s past that inspired this modern coming-of-age tale with a south-western Sydney twist. “It’s like [there's] an escapist, dream-like stability to your world just after high school, and everything seems possible, and as you navigate your way into adulthood, the force of reality intrudes,” Shakthi explains. The film was shot over two days with an acting ensemble of talented Sydney artists and with the help of 20-30 young people from the CuriousWorks community program. Although many projects that CuriousWorks is involved in focus on refugees and new immigrants, Rizzy is unique in that it focuses on second-generation immigrants. “You walk down a street in Western Sydney and you meet the whole world," says Shakthi. "I feel like it’s that next phase, like contemporary youth culture is about all of us together, post-race, post-everything and having a truly diverse Australian identity." Technology is a huge part of the work he does, and Shakthi is very excited about the opportunities that technology affords in telling stories. For the rite of passage story that Rizzy represents, Shakthi says, “What’s really exciting about new technology is that we’re still in this emergent phase and it’s the most democratic that we’ve ever had — that’s the big difference,” he says. “The opportunity is there I think for huge diversity in our storytelling landscape.” With a band in the middle, surrounded by audiences on four sides whose attention is directed to screens where they will view multichannel projections, audience-to-story intimacy at Rizzy will be at an all-time high. And that’s exactly how Shakthi wants it. “It’s like being in a lounge room with your closest mates and sharing music and film that you love, but your lounge room is really well equipped,” Shakthi laughs. Blending Western Sydney youth culture and popular contemporary art, Rizzy’s 18th Birthday Party is one party where you’ll want to arrive on time. Rizzy’s 18th Birthday Party is on at Carriageworks from October 1-4. Tickets are $35, available via Ticketmaster here.
Whether you spent your entire primary school education grinning smugly from the King square or languishing in Dunce position, you still have a point to prove, right? Here’s your chance. The Oxford Tavern is hosting a handball competition inside a pub. Inside a pub! And, as if that weren’t kickass enough, the champion wins his/her height in cheeseburgers. His/her height in cheeseburgers! Officially known as the Inner West Handball League, the contest kicks off next Thursday, March 19, at 7pm. The rules are exactly as you would have, or should have, followed them at school. That’s four squares, labelled King, Queen, Jack and Dunce (some rebellious schools included Ace as the server). When someone gets out, everyone moves up one rank. There’s no double-bouncing, no fulls, no using any part of your body except your hand to hit the ball, no grabbing, no rolling and no hanging out in other people’s squares. And bullying is absolutely not permitted. Spots are limited, so if you’ve got the goods, you’d better email forbes@drinkndine.com.au as soon as your super-fast reflexes allow it. For the rules, check out Fennell Bay Public School's hella sick PDF. For 'tips', watch ol' K-Rudd do some damage at Brisbane High School.
Australians devour approximately 190,000 tonnes of meat per year. This equates to 120kg per person per annum, which is almost three times as much as the world average. Despite the phenomenal increase in meat consumption over the last few decades, particularly in pork and poultry, the number of pig producers in the country has reduced by 94 percent and there are only two major producers of chicken. This is largely why two-thirds of the world's meat now comes from factory farming. So what can you do about the animal cruelty and health problems this gross over-consumption is causing? Take part in Meat Free Week from March 23 - 29 to help spread the word and raise funds for this important issue. Money raised from the initiative goes to charities such as Voiceless, who help protect factory farmed animals in Australia. And they're not trying to persuade you to become an avid vegan or vegetarian; it's simply about modifying meat consumption: limiting meat intake and only choosing free-range animal products in order to reduce the amount of factory farming in Australia. You could also improve your own health in the process, as eating excessive amounts of meat can lead to heart disease, kidney failure or even cancer. Head to the Meat Free Week website to read more and sign up.
Now in its 24th year, Orange FOOD Week is one of the biggest, tastiest festivals on the New South Wales calendar. This week, more than 80 events will happen across ten days, celebrating the Orange District's local growers, farmers, foragers, winemakers, chefs, restaurants and cafes. Perhaps the most epic part of the program is the FOOD train, which will leave Sydney Central Station for Orange on April 17, taking travellers on a weekend-long journey filled with tasting menus, outdoor lunches and brewery tours. Other highlights include the 100 Mile Dinner in Molong, served under the stars on the village green (April 13); FORAGE, a 3.6 kilometre stroll through vineyards and paddocks taking in several wineries (April 18); the producer's market in Cook Park, where local produce will be turned into breakfasts and brunches on the spot (April 19); and opening night, which will take the form of a night market, to be held at Robertson Park (April 10).
Returning for a second year after a widely-publicised Parklife rebrand, national electronic dance music festival Listen Out has locked in dates for another year. Spearheaded by organisers and promoters Fuzzy (the team behind Field Day, Shore Thing and Harbourlife), Listen Out marked its debut last year to generally upward thumbs and rants about Azealia Banks' smokebomb. Stopping by Sydney, Perth, Melbourne and Brisbane in spring, Listen Out's so-called 'boutique' set-up will "showcase the best dance music in a small but perfectly formed setting," according to Fuzzy. The nationally-touring festival will return to Sydney's Centennial Park, Perth's Ozone Reserve and Melbourne's Observatory Precinct, with a change in Brisbane venue from Southbank's Cultural Forecourt to the Brisbane Showgrounds. Headlined by staggeringly popular UK duo Disclosure last year with highlights including Azealia Banks (very briefly), AlunaGeorge and Classixx, this year's lineup sees Flume, Chet Faker, Zhu, Schoolboy Q and more crank the beats up in Centennial Park. LISTEN OUT 2014 LINEUP: FLUME (only 2014 shows) CHET FAKER ZHU SCHOOLBOY Q FOUR TET YG TA-KU TOTALLY ENORMOUS EXTINCT DINOSAURS (DJ Set) SHLOHMO BONDAX YOUNG FATHERS YAHTZEL (DJ Set) GOLDEN FEATURES TKAY MAIDZA TRIPLE J UNEARTHED WINNER + more Image by Dominic Loneragan. https://youtube.com/watch?v=Lk3vbB_yuk0
You should cut down on your porklife and get to the Sydney Opera House, Damon Albarn is coming to Sydney. Celebrating the recent release of his critically-acclaimed first solo venture Everyday Roots, the legendary Blur frontman will bring early Christmas presents to Sydneysiders with two intimate performances on December 15 and 16. Alongside his Blur/Gorillaz escapades, the 46-year-old has casually worked with Everyone Ever — including the late Bobby Womack, buds Brian Eno, Natasha Khan (Bat For Lashes), Paul Simonon (The Clash), master drummer Tony Allen, Snoop Dogg and Flea (Red Hot Chili Peppers). For his Sydney show he'll be joined onstage with his shiny new live crew, The Heavy Seas, plus a cheeky string quartet and onstage choir. Epic. "Damon Albarn is one of the great figures in modern music and we're incredibly proud to present his debut solo performance in Australia," said Ben Marshall, head of contemporary music at Sydney Opera House. "His restless inventiveness, inquisitiveness and taste across all his projects have been an inspiration to me and this will be an amazing summer evening in the Opera House Concert Hall." While the setlist will undoubtedly focus on Albarn's solo material, fingers are crossed for a Boys and Girls Easter Egg or two. https://youtube.com/watch?v=ODG3VRkncBc
Throughout October, Barangaroo House will transform into a haven for rosé enthusiasts with its free-to-enter, month-long celebration of pink plonk hot on the heels of its martini festival in September. This lively venue features three distinct levels, each offering a unique experience steeped in the rosy-hued drop Sydneysiders cannot get enough of. Smoke, a Barangaroo House's popular rooftop bar, pairs stunning Sydney sunsets with refreshing tipples like the much-beloved Whispering Angel, a crisp French Provence rosé, or the enticing Pink Sunset cocktail—a spirghtly mix of Bombay Sapphire gin, house-made rosé, and rhubarb liquor, crowned with citrus and berry garnishes. For an added thrill, try the Blush and Burn shot, infused with strawberry and creamy coconut, alongside delectable bites like smoked ocean trout on mini brioche. On the middle floor, Rekōdo exudes urban energy with its Japanese-inspired decor and a vinyl soundtrack. Guests can sip Veuve Clicquot rosé and enjoy cocktail specials like the Kyoto Kiss—an effervescent blend starring Aperol and berries. At weekends, the Jukebox Bottomless experience beckons, allowing patrons to request songs while indulging in a lavish menu that includes prawn crackers and strawberry fried ice cream. At ground level, House Bar offers a moment of chilled-out vibes with its waterfront views. Here, Chandon Rosé bubbles and frosé flow freely, complemented by playful dishes like pink Skull Island prawn bao buns. As the sun sets, DJs will be spinning tunes, ensuring that each level pulses with vibrant energy, inviting guests to sip, savour, and celebrate their favourite pink drink all month long.
