As summer kicks off in Victoria, the Victorian music industry is gearing up for its biggest event for the year: ALWAYS LIVE. This festival celebrates the diversity of music in Victoria, with a mix of international headliners and local musicians alike taking to stages statewide from Friday, November 22, to Sunday, December 8. When the festival nears its conclusion on the final weekend, some of the most anticipated events will be taking place. One of those is Garage Band, or rather the culmination of Garage Band since it's a longer-term initiative running as a part of ALWAYS LIVE, coming together for a free concert at Bunjil Place and Federation Square on Saturday, December 7 and Sunday, December 8. Since its inception in 2021, the program has run yearly to find and elevate young musicians from across Victoria with professional coaching. The 2024 class of Garage Band includes 30 artists and bands, and as usual, every musician is between 16 and 21. The artists will refine their skills through workshops and mentorship during the festival. Ten artists will perform at Bunjil Place on Saturday, December 7, while twenty artists will be found on multiple stages in Fed Square on Sunday, December 8. With individual artists and after-school indie bands in equal amounts, it's the perfect chance to get up close with the next generation of Aussie musicians, and it's free, so really, there's no reason to miss it. Garage Band will take over Fed Square on Sunday, December 8. For more information, visit the ALWAYS LIVE website.
World-famous vegan chef Matthew Kenney has opened his very first eatery in Australia. He's popped across the Pacific from California to launch Alibi on the ground floor of Ovolo Woolloomooloo. Given that plant-based offerings are thin on the ground on the Finger Wharf, vegans should be high-fiving. Moreover, Kenney isn't just any old animal-free chef — he's an international legend. His TEDx talks have attracted masses of views and Food and Wine Magazine has listed him as one of America's Best New Chefs. The menu is big on creative combinations of fresh, local, seasonal ingredients. Kenney has a reputation for experimentation and innovation, and it shows in dishes such as the cheese-less cashew raclette, kelp noodle cacio e pepe and the chickpea and mushroom udon. He'll be working with Kasper Christensen, who'll also be rejigging the Ovolo's brekkie and room service menus. "I've had a long relationship with Australia and the timing was simply right," Kenney said. "The food scene is so vibrant here – great produce, chefs, sunshine... Ovolo came to me with the opportunity at the right time." To match Alibi's plant-based delights, there's a new drinks list focused on Australian drops — both classic and boutique — as well as signature cocktails. Alibi is now open on the ground floor of Ovolo Woolloomooloo, 6 Cowper Wharf Roadway. For more info, visit alibibar.com.au.
You will rue the day that you balded your Barbie's golden locks and 'dyed' the remaining tufts rainbow with highlighters. You will regret dismembering her in the imagined fire that plagued her doll house in the summer of '96. One day she'll be crawling her way up and out of the rubbish bin that you tossed her in a la The Ring’s Samara and seek the vengeance that is rightfully hers. Ew. But seriously, how creepy are dolls? The answer is very, and if you're like me, many a horror film has seen you stare with terror through fingers as a doll turns its head 360 degrees. Yep, Sydney's famous 100-year-old Doll Hospital is a horror writer's dream, and in Sean Izzard's case, a photographer’s inspiration. Izzard, who has been working as a professional photographer for 25 years, initially expected his series, entitled 'Doll House', to consist of portraits of the owner and staff. But once he’d stepped foot into the Bexley hospital, which recently celebrated its 100th year, he-was-never-the-same-again. Not really, but his approach to the photographic series certainly wasn’t. The dolls had the artist question whether they're alive or dead (dead, plz dead), because they aren't just inanimate: they are personified, clothed, the embodiment of their owner. But it’s all kinds of enchanting, really. Most of the images are portraits and seem to give each and every one of those (predominantly maimed) dolls a personality and a backstory. View the full Doll House series in the fourth issue of The Pool Collective app, out now. The Pool Collective app is a free quarterly publication created exclusively for the iPad featuring photography, short film, interviews, music and more. See more photos in the The Pool Collective app.
Josh and Julie Niland are proud pioneers. The pair's low-waste, often experimental approach to seafood — most notably the innovation of dry-aging fish — once raised eyebrows, but today, not only are these techniques a hit with Sydney diners, they've also earned the Nilands international acclaim and an impressive haul of awards, including three coveted Good Food Hats. Now, the pair are trailblazing once again, launching a boutique stay attached to a restaurant. The Grand National Hotel by Saint Peter will feature 14 luxury suites located above the dining space of the Niland's flagship fine diner, which moved last August from its original digs on Paddington's Oxford Street to Underwood Street, just around the corner. The former pub, which dates back to 1890, is entering its latest era as a multi-faceted hospitality destination following six years of renovations. During that time, an invitation to the Nilands from the pub's owner, George Penklis, to launch a new fine diner evolved into a bold plan to create a hotel-restaurant hybrid where top-of-class cuisine and plush accommodations go hand in glove. With input at every level from the Nilands, Studio Aquilo has designed the interiors to blend existing heritage features like marble fireplaces with vibrant, modern textures and luxe details. The rooms, featuring custom velvet headboards and Australian-made artworks including black and white sketches by Ken Done, also underline the Niland's low-impact, eco-minded philosophy with fish-fat candles, down duvets ethically sourced by Melbourne-based company Bonny and ceramics created using fish bones. The Nilands aim to offer a complete hospitality experience, with breakfast by the Saint Peter team, handmade chocolates, and a non-alcoholic minibar included with every booking. "When approaching the hotel, we paid as much attention to detail to the design and furnishing as we did with the restaurant. This is our first venture into being hoteliers, and we knew that we wanted to apply the same level of care to the rooms so that they weren't just an addition to Saint Peter but a destination in their own right," says Julie Niland. "We want the restaurant and the rooms to complement each other as much as possible.," comments Josh Niland. "Opening the hotel allows us the opportunity to fulfil our vision of hospitality beyond dining into a thoughtful 360-degree hotel experience, from handmade chocolates on your pillow to the breakfast cooked by our team." The Grand National Hotel by Saint Peter, located at 161 Underwood Street, Paddington, is set to open on January 31. Reservations are now open — go to the Grand National Hotel by Saint Peter website for more details. Images: Christopher Pearce
Surry Hills cafe Meet Mica is turning two this week, and it's celebrating with free coffee for all. This isn't your 'one-and-done' type offer, either — you can order three complimentary coffees at a time, and come back as many times as you'd like. It's all going down this Wednesday, July 17, from 7am–3pm. While pour overs aren't included, all other caffeinated and hot drinks are up for grabs — including any sizes, milks and add-ons. Flat white with macadamia milk? You got it. Double macchiato with mocha? Absolutely. Ginger latte or hot chocolate with soy? Those too. To keep the line moving, each person can order three at a time, but multiple visits and orders are allowed throughout the day. The freebie applies for dine-in, takeaway and advanced orders on the Heyyou app, too. And the coffee is courtesy of another Surry Hills favourite, Reuben Hills, so you know you're getting top-notch cuppas to boot. Whether you need to earn some brownie points at the office or its your shout with the mates, you've really lucked out this week.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. BROS Buy this for a dollar: a history-making gay rom-com that's smart, sweet, self-aware and funny, and also deep knows the genre it slips into, including the heteronormative tropes and cliches that viewers have seen ad nauseam. Actually, Billy Eichner would clearly prefer that audiences purchase tickets for Bros for more that that sum of money, even if he spent five seasons offering it to New Yorkers in Billy on the Street while sprinting along the sidewalk and yelling about pop culture. Thinking about that comedy series comes with the territory here, however, and not just because Eichner brought it back to promote this very movie. Starring and co-written by the Parks and Recreation and The Lion King actor — with Forgetting Sarah Marshall and the Bad Neighbours franchise's Nicholas Stoller directing and co-scripting — Bros both presents and unpacks the public persona that helped make Billy on the Street such a hit: opinionated, forceful and wry, as well as acidic and cranky. No one person, be it the version of himself that Eichner plays in the series that helped push him to fame or the fictional character he brings to the screen in Bros — or, in-between, his struggling comedian and actor part in three-season sitcom Difficult People, too — is just those five traits, of course. One of Bros' strengths is how it examines why it's easy to lean into that personality, where the sheen of caustic irritability comes from, the neuroses it's covering up and what all that means when it comes to relationships. The movie does so knowingly as well. It's well aware that Eichner's fans are familiar with his on-screen type, and that even newcomers likely are also. Accordingly, when Bros begins, Eichner's in-film alter ego is shouting about pop culture and being adamant, grumpy and cutting about it. In fact, he's on a podcast, where he's relaying his failed attempt to pen a script for exactly the kind of flick he's in. A mainstream, studio-produced gay romantic comedy that starts out riffing on the difficulties of making a mainstream, studio-produced gay romantic comedy? Yes, that's Bros. ("Am I going to be in the middle of some high-speed chase and all of a sudden fall in love with Ice Cube?", Eichner asks as the feature's protagonist Bobby Lieber.) A film about a gay man known for a biting and droll disposition, starring a gay man similarly known for that type of biting and droll disposition? Yes, that's Bros as well. It's also a movie that makes fun of Hallmark rom-com schmaltz while featuring one of the US network's go-tos — that'd be Sense, Sensibility and Snowmen, A Shoe Addict's Christmas, Christmas in My Heart and The Mistletoe Promise's Luke Macfarlane — and a flick blasting Schitt's Creek some scorn while charting a comparable queer storyline. So, it's a feature that wears its obviousness and its contradictions in tandem, purposefully and proudly. Eichner's Bobby is 40, just received an LGBTQIA+-community Best Cis Male Gay Man award and has a dream gig setting up America's first national queer history museum. Rom-com logic, which Bros heartily subscribes to, means he has to discover his seeming opposite in a memorable way: a gay dance party where he complains to shirtless probate lawyer Aaron Shepard (Macfarlane) and finds sparks flying. How Stoller and Eichner handle this scene says plenty about the film, and the authentic view of gay romance, dating and sex it's committed to. Neither man — Grindr-swiping, emotionally unavailable, hardly content as they both are — is anything but himself. For Bobby, that means awkwardly flirting, getting furious when Aaron disappears mid-conversation, tracking him down and telling him about it, but also being non-committal and even angry for being attracted to him. For Aaron, it involves continuing to breeze around the party like nothing out of the ordinary has happened; "I'm supposed to fuck him and his husband later," he tells Bobby about two other buff, sweaty guys on the dancefloor as they're chatting. Read our full review. THE WOMAN KING Since 2016's Suicide Squad, the DC Extended Universe has tasked Viola Davis with corralling super-powered folks, including villains forced to do the state's bidding (as also seen in The Suicide Squad and Peacemaker) and regular world-saving superheroes (the just-released Black Adam). In The Woman King, however, she's more formidable, powerful and magnificent than any spandex-wearing character she's ever shared a frame with — or ever will in that comic-to-screen realm. Here, she plays the dedicated and determined General Nanisca, leader of the Agojie circa 1823. This is an "inspired by true events" tale, and the all-female warrior troupe was very much real, protecting the now-defunct west African kingdom of Dahomey during its existence in what's now modern-day Benin. Suddenly thinking about a different superhero domain and its own redoubtable women-only army, aka the Marvel Cinematic Universe's Dora Milaje in Wakanda? Yes, Black Panther took inspiration from the Agojie. If you're thinking about Wonder Woman's Amazons, too, the Agojie obviously pre-dates them as well. Links to two huge franchises in various fashions aren't anywhere near The Woman King's main attraction, of course. Davis and her fellow exceptional cast members, such as Lashana Lynch (No Time to Die), Thuso Mbedu and Sheila Atim (both co-stars in The Underground Railroad); The Old Guard filmmaker Gina Prince-Bythewood and her grand and kinetic direction, especially in fight scenes; stunningly detailed costumes and production design that's both vibrant and textured; a story that still boasts humour and heart: they all rank far higher among this feature's drawcards. So does the fact that this is a lavish historical epic in the Braveheart and Gladiator mould, but about ass-kicking Black women badged "the bloodiest bitches in Africa". Also, while serving up an empowering vision, The Woman King also openly grapples with many difficulties inherent in Dahomey's IRL history (albeit in a mass consumption-friendly, picking-and-choosing manner). It's under the cover of night that Nanisca and the stealthy, feline-quick Agojie first show The Woman King's audience exactly what they're capable of, as camped-out male slavers from the rival Oyo Empire are swiftly and brutally dispensed with during a mission to free abducted Dahomean women. From that vivid opening, the female-led The Woman King on- and off-screen lets viewers know what it, Davis, Prince-Bythewood and their collaborators are capable of, too. Potent, ferocious, mighty: they all fit. When it comes to the film's protagonist, she's fierceness personified, yet also always nuanced. In a role that'll likely garner her award nominations at the very least, to go along with past Oscar nods for Doubt, The Help and Ma Rainey's Black Bottom — and her win for Fences — Davis is tremendous in the part, in battle and otherwise, exuding world-weariness, raw strength, and the kind of resilience that's only forged by navigating deep horrors. After the film's initial rescue gambit, the Agojie are down in number. Abandoned to Dahomey's King Ghezo (John Boyega, Small Axe) because she won't marry men who beat her, headstrong Nawi (Mbedu) becomes a new recruit. As the teen trains to become permanently accepted among them, including by the resolute and mischievous Izogie (Lynch) and Amenza (Atim), Nanisca endeavours to bend the ruler's ear about future battles and policies. The Oyo will keep attacking, and keep trying to trade Dahomey's populace into slavery. A Portuguese-Brazilian aristocrat (Hero Fiennes Tiffin, After Ever Happy) knows that he can profit off the Dahomey-Oyo tensions, and gain slaves to hawk along the way. Also, Dahomey itself isn't above selling Africans into subservience themselves. Nanisca has other concerns, too: getting revenge over a heartbreaking chapter of her past, the pain and sacrifice she still bears as a result, and instilling the Agojie's brand of sisterhood in Nawi. Read our full review. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 7, July 14, July 21 and July 28; August 4, August 11, August 18 and August 25; September 1, September 8, September 15, September 22 and September 29; and October 6, October 13 and October 20. You can also read our full reviews of a heap of recent movies, such as Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing, Official Competition, The Forgiven, Full Time, Murder Party, Bullet Train, Nope, The Princess, 6 Festivals, Good Luck to You, Leo Grande, Crimes of the Future, Bosch & Rockit, Fire of Love, Beast, Blaze, Hit the Road, Three Thousand Years of Longing, Orphan: First Kill, The Quiet Girl, Flux Gourmet, Bodies Bodies Bodies, Moonage Daydream, Ticket to Paradise, Clean, You Won't Be Alone, See How They Run, Smile, On the Count of Three, The Humans, Don't Worry Darling, Amsterdam, The Stranger, Halloween Ends, The Night of the 12th, Muru, Mona Lisa and the Blood Moon, Black Adam, Barbarian, Decision to Leave and The Good Nurse.
Daylesford is a haven of spa retreats, friendly pubs, roaring fireplaces and mountainous beauty. Nestled into the foothills of the Great Dividing Range and just a stone's throw from the healing powers of Hepburn Springs, it's lovely at anytime of year, but winter brings a special kind of magic. Rather than feeling like you should be out, relentlessly doing, you can shamelessly surrender to warm, cosy, heartening indulgences — from soaking in hot tubs filled with nutrient-rich mineral water to sipping craft ales by a roaring fire. Here's your guide to winter decadence in Daylesford and its neighbouring towns. Winter slips by quicker than you think, so make plans soon. WHERE BREAKFAST MEETS DESSERT The French sure know how to do a winter's breakfast: with hot chocolate. Follow their lead at the Chocolate Mill, a strawbale marvel 7km north of Daylesford that produces handmade chocolates. Peer into the open kitchen to witness the creators in action before claiming a table at the Hot Chocolate Cafe. Next stop, real breakfast. You'll get it with a stone fireplace at Moto Bean Coffee Roasters in Malmsbury, about 30 kilometres' north-east of Daylesford. Formerly a farmer's barn, this epic, industrial-inspired cafe is dotted with classic motorbikes and dedicated to roasting coffee beans. Tuck into an apple hotcake with whipped honey mascarpone, walnut crumbs and baby herbs. FUEL UP BY THE FIRE Come lunchtime, head to the Farmers Arms, where you can hide away in a booth or soak up some rays in the beer garden, accompanied by your dog. The menu is all about fancied-up pub classics, such as roasted pork belly with mash, broccolini, Harcourt apple cider jelly and red wine jus. Another spot where it's easy to while away a winter's afternoon is the Cosmopolitan in Trentham. This gorgeous 1866 pub, encircled by weatherboard verandahs, was rebuilt in 2009 following a 2005 fire. The extensive craft beer and local wine lists will keep you sampling for hours, plus, on Sundays, there's live music. Eats are gastropub-style — think smoked duck breast with grilled witlof, beans, kipflers, hazelnuts, sherry vinegar and maple dressing. If you want to treat yourself, then swing over to Kyneton – about 30km north-west – for dinner. At Source Dining, owner-chef Tim Foster serves up hatted creations, accompanied by a wine list that holds two Australian Wine List of the Year Glasses. Try the local beef tartare, with pickled farm beetroot, beetroot mayonnaise, cured yolk, fresh horseradish, salt and vinegar kale, and potato chips. Most produce comes straight from the kitchen garden. Alternatively, there are excellent woodfired pizzas at Olive Jones in Macedon. SOAK AND SINK INTO SPAS Every visit to Daylesford should involve a long, long soak in Hepburn Springs' warm, nutrient-rich mineral waters. Victorians have been onto this since 1895, when Hepburn Bathhouse and Spa was built. The complex, which scored a $13-million revamp in 2008, hosts two social pools, as well as private tubs for those keen to rejuvenate in peace. Once you've bathed, try drinking the waters: various springs are dotted around Hepburn Mineral Springs Reserve. Alternatively, at Salus Day Spa at Lake House Hotel, sink into a deep tub in a treehouse, surrounded by blonde timber and lush greenery. Also in Hepburn Springs is Shizuka Ryokan, a Japanese wellness retreat, inspired by ryokans: ancient inns where samurai warriors would go to rest and reflect. Don a kimono and wander around the minimalist grounds before settling in for a spa treatment – be it a Geisha facial based on 1200-year-old techniques or a shiatsu massage. FINE INDOOR PURSUITS Now that you're thoroughly relaxed, it's time to get arty at the Convent Gallery, a mansion turned convent turned gallery. Or get your hands dirty with a sourdough-making workshop at RedBeard Historic Bakery, Trentham, where the results will be baked in a massive 19th-century oven. If that sounds like too much thinking, get even more relaxed with a wine tasting session at Passing Clouds' stunning cellar door in Musk, just five minutes' drive from town, before continuing to Daylesford Cider Company for mulled ciders, made with organic apples, by the fire. THE COSIEST SLEEP SPOTS One of the hands-down best things about winter is snuggling in bed, ensconced in doonas, woollen blankets and piles of pillows. Add a roaring fire, and there's no going anywhere. Luckily, Daylesford and its surrounds are packed with dreamy retreats. At the luxe end of the scale is Clifftop At Hepburn, where private villas come with spectacular views, spas, stone hot tubs, massage chairs and fireplaces. Another collection of beautiful villas surrounded by bushland is Kudos. These architect-designed wonders offer fireplaces and spa areas that open onto private decks. To step back in time, sleep over at Peppers Mineral Springs Hotel, built in 1935. There's a day spa onsite, with mineral water baths, heated to 37 degrees Celsius, stunning Italian gardens and Stuart Rattle-designed lounges, splashed with marble, leather and polished wood. Rooms vary from cosy classics to a four-bedroom villa built in 1864. For a stay in downtown Daylesford, book at Frangos. Think high ceilings, spa baths and quirky touches, such as hand-embroidered pillows, mirror walls and velvet bed heads. There's also an in-house Endota Spa. To explore more winter indulgences in the Daylesford region and get booking, visit the Wander Victoria website. Top image: Peppers Mineral Springs Hotel.
For 45 years, Houston's beer can house has been causing near traffic accidents. "It tickles me to watch people screech to a halt," the building's creator, John Milkovisch, once explained. "They get embarrassed. Sometimes they drive around the block a couple of times. Later they come back with a car-load of friends." A child of the Great Depression, Milkovisch was raised when 'Waste not, want not' was a religion, rather than an option for the environmentally conscious. Employed as an upholsterer for the Southern Pacific Railroad, he spent much of his spare time transforming fragments of marble, metal and rock into one-of-a-kind landscaping features. It was in 1968 that his thoughts turned to the architectural potential of beer cans. At the time, aluminium siding was a must-have, so Milkovisch started opening out and flattening each of the cans he had stored in his attic. 50,000 units and 17 months later, his home had become one of the recycled wonders of the world. However, Milkovisch didn't see his idea — or himself — as particularly out-of-the-ordinary at the time. "Some people say this is sculpture but I didn't go to no expensive school to get these crazy notions," he said. "I guess I just thought it was a good idea, and it's easier than painting." Milkovisch passed away in the 1980s, and his wife continued to live in her husband's masterpiece for another ten or so years. In 2003, the property was taken over by the Orange Show Centre for Visionary Art. Through sensitive restoration and re-creation projects, they have made every effort to maintain the beer can house's artistic and historical integrity. It's now open to visitors on Saturdays and Sundays between midday and 5pm and has at last been recognised as one of Houston's official landmarks. [via Inhabitat]
They're the masters of immersive thrills, such as smash-hit shipping container installations Seance, Coma and Flight. But, as we learned last year, not even the folks at Realscape Productions are immune to the realities of pandemic life. When they were locked down with the rest of Melbourne the first time around, they put their nerve-jangling real-life projects on hiatus — and teamed up with UK creators Darkfield on three brand-new audio experiences that fans could enjoy from the comfort of home. With Melbourne currently experiencing a case of stay-at-home deja vu, Realscape and Darkfield are bringing their trio of audio shows back — just for the duration of the current lockdown. Sick of looking at the TV and checking the exposure sites list? Already had your two hours of exercise for the day? Now you've got something else to put on your to-do list: getting creeped out just by listening. You can also nab a ticket if you're located elsewhere around the country. While Double, Visitors and Eternal are all designed to be delivered remotely, they're also geared to be every bit as eerie and unsettling as their IRL predecessors. With Double, for instance, you'll be plunged into an immersive experience that's meant to perplex the senses — this time, with the use of a 360-degree binaural sound that's played through your own headphones. Inspired by the Capgras delusion, a condition which sees a sufferer convinced that a loved one has been replaced by an imposter (sometimes an evil-intentioned one), it requires a two-person set-up, with players seated across a table from each other. The pair of you will then tune into a special 20-minute broadcast, at the exact time as hundreds of other players across the country. And there's just one rule to follow: everyone has to be who they say they are. Visitors uses the same sound setup, and is also designed for two people to listen to at once. It starts with another two folks as well: a dead couple who invite themselves into the your home. They're eager to escape their current state, even if only temporarily. "We didn't know where else to go," they'll tell you — and then you'll each hear two different sides of the story. Only Eternal is designed to be heard on your lonesome. It's inspired by Bram Stoker's Dracula, aka one of the best horror novels ever written (and certainly the best vampire novel), and you're meant to play it while you're alone in bed. Originally commissioned by Ireland's Bram Stoker Festival, the 20-minute-long experience explores the allure of living forever — and will get you pondering what you'd willingly do to avoid death. The uneasiness everyone feels when they hear something go bump in the night also plays a part, because that's just the kind of sensation the production aims to conjure up. At the time of writing, all three productions will be available to listen to until Thursday, June 3 — with lockdown currently set to end at 11.59pm that evening. And, if you want to make a night of it, you can get access to the trio with one $40 ticket. Double, Visitors and Eternal are available to listen to until Thursday, June 3. For more information and to buy tickets, head to the Darkfield website. Images: Alex Purcell
Bar Topa has been awarded Overall Winner for Best New Bar in our Best of 2018 Awards. You can check out all the other winners over here. Spanish tapas culture is reimagined with flavours from all over the Mediterranean for Merivale's vibrant new culinary offering, Bar Topa. Opening in late July on Palings Lane, in the Ivy's dining precinct, the pint-sized tapas bar has just a handful of seats, with standing room for around 40 diners. Perching with a wine in hand and snacks to share is the way to go here, just like in Spain's tapas bars. In the kitchen, Head Chef Lauren Murdoch is heading up a two-part, snack-heavy food offering. Displayed at the counter, you'll find small bites like whipped salted cod, or sliced jamón on crisp bread, while the tapas menu features a heftier selection of dishes hot off la plancha — the Spanish-style grill. Expect plates of sautéed chicken livers, cuttlefish cooked with parsley, garlic and olive oil, whole sardines, and of course, that classic patatas bravas. A modern rustic fitout of terracotta and green terrazzo is authentic yet modern, and a collaboration between stylist Amanda Talbot and designer George Livissianis. There's an innovative approach to drinks, mirroring the food menu of bite-sized snacks, with most cocktails, beer and wine served as half-pours. Meaning punters have the chance to sample more of the menu. A range of $8 half-size cocktails includes sips like the Marques — made with Pali Cortado sherry, Campari and sweet vermouth — and the La Perla, blending Altos Reposado tequila and pear liqueur. Otherwise, match those tapas with sangria from the tap, mini $4 beer or a 100-millilitre serve from the short, snappy wine list.
Childish Gambino (real name: Donald Glover) is no ordinary artist. The American do-it-all, who took his stage name from a Wu-Tang Clan name generator, has a stacked resumé which includes Golden Globe winner, Grammy winner and Star Wars character. It should be no surprise then that his live show is not your average stand-behind-a-microphone experience. Glover announced via Twitter this morning that he is bringing his concert experience PHAROS to New Zealand this year. Described as an immersive virtual reality, multi-sensory concert experience, the event will be held over three days from November 23–25 at an undisclosed location near Auckland Airport — Concrete Playground Auckland's calling the vines and rolling pastures of Villa Maria Estate. The festival was first held in Joshua Tree, California, where Glover debuted material from Awaken, My Love inside a VR dome with collaborators. Episodes of his award-winning series Atlanta screened inside an amphitheater and an "Illumination Forest" projected art from inside the dome. Mystery is a big part of the experience; the first edition saw attendees seal their phones in lock bags for the duration of the concert. Glover told Vanity Fair that PHAROS is "meant to be a communal space—a place that evolves and reacts to the culture". "We aren't tied to a format and that lets us adapt in a way that others can't. We're selling real intimacy. We protect the experience and it becomes something you genuinely share with the people around you and you take away something special. We're looking at expanding the world in 2018—there will be more artists involved." Tickets are on sale now via the PHAROS app. Source: Vanity Fair.
What will inspire you to spend your Sunday nights busting out your music trivia knowledge, and also playing along with one of the most-beloved Australian TV shows there is? The return of Spicks and Specks for 2024. Back in 2023, the ABC announced that it was bringing the series back for a new season after it took the past year off — and you can now mark Sunday, June 9 in your diary for the big comeback. Among everything that the ABC has ever broadcast — news, entertainment, after-school kids shows, oh-so-much Doctor Who and late-night music videos to keep you occupied after a few drinks all included — the Adam Hills-, Myf Warhurst- and Alan Brough-led Spicks and Specks is up there among the favourites. If you're keen to watch a heap of top Australian talent sit around and talk about tunes again, this season's guests from the music side of things include Anthony Callea, Marlon Williams, Elly-May Barnes, Nooky, Montaigne and Dan Sultan, as well as Mark Seymour, Oli from Lime Cordiale. Among the comedians, Hamish Blake, Tommy Little, Steph Tisdell, Abbie Chatfield, Shane Jacobson and Jenny Tian will feature. Plus, Adrian Eagle, Gut Health and Lime Cordiale will perform. Here's how it works, if you've forgotten: the show's contestants answer questions, compete for points and just generally be funny, too. That's the concept behind the series, which takes more than a few cues from the UK's Never Mind the Buzzcocks, pits Aussie musos and comedians against each other, and has proven a hit several times over. It was a weekly favourite when it first aired between 2005–2011 — and it keeps being resurrected. As fans already know, Spicks and Specks has enjoyed more comebacks than John Farnham, although that has meant different things over the years. When the program was first revived back in 2014, it did so with a new host and team captains, for instance. And when it started to make a return with its original lineup of Hills, Warhurst and Brough, it first did so via a one-off reunion special. That 2018 comeback proved more than a little popular. It became the ABC's most-watched show of that year, in fact. So, the broadcaster then decided to drop four new Spicks and Specks specials across 2019–20 and, for 2021, to bring back Spicks and Specks in its regular format. In 2022, ten new episodes hit. The new season will air at 7.30pm on Sunday evenings via ABC and ABC iView — and new segments will also be part of the fun. T0 tide you over until June, here's a classic clip from past Spicks and Specks runs: Spicks and Specks will return to ABC TV and via ABC iView from 7.30pm on Sunday, June 9, 2024.
In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. Savage also has a fitting moniker, impeccably capturing how ferociously she takes on her starring role. Blaze, the Sydney schoolgirl that she plays, isn't always fierce. She's curious and imaginative, happy dwelling in her own dreamy universe long before she flees there after witnessing a rape and murder, and then frightened and fraying while also fuming. In how she's portrayed by Savage, and penned by Barton with co-screenwriter Huna Amweero (also a feature first-timer), she's intricately fleshed out, too, with every reaction she has to the assault proving instantly relatable — especially to anyone whose life has been touched by trauma. We don't all see dragons made out of fabric, felt, feathers, papier-mâché and glitter, helping us through times good and bad, but everyone can understand the feelings behind that dragon, which swelter like the creature's fiery breath. Game of Thrones or House of the Dragon, Blaze isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, High Ground), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. The pivotal sequence, lensed by cinematographer Jeremy Rouse (The Turning) and spliced together by editor Dany Cooper (The Drover's Wife The Legend of Molly Johnson) to be as jarring and unflinching for Blaze's audience as it is for Blaze, is nightmarish. Avoiding agony and anguish isn't Barton's way — and it can't be with this subject matter. While never as harrowing in the same manner again, Blaze is styled by its artist-turned-writer/director in the same expressive, impressionistic way from start to finish, so that watching its frames flicker feels like diving inside its lead character's heart and mind. That internal realm is a place where a pre-trial proceeding erupts into flames spat from Blaze herself, via a tiny white dragon figurine she places between her teeth. Unsurprisingly, that's a spectacular and gloriously cathartic sight. Barton isn't afraid of symbolism, but she's also allergic to emptiness; not a single image in her kaleidoscopic trip through her protagonist's imaginings is ever wasted. As set to a soundtrack that's soulfully moody and brooding as only Nick Cave can be one minute, then psychedelic and soaring with The Flaming Lips a short time afterwards, the contents of Blaze's brain and soul is where cogs turn — not literally, not once, but in processing everything that the pre-teen has seen and felt. It's where she glimpses a corpse turned mesh and material, then spies a tiny girl climb a ladder out of its mouth, in one of the movie's many mixed-media moments. It's where tiny kissing ceramic animal figurines morph into something more, fleshy tongues waggling, and where putting her feet in a sandbox transports her to the beach. And, it's where thoughts and emotions can better be distilled through surreal stop-motion animation and puppetry, and via that towering pink-hued dragon that any child would want as their pal and confidant, and with hallucinogenic collages that everyone who has seen Barton's other art will immediately recognise as springing from her head. If Barton took on Where the Wild Things Are, Pete's Dragon or A Monster Calls, all of which deal with sadness and tragedy through fantasy as well, it'd look like this — well, as a starting point. As brilliant and deeply affecting as all three of those films are, Blaze is always bolder and darker. It's more enraged, audacious, unsettling and astounding. It stresses that hardship is what shapes us but not what solely makes us, but it's a gut-punch rather than a heartstring-tug of a feature (by design; facts and figures about femicide are purposefully worked in). Barton emphasises that surviving is both a battle and a feat, that coping through art is a balm, and that seeing and speaking are pivotal acts. In other hands, though, Blaze might've resembled another recent feature that plunged into distress, and a headphone-wearing adolescent feeling it, that's also helmed by a big-name Aussie debuting as a director after coming to fame in a different medium. Thankfully, however, similarities with Sia's Music end are superficial. Big things deserve to await Savage, who never lets Blaze forget that it's about a living, breathing, hurting, loving person, and about the screaming, receding, dreaming, needing and steaming that characterises her response to such an ordeal. In support, Baker offers a sublimely judged mix of care, stress and uncertainty, playing a dad who knows he doesn't have all the answers, because no one can — and Stone, in her crucial and devastating part, is phenomenal. Big things have already come Barton's way in the art world, but they deserve to shower over her for this also, which comes after short films The Nightingale and the Rose and Red. Blaze is brutal and beautiful, blunt and labyrinthine, and a trip, a heartache, an escape and a release. When its namesake asks why she ends up temporarily institutionalised but Jake hasn't been, the movie makes one of its points as loudly as it can, but every inch of every frame already says everything.
Erykah Badu has always been a good sign for me. Whether it's a cafe or a clothes shop, if I hear her music it's a sign that I'm in the right place at the right time. So, when it's a sparkler of a summer day at Bondi and I'm sat in front of the windows at Sean's Panorama, it was no surprise to hear Erykah's voice sliding out of the speakers, across the street and out over the waves crashing on Bondi Beach. As we ogle the view, a family walks in for lunch; one of the sons has bare feet. Next to us a trio of suited-up, male mid-life crises are talking 'big data' and 'synergies' (no joke). Outside, a young mother in Rick Owens sneakers whose toddler is sporting a Chicago Bulls jersey. This is how Bondi rolls. No one here is anyone but themselves because, as a Sydney institution, Sean's is nothing but itself. There are no pretensions and no shortcuts. The roses on the tables are from the garden. They have that long-forgotten scent. The waitstaff is the sort that does this because they want to, not because it's a job that will finance a ticket to somewhere else. What's also real is the house-made bread and butter. Both white and wholewheat come warm, and you desperately remind yourself of your mother's warning not to fill up on them before the mains. Judged as a blackboard listing alone, is a basic but delightful tomato, watermelon and feta salad. Perfection in the individual components on each of these dishes is anything but. Rough-cut, room-temperature tomatoes (Praise be!) in a thin, sunlight-coloured pool of oil are the answer to all your heirloom, vine-ripened tomato fantasies. Fat, hand-rolled ribbons of rocket-flavoured pasta have the same effect on your palate that the view of the Pacific sprawled before you has on your eyes. When the basics are this good, ordering the chicken main at Sean's begins to feel like an obligation. This logic is rewarded as breast, thigh and leg pieces congregate in holy, crisp-skinned communion. The accompanying creamed corn and slaw are nearly an insult to meat cooked this perfectly, but they definitely don't go astray. After this, dessert doesn't get any more basic than vanilla ice cream with raspberry jelly. You could almost laugh for the way the vivid jelly and first-kiss shock of vanilla ice cream conjure up all the joy of the packet stuff that made you so happy so long ago. Today though, you delicately pick at them with shards of the accompanying florentine to make it last as long as you can. I could have guessed, but I didn't, that the bill would be hand-written and our leftovers would be handed over wrapped in tin foil. As we leave, a kid outside rolls an esky atop a skateboard towards the beach and clouds roll in from the east. Sean has it good. Images: Enzo Amato and Sean's Panorama Instagram Appears in: The Best Restaurants in Sydney
What do Heath Ledger serenading Julia Stiles and a monkey playing music have in common? If you head to Moonlight Cinema in February 2025, they're both on the program — and they're indicative of a lineup that's going big on films about love and also flicks where tunes have a prominent part. 'Tis the month for big-screen romances, unsurprisingly. The outdoor picture palace is celebrating a heap of recent pictures that are either musicals or about musicians, too. If you'll be attending with a date, 10 Things I Hate About You is on the bill nationally, as are The Notebook and How to Lose a Guy in 10 Days. With Moonlight Cinema operating in Brisbane, Sydney, Adelaide, Melbourne and Perth, some cities will also get the chance to revisit Notting Hill. And from cinema's brand-new fare, the Florence Pugh (Dune: Part Two) and Andrew Garfield (Under the Banner of Heaven)-starring We Live in Time is popping up multiple times at all sites, while the new Bridget Jones: Mad About the Boy is scoring a preview screening. All of the above pop up in what the venue is calling a 'week of romance' — around Valentine's Day, naturally. Wicked keeps earning a place on Moonlight Cinema's roster, this time with sing-along sessions in all cities. In some locations, A Complete Unknown is another returning title, because who can get enough of Timothée Chalamet (Wonka) as Bob Dylan? So is Mufasa: The Lion King, complete with songs by Hamilton great Lin-Manuel Miranda — and also Better Man, aka the Robbie Williams biopic that brings the British singer to the screen as a CGI chimp. With the specific program varying per venue, viewers can also look forward to the electing-a-new-pope thrills of Conclave, the 1972 Munich Olympics-set September 5, a preview of Gettin' Square sequel Spit, and blasts from the past courtesy of Twilight and The Devil Wears Prada — among other titles, and depending on where they live. If you're in Queensland or South Australia, take note: Brisbane's season is on until Sunday, February 16 in Roma Street Parklands, while Adelaide's runs till the same date in Botanic Park. Elsewhere, Moonlight Cinema's stints at Centennial Parklands in Sydney, Royal Botanic Gardens in Melbourne, and Kings Park and Botanic Garden in Perth all extend through to Sunday, March 30 — so there'll be another lineup drop to come. As always, the films and the setting are just two parts of the Moonlight experience. Also a drawcard: the Aperol spritz bar. Nosh-wise, the event is again letting you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can enjoy a plethora of bites to eat onsite while reclining on bean beds. There's two VIP sections for an extra-luxe openair movie experience, too, as well as a platinum package with waiter service in Sydney and Melbourne only, and a beauty cart handing out samples. Plus, dogs are welcome at all sites except Perth — there's even special doggo bean beds. Moonlight Cinema 2024–25 Dates Brisbane: Thursday, November 21, 2024–Sunday, February 16, 2025 in Roma Street Parklands Sydney: Friday, November 22, 2024–Sunday, March 30, 2025 in Centennial Parklands Adelaide: Thursday, November 28, 2024–Sunday, February 16, 2025, 2024 in Botanic Park Melbourne: Friday, November 29, 2024–Sunday, March 30, 2025 in Royal Botanic Gardens Perth: Thursday, December 5, 2024–Sunday, March 30, 2025 in Kings Park and Botanic Garden Moonlight Cinema runs until February 2025 in Brisbane and Adelaide, and until March 2025 in Sydney, Melbourne and Perth. For more information and to buy tickets, visit the cinema's website — and we'll update you with further program details when they're announced.
Postponed from last summer, Australia's new touring pride festival has finally delivered the news that music fans and festival-goers have been waiting for: new 2022 dates. Mark November in your diary, because that's when Summer Camp will finally make its debut. And yes, while the fest is no longer taking place during the season that shares its name, the weather is still bound to show up for the occasion. Thanks to the pandemic, it's felt like years and years since Australia scored itself a huge new music festival featuring overseas headliners that took its lineup around the country. Summer Camp is closing that big gap, and giving the nation its newest pride festival — and only touring pride fest, in fact. Obviously, the fact that Years & Years will lead the bill really couldn't be more fitting. Years & Years, aka British singer and actor Olly Alexander (It's a Sin), will headline the new fest's stopovers in Sydney and Melbourne, all as part of Summer Camp's two-city tour of the country. Also on the lineup: New Orleans' Big Freedia, plus The Veronicas, Cub Sport, Ladyhawke, Jess B, Kinder, Art Simone and Stereogamous, with more set to be revealed. Summer Camp will tick a big first, too: it's set to be the biggest ticketed LGBTQIA+ music festival in the southern hemisphere as well. In addition to live tunes from all of the above across two stages, the festival will feature dance, performance art and art installations, as well as food and beverage offerings. More than 200 artists will be involved all up, including over 150 DJs, drag queens, dancers and performance artists in each city. Given the name, it's clear what kind of vibe that festival founders Kat Dopper (creator of Heaps Gay) and Grant Gillies and David Gillett (creators of Red Mgmt, and former Sydney Mardi Gras marketing and international talent managers) are going for. So, expect a cruisy summer camp-meets-arts and music playground-type atmosphere that's also all about inclusivity and supporting young diverse artists. Originally, the fest also had Perth and Darwin dates on its schedule; however, they're not currently part of the just-revealed new plans. But further city and artist announcements are in the works — so cross your fingers. [caption id="attachment_831849" align="alignnone" width="1920"] Years and Years, Theatrepeople via Wikimedia Commons[/caption] SUMMER CAMP FESTIVAL 2022 AUSTRALIAN DATES: Saturday, November 5 — Centennial Parklands, Sydney Saturday, November 12 — Reunion Park, Melbourne SUMMER CAMP FESTIVAL 2022 LINEUP — FIRST ANNOUNCEMENT: Years & Years Big Freedia The Veronicas Cub Sport Ladyhawke Jess B Kinder Art Simone Stereogamous Summer Camp head to Sydney and Melbourne in November 2022. For further details or to nab tickets, head to the festival's website.
A spectacular showcase of ballet arrives at West HQ's Sydney Coliseum Theatre this July with the debut of the Sydney International Ballet Gala. The performance will be a dazzling display of artistry, elegance and technical precision that promises to move ballet lovers and newbies alike. With a repertoire choreographed by some of the world's most acclaimed creatives, the powerhouse performance presents hundreds of years of ballet history on the one stage. You'll see excerpts from some of the greatest works of classical ballet, as well as highlights from the contemporary canon, performed by principal dancers and soloists from celebrated companies including The Australian Ballet, Royal New Zealand Ballet, San Francisco Ballet, Berlin State Ballet, Dutch National Ballet and more. The genuinely global company of dancers taking to the stage will include The Australian Ballet's Grace Carroll and Bryce Latham, Julian MacKay, Principal Dancer with the San Francisco Ballet and Mayu Tanigaito, Principal Dancer with the Royal New Zealand Ballet. The gala also features three world premieres and three Australian premieres, each created by internationally acclaimed choreographers. The Sydney International Ballet Gala is a celebration of dance taking place at the fantastic Sydney Coliseum Theatre, a state-of-the-art auditorium that is as aesthetically beautiful as it is technically brilliant. The 2000-person multi-mode theatre is the first of its kind in Greater Western Sydney and is a landmark cultural destination for the area. For more information on the Sydney International Ballet Gala and to book tickets, head to the website. Want to win your way in? We're giving away four tickets to the showcase and dinner at Chu Restaurant by China Doll — head to our competition page to enter.
"We don't lock them down, it will be too late." They're wise words when you're dealing with aliens — and xenomorphs at that — roaming the earth, as the just-dropped new trailer for Alien: Earth teases. That's a particularly pertinent sentiment when, as the last full sneak peek also made clear, there's more than just one type of extra-terrestrial to deal with. On streaming, you'll soon be able to hear humanity's screams in response, with this spinoff from the iconic Alien films promising "five different life forms from the darkest corners of the universe" wreaking havoc. Not once, not twice, but nine times now across 46 years, cinema audiences have stepped into the world of xenomorphs, facehuggers and chestbursters — and of cats onboard spaceships, androids resembling people and shouts not heard in the universe's vast expanse. When Ridley Scott (Gladiator II) directed the initial Alien film, he helped start a sci-fi phenomenon. 2025's Alien: Earth is a first, however, given that it's the franchise's debut TV series. One of the show's twists is right there in its title, with the pale blue dot that humanity calls home giving Alien: Earth its setting. All of those different critters is another fresh element to the series' setup. In the works for a few years now, executive produced by Scott and due to debut via Disney+ on Wednesday, August 13, 2025 Down Under, this is Noah Hawley's addition to the saga — and another of his projects, after Fargo, where he's expanding upon the realm of a beloved film on the small screen. Set in 2120, his Alien entry follows the fallout of deep-space research vessel USCSS Maginot crashing onto earth, then the discoveries made as a result by a crew of soldiers that includes human-robot hybrid Wendy (Sydney Chandler, Sugar). As it peers just under a century into the future, Alien: Earth sees its namesake planet under the control of five companies: Weyland-Yutani, of course, because this is the Alien franchise, plus Prodigy, Lynch, Dynamic and Threshold. It also witnesses a society where hybrids like Wendy — the first of her kind, with human consciousness inside a robot body — live side by side with humans, cyborgs and AI-driven synthetics. Hawley's cast not only includes Chandler, but also Fargo alums Timothy Olyphant (Havoc) and David Rysdahl (The Luckiest Man in America), plus Alex Lawther (Andor), Essie Davis (The Narrow Road to the Deep North), Adrian Edmondson (Kidnapped), Samuel Blenkin (Mickey 17), Babou Ceesay (Killer Heat), Lily Newmark (A Gentleman in Moscow) and more. Alien: Earth expands a saga that began with one of the best sci-fi/horror movies ever back in 1979, and has since spanned 1986's Aliens, 1992's Alien 3, 1997's Alien Resurrection, 2012's Prometheus, 2017's Alien: Covenant and 2024's Alien: Romulus — as well as the 2004 Alien vs Predator and 2007 Aliens vs Predator: Requiem crossover flicks with the Predator franchise. The Predator world is also expanding in 2025 courtesy of the already-released animated Predator: Killer of Killers and upcoming live-action Predator: Badlands, both directed by Dan Trachtenberg, who helmed 2022's excellent Prey. Check out the new trailer for Alien: Earth below: Alien: Earth starts streaming Down Under via Disney+ from Wednesday, August 13, 2025. Images: Patrick Brown/FX.
Every five years, Australia undertakes a national census to collect information about everyone in the country. It focuses on people, obviously. But a similar annual initiative takes a snapshot of the nation's birdlife — and, in the perfect event for a year that's seen us all literally spending plenty of time in our own backyards, you can take part. It's called the Aussie Backyard Bird Count, a descriptive moniker that tells you exactly what you'll be doing. From Monday, October 19–Sunday, October 25, all you need to do is head outside — into your yard, out on your street, at your local park, at the beach or wherever else you're likely to spy some birds — and spend 20 minutes counting all the winged creatures you can see. You'l need to note not only the number of birds, but also the types of each species. By spotting everything from magpies, rainbow lorikeets and kookaburras to whatever that bird is that sits outside your window and trills noisily to wake you up each morning (we've all been there), you'll be helping out BirdLife Australia, the country's largest bird conservation organisation. In its effort to stop bird extinctions and protect birdlife in general, the charity is committed to better understanding which flapping critters are found where throughout the nation. So, with that in mind, it has been running the Aussie Backyard Bird Count since 2014. To participate in the countrywide bird survey, you can either submit your count online via the event's website, or download the free Aussie Bird Count app and provide your data that way. BirdLife Australia asks that you only count birds that you can identify, rather than guessing what type of bird is fluttering around your yard — but both the website and the app include a field guide to help. [caption id="attachment_786211" align="aligncenter" width="1920"] Sydney Park Wetlands, City of Sydney[/caption] The Aussie Backyard Bird Count runs from Monday, October 19–Sunday, October 26. For more information, visit the event's website.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures and plenty of people staying home in iso will do that — that's no longer always the case. Maybe you've had a close-contact run-in. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 14 that you can watch right now at home. X In new slasher standout X, the eponymous letter doesn't simply mark a spot; it isn't by accident that the film takes its moniker from the classification given to the most violent and pornographic movies made. This is a horror flick set amid a porn shoot, after all, and it heartily embraces the fact that people like to watch from the get-go. Swaggering producer Wayne (Martin Henderson, The Gloaming), aspiring starlet Maxine Minx (Mia Goth, Emma), old-pro fellow actors Bobby-Lynne (Brittany Snow, Pitch Perfect 3) and Jackson Hole (Scott Mescudi, Don't Look Up), and arty director RJ (Owen Campbell, The Miseducation of Cameron Post) and his girlfriend/sound recorder Lorraine (Jenna Ortega, doing triple horror duty in 2022 so far in Scream, Studio 666 and now this) are counting on that truth to catapult themselves to fame. Hailing from Houston and aroused at the idea of repeating Debbie Does Dallas' success, they're heading out on the road to quieter climes to make the skin flick they're staking their futures on, and they desperately hope there's an audience. X is set in the 70s, as both the home-entertainment pornography market and big-screen slashers were beginning to blossom. As a result, it's similarly well aware that sex and death are cinema's traditional taboos, and that they'll always be linked. That's art imitating life, because sex begets life and life begets death, but rare is the recent horror movie that stresses the connection so explicitly yet playfully. Making those links is Ti West, the writer/director responsible for several indie horror gems over the past decade or so — see: cult favourites The House of the Devil and The Innkeepers — and thrusting a smart, savage and salacious delight towards his viewers here. Yes, he could've gone with The Texas Porn-Shoot Massacre for the feature's title, but he isn't remaking the obvious seminal piece of genre inspiration. X is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. C'MON C'MON The last time that Joaquin Phoenix appeared in cinemas, he played an overlooked and unheard man. "You don't listen, do you?" Arthur Fleck asked his social worker, and the entirety of Joker — and of Phoenix's magnetic Oscar-winning performance as the Batman foe in the 2019 film, too — provided the obvious answer. Returning to the big screen in a feature that couldn't be more different to his last, Phoenix now plays a professional listener. A radio journalist and podcaster who'd slide in seamlessly alongside Ira Glass on America's NPR, Johnny's niche is chatting with children. Travelling around the country from his New York base, C'mon C'mon's protagonist seeks thoughts about life, hopes, dreams, the future and the world in general, but never in a Kids Say the Darndest Things-type fashion. As Phoenix's sensitive, pensive gaze conveys under the tender guidance of Beginners and 20th Century Women filmmaker Mike Mills, Johnny truly and gratefully hears what his young interviewees utter. Phoenix is all gentle care, quiet understanding and rippling melancholy as Johnny. All naturalism and attentiveness as well, he's also firmly at his best, no matter what's inscribed on his Academy Award. Here, Phoenix is as phenomenal as he was in his career highlight to-date, aka the exceptional You Were Never Really Here, in a part that again has his character pushed out of his comfort zone by a child. C'mon C'mon's Johnny spends his days talking with kids, but that doesn't mean he's equipped to look after his nine-year-old nephew Jesse (Woody Norman, The War of the Worlds) in Los Angeles when his sister Viv (Gaby Hoffmann, Transparent) needs to assist her husband Paul (Scoot McNairy, A Quiet Place Part II) with his mental health. Johnny and Viv haven't spoken since their mother died a year earlier, and Johnny has previously overstepped when it comes to Paul — with the siblings' relationship so precarious that he barely knows Jesse — but volunteering to help is his immediate reflex. C'mon C'mon is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BATMAN When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. The Batman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DRIVE MY CAR Inspired by Haruki Murakami's short story of the same name, Drive My Car's setup couldn't be simpler. Still recovering from a personal tragedy, actor and director Yusuke Kafuku (Hidetoshi Nishijima, Silent Tokyo) agrees to helm a stage version of Chekhov's Uncle Vanya in Hiroshima — but the company behind it insists on giving him a chauffeur for the duration of his stay. He declines, yet they contend it is mandatory for insurance and liability reasons, so Misaki (Toko Miura, Spaghetti Code Love) becomes a regular part of his working stint in the city. Friendship springs, slowly and gradually, but Murakami's name is one of the first signs that this won't follow a standard road. The other: Japanese filmmaker Ryûsuke Hamaguchi, who makes layered, thoughtful and probing reflections upon connection, as seen in his other efforts Happy Hour, Asako I & II and Wheel of Fortune and Fantasy. Drive My Car doesn't hurry to its narrative destination, clocking in at a minute shy of three hours, but it's a patient, engrossing and rewarding trip. It's a gorgeously shot and affectingly performed one, too, whether taking to the road, spending time with its central pair, or chronicling Yusuke's involving auditions and rehearsals. Another thing that Hamaguchi does disarmingly well: ponder possibilities and acceptance, two notions that echo through both Yusuke and Misaki's tales, and resonate with that always-winning combination of specificity and universality. Drive My Car is intimate and detailed about every element of its on-screen voyage and its character studies, and also a road map to soulful, relatable truths. Drive My Car is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. DOG Like pouring kibble into a bowl for a hungry pooch each morning, Dog is dutiful with the basics: a man, a mutt, an odd-couple arrangement between seeming opposites with more in common than the human among them first thinks, and an emotional journey. Turner & Hooch-esque comedic hijinks ensue along the way, naturally, although that Tom Hanks-starring 80s flick didn't involve anyone getting cock-blocked from having a threesome with two tantric sex gurus by its four-legged scamp. Given that Channing Tatum's (Free Guy) Jackson Briggs needs to take Belgian Malinois Lulu 1500 miles from Montana to Arizona by car — she won't fly — Dog is also a road-trip film, complete with episodic antics involving weed farmers and fancy hotels at its pitstops. That's all so standard that it may as well be cinema's best friend, but this flick also reckons with combat-induced post-traumatic stress disorder of both the human and animal kind, and ideas of masculinity and strength attached to military service. When Briggs is introduced by co-director Tatum and his fellow helmer/screenwriter Reid Carolin (who penned Magic Mike and Magic Mike XXL), he's working in fast food by necessity — think Breaking Bad's fate for Saul Goodman, with Tatum even channelling the same stoic demeanour — as he waits to get redeployed. All he wants is to head back on active duty, but his higher-ups need convincing after the brain injury he received on his last tour. Still, his direct superior (Luke Forbes, SWAT) throws him a bone: if Briggs escorts Lulu to their former squad member's funeral, after he drove himself into a tree at 120 miles per hour, he'll sign off on his re-enlistment. Lulu has also been changed by her service, so much so that this'll be her last hurrah. Afterwards, Briggs is to return her to the nearest base where she'll be euthanised; however, the bond that springs between the two throws a bone into that distressing plan. Dog is available to stream via Google Play, YouTube Movies and iTunes. Read our full review. BERGMAN ISLAND Each filmmaker walks in the shadows of all who came before them — and as the cinema's history lengthens, so will those penumbras. With Bergman Island, French director Mia Hansen-Løve doesn't merely ponder that idea; she makes it the foundation of her narrative, as well a launching pad for a playful and resonant look at love, work and creativity. Her central couple, both filmmakers, literally tread in the footsteps of the great Ingmar Bergman. Visiting Fårö, the island off Sweden's southeastern coast that he called home and his base, Chris (Vicky Krieps, Old) and Tony Sanders (Tim Roth, The Misfits) couldn't escape his imprint if they wanted to. They don't, of course, as they're searching for as much inspiration as they can find; however, the idea of being haunted by people and their creations soon spills over to Chris' work. These Fårö escapades only fill half of the movie, because Bergman Island also brings Chris' budding screenplay to life. There, fellow filmmaker Amy (Mia Wasikowska, Blackbird) visits an island, too — dancing to ABBA and crossing paths with her ex Joseph (The Worst Person in the World's Anders Danielsen Lie). That tumultuous relationship is as bedevilled by other art and the past as Chris' quest to put pen to paper. And, via the film-within-a-film concept, there's a sense of mirroring that couldn't spring any firmer from Bergman himself. That said, the end result is as savvy and soulful as anything on Hansen-Løve's resume (including the stellar Eden and Things to Come) — and, due to Krieps and Wasikowska, as exceptionally acted. Bergman Island is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. FLEE When Flee won the World Cinema Documentary Grand Jury Prize at the 2021 Sundance Film Festival, it collected its first accolade. The wrenchingly affecting animated documentary hasn't stopped notching up deserving acclaim since. A spate of other gongs have come its way, in fact, including a history-making trifecta of nominations for Best International Feature, Best Documentary and Best Animated Feature at this year's Oscars, becoming the first picture to ever earn nods in all three categories at once. Mere minutes into watching, it's easy to glean why this moving and compassionate movie keeps garnering awards and attention. Pairing animation with factual storytelling is still rare enough that it stands out, but that blend alone isn't what makes Flee special. Writer/director Jonas Poher Rasmussen (What He Did) has created one of the best instances of the combination yet — a feature that could only have the impact it does by spilling its contents in such a way, like Ari Folman's Waltz with Bashir before it — however, it's the tale he shares and the care with which he tells it that makes this something unshakeably exceptional. Rasmussen's subject is Amin Nawabi, an Afghan refugee using a pseudonym. As his story fills Flee's frames, it's also plain to see why it can only be told through animation. Indeed, the film doesn't cover an easy plight — or a unique one, sadly — but Rasmussen renders every detail not just with eye-catching imagery, but with visuals that flow with empathy at every moment. The filmmaker's protagonist is a friend of his and has been for decades, and yet no one, not even the director himself, had ever previously heard him step through the events that the movie chronicles. Amin is now in his 40s, but he was once a kid in war-torn Kabul, then a teenager seeking asylum in Copenhagen. His life to-date has cast him in other roles in other countries, too, on his journey to house-hunting with his boyfriend as he chats through the ups and downs for his pal. Flee is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. CYRANO Love can spring quickly, igniting sparks instantly. Or, it can build gradually and gracefully, including over a lifetime. It can be swift and bold like a lightning strike, too, or it can linger, evolve and swell like a gentle breeze. In the sumptuous confines of Cyrano, the newest period piece from Joe Wright (Pride & Prejudice, Atonement and Anna Karenina), all of the above happens. The latest adaptation of Edmond Rostand's 1897 play Cyrano de Bergerac, this time as a musical via playwright Erica Schmidt's own song-filled on-stage version, lends its attention to two men who've fallen for the plucky Roxanne (Haley Bennett, Hillbilly Elegy) in opposite ways. Charming soldier Christian de Neuvillette (Kelvin Harrison Jr, The Trial of the Chicago 7) gets the fast-and-infatuated experience, while the movie's namesake (Peter Dinklage, I Care a Lot), a poet also handy in battle, has ached for his childhood pal for as long as he can remember. Roxanne's two suitors make a chalk-and-cheese pair, with their contrasting approaches to matters of the heart — specifically, to winning her heart and helping ensure that she doesn't have to marry the rich and ruthless De Guiche (Ben Mendelsohn, The Outsider) to secure her future — driving much of Cyrano's drama. Also present and accounted for, as all takes on the tale have included (see also: 80s rom-com Roxanne with Steve Martin, the Gérard Depardieu-starring Cyrano de Bergerac, 90s rom-com The Truth About Cats & Dogs with Uma Thurman and Janeane Garofalo, plus recent Netflix teen flicks Sierra Burgess Is a Loser and The Half of It): insecurities about appearance, a way with words and a ghostwriting gambit. Short in stature given Dinklage's casting, Cyrano can't even dream that Roxanne could love him. But he wants her to be happy above all else and knows that she's smitten with Christian, so he secretly lends his romantic rival his letter-penning abilities to help woo her by lyrical prose. Cyrano is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. STUDIO 666 As the drummer for Nirvana and the frontman for Foo Fighters, Dave Grohl doesn't have many mixed bags on his resume. The music superstar has been in the spotlight for three-plus decades now, and boasts success after success to his name, complete with a list of awards and hits bound to make almost everyone else in the industry envious. But all their lives, Grohl and his fellow Foos must've dreamt of being horror movie stars — and the result, the pandemic-shot Studio 666, shouldn't entice any of them to quit their day jobs. A haunted-house horror-comedy, this rockstar lark is gonzo, gory and extremely goofy. It's a clear bit of fun for everyone involved, and it's made with overflowing love for the genre it slips into and parodies. But it's an indulgent and stretched exercise in famous folks following their whims at times like these, too. Achievement unlocked: there's Grohl's mixed bag. Studio 666's setup revolves around Grohl, now-late drummer Taylor Hawkins, guitarists Chris Shiflett and Pat Smear, bassist Nate Mendel and keyboardist Rami Jaffee packing their bags for a live-in recording session at an Encino mansion. As the movie's 1993-set prologue shows, their temporary new home has a dark past, after the last group that inhabited the spot met bloody ends; however, ignorance is bliss for the Foo Fighters. Actually, an obligation to deliver their tenth album to their overbearing manager (Jeff Garlin, Curb Your Enthusiasm) inspires the move, as does the band's creative lull in conjuring up the record otherwise. Grohl instantly falls for the sound of the space as well, to an unhinged degree, and his bandmates begrudgingly agree to the month-long stay to make musical magic happen. Recording an album doesn't usually spark The Evil Dead-style murderous mayhem, cursed book and all, but that's Studio 666's gambit. Studio 666 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. UNCHARTED Some movies sport monikers so out of sync with their contents that someone really should've had a rethink before they reached screens. Uncharted is one of them, but it was never going to switch its name. The action-adventure flick comes to cinemas following a decade and a half of trying, after the first Uncharted video game reached consoles in 2007 and the journey to turning it into a movie began the year after. Accordingly, this Tom Holland (Spider-Man: No Way Home)- and Mark Wahlberg (Joe Bell)-starring film was fated to keep its franchise's title, which references its globe-trotting, treasure hunting, dark passageway-crawling, dusty map-coveting storyline. But unexplored, unfamiliar and undiscovered, this terrain definitely isn't — as four Indiana Jones films to-date, two National Treasure flicks, three Tomb Raider movies, 80s duo Romancing the Stone and The Jewel of the Nile, and theme park ride-to-screen adaptation Jungle Cruise have already demonstrated. In a film that acts as a prequel to its button-mashing counterparts, Holland plays Drake as a 20-something with brother issues, a vast knowledge of cocktail histories that's handy for his bartending gig, an obsession with 16th-century Portuguese explorer Ferdinand Magellan and the gold he might've hidden, and very light fingers. Nate's elder sibling dipped out of his life after the pair were caught trying to steal a Magellan map as orphanage-dwelling kids, in fact, which Sully uses to his advantage when he first crosses his path in a New York bar — and, after some convincing, Nate has soon signed up to finish the quest he's been dreaming about since childhood. Naturally, this newly formed duo aren't the only ones on the Magellan treasure's trail. The wealthy Santiago Moncada (Antonio Banderas, The Hitman's Wife's Bodyguard) is descended from the explorer's original financiers and boasts a hefty sense of entitlement, while knife-wielding mercenary Jo Braddock (Tati Gabrielle, You) and enterprising fortune-hunter Chloe Frazer (Sophia Ali, India Sweets and Spices) are each chasing a windfall. Uncharted is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MARRY ME Releasing a rom-com starring Jennifer Lopez and Owen Wilson in 2022 toys with time a little. Its source material doesn't date back 25 years, to when its stars were both in Anaconda, but its broad strokes could've still fuelled a late-90s addition to the romantic-comedy genre. That's how creaky it feels; of course, that timing would've meant spinning a story without livestreamed concerts — and livestreamed lives, outside of films such as The Truman Show and EdTV — but it also would've rid the movie of one of its biggest crutches. Directed by Kat Coiro (A Case of You), Marry Me finds it too easy to blame too many character choices on the always-online, always-performing, always-oversharing mentality that's now the status quo. It too lazily uses the divide between constantly broadcasting one's every move via social media and happily living life offline to fuel its opposites-attract setup as well. It's no wonder that the movie always feels shallow, even for an obvious fairytale, and even as the script attempts to layer in knowing nods to how women like its central pop star are treated by the world whether or not they record and share every moment they're awake. That singing celebrity is Kat Valdez, aka Lopez playing a part that could've easily been originally penned with her in mind. Kat is a global superstar who, to her dismay, is known as much for her hits as for her personal life. That said, she also willingly combines the two in the track 'Marry Me', a duet with her fiancé Bastian (Colombian singer Maluma) that the pair plan to get married to during a show livestreamed to 20 million people. But moments before Kat ascends to the on-stage altar, news that Bastian has been unfaithful spreads across the internet. Sick of being unlucky in love — and just as fed up with being publicly ridiculed for her romantic misfortunes — she picks out Owen's middle-school maths teacher Charlie Gilbert from the crowd and weds him instead. He's just holding a banner with the movie's title on it for his pal and fellow educator Parker Debbs (Sarah Silverman, Don't Look Up), and he's accompanied by his daughter Lou (Claudia Coleman, Gunpowder Milkshake), but he still says yes. Marry Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MISS MARX Daughter of Karl Marx, a socialist activist in her own right, a translator of Henrik Ibsen's The Wild Duck and Gustave Flaubert's Madame Bovary, and first seen in Miss Marx giving her father's eulogy in 1883, Eleanor Marx was many things — but she wasn't a fan of punk music. She simply couldn't have been, thanks to the gap between the timing of her life and the genre's arrival, with seven decades separating them. Still, that doesn't stop filmmaker Susanna Nicchiarelli (Nico, 1988) from soundtracking her biopic about the youngest Marx with rollicking punk tracks courtesy of current rockers by Downtown Boys, including a cover of Bruce Springsteen's 'Dancing in the Dark'. Such a decision is anachronistic in fact but not in spirit, Miss Marx contends, and it's a savvy observation. In much about her life — her willingness to break free of her father's and society's expectations, her anti-establishment activism, and her rejection of mainstream norms among them — Eleanor fits the tunes. If only Miss Marx moshed into cinemas with more than that smart idea layered over an otherwise by-the-numbers period drama — one that, despite its namesake's progressive quest for women's wrights, better working conditions for the masses and education across both genders, focuses on her ties to men, too. It boasts two particularly marvellous and playful scenes, one involving that punk soundtrack and an opium-fuelled dance by star Romola Garai (Suffragette) for the ages, the other toying with the dynamic between Eleanor and her paramour Edward Aveling (Patrick Kennedy, The Queen's Gambit), but a willingness to break the mould, thrash outside the lines and upset the status quo is rarely part of the movie. Eleanor's existence was defined by her dad since birth, of course. It was then linked to the already-married Edward when she decided to live with him as wife in all but the paperwork. But bringing her tale to the screen with such a focus feels not only much too straightforward, but also reductive. Miss Marx is available to stream via Google Play, YouTube Movies and Prime Video. Read our full review. WYRMWOOD: APOCALYPSE Add The Castle to the list of influences flavouring Australian zombie franchise Wyrmwood: here, as in the beloved homegrown comedy, it's the vibe of the thing. Starting with 2014's low-budget labour of love Wyrmwood: Road of the Dead and now continuing with Wyrmwood: Apocalypse, this bushland-set saga has atmosphere to spare. Free-flowing gore, a crash-and-bash urgency and a can-do attitude splatter across the screen in abundance, too. They're key factors in all movies about a dystopian future ravaged by the undead, but filmmaking siblings Kiah and Tristan Roache-Turner ask that mood and tone to do much of their series' heavy lifting. The Wyrmwood films blast away with affection for all of the zombie flicks that've preceded them, and all of the outback thrillers, Ozploitation fare and mad scientist-fuelled tales as well — and they couldn't be more blatant about it — but, even with that teeming passion and prominent energy, they still prove less than the sum of their evident sources of inspiration. Writer/director/editor Kiah and writer/producer Tristan stick with the most obvious protagonist the second time around: Rhys (Luke McKenzie, Wentworth), a special forces soldier who also happens to be the twin of a crucial figure from the prior film. He weathers dystopian life by holing up in a fenced-in compound where he uses a pen full of zombies to his advantage — aided by various contraptions, plenty of chains and shackles, plus blood-dripping carcasses as incentives — and by driving a Mad Max-style vehicle to round up undead test subjects for The Surgeon (Nicholas Boshier, The Moth Effect). In fact, after crossing paths with Tasia Zalar's (Streamline) Grace, he delivers her for military-approved experiments, but Shantae Barnes-Cowan's (Firebite) Maxi soon demands that he help set her free. Rhys has been operating under the assumption that The Surgeon and his armed pals had humanity's best interests in mind, despite all glaring appearances otherwise, a misguided belief that Maxi quickly vanquishes. Wyrmwood: Apocalypse is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. BOOK OF LOVE In 2018's The Nightingale, Sam Claflin gave the performance of his career so far while playing thoroughly against type. As a British lieutenant in colonial-era Tasmania, he terrorised the film's female protagonist to a nerve-rattlingly distressing degree — and his work, just like the phenomenal feature he's in, isn't easy to watch. Book of Love, his latest movie, couldn't be more different; however, Claflin's portrayal could use even a sliver of the commitment he demonstrated four years back. The film around him could, too. Here, he plays a floundering novelist who doesn't want to do a very long list of things, so it makes sense that he takes to the part with a dissatisfied attitude that drips with not only unhappiness, but pouting petulance. He's meant to be one of this dire rom-com's romantic leads, however, and he constantly looks like he'd rather be doing anything else. Author of The Sensible Heart, Claflin's Henry Copper is instantly as dour as his book sounds. It too is a romance, but he's proud of its sexlessness — to the point of boasting about it to bored would-be readers who definitely don't make a purchase afterwards. He's also seen using his novel as a pick-up line early in the movie, and that goes just as badly. In fact, his whole career seems to be a shambles, and the prim-and-proper Brit can't understand why. But he's also surprised when he's told that his latest has become a bestseller in Mexico, and he's hardly thrilled about the whirlwind promotional tour his brassy agent (Lucy Punch, The Prince) swiftly books him on. Upon arrival, where his local translator Maria Rodríguez (My Heart Goes Boom!) doubles as his minder, he's visibly displeased about everything he's asked to do — more so when he discovers that she's taken the liberty to spice up his work. Sparks somehow fly between them, otherwise there wouldn't be a movie, but nothing can ignite this cliched slog for audiences. Book of Love is available to stream via iTunes and Prime Video. Read our full review. Looking for more at-home viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows, or check out the movies that were fast-tracked to digital in January, February, March and April.
Australia's annual week-long celebration of the history, achievements and diverse culture of Aboriginal and Torres Strait Islander peoples is back this July. Running from July 7–14, this year's festivities are centred around the theme of 'Voice. Treaty. Truth.', coinciding with the United Nations International Year of Indigenous Languages. During the week, the city will be united with fairs, art shows, parties and performances showcasing Indigenous Australian culture and highlighting the strength, power and importance of its past, present and future. And many of them are free — from lunchtime screenings to public installations — so it's a great chance to enjoy our country's diverse culture without spending a cent. The celebration of Indigenous Australian and Torres Strait Islander culture isn't just restricted to this week, either. To continue learning about, and celebrating one of the oldest cultures on the planet, you can watch shows and documentaries on SBS's National Indigenous Television, join the conversation at Aboriginal-led website Common Ground and visit local Indigenous art centres.
Following up on its sold-out 2021 debut, Naturellement is ready for a comeback, taking over Galleria Ettalong Beach for two incredible days of top-notch drinking and dining. Guided by renowned drinks guru and P&V Merchants' owner Mike Bennie and Kristy Austin, the founder of creative experience agency We Are Neighbourgood, expect 120 artisan beverages alongside inventive cuisine and chef-led masterclasses. Running from Saturday, May 17–Sunday, May 18, Naturellement's lineup brings together some of the most exciting artisan, natural, organic and small-batch drinks producers from every corner of NSW. Plus, there's a huge range of local food purveyors getting involved too, with 30 operators hand-picked from the Central Coast and beyond. Think SABI-WABI, Majama Wines, Harkham, Ten Minutes by Tractor, Jilly Wine Co, Meredith by Mem and many more. As for the culinary program, it's just as epicurean. Acclaimed chefs and sustainability advocates like Alanna Sapwell-Stone (The Eltham Hotel) and Matt Stone (Ciao Mate, You Beauty) will showcase their cooking skills and impart their seemingly endless knowledge to the crowd. Meanwhile, Jake Kellie (Arkhe, Singapore's Burnt Ends) has made the trip up from Adelaide to show why he's considered the master of the flame. Ettalong Beach's historic Galleria makes for the perfect event space with its labyrinth of piazzas, laneways and eateries, decked out with decorative arches and marble statues. As you wine, dine and listen alongside some of the best in the business, DJs and live music will amp up the atmosphere and ensure the community vibes soar off the charts.
As the world stops to watch the World Cup, which kicked off a long haul of criminally early mornings today, it seems even those hundreds of miles beyond the Earth will be tuning in. NASA has released a video of astronauts based at the International Space Station bidding all World Cup competitors good luck, promising they will be watching the matches from space and throwing down some mad football skills. American astronauts Reid Wiseman, Steve Swanson and German astronaut Alexander Gerst filmed a short message for "all the teams and fans on the ground in Brazil." On tape, Gerst implores everyone participating in or attending the World Cup to have "peaceful games". All this, while laptops and their microphone float in zero gravity. After Wiseman wraps up the speech with, "Have fun, play hard, and we'll be watching on the International Space Station," Swanson executes a slow-motion flip and kicks a hovering ball midair. No biggie. What follows is perhaps the most spectacular video sequence ever taped in celebration of a World Cup: the three astronauts are shown playing soccer in their gravity-defying lodgings. They kick, dive and float in mid-air. The footage inspires the starry-eyed possibility of a what a World Cup in space could look like. Though the three astronauts — posted to work on Expedition 40 together — won't have the opportunity to watch the games live, NASA has promised to upload the matches for their viewing as soon as they are broadcast. Let's just hope there are no spoilers in space. Check out the video below: https://youtube.com/watch?v=sLwW3pdXkFo Via Fast Company and BBC.
Throttle Roll is an annual celebration of all things custom motorbike culture. And apparently when you're rocking around the clock, time speeds by pretty fast, because it's that time again. In the best rockabilly getup they can muster, bike enthusiasts will head to The Vic in Enmore on Saturday, May 10, for Throttle Roll. And with a family- and pet-friendly vibe, this event is firmly on the cuddlier side of motorbike culture. It'll be kicking off first thing on Saturday for the riders, who can meet at 8.30am along Princess Highway, Tempe for a ride south to Stanwell Tops and back in time for The Vic's festivities at noon. With roots and rockabilly music provided by Pat Capocci, The Drey Rollan Band, Papa Pilko & The Bin Rats, The Tequila Twins, Big Blind Ray Trio and a handful more — and with more than 70 bikes on display — Throttle Roll is the largest festival of its kind in the country. Sunday will see the Australian film premiere of Why We Ride and the latest from Stories of Bike from 7pm, while the bikes stay on display all weekend. A spit roast will keep everyone's engines running high over the two days.
Getting out of bed on a chilly morning is no mean feat (and getting to work is a whole other challenge), so Mary's VX wants to give you a helping hand. For one week only — from Monday, June 16–Sunday, June 22 — they're hosting an all-day breakfast pop-up. You'll be feasting on a bunch of OTT, winter-friendly eats, made in collaboration with Coffee Supreme and Grumpy's Donuts. Start with a loaded brekkie sanga or burger. Or, if you need a sweet hit to get you going, go for a hotcake stack packed with bacon, fried chicken and honeycomb butter. Then, grab a coffee and doughnut (both for just $5) to take with you. If you're one of the first 50 visitors each day, yours will be free. The coffee is Supreme's signature blend, and they're also doing a Coffee Supreme Crunch with coffee icing and mocha crumbs. On Saturday and Sunday, when commuters can take their time, there'll be weekend-only specials. These include cinnamon doughnut french toast with soft serve ice cream, alongside cereal-inspired milkshakes (think Coco Pops, Fruit Loops and Milo) or bottomless mimosas and bloody marys. Images: Tom Wilkinson
Beach. Music. Movies. Bar. Ice-cream. If any of these appeal to you, Ben & Jerry's Openair Cinema in Bondi will tick all of your boxes. Yup, it's an openair cinema, with live music, a bar, nibbles, games, and, of course, ice-cream. Just bring a picnic blanket (or book a beanbag) and settle in for the night. Opening night is a screening of Wes Anderson's Moonrise Kingdom, with tunes on the night by Jack Carty. Australia Day is all about Mad Max, beer, and lamb burgers, whereas Valentine's Day is the perfect night for a Pretty Woman, or you can make The Impossible happen for closing night. Every Sunday (or, in ice-cream land, Sundae) there's live music sessions, some kind of games on the lawn, goodie bags (who doesn’t love a goodie bag?), and movie screenings. And with proceeds from the Sundae Session launch going to Mission Australia, you don't need to feel guilty about eating all of that ice-cream. Oh, and did we mention there’s ice-cream?
Museums of History NSW has announced this year's annual art installation: Murmurations. Murmurations brings together the perspectives of First Nations peoples from Australia and the Pacific to explore the history of the UNESCO World Heritage-listed Hyde Park Barracks. The digital art installation was created by acclaimed First Nations artist Tony Albert and Sāmoan–Australian artist Angela Tiatia with Lille Madden, Alina Olivares-Panucci and Corin Ileto. It offers viewers an opportunity to engage with the history and culture of Australia and the wider Pacific region. Rich cultural narratives are woven into the work, delving into the complex history of Hyde Park Barracks and its significance in shaping our understanding of migration and identity. Experience this thought-provoking installation on view daily in the Hyde Park Barracks courtyard from 10am–5pm until Sunday, June 4, completely free of charge. In addition to the artwork, there is a specially curated program of talks, workshops and performances that deepen understanding of the artwork and site including the Community Cultural Festival on Sunday, 28 May — the full program can be found on the Museums of History NSW website. Throughout May until June 4, visitors can create their own love token — handmade coins crafted by convicts which they gave to their loved ones before they were transported to begin their sentence — and engage in First Nations weaving traditions at the Weaving a Connection to Culture drop-in weaving workshop. The Murmurations art installation is on view daily at the Hyde Park Barracks courtyard from 10am–5pm until Sunday, June 4. Entry is free. Image credit: 1. Murmurations (still) by Tony Albert and Angela Tiatia, with Lille Madden, Alina Olivares-Panucci and Corin Ileto, 2023. Commissioned by MHNSW. 2. Photo Joshua Morris for MHNSW.
When Sydney Film Festival arrives each June to fill the Harbour City's cinemas with the latest and greatest movies, it does so mere weeks after its prestigious counterpart in Cannes. That's always excellent news for local film lovers, with plenty of the French fest's flicks making their way swiftly Down Under. And, it can make an impact with the Sydney Film Prize — Bong Joon-ho's Parasite scored both the Palme d'Or and SFF's gong in 2019, Lukas Dhont's Close earned the Grand Prix at Cannes and then Sydney's top accolade in 2022, and now Asmae El Moudir's The Mother of All Lies has collected the Un Certain Regard Best Director award and SFF's shiny Sydney Film Festival Prize trophy. Sydney Film Festival's 2023 jury, which featured director Anurag Kashyap (Gangs of Wasseypur), actor Mia Wasikowska (Blueback), writer/director Larissa Behrendt (You Can Go Now), filmmaker Visakesa Chandrasekaram (Earth), and film curator and journalist Dorothee Wenner, picked El Moudir's documentary as the best movie in this year's Official Competition. The Sydney Film Festival Prize winner was announced at SFF's closing-night festivities, before the Australian premiere of Indiana Jones and the Dial of Destiny, with The Mother of All Lies emerging victorious for its inventive exploration of Morocco's 1981 Bread Riots using doll-like figures. "Commending the courage of choosing a theme perhaps wilfully obliterated from public memory, appreciating the storytelling methods of playful yet calculated visual narration, the jury hails the winning film of SFF which fictionalises the interplay between facts and memories," announced Kashyap and company in a joint statement. "Juxtaposing evidence from barely existent public materials with private family memory, this film reconstructs the history of the state, the family and the individual in three distinct levels." In winning the Sydney Film Prize, The Mother of All Lies joins not only Close and Parasite, but fellow past winners There Is No Evil (2021), The Heiresses (2018), On Body and Soul (2017), Aquarius (2016), Arabian Nights (2015), Two Days, One Night (2014), Only God Forgives (2013), Alps (2012), A Separation (2011), Heartbeats (2010), Bronson (2009) and Hunger (2008). It's also just one of this year's Sydney Film Festival award recipients, with the fest also handing out annual prizes for Australian documentaries, films focused on sustainability and shorts. Marungka Tjalatjunu (Dipped in Black) won the $20,000 Documentary Australia Foundation Award for Australian Documentary, with the 24-minute-long film following Yankunytjatjara artist Derik Lynch on a road trip back to Country, and adding the accolade to its Silver Bear Jury Prize (Short Film) and Teddy Award for best queer short film at this year's Berlinale. Documentary jury members Christoffer Guldbrandsen (A Storm Foretold), Sascha Ettinger Epstein (The Pink House) and Laurrie Brannigan-Onato praised the film for being "an incredibly evocative, precise and raw film" that's "exploratory and playful in its form" and "tests the line of fact and fiction, and in turn unearths something that sits at the root of the human experience". "The film has a highly accomplished and distinct aesthetic that allows for a powerful contemplation of culture, Country, identity and belonging. Derik Lynch is utterly mesmerising in the way he shares his life experiences, on his country, and in his Yankunytjara language. This is a film that is both deeply affecting and matter of fact in its approach, and although it is short in its duration, the film is so concisely exacted, it only leaves you wanting more," they continued. The documentary jury also gave Kindred, a feature doco about two Indigenous Australian friends who were both adopted into white families, an honourable mention. With SFF's third-ever $10,000 Sustainable Future Award, Against the Tide from Indian filmmaker Sarvnik Kaur did the honours, while the jury also called out Rachel's Farm and Power to Country. "Savnik Kaur's beautiful film Against the Tide is an audacious documentary that spans six years. A thoughtful, nuanced documentary in which the director has clearly earned the deep trust of the subjects as they navigate a rapidly changing world," said the jury featuring Amanda Maple-Brown (June Again), Steven McGregor (Looky Looky Here Comes Cooky) and War on Waste presenter Craig Reucassel. "We appreciated the dedicated undertaking of showing the difficulties of traditional fishing practices in these communities as they are overrun by more modern, unsustainable, and illegal fishing practices, all in an effort to feed their own families and look forward to future films by this director." And, in the Dendy Short Film Awards, The Dancing Girl and the Balloon Man won Best Australian Live Action, and nabbed star Robyn Liu the Rising Talent Award. Teacups earned the Yoram Gross Animation Award for Best Australian Animation, while Linda 4 Eva's Sophie Somerville received the Rouben Mamoulian Award for Best Director. Also, the AFTRS Craft Award for Best Practitioner went to Kalu Oji, Faro Musodza and Makwaya Masudi, the screenwriters of What's in a Name?. The 2023 Sydney Film Festival ran from Wednesday, June 7–Sunday, June 18, with the festival screening four days of encores until Thursday, June 22.
The party people at Frankie's are looking to add some rock 'n' roll to your after-work routine. The venue's popular TNT Trivia is back in action, running every Tuesday from October 6. True to form, this will not be your average weeknight trivia. Expect hard rock-themed questions, a live band and some seriously cool prizes to boot. Those prizes are courtesy of music companies BMG and Maric Media, who will be shouting rare collectibles for hard rock music fans. Those include the 50th anniversary box set of Black Sabbath's 1970 album Paranoid and the 40th anniversary deluxe collectors box set of Motorhead's 1980 album Ace Of Spades. Alongside the music prizes, Newtown's Young Henrys will be offering up heaps of free beer, gift boxes, brewery tours and beer tastings at its inner west bar. New prizes will be on the docket each week, with trivia on each and every Tuesday from 8pm. Images: Katje Ford
First, Airbnb wanted everyone to stay in other people's everyday homes. It still does. Then, it started adding once-in-a-lifetime spots, usually themed around a pop-culture favourite (think: Hobbiton and Barbie's Malibu DreamHouse). Lately, the accommodation booking platform has been going big on celebrity abodes as well, so that you can enjoy a starry getaway. The newest on its books: Ashton Kutcher and Mila Kunis' oceanside guesthouse in Santa Barbara County. Didn't score a night at Gwyneth Paltrow's Montecito spot? This is your next chance to live the life of a Hollywood actor, albeit just temporarily. There's one big difference this time around, however: the reservation is for this weekend, on Saturday, August 19, with bookings opening tomorrow, at 3am AEST / 5am NZST on Thursday, August 17. Accordingly, you and up to three friends will probably need to already be in the US right now, or by this weekend. With such tight timing, this isn't quite the kind of Airbnb once-off that you can plan a whole vacation around. But, if all of the above suits you and you manage to nab the reservation, you'll be slumbering in the Kutcher-Kunis guesthouse for free. The That '70s Show and That '90s Show stars will be there to greet you upon arrival, and get you joining in on some of their top activities. So, get ready to hit the shore, go for a hike, soak in the coast views, and head down to the nearby shops and restaurants. And, once evening hits, board games and charades are on the agenda. The beachhouse also features Santa Ynez mountains vistas — and your booking will include meals and snacks as well. As always, the usual caveat applies: if you do get the reservation, the cost of travelling to Santa Barbara and back again, including from Australia or New Zealand, is all on you. Airbnb adds this extremely short-term listing to its roster after also offering up the Ted Lasso pub, Japan's World Heritage-listed Suganuma Village, the Paris theatre that inspired The Phantom of the Opera, the Bluey house, the Moulin Rouge! windmill, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage in recent years. For more information about Ashton Kutcher and Mila Kunis' Oceanfront Oasis on Airbnb, or to book at 3am AEST on Thursday, August 17 for a stay on Saturday, August 19, head to the Airbnb website. Images: Katya Grozovskaya. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
For 13 years, Message Sticks has been bringing the best of Indigenous film to the Sydney Opera House. Now, buoyed by its successes — including premiering Warwick Thornton's much-lauded Samson and Delilah and winning Best Australian Film Festival at the IF Awards in 2009 — it's expanding to include an exciting array of music, talks, dance, storytelling and art. The fusion of contemporary arts practices gives festivalgoers a unique brush with Indigenous culture and traditions. Each day at dusk you can gather for Dancestry, which brings the ritual and communion of traditional corroboree into the present day with dance, song and ceremony. An Icons concert will unite the legendary Shane Howard, Neil Murray and Archie Roach on one stage, while Tri Nations brings together amazing female performers from three first nations, and Casey Donovan leads her band in a tribute to Mama Cass (from the Mamas and the Papas). On the talks front, you can see Gary Foley and Larissa Behrendt discuss the tent embassy, Margaret and David being Margaret and David as they talk about Indigenous cinema, and plenty more. But oh, the films. They're still there, grouped into two free blocks of weekend viewing, and with an emphasis on crosscultural stories of Indigenous plights. On Sunday, you can catch two features: Toomelah, Ivan Sen's story of mission life that made the grade at Cannes, and, out of Canada, Kanehsatake: 270 Years of Resistance, which shares the lessons of another Indigenous struggle, capturing a 78-day armed standoff between the Mohawks, the Quebec police and the Canadian army. On Saturday it's more an onslaught of shorts, including the likes of Nalingu (Yours and Mine), based on writer/director Billy McPherson's real experience picking up a hitchhiker with an eerie connection to his family, and The Russians Are Coming, the quirky story of how, for 10 days in 1820, a group of wayward Russian sailors and local Maoris became mates. The latest project from the Black Arm Band, dirtsong — a collaboration through music, language and image — will close the festival on Sunday, April 1. Image from Toomelah by Ivan Sen. https://youtube.com/watch?v=BNqJEsdZmJU
If you're a culture vulture that's looking to up the party at your next museum trip, listen up. Together with Vivid Sydney, the Australian Museum is answering your calls with Jurassic Lounge: Heroes. Once again, the Sydney venue's grand halls and hidden corners are being transformed into a stage set for thrilling live performances, disco dancing and after-dark antics. On Saturday, June 18, a stellar lineup of DJs, drag queens, dancers and dinosaurs await. Partygoers can boogie down to Soul of Sydney DJs or get their groove on with Sydney drag royalty at a silent disco. There'll be drop-in art classes with scientific illustrator Celia Curtis (where you'll get the chance to artistically discover nocturnal beasts) and the opportunity to get gory at the autopsy of a T-rex (from the talents at Improv Theatre Sydney). Gramophone Man will be joining his unique musicalities with The Space Cowboy's Mutant Barnyard (which is, yes, a curious collection of taxidermy animals including a two-headed calf) and critters from Deep Sea Astronauts will be roving the museum's halls. [caption id="attachment_856643" align="alignnone" width="1920"] Diabolique Photography[/caption] All that the Australian Museum asks is that you dress up as your hero. Whether that means your don a cape or a lab coat, grab Ash Barty's racket or a health worker's scrubs — pay tribute to the champion in your eyes and get yourself ready for a night of out-there excitement. Sip a cocktail mixed by the gin-lords at Archie Rose and enjoy entry to all permanent collections, too — the museum will be all yours for after-hours wandering. With face-painting, sideshows and the people-pleasing Jurassic World by Brickman, it's gearing up to be the party of the season. Still have a Discover NSW voucher handy? Head to the museum in person to redeem and grab your (free) ticket — then get ready to party on the Government's dime. Jurassic Lounge: Heroes will take place from 6.30–10pm on Saturday, June 18. For more information and to book tickets, head to the website. Please note, it's an 18+ event and all weapons (real or fake) are strictly prohibited. Top images: Sarah Wilson (first); Diabolique Photography
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. HOUSE OF GUCCI For the second time in as many movies, Lady Gaga is caught in a bad romance in House of Gucci. Yes, she's already sung the song to match. The pop diva doesn't belt out ballads or croon upbeat tunes in this true-crime drama, unlike in her Oscar-nominated role in A Star Is Born, but she does shimmy into a tale about love and revenge, horror and design, and wanting someone's everything as long as it's free. Eschewing the earthy naturalism of her last film performance and tapping into her famed on-stage theatricality instead, she's perfect for the part of Patrizia Reggiani, aka Lady Gucci, aka the daughter of a trucking entrepreneur who wed into one of the world's most prestigious fashion families, helped unstitch its hold on its couture empire, then went to prison for murder. She's exceptional because she goes big and lavish, and because she knows that's the type of feature she's meant to be in: a soapy spectacle about money and power that uses its depiction of excess as an interrogation technique. Complimenting Gaga for nailing the brief — for acing it so dazzlingly that she's sauntering down her own catwalk as most of her co-stars virtually watch from the floor — gives House of Gucci a tad too much credit, though. Ridley Scott's second film in mere months following The Last Duel, and his third in a row to examine wealth and influence after 2017's All the Money in the World, this fashion-world saga skews large, lush and luxe with each choice, too, but doesn't land every sashay with quite the outsized lustre of its crown jewel. If House of Gucci's veteran director was picking an outfit instead, he would've chosen a killer gown, then wavered on the accessories. Some of his other decisions gleam, as seen in the movie's knowingly maximalist and melodramatic air. Others prove fine, like its jukebox-style soundtrack of 70s and 80s bangers. A few moves are so cartoonish — Jared Leto's ridiculousness, and the Super Mario-style accents sported by almost everyone on-screen — that they play like cheap knockoffs. The story itself is a standout, however, as adapted from Sara Gay Forden's 2001 book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed. When Patrizia meets law student Maurizio Gucci (Adam Driver, Annette) at a 70s-era party, mistakes him for a bartender, then realises who he is, it sparks a rollercoaster of a relationship — starting with Maurizio being disinherited by his father Rodolfo (Jeremy Irons, Love, Weddings and Other Disasters) for their marriage. Still, the newest Gucci knows what she wants: a place in the family's dynasty. She isn't the lone cause of the Guccis' unfolding, thanks to Rodolfo's brother Aldo (Al Pacino, Hunters), his penchant for watering down the brand and tax evasion, and his wannabe-designer son Paolo (Leto, The Little Things), but she's the Lady Macbeth pushing Maurizio to seize the company by any means. And, because the reason that House of Gucci even exists was written in news headlines over a quarter-century ago, she's behind Maurizio's killing in 1995. "I don't consider myself a particularly ethical person, but I'm fair," Patrizia offers partway into the movie, a moral code that still sees her order his hit after their divorce — helped by a TV psychic-turned-pal (Salma Hayek, Eternals), because that's the kind of tale this is. Interviewed in 2016, Patrizia called herself "the most Gucci of them all", an idea that Scott and his screenwriters Becky Johnston (Arthur Newman) and Roberto Bentivegna (short El otro lado) don't ever give Italian-lilted voice to, but still use as their basic pattern. In the sartorial realm, Gucci might stand for high-end indulgence, but House of Gucci sees both the allure and the cost of the brand reflected in Patrizia's status-hungry actions. Read our full review. GHOSTBUSTERS: AFTERLIFE Spraying reboots, remakes, sequels and prequels across cinema screens like a spirit supposedly sprays ectoplasm — gushing reimaginings, spinoffs and seemingly never-ending franchises, too — Hollywood ain't afraid of no ghosts. It loves them in horror movies, obviously, but it adores the spectre of popular intellectual property even more. These phantoms of hits gone by can be resurrected again and again, all to make a profit. They haunt both cinemas and box-office blockbuster lists, making film-goers and the industry itself constantly feel like they're being spooked by the past. With 14 of Australia's 15 top cash-earning flicks of 2021 all falling into the been-there-done-that category in one way or another, looking backwards in the name of apparently going forwards is now mainstream filmmaking 101, and the big end of town rarely likes bustin' a money-making formula. After more than a few pandemic delays, that's the world that Ghostbusters: Afterlife floats into — a world that's made worshipping previous glories one of the biggest cash-spinners show business could've ever dreamed up. The fourth feature to bear the Ghostbusters name, but a new legacy sequel to the original 1984 film, this reanimated franchise entry certainly sports a fitting subtitle; treating its source material like it's nirvana is firmly filmmaker Jason Reitman's approach. To him, it might've been. Although he established his career with indie comedies such as Thank You for Smoking and Juno, he's the son of director Ivan Reitman, who helmed the OG Ghostbusters and its 1989 follow-up Ghostbusters II. To plenty of fans, those two initial comedy-horror flicks were something special as well; however, acknowledging that fact — and trying to recreate the feeling of being a kid or teen watching the first Ghostbusters nearly four decades ago — isn't enough to fuel a new film. To be fair, the younger Reitman isn't particularly interested in making a new movie; Be Kind Rewind's "sweded" Ghostbusters clips are more original than Ghostbusters: Afterlife. Instead, he directs a homage that sprinkles in links to its predecessor so heartily that it's probably easier to name the scenes and details that don't scream "hey, this is Ghostbusters!" as loudly as possible. And, even when Reitman and co-screenwriter Gil Kenan (Poltergeist) appear to shake things up ever so slightly, it all still ties back to that kid-in-the-80s sensation. Sure, Ghostbusters: Afterlife's protagonists aren't adult New Yorkers, but they're small-town adolescents who might as well have ambled out of one of the era's other hot properties: Steven Spielberg-helmed or -produced coming-of-age adventure-comedies about life-changing, Americana-dripping, personality-shaping escapades. Phoebe (Mckenna Grace, Malignant) is one such child, and a new inhabitant of the cringingly titled Summerville, Oklahoma at that. With her mother Callie (Carrie Coon, The Nest) and brother Trevor (Finn Wolfhard, The Goldfinch), she's made the move because the granddad she never knew just passed away, leaving a dilapidated rural property to his estranged family. The townsfolk speak his nickname, "dirt farmer", with mocking and intrigue, but his actual moniker — and all that equipment he's left behind — brings big changes Phoebe's way. While being Dr Egon Spengler's granddaughter doesn't initially mean too much to her, other than giving her love for science a genetic basis, she's soon segueing from testing out ghost traps with local teacher Mr Grooberson (Paul Rudd, The Shrink Next Door) to cracking Egon's secret efforts to stop a world-shattering supernatural event. Read our full review. NEVER GONNA SNOW AGAIN Start how you mean to go on is common-sense filmmaking advice. It's the medium's obvious first step, but it's also an elusive achievement. And, it's a feat that's usually only evident in hindsight — when a viewer can see if a stellar introduction really did signal just as sublime things to come, or vice versa. Never Gonna Snow Again perfects the concept, however. In its arresting opening moments, a man walks out of a forest and into a gated community in eastern Poland, and everything about the scene ripples with moody intrigue. The grey fog infusing the film's setting, the enigmatic look on the mysterious protagonist's face, the feeling that anything and everything could happen: filmmakers Malgorzata Szumowska (Mug) and Michal Englert (also the movie's cinematographer) deliver it all at the outset, and then back it up over their feature's 116 minutes. In Never Gonna Snow Again's initial images, that inscrutable man is Ukrainian masseur Zhenia (Alec Utgoff, Stranger Things), who walks out of a forest and into a gated community in eastern Poland. His destination is lined with lavish identical houses — the kind that the song 'Little Boxes' has satirised for almost six decades now — but he's about to be its most extraordinary visitor. His hands can help knead away physical troubles, a must for everyone with his profession. But as he works his physical magic, his touch can soothe minds as well. Trundling his massage table from well-appointed home to well-appointed home, he quickly builds up a devoted client list of well-to-do residents desperate for his help. He steps into their worlds, spying their outward gloss — the similar wreaths on each door, the doorbells chiming with snippets of classic music — and palpating away their inner pain. As that glorious opening scene establishes almost-unnervingly well, there's a surreal, seductive and otherworldly atmosphere to Never Gonna Snow Again, which Szumowska and Englert let float through their frames like a lingering breeze. There's also a devastatingly savvy interrogation of the type of rich lives that pine for Zhenia's involvement, including their complete obliviousness to him as anything more than a salve for their ennui. Much festers in the feature's McMansions. As it contemplates the everyday malaise that dulls wealth's superficial glow, as well as the vast chasm between gleaming exteriors and empty insides, much haunts Never Gonna Snow Again, in fact. Thematically, it wades into familiar territory — at a time when Succession and The White Lotus are the best shows on TV, and Parasite won the Best Picture Oscar just a year ago, it's probably easier to name movies and TV shows that don't shred the rich to pieces — but it stands out like a pink-hued home in an estate plastered with white and grey. Plenty dazzles in Never Gonna Snow Again, too, including Szumowska and Englert's confident handling, which knits together magical realism and razor-sharp observations about class — and about modern life's rubbish in general as well — with canny precision. Indeed, the movie could've easily crumbled in other hands, and likely will if anyone ever erroneously decides it needs an English-language remake. Perhaps the filmmaking duo's smartest decision is also their most visible, however, because Utgoff's performance is just that magnetic. He's the presence that all those well-to-do clients warm to, lean on and rely upon, and the source of comfort so reliable and cosy that they aren't ever challenged to shatter their bubbles to think about him as a person rather than a set of helping hands — but he has Never Gonna Snow Again's audience constantly pondering and questioning. CLIFFORD THE BIG RED DOG Nostalgia might be one of pop culture's most-called-upon forces — see also: Ghostbusters: Afterlife — but it can't turn every childhood favourite that reaches cinemas into a winner. Leaping from the pages of Norman Bridwell's illustrated books, the new live-action Clifford the Big Red Dog film is a huge generic slog, shoehorning its oversized, crimson-hued hound into a jumble of routine scenarios that are about as rare as wayward dog faeces in a public park. The giant scarlet woofer gallops into a by-the-numbers, family-friendly action-adventure flick that's a missive against judging things by their appearances, a cautionary tale about bullying and a takedown of nefarious corporate interests. Ron's Gone Wrong barked up all the same trees recently and, while it was hardly an instant classic, it runs circles around this. The point of Clifford the Big Red Dog, no matter what the narrative spins, is right there in the title: it's a story about an abnormally large, unusually ruby-coloured canine, and that's what people want to see. Despite 80 books to the character's name, it's a one-note idea that screenwriters Blaise Hemingway (Vampires vs the Bronx), Jay Scherick and David Ronn (Baywatch) — working with a screen story by Justin Malen (Yes Day) and Ellen Rapoport (Desperados) — unsurprisingly set about fleshing out, but also often sideline their eponymous mutt in the process. Clifford's hijinks couldn't sustain an entire feature, but he's really just a big red sidekick for the bulk of the film. He's an enormous cherry-toned sign for accepting things that are different, too, a well-intentioned message that couldn't be more glaring given that a big red dog yaps the very concept. Clifford isn't originally a giant pet when Emily Elizabeth Howard (Darby Camp, Dreamland) first makes his acquaintance in a Central Park animal-rescue tent run by the mysterious Bridwell (John Cleese, The Very Excellent Mr Dundee). He's definitely the same shade as a tomato, though, and his bond with Emily is instant — even if her mess of an uncle, Casey (Jack Whitehall, Jungle Cruise), says she can't take him home. And yet, this little critter still finds his way into his new pal's backpack. The next morning, he's also no longer a tiny pup. Plus, when he starts attracting attention around New York, he's targeted by a tech billionaire (Tony Hale, Being the Ricardos) who wants him for scientific purposes — but the already-teased Emily, who is taunted at her private school for being there on a scholarship, won't let anyone either take or victimise Clifford for standing out. The look and mood in Clifford the Big Red Dog is sunny with a side of saccharine, and it has John Debney's (Home Sweet Home Alone) relentlessly cheery score to match. With the movie's namesake blazing away in every frame he's in — not due to his hue or size, but via the terrible CGI bringing him to digital life — director Walt Becker (Alvin and the Chipmunks: The Road Chip) was never going to helm a subtle film, but everything here is exactly as nuanced as a towering vermillion puppy. The result isn't quite as doggone awful as pooch-driven buddy cop flick Show Dogs, although that's an extremely low bar. It's never as goofy as it should be, however, and it really should sport all the goofiness it can dig up (smatterings of toilet humour don't count). Clifford the Big Red Dog can also only wish it was as visually creative and emotionally endearing as the recent page-to-screen all-ages movie standard: the Paddington films, which keep being pushed into a menagerie of their own by every pale imitation. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; and December 2, December 9, December 16 and December 26. You can also read our full reviews of a heap of recent movies, such as Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter, The Lost Leonardo, The French Dispatch, Don't Look Up, Dear Evan Hansen, Spider-Man: No Way Home, The Lost Daughter, The Scary of Sixty-First, West Side Story, Licorice Pizza, The Matrix Resurrections, The Tragedy of Macbeth and The Worst Person in the World.
New financial year, new excuse to book a holiday? It's as good a reason as any. It isn't just airlines that want us to be making getaway plans all of the time — we all want to be in that camp, too, because who doesn't constantly want to be thinking about, preparing for and locking in vacations? Via Virgin Australia, here comes your latest chance to give your suitcases a workout. The Aussie carrier is beginning July 2024 with a week-long sale that's starting prices cheap — at $49 — and slinging over one million fares. This round of specials covers both domestic and international trips, so you're covered whether you want to hit up Tokyo, Bali, Fiji, Vanuatu or Queenstown, or also Hamilton Island, Byron Bay, Cairns, Hobart, Darwin, the Gold Coast, the Sunshine Coast and more. By now, everyone knows that the Sydney–Byron Bay route always has the lowest cost, which is $49 one-way this time around. From there, other discounts include Melbourne–Launceston from $59, Sydney to either the Sunshine or Gold coasts from $69, Melbourne–Hobart from $75, Brisbane–Proserpine (aka The Whitsundays) from $75, Melbourne–Adelaide from $79, Sydney–Hamilton Island from $115, either Melbourne or Brisbane to Uluru from $119, and Sydney–Perth from $215. For those eager to travel further afield, cheap international flights span a heap of return legs, such as Melbourne–Queenstown from $405, Gold Coast–Denpasar from $449, Sydney–Nadi from $499, Brisbane–Port Vila from $565, Brisbane–Apia from $609 and Cairns–Haneda from $679. This sale kicks off on Monday, July 1, running until midnight AEST on Monday, July 8 unless sold out earlier. And the cheap fares, which cover both directions between each point in the discounted route, start with Virgin's Economy Lite option. If you're wondering when you'll need to travel, these deals cover periods between Tuesday, July 30, 2024–Tuesday, June 3, 2025, with all dates varying per route. Inclusions also differ depending on your ticket and, as usual when it comes to flight sales, you'll need to get in quick if you're keen to spend some, part or even most of the next year anywhere but home. Virgin's 'I can't go without a holiday this year' sale runs until midnight AEST on Monday, July 8, 2024 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Maybe you loved her on Saturday Night Live. Perhaps you adore Parks and Recreation like it's a member of your family. Or, you could've watched and rewatched Baby Mama and Sisters over and over again — or binged your way through Making It, her competitive crafting show. However you became an Amy Poehler fan, 2021 is shaping up to be a great year. The talented comedian and actor is co-hosting the Golden Globes again with Tina Fey, Parks and Recreation has just hit Netflix and, come early March, Poehler's latest movie will also make its way to the streaming platform. That flick is called Moxie, and it both co-stars Poehler and marks her second stint as a feature filmmaker. It also heads back to high school — because popping up in Mean Girls, which Tina Fey wrote the screenplay for, clearly wasn't enough of a blast from the past. Poehler obviously isn't packing her school bag. Instead, she plays the mother to a teenager, Vivian (Hadley Robinson, I'm Thinking of Ending Things). The 16-year-old has always been quiet and studious, and tried to to avoid attracting any unwanted attention from her classmates. But, after finally realising that she's had enough of the toxic behaviour that runs rampant at her school, she takes a few cues from her mum's past, starts an underground zine and starts fighting for change. From the just-dropped first trailer, Moxie slides easily into the high-school genre; however, it also gives it a riot grrrl spin. Plus, as well as Poehler and Robinson, the film's cast includes Alycia Pascual-Peña (Saved By the Bell), Lauren Tsai (Legion), Patrick Schwarzenegger (Daniel Isn't Real), Josephine Langford (After We Collided), Clark Gregg (Agents of SHIELD), Ike Barinholtz (The Hunt) and Marcia Gay Harden (The Morning Show) — and it's based on the he novel by Jennifer Mathieu. Check out the trailer below: https://www.youtube.com/watch?v=Sf34qI1hjKU Moxie will be available to stream via Netflix from Wednesday, March 3. Top image: Colleen Hayes/Netflix © 2020
Over the past year or so, many Australians have been working from home either during lockdowns or in general, which means many of us are have been leaning on our bar carts a little more than usual. This has lead to a level of experimentation — whether that's ordering in cocktails, trying our hand at making our own fancy drinks or getting some fun wines delivered. Another way you can get creative: by ordering a bottle of Unico Zelo's yuzu vermouth. The tasty child of Adelaide Hills winery Unico Zelo and sister distillery Applewood, this third batch of untraditional (but ever-so-tasty) vermouth is made from a combination of Adelaide Hills merlot grapes, some native Australian botanicals (usually used to make Applewood's Okar bitter amaro) and yuzu from Mountain Yuzu — a 20-acre farm located in northeast Victoria, on the foothills of the Australian Alps. As you can see, its an all-Australian affair — unlike a lot of traditional vermouths, which are made in Italy and France. Eco-minded founders and winemakers Laura and Brendan Carter are committed to using native botanicals and sustainably produced grapes in their entire range of wines and spirits, aiming to create products that truly taste Aussie as. View this post on Instagram A post shared by Unico Zelo | Australian Wine (@unicozelo) As it's not a traditional sweet vermouth — it's really quite far from it — we forgive you for not knowing exactly how to drink it. But, thankfully, we've done some testing for you. On the rocks? Yep. Instead of sweet vermouth in a negroni? Do it. With a splash of soda? Definitely. If you want something a little fancier, the Unico team has a couple of cocktail suggestions for you. Try your hand at the Natty-Cano, a spin on an americano, but with pét-nat instead of soda water. To make it, mix 45-millilitres of Unico Yuzu, 15-millilitres of Økar Island Bitter (or Campari) and 120-millilitres of pét-nat in a highball glass and garnish with an orange twist. All of Unico's limited releases only available in very small batches, so if you want it, don't wait on it. Unico's Yuzu Vermouth is now available to purchase via the brand's website for $35 per bottle.
Before the pandemic, it was one of the annual highlights of Sydney's art calendar. If you don't live in the Harbour City, it has long been reason enough to book in a weekend spent walking around Bondi. And, in 2022, for the first time since 2019 — for obvious reasons — super-popular free outdoor exhibition Sculpture by the Sea is finally making a comeback. The dates to lock into your calendar: Friday, October 21–Monday, November 7. That's when Sculpture by the Sea will unveil more than 100 large-scale artworks by Australian and international sculptors, all along Sydney's two-kilometre Bondi to Tamarama coastal walk. While the full lineup of artists hasn't been revealed for 2022's event as yet, keen Sculpture by the Sea attendees can start looking forward to the return of a few exhibition favourites. On the lineup: Marina DeBris and Stephen King, recipients of the Helen Lempriere Scholarship; and Danish artist Naja Utzon Popov, the first person to nab the new $15,000 Friendship Society of Denmark, Australia and New Zealand Danish Artist Award. [caption id="attachment_860366" align="alignnone" width="1920"] Katja Grinling[/caption] 2022 will mark the exhibition's 24th year and, as always, it's set to draw a crowd. In 2019, Sculpture by the Sea attracted approximately 450,000 visitors over three weeks, with the same number of art lovers expected this time around. "It is great to be planning to stage the exhibition without the spectre of almost certain cancellation hanging over our heads," said David Handley, Sculpture by the Sea's founding CEO and Artistic Director. "The excitement is building as the artists, our staff and everyone who supports us financially believe the exhibition will go ahead." Indeed, the event's return won't just unleash a heap of eye-catching sights upon Sydney, and give locals and tourists alike an excuse to soak in the scenery as well — it'll cap off an understandably tumultuous few years for the exhibition. Sculpture by the Sea tried to make a comeback in October 2021, but had to scrap those plans due to the pandemic, marking the second year it went through that process. In 2020, the event initially planned to go ahead as normal in October, then aimed for an early 2021 berth. It did successfully stage a CBD spinoff, Sculpture Rocks, in autumn 2021, however. [caption id="attachment_860364" align="alignnone" width="1920"] David Jensz[/caption] That said, even before the current global health situation interrupted its annual plans, it had been already been an eventful period for Sculpture by the Sea. To rewind a little, in mid-2019, organisers were at loggerheads with the Council over the construction of a new path, and were scoping out alternative locations for the long-running art exhibition. In fact, it was only early in 2021 that the parties came to an agreement to remain in Bondi until 2030, with the organisers and Council agreeing to a ten-year deal. Amid all of the above, the Sculpture by the Sea team also branched out this year, opening the Snowy Valleys Sculpture Trail. It's a permanent 100-kilometre collection of outdoor art along the Snowy Valleys Way, passing through the towns of Adelong, Batlow and Tumbarumba, the hamlet of Tooma, plus the Tumbarumba wine region's cellar doors. So, as well as checking out what dazzling delights this year's array of sculptures in Bondi has to offer come spring, you can add even more huge art to your must-see list — and your travel list, too — in the Snowies whenever you like. [caption id="attachment_860363" align="alignnone" width="1920"] Danai Kotsaki[/caption] Sculpture by the Sea is will return to the Bondi–Tamarama coastal walk from Friday, October 21–Monday, November 7. For more information, head to sculpturebythesea.com. Images: Henrique Fanti / Clyde Yee / Charlotte Curd.
It's that time of year again — the City of Sydney is putting 1000 trees up for grabs. For free. Over 12,000 trees have been planted since 2005, with the inner city area home to over 44,000 trees across its streets, parks and city properties. The City of Sydney is inviting locals down to Sydney Park this Saturday, April 7 as a way to encourage residents to help reach the government target to increase the urban canopy by 50 percent by 2030. There will be small species like hibiscus right through to 15-metre-tall jacaranda trees, and food-bearing types like lemon, lime and pistachio trees. Enjoy a sausage sizzle while you peruse the freebies, chat to clued-up staff and choose which ones to adopt. To prep, check out the website for the tree species that will be available on the day, along with caring instructions. If you're an inner city slicker and don't have a backyard, no wukkas — balcony horticulturists can use this tip sheet for growing trees in pots.
Embracing the supposedly most romantic day of the year doesn't have to mean breaking the bank. To the delight of budget-conscious paramours everywhere, it truly is the thought that counts on Valentine's Day. But you can want to woo your boo with your loving gestures and still be keen to give them roses — and a bottle of rosé for you to share together — without being horrified at how much you've spent, especially in these inflation-heavy times. Enter ALDI, favourite of discount lovers not just Australia-wide but overseas, and the source of quite the Valentine's Day bargain. To mark the rose-filled occasion in 2023, the supermarket chain is doing a dozen roses for $25 today, Tuesday, February 14 itself, in case you've left everything to the last minute. Say cheers to those blooms and your significant other with a bottle of $4.99 South Point Estate rosé to go with it — but only if you don't live in Queensland or South Australia, because ALDI's supermarkets in those states don't sell alcohol. Fancy just a single rose? That'll cost you $8, and the chain is also doing other seasonal bouquets for various prices. Who said scoring a bargain at ALDI wasn't romantic? No one. ALDI's Valentine's Day special is available at the chain's stores, with a dozen roses for $25 on offer Australia-wide, and a dozen roses with a bottle of rosé on offer everywhere except Queensland and South Australia.
Instagram, the photo-sharing iPhone app, has allowed users to export their Instagram photos to other social networking sites from the start. Until now, however, users weren't able to import photos to Instagram. Thanks to a new partnership with Hipstamatic, all that has changed. The two iPhone photo apps are pairing up to allow photos taken on either app to easily upload to Instagram's network. Both Instagram and Hipstamatic seek to marry the romance of old-fashioned photography with the iPhone camera. Instagram enables users to snap a photo on their iPhone and to transform the look and feel of it with their choice of filter. The edited photo may then be uploaded to the Instagram site, as well as to Facebook, Twitter and Tumblr, all for free. Last week, Instagram reached 27 million users, making it one of the most popular photo-sharing services, as well as one of the fastest-growing social networks. In a similar vein, Hipstamatic allows users to choose the lens, flash, and film they want to use to take their photo, creating an old-fashioned image. The initial app costs $1.99 in Apple's app store, and additional lenses and films are available for in-app purchase. "When we launched, it was all about Facebook and Flickr and Twitter, and now we're seeing a huge shift in our user base toward Instagram," Hipstamatic co-founder and CEO, Lucas Buick, told Fast Company. "We've never been a social networking company, but we clearly benefit from social networks. So this will be the first app outside of Instagram that lets you into their network. That's pretty cool for us." Each Hipstamatic photo pushed into Instagram will be tagged with an attribution to Hipstamatic. "It's a step in the direction that we're testing out," says Instagram CEO and cofounder Kevin Systrom. "We've been very careful about making sure that Instagram photos are about what's happening right now in your life, and we want to allow for more of those photos to end up on Instagram regardless of where they're taken." The partnership is set to be unveiled today, so get to snapping photos happy hipsters. [via Fast Company]
For over two decades, The Malaya has kept customers happy with abundant Malaysian, Nonya and Indonesian cuisine on Darling Harbour. However, the time has come to explore the restaurant's next chapter, with a relaunch at Grosvenor Place in the CBD on the cards for April. Though long-time fans will undoubtedly be sad, there's still plenty of time to say goodbye to the King Street Wharf dining room, with the final service being held on Saturday, March 29. While the decision to move was not made lightly, The Malaya's new residence offers the chance to expand its service. Featuring two levels with space for 180 guests, third-generation stewards Duan and Isabella Wong assure guests the same bold flavours and welcoming experience await in the new setting. Yet there are some new additions, with tasty live seafood options and an elevated wine and beverage program complementing the kitchen's renowned food. Meanwhile, the larger restaurant also allows for two semi-private dining spaces, seating up to 30 and 50 guests. Whether you're hosting an intimate birthday celebration or need a delicious spot for a corporate event, an inviting design produced in collaboration with boutique firm Anouk & Co carefully balances modern elegance with a familiar warmth that the restaurant's most loyal diners will instantly recognise. The Malaya's history stretches much further back than its Darling Harbour location. Founded by Wong Tai See in 1963, the merchant seaman originally opened the restaurant on George Street in the CBD, bringing spicy cuisine to a largely unfamiliar crowd at the time. Over the years, the joint has become a go-to destination for Southeast Asian dining in Sydney, with over eight million customers wandering through its doors. "We've loved our time at King Street Wharf," says Duan Wong. "But moving to the heart of the CBD allows us to better serve our guests and reconnect with a more dynamic dining neighbourhood. We might be leaving the water views behind, but we're gaining something just as special – two levels of dining and an outdoor terrace with a rooftop feel that brings a whole new energy to the venue." Just the latest move in the venue's long and winding history, The Malaya is bound for a bright future in Grosvenor Place, back on the same street where the restaurant's story began. Reflecting the family's fascinating place in Sydney's culinary history, cherished favourites like laksa, beef rendang, Szechuan eggplant and otak-otak aren't going anywhere. Plus, some of the design details are set to remain too, with the same Finnish doors making the trip to the new restaurant. The Malaya will reopen at Grosvenor Place, 225 George Street, Sydney in April. Head to the website for more information. Images: Jacs Powell / Jason Loucas.
Chances are you've got a newfound appreciation for your living space after the past two years — and a renewed drive to make it a stylish oasis you actually love spending time in. If that's your mission, who better than the experts to help guide you towards style success? In partnership with Samsung, we're exploring achievable ways for you to incorporate design-forward items into your living space. So, we sat down for a special chat with Design By Them founders Sarah Gibson and Nicholas Karlovasitis, who shared their top tips for using furniture to elevate your living space. The industrial designer duo launched their Sydney-based design house back in 2007, creating a celebrated furniture, accessories and lighting brand built on a timeless aesthetic and a flair for collaboration. Steered by an ever-growing ensemble of Aussie design talent, Design By Them has crafted a collection of over 120 bespoke products to date, with numerous awards and exhibitions under its belt, including a show at Milan Design Week 2019. Here, Gibson and Karlovasitis impart a little of their design wisdom to help you create an enviable living space with minimal effort. [caption id="attachment_833654" align="alignnone" width="1920"] Nicholas Karlovasitis by Paul Liddle[/caption] BEGIN WITH INSPIRATION For these designers, inspiration is sourced from far and wide, and favours eras past instead of contemporary trends. "I love design history and seeing how design has evolved over time, incrementally changed and improved with manufacturing and technology," Karlovasitis tells Concrete Playground. "I like [looking at] how movements form and how they embrace certain ideologies, as opposed to any single designer or brand." Gibson is another believer in looking to the past for inspiration; whether that involves browsing mid-century modern stores to rediscover old-school joinery techniques or scoping out some local architectural goodness. "I'm a little obsessed with Australian architecture and interiors," she explains. "I love a long walk admiring the built environment." [caption id="attachment_833684" align="alignnone" width="1920"] Paul Liddle[/caption] MISTAKES TO AVOID Before you jet off on a furniture-buying binge, the pair has a couple of big no-nos. Buying for the now, rather than for the future, is a common one Gibson encourages avoiding. "Having an eclectic interior means that you can collect pieces over time that will always go [together], rather than needing to redo your interior every five to ten years," she says. "You wouldn't replace your art and nor should you have to replace your furniture." And to create a space that's authentically yours, you're best to avoid simply copying those interiors you've been lusting after on Instagram. "I think your home and your possessions should be personal and reflect who you are," says Karlovasitis. "A lot of people try to recreate an interior they see without making it theirs. Spaces should feel personal." If you're a styling novice and need to build up confidence in your choices, Karlovasitis recommends investing in items that are easy to work with and around — this goes for both furniture and tech. Take, for example, Samsung's The Serif TV, which he owns and says "feels more like a considered piece of premium furniture". The TV was designed by Ronan and Erwan Bouroullec and has a chic design with an 'I'-shaped profile and easel legs. "It is flexible and complements an interior rather than looking like an afterthought or compromise," he explains. THE BEAUTY OF BUYING BESPOKE When it comes to selecting pieces for your space that will last the distance and serve you well for years to come, the pair say bespoke furniture is the way to go. "A lot of bespoke furniture is made from materials that can be refinished and wear better. This is important if you want to keep your furniture long-term," Gibson acknowledges. If you're willing to part with a little more money on these kinds of pieces, Karlovasitis says it'll be well worth your while. "You do not only pay for the manufacturing and materials that go into a piece of furniture but also the design and knowledge," he explains. "By investing in good design you reward brands that produce considered and better products." [caption id="attachment_833653" align="alignnone" width="1920"] Paul Liddle[/caption] STYLING ON A BUDGET The designer duo also has a few handy focus points that'll save you money in the long run if you're after bang for your buck. "Invest in things that will last, so when you look at the cost of the item over the life of the product it isn't very expensive at all," Karlovasitis offers, recommending people steer clear of trends. "I always think that anything you buy should have looked good thirty years ago, as well as today and in 30 years' time." For Gibson, a good lounge and good dining table top the list of pieces worth investing in. "Dining chairs can be expensive but you use them every day. If you don't have the budget for six chairs, you might build your collection slowly or go for an eclectic look with every chair being different," she explains. And for the rest, minimalism is best. "You don't need a TV cabinet these days, you can fix things to the wall or invest in a nice stand. Hooks are also handy and a cheap way of storing things where spaces are small." [caption id="attachment_833659" align="alignnone" width="1920"] Paul Liddle[/caption] RULES TO STYLE BY Finally, when it comes to rules, there are no rules. "You just have to work out your balance of minimalism and character and work towards what you like," says Gibson. "Nick and I often think like this when designing; for us, the balance of minimalism and character is somewhere in the middle. For someone else, it might shift towards the right or left. Everyone is different." Karlovasitis backs this, saying: "You can set your own rules if you want to but don't let styles or trends dictate your choices." As for the rules you can straight up ignore? "Having a strict colour palette," says Gibson. "With the right balance everything can go. Blue and green should never be seen — really?" If you're looking to add a touch of designer aesthetic to your living space, check out our editor's picks of must-have homewares. To find out more about Samsung's The Serif, created in collaboration with celebrated industrial designers Ronan and Erwan Bouroullec, visit the Samsung website. Top image: Paul Liddle
Merivale CEO Justin Hemmes' buying spree has continued with the purchase of yet another venue. This time, the hospitality mogul has purchased 115 Jonson Street in Byron Bay. Formerly home to Cheeky Monkey's Bar, as well as an adjoining massage spa, the far New South Wales north coast site will become the Sydney-based group's first Byron Bay venue — and its closest to Queensland. The acquisition of the Byron Bay outpost comes at a busy time for Merivale, with the company buying three new venues in the past week — and a total of five this year. The purchase of 115 Jonson Street follows similar transactions that have added the Lorne Hotel in Victoria, Norton's Irish Pub in Sydney's inner west, Tomasetti House in the Melbourne CBD and The Quarterdeck in Narooma to the group's portfolio. The two Victorian sites will mark Merivale's first outside of NSW. The Byron Bay property has been purchased from fellow hospitality group Red Rock Leisure, which currently own venues across NSW, Queensland, Victoria and Western Australia, including Ludlow Bar & Dining Room, The Toff and the PJ O'Brien's Irish Pub chain. While no concrete plans for the venue have been announced, Merivale has confirmed that it will reopen the site as a restaurant and bar later this year. It'll receive the keys on Friday, May 28, but hasn't announced opening plans as yet. "I've been going to Byron since I was ten years old, so it has always been a place close to my heart. I can't wait to open our first venue on the north coast and spend more time in the area. There's simply no place like it," said Hemmes. Merivale currently operates more than 60 venues across Sydney, including popular restaurants Totti's and Mr. Wong, pub stalwarts The Beresford and Vic on the Park, and expansive bars Ivy and Coogee Pavilion. The group's growth has been especially noticeable in recent years, with high-profile purchases of The Duke of Gloucester Hotel and Hotel Centennial preceding this recent run of venue purchases. [caption id="attachment_813258" align="alignnone" width="1920"] Justin Hemmes[/caption] Merivale will open its first Byron Bay venue at 115 Jonson Street, Byron Bay. For further details, keep an eye on the company's website. Top image: Google Maps.
The Crows Nest sister of the CBD's longrunning Small Bar is as warm and cosy as you would expect. And this is despite it actually being quite a decent size contrary to what its name may suggest — although that may be more a sign of how Sydney's small bar scene has evolved in the past five years. In a sea of family-friendly restaurants and pubs, Small Bar is a great option for an after-work tipple, first date or catch-up with mates a little closer to home for north shore residents. Venture beyond the exposed brick bar and mood lighting indoors to find a greenery-filled, covered courtyard. The bar offers a decent wine selection, around five labels in each grape variety, at pretty reasonable prices — most hover around the $8 mark for a glass and nothing creeps over $16. For food, you can enjoy loaded fries and selection of small plates — think grilled halloumi, vegan cauliflower wings, sliders or tacos. Images: Trent Van der jagt.
When Surry Hills mainstay Bodega closed its doors in July 2019, we were promised a new Japanese restaurant from the Tokyo Bird team would take its place. And now it's made good on that promise, opening Nikkei on Commonwealth Street last week. But it's not a carbon copy of the team's much-loved yakitori and cocktail bar. Instead, this new diner has more of a focus on food, specialising in a particular style of Japanese-Peruvian cuisines called Nikkei. While this combination may be unheard of to some, the style of food actually developed over 100 years ago, when Peru's sizeable Japanese immigrant population began cooking local Peruvian dishes using their native cooking techniques and flavours. The 55-seat venue features a bar, counter seating and a 12-seat communal table. Through the open kitchen, diners can catch Brazilian head chef Lucas Cerullo David (who comes from sister venue Osaka Trading Co.) and sushi chef Justin Kim at work on a seafood-heavy menu. It includes Peru's 'national' dish tiradito, a sliced sashimi-style ceviche. At Nikkei, you can choose between an octopus version — made with nori, pickled daikon and Peruvian chillies — or a mushroom medley with Jersualem artichokes and nori crackers. [caption id="attachment_752482" align="alignnone" width="1920"] Bruno Stefani[/caption] Many of the dishes are served as either tapas or izakaya-style, so it's easy to share. Other specialties include hokkaido scallops with capsicum salsa and beef short ribs with miso garlic and Peruvian corn puree. Behind the bar, expect a 40-strong wine list that focuses on coastal vineyards and a cocktail list which boasts distinct Peruvian flavours — including pisco, aniseed wine, chicha morada (Andean purple corn drink), oregano tea and quinoa milk. Lots of the hard-to-find ingredients on both the food and drinks menu have been directly sourced from Peru and Japan, too. This is the fifth restaurant venture for owners Jason Ang, Tina Wing Kee and Christopher Ang — as well as Tokyo Bird, the trio's portfolio also includes other popular venues Osaka Trading Co., Bancho and the nearby Sando Bar. Also involved in the venture is the dining group's venue manager Marco Oshiro Giron, whose Japanese-Peruvian heritage helped inspire and develop the Nikkei concept. He is joined by an impressive array of hospitality vets, including group sommelier Phil McElroy (The Source Restaurant at MONA, Firedoor, Sokyo), manager Reuvin Lim (Tayim, Tequila Mockingbird, Sake Double Bay, Cho Cho San) and head bartender Xander Ramirez (Bentley, Tayim). Images: Bruno Stefani.
This burger-centred eatery in Redfern boasts a one-of-a-kind concept that injects a dose of fun into Sydney's familiar surroundings. Upon venturing to Suburgia, you'll find that the menu spans from the Eastern suburbs all the way through to the heart of the West — and you're guaranteed to spot a familiar name. The self-proclaimed "best burger spot in the 'burbs" is home to a huge menu of inventive dishes. Peruse the selection and you'll spot a stacked beef burger with bacon jam assigned to Ashfield; a beetroot and truffle mayo burg for Marrickville; a sweet and spicy chicken burger with gochujang mayo, barbecue sauce, pineapple and bacon in honour of Redfern; and plant-based varieties representing Ingleburn, Petersham, Ultimo and Edgecliff, to name a few. Surburgia's menu doesn't end there — this Chalmers Street locale has the whole shebang. You'll also be met with desserts like apple berry bombs, slices of mud cake and sticky date pudding, alongside a hefty selection of toppings for loaded fries. Plus, there is also a rotating menu of monthly specials that you can pick from. Previous instalments have included the likes of a Turkish-inspired Iskender Surprise, which combined sujuk, za'atar, labne and a tomato relish; the schnitzel-starring BIG Caesar with onion rings, anchovies, bacon and garlic butter; and a seafood-focused riff on a loaded hot dog that paired pepper squid, prawn takoyaki and fish with a chilli seafood salad, miso and yuzu mayo.
Australia's east coast is cooling down. Winter has arrived. But Western Australia is just sitting over there, still bathed in sunlight (especially the north). Its coastal waters remain warm, the rolling vineyards are pumping out great vinos and the vast national parks and deserts are ripe for exploring. Now is the time to travel to WA. And we have joined forces with an assortment of local tour operators in Broome, Perth, Ningaloo Reef, the Kimberley and Rottnest Island to help you get the most out of your trip out west. Check out these ten exclusive deals that can only be booked through Concrete Playground Trips. MARGARET RIVER GLAMPING ESCAPE This four-day wellness escape kicks off in Perth, where you get picked up by your guide and driven up to the Margaret River glamping site, stopping off for a swim, morning tea, beachside picnic and chocolate tasting along the way. The rest of your holiday consists of hikes led by holistic healers, meditation workshops, yoga classes and a cheeky wine tour. All your meals are also included. Throughout all of this, you'll stay in Fair Harvest Permaculture Farm's comfy glamping tents and mingle with fellow wellness enthusiasts. If you are in great need of a total mind and body refresh, seriously consider this unique Western Australian glamping holiday deal. BOOK IT NOW. [caption id="attachment_893739" align="alignnone" width="1920"] Tourism Western Australia[/caption] THE ULTIMATE PERTH AND ROTTNEST ISLAND GETAWAY To get the most out of a trip to the southern end of Western Australia, we curated this special getaway with the region's top tour operators. First off, we'll put you up in the Duxton Hotel Perth for three nights (where you'll find a complimentary bottle of vino on arrival), located right in the centre of the city. We've then organised a full day of adventuring around Rottnest Island and Perth. You'll go on a Swan River cruise, get return ferry ride tickets to the island and have the option to hire a bike to explore the area at your own pace. We've even added a HALO Rooftop Climbing Tour and zipline experience across Swan River for a little adrenaline rush. BOOK IT NOW. A KICK-ASS KIMBERLEY ADVENTURE This ten-day tour takes you through Australia's Top End. You'll cover a vast distance, travelling from Darwin to Broome, without simply living in a car. So much time is dedicated to swimming within clifftop watering holes, hiking around scenic trails and relaxing at glam accommodation — all the while learning about the millennia-strong First Nations culture that guides any tour through the region. If you've ever wanted to visit this part of Western Australia and the Northern Territory, then check out the full itinerary and nab your spot via the link below. BOOK IT NOW. [caption id="attachment_887073" align="alignnone" width="1920"] Ben Careless (Unsplash)[/caption] WEST COAST AND NINGALOO REEF TOUR Road-tripping along Western Australia's long coastline is a bucket list travel experience for so many people. We all want to visit the Pink Lake, snorkel around wild turtles and colourful coral in Ningaloo Reef and feed dolphins in Monkey Mia. Some of Australia's best bits are on show up here. And this six-day tour takes you to a bunch of them. Stay in motels, resorts, cabins and lodges to experience some proper rural Australian culture and be taken to all the above Western Australia travel destinations as well as The Pinnacles and Kalbarri National Park. It's the ultimate coral coaster. BOOK IT NOW. [caption id="attachment_895290" align="alignnone" width="1920"] Tourism Western Australia[/caption] EXPERIENCE THE BEST OF BROOME This trip around Broome will have you staying at the four-star resort Seashells in a one-bedroom apartment for three nights. You can easily spend an entire day dipping in and out of the luxe pool, but you really should check out the local sites in your own time. Moreover, for one of your days in Broome, you'll join a Horizontal Falls adventure, which includes a return seaplane flight, a fast boat ride through the falls, a swim and snorkel afternoon and a scenic cruise around the area. We've sorted it all for you — even the return transfers from the airport — making your Broome holiday totally stress-free. BOOK IT NOW. [caption id="attachment_890742" align="alignnone" width="1920"] Cape Mentelle Winery by Russell Ord[/caption] MARGARET RIVER BEACHSIDE ESCAPE This is a four-day food- and wine-filled holiday in the lush Margaret River region. Spend your mornings and evenings at Margarets Beach Resort in a studio apartment overlooking the crashing waves of Gas Bay. Then go exploring the region at your own pace. To make that easier, we've also thrown in a five-day car hire. You'll get a suggested itinerary as well as a special one-hour Passel Estate Experience. This includes a special wine tasting that's paired with a series of locally produced craft foods — think chocolates and cheeses. This is great for those who want some things organised ahead of time, but still like the freedom to do their own thing when holidaying. BOOK IT NOW. ESPERANCE WELLNESS AND YOGA RETREAT It's hitting that time of the year when many of us start feeling burnout creeping up. That's when we really need to go on a three-night wellness retreat. For this one, you'll spend a few days at Esperance Island View Apartments enjoying small-group yoga sessions and wellness experiences with sea views. The rest of your time will be spent leisurely exploring this gorgeous part of WA — or simply reading a book on a nearby beach. Throughout this Esperance holiday, all your meals will be included as well as transfers from Perth and extra activities. We've curated this trip so you can just fly in and immediately relax. BOOK IT NOW. [caption id="attachment_891479" align="alignnone" width="1920"] Tobias Keller (Unsplash)[/caption] THE PERTH TO MONKEY MIA EXPLORER This Western Australia tour between Perth and Monkey Mia may be short (in distance), but it's big on natural attractions — the kind you expect to see on postcards (or all over Insta). See the limestone pillars of The Pinnacles, the oh-so-blue waters of UNESCO World Heritage-listed Shark Bay, the wild dolphins of Monkey Mia and the ancient gorges of Kalbarri National Park all within five days. That gives you plenty of time to also relax at your premium accommodation, spend days swimming at pristine beaches and discover small rural towns full of charm. BOOK IT NOW. [caption id="attachment_895302" align="alignnone" width="1920"] Tourism Western Australia[/caption] SWIM WITH WHALE SHARKS ON THIS NINGALOO REEF ADVENTURE Swimming with whale sharks at Ningaloo Reef should be at the top of every bucket list when visiting Western Australia's Coral Coast. Exmouth is the gateway to the world's largest fringing reef — the Ningaloo — and that's exactly where you're headed on this exclusive three-day adventure. You'll enjoy a full day diving head-first into this pristine aquatic wonderland, which is home to dolphins, manta rays, turtles, Humpback whales and, of course, the much-loved whale sharks. Spend the rest of your days at your own leisure, but we highly recommend hitting up the iconic Cape Range National Park, home to native wildlife and epic walking trails. BOOK IT NOW. Feeling inspired to book a truly unique getaway? Head to Concrete Playground Trips to explore a range of holidays curated by our editorial team. We've teamed up with all the best providers of flights, stays and experiences to bring you a series of unforgettable trips in destinations all over the world. Top image: Scenic Eclipse II
Summer may have come to an end, but that doesn't mean the good times have to stop as well. In autumn, everything is balanced. Night and day are equally long, the weather isn't too hot or cold. Plus all activities and events for the winter start to kick off. But before that, there's a festival for all things autumn that deserves a visit. Equinox – Autumn Celebration of the Senses will take place in the Blue Mountains throughout four weekends from Friday, March 10 to Sunday, April 2. Every weekend will involve different events, each themed on a particular sense — taste, hear, feel and see. First up (for taste) is the weekend of Feast (Friday, March 10 to Sunday, March 12), where seven restaurants across the region have curated autumn-themed menus for you to enjoy. There'll also be Equinox Under the Stars, an evening of stargazing, live music and food on Saturday, March 11. The following weekend (Friday, March 17 to Sunday, March 19) is the Blue Mountains Music Festival, where you can catch over 100 folk and blues performances across seven venues. Following that is the weekend of Feel (Friday, March 24 to Sunday, March 26), where you can catch magic shows, masquerade balls, ghost tours and more across the region. Finally, there's the weekend of See (Friday, March 31 to Sunday, April 2). For the festival's final weekend, you can catch live music, revamped local nature tours, a local film festival, an antique fair and more. For more information on the Equinox festival, its events and venues, or to get tickets, visit the website.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from February's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW KIMI For the second year in a row, Steven Soderbergh has made one of the year's standout movies — even if 2022 is still a mere two months in — and it has completely bypassed Australian cinemas. Unlike last year's No Sudden Move, however, Kimi was always destined for streaming. The latest in his series of paranoid thrillers that also includes Contagion, and once again female-fronted as Haywire, Side Effects and Unsane were too, this Zoë Kravitz-starring standout takes its cues from smart devices, humanity's increasing dependence upon technology, and the kinds of events that a virtual assistant like Siri, Alexa or Google Assistant might eavesdrop on. As a result, Soderbergh has crafted another movie that riffs on a growing area of real-life interest, then turns it into a tense, potent and devilishly smart feature. A bonus: focusing on a protagonist who doesn't feel safe leaving her house, Kimi couldn't better capture how the pandemic has felt without overtly needing to be a COVID-19 film. Kravitz (Big Little Lies) plays Angela Childs, who works for Seattle-based tech corporation Amygdala from the comfort of her own sprawling loft — and from her own audiophile's dream of a computer setup — listening to snippets of conversation captured by smart speaker Kimi for quality assurance. In one clip, she hears what she believes to be a horrible crime and is compelled to follow up; however, her bosses aren't thrilled about her probing. Complicating matters: after being the victim of an assault a couple of years earlier, Angela suffers from anxiety and agoraphobia, making leaving the house to investigate a fraught task. As he did to particularly stellar effect in Unsane as well, Soderbergh styles his latest psychological thriller after its protagonist's mindset, making unease and suspense drop from every aesthetic choice — camera angles and placement, jittery frames and a voyeuristic perspective all included. Kimi is available to stream via Binge. STARSTRUCK It's official: after a dream of a first season, Rose Matafeo's rom-com sitcom Starstruck is back to make you fall head over heels for its 21st-century take on dating a famous actor all over again. It's also official for Matafeo's (Baby Done) Jessie, who is now dating Tom (Nikesh Patel, Four Weddings and a Funeral), the celebrity she had a one-night stand with on New Year's Eve, then navigated an awkward will-they-won't-they dance around every time they ran into each other in London. But this next batch of six episodes poses a key question: once you've enjoyed the wild meet-cute, ridden the courtship rollercoaster and been bowled over by a grand romantic gesture (see: Starstruck's The Graduate-style season-one finale), what comes next? It's the stuff that rom-com movie sequels might cover, except that for all of Hollywood's eagerness to rinse and repeat its most popular fare, this genre is sparse in the follow-up department. Season two picks up exactly where its predecessor left off, with Jessie and Tom's bus ride segueing into a WTF realisation — as in "WTF do we do now?". That's a query that Jessie isn't ready to answer, even though she's made the big leap and missed her flight home. So, she avoids even tackling the situation at first, and then eschews fully committing even when she's meant to be in the throes of romantic bliss. Basically, it's messy, and the kind of chaos that rom-coms don't show when they end with a happily-ever-after moment. Like everyone, Jessie and Tom endure plenty. In the process, this gem of a show's second season is light but also deep, a screwball delight while also sharp and relatable, and still filled with fellow romantic-comedy references. And, as well as continuing to showcase Matafeo at her best, it remains a rom-com that's as aware of what relationships in 2022 are really alike as it is about how romance is typically portrayed in its genre. Starstruck's second season is available to stream via ABC iView. Read our full review. HELLBENDER Meet the Adams family — no, not the creepy, kooky, mysterious and spooky characters that've featured on pages and screens for decades (including in two terrible recent animated flicks), but the filmmaking collective comprised of couple Toby Poser and John Adams, plus their daughters Zelda and Lulu Adams. The quartet might be missing a letter from their well-known counterparts' names, but they're just as fond of all things horror. Case in point: their second feature Hellbender, a self-financed gem that's both a spellbinding tale of witchcraft and a clever coming-of-age story. It starts in a house in the woods, and also spends most of its time there. It includes the arrival of an unexpected stranger, shattering the status quo. But formulaic and by-the-numbers, this must-see isn't. In making exceptional use of its setting, and of a cast that's primarily comprised of Adams family members, it's also a masterclass in lockdown filmmaking. In the most expected aspect of Hellbender, the film's name does indeed refer to a punk-metal band, with 16-year-old Izzy (Zelda Adams, The Deeper You Dig) and her mother (Toby Poser) its sole members. No one else has ever heard them play, either, given that Izzy is both homeschooled and confined to the family's sprawling mountainside property, as she has been since she was five. Her mum tells her that she can't venture into town or around other people due to a contagious autoimmune disease; however, when a lost man (John Adams) wanders their way and mentions that his teenage niece Amber (Lulu Adams) lives nearby, Izzy gets the confidence to go exploring. As both written and directed by three out of four Adams family members — all except Lulu — Hellbender proves an impressive supernatural affair from its opening occult-heavy prologue through to its astute take on teen rebellion. Here's hoping this Adams family spirits up more DIY horror delights soon, too. Hellbender is available to stream via Shudder. EUPHORIA From the very first frames of its debut episode back in June 2019, when just-out-of-rehab 17-year-old Rue Bennett (Zendaya, Spider-Man: No Way Home) gave viewers the lowdown on her life, mindset, baggage, friends, family and everyday chaos, Euphoria has courted attention — or, mirroring the tumultuous teens at the centre of its dramas, the Emmy-winning HBO series just knew that eyeballs would come its way no matter what it did. The brainchild of filmmaker Sam Levinson (Malcolm & Marie), adapted from an Israeli series by the same name, and featuring phenomenal work by its entire cast, it's flashy, gritty, tense, raw, stark and wild, and manages to be both hyper-stylised to visually striking degree and deeply empathetic. In other words, if teen dramas reflect the times they're made — and from Degrassi, Press Gang and Beverly Hills 90210 through to The OC, Friday Night Lights and Skins, they repeatedly have — Euphoria has always been a glittery eyeshadow-strewn sign of today's times. That hasn't changed in the show's second season. Almost two and a half years might've elapsed between Euphoria's first and second batch of episodes — a pair of out-of-season instalments in late 2020 and early 2021 aside — but it's still as potent, intense and addictive as ever. And, as dark, as Rue's life and those of her pals (with the cast including Hunter Schafer, The King of Staten Island's Maude Apatow, The Kissing Booth franchise's Jacob Elordi, The White Lotus' Sydney Sweeney, The Afterparty's Barbie Ferreira, North Hollywood's Angus Cloud and Waves' Alexa Demie) bobs and weaves through everything from suicidal despair, Russian Roulette, bloody genitals, unforgettable school plays, raucous parties and just garden-variety 2022-era teen angst. The list always goes on; in fact, as once again relayed in Levinson's non-stop, hyper-pop style, the relentlessness that is being a teenager today, trying to work out who you are and navigating all that the world throws at you is Euphoria's point. Euphoria is available to stream via Binge. ALL OF US ARE DEAD The zombie apocalypse has arrived in South Korea — again. Fans of the Train to Busan, Seoul Station and Peninsula film franchise, and of 2020 movie #Alive, will be well-accustomed to seeing the ravenous undead wreak havoc on the Asian nation, of course, which puts Netflix series All of Us Are Dead in particularly great company. The premise here: after a school science experiment gone wrong, Hyosan High School swiftly becomes the site of a zombie outbreak, as students and staff alike start munching on flesh and tearing their classmates and colleagues to shreds. Pick whichever high school-set teen movie or TV show you like, add brain-chewing, face-gnawing fiends, and that's the basic idea. Naturally, all that adolescent angst, teen bullying and unrequited love — and all those class clashes and schoolmate secrets, too — take on extra urgency and intensity when the stakes are literally life and death. It might sound like The Walking Dead-meets-Squid Game but with teens, but All of Us Are Dead is never that formulaic — even though picking where the narrative is going, especially in its first few episodes, proves rather easy. Indeed, as the kids in Class 2-5 and their teachers deal with the zombie chaos, the 12-part series is as interested in what it means to fight and survive as it is in the blood-splattered action. That doesn't mean that it skimps on the latter, though. Hyperkinetic displays of thrashed limbs, gnashing teeth and strewn-about gore pop up often, and put plenty of the zombie genre's big-screen equivalents to shame. That said, exploring the complicated relationship between childhood pals Man On-jo and Lee Cheong-san (House of Hummingbird's Park Ji-hu and Nobody Knows' Yoon Chan-young), and also unpacking rich girl Lee Na-yeon's privilege (Squid Game's Lee Yoo-mi) — to pick just a few of the equally gruesome, entertaining and thoughtful show's lengthy list of characters — couldn't be more crucial. All of Us Are Dead is available to stream via Netflix. I WANT YOU BACK If a rom-com isn't well cast, it might as well not even exist. If viewers can't buy the chemistry between whichever couple has just stumbled into each other's orbit, developed feelings for one another and started wading through all the messy matters of the heart that always follow in the on-screen path to true love, then nothing in the movie will ever make sense. Thankfully, that isn't a problem that the supremely likeable I Want You Back has, all thanks to its ace central duo: the always-welcome Jenny Slate (Parks and Recreation) and Charlie Day (It's Always Sunny in Philadelphia). The pair play Emma and Peter, who work in the same building and first run into each other hiding out in the stairwell. They've both just been dumped, Emma by gym trainer Noah (Scott Eastwood, Wrath of Man) and Peter by school teacher Anne (Gina Rodriguez, Kajillionaire), and they're each distraught. As they become friends, stalk their exes via social media, and stumble further into sorrow when they see that Noah and Anne have moved on, they hatch a plan — and yes, getting their past loves back is the number-one aim, as the movie's moniker makes plain. A romantic comedy needn't be surprising to be enjoyable, and I Want You Back was always going to nudge Emma and Peter together. When a rom-com does indeed manage to have two great stars at its centre, that's simply what the genre does best (and should do often). Falling in love while trying to woo back your ex? That's screenwriters Isaac Aptaker and Elizabeth Berger's (also co-scribes on Love, Simon) setup, and one that's both goofily and sweetly handled by director Jason Orley — who also showed his skill at tinkering with a seemingly standard formula with 2019's Big Time Adolescence, too. Of course, even with The Good Place's Manny Jacinto also among the cast, I Want You Back wouldn't be a fraction of the warmly enjoyable film it is without Slate and Day anchoring its leisurely stroll through heartbreak and new beginnings. I Want You Back is available to stream via Prime Video. THE TINDER SWINDLER It must be scam month over at Netflix. Example one: The Tinder Swindler. The true-crime documentary tells the tale of Simon Leviev, an Israeli con man who posed as the jet-setting heir to a diamond fortune — among other gambits — on the titular dating app, romanced a series of women and fleeced them of sizeable sums of money. If that all sounds familiar, that's because his fraudulent scheme was exposed in a 2019 article by Norwegian publication Verdens Gang, but stepping through the details on-screen still makes for harrowing, yell-at-the-TV viewing. If your path to love has involved swiping right, the doco-thriller just might be nightmare fuel, too. It treats its interviews, all women who fell for Leviev's scam, with respect and without judgement, but the film also relays a compelling cautionary tale about our always-online lives and the internet as a tool for seduction. When Cecilie Fjellhøy first saw Leviev's Tinder profile, she happily moved her finger in the appropriate direction. That very same day, she was meeting him in a hotel bar, then accompanying him overseas on a private jet. Their whirlwind courtship continued, including talk about starting a family and moving in together — largely via WhatsApp as he was frequently overseas — and then, after his bodyguard was supposedly attacked by one of his enemies, the requests for cash started rolling in. Pernilla Sjöholm has a similar story, although she only ever kept things platonic with Simon. Her time in his inner circle overlaps with Cecille's, in fact. Simon's list of victims doesn't end there, but the trio of Scandinavian women who share the details with first-time director Felicity Morris are candid, earnest and understandably angry as they lay out the facts. A dramatised version of this tale will undoubtedly follow, because of course it will. The Tinder Swindler is available to stream via Netflix. INVENTING ANNA Inventing Anna, aka Netflix scam-month offering number two, doesn't just detail the kind of story that's so chaotic that it can only be true. And, as The Tinder Swindler also achieves (see above), it doesn't simply chronicle another wild case of scheming, conning, pretending, lying and gleefully splashing around fat stacks of cash, either. It's also home to an accent, courtesy of Ozark and The Assistant's Julia Garner as the eponymous Anna Delvey, that's a force of nature all by itself — one that speaks volumes, not just literally, about the woman at its centre as well. When fictionalised writer Vivian Kent (Anna Chlumsky, Veep) starts interviewing the imprisoned socialite's pals for a story, they all provide different descriptions. Little in their thoughts and observations about her gels from person to person, which Kent obviously notices. Evading being easily pinned down — whether in her personality traits, attitudes, clothes, friends, backstory and tastes, or in her voice — is a crucial part to her whole charade. Fiercely spitting out those distinctive tones, which sound more than a touch like The Room's Tommy Wiseau, Garner is nothing less than riveting as Delvey — who, when Inventing Anna begins, has just been arrested for deceiving financial institutions, banks, hotels and acquaintances, charges she vehemently denies. Instead, Delvey claims she's a rich heiress who wouldn't need to do the things she's accused of, but also sports a ferocious lust for fame or even infamy. Kent has to fight to even look into the story thanks to her own complicated history, and the more time that she spends both with Delvey herself and furiously interrogating every aspect of her life, the more fascinated that she becomes. Viewers are swept along the same path in this slick, savvy, super-polished miniseries, which hails from Grey's Anatomy and Scandal's Shonda Rhimes, shares those two shows' loves of glossily packaged twists, and is compulsively watchable. Inventing Anna is available to stream via Netflix. NEW SHOWS TO CHECK OUT WEEK BY WEEK SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to descend back into his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift plummets, it goes back up for Mark's "innie", as his office-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about office life. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees, it's a surreal and gripping must-see. The first three episodes of Severance's first season are available to stream via Apple TV+, with new episodes dropping weekly. Read our full review. PAM & TOMMY When the first images of Lily James playing Pamela Anderson in Pam & Tommy dropped, they captured an astonishing transformation. The Pursuit of Love star didn't just look like herself dressed up as the famed Baywatch actor; thanks to the miniseries' hair, makeup and costuming teams, she appeared as if she'd leapt into Anderson's body Being John Malkovich-style. That feeling only grew as several trailers arrived and, in the finished product, her performance borders on uncanny. It needs to, and not merely to ensure that James never just seems like she's simply slipping into a red swimsuit for an easy impersonation. To genuinely lay bare the fact that Anderson's well-known tale with her now ex-husband Tommy Lee (Sebastian Stan, The 355) isn't quite the narrative it's been immortalised as for the past quarter-century, the series keeps returning to the fallout for Anderson — and, in the process, it peers well beyond the way she's historically been seen by the world. Focusing on Anderson's marriage to the Mötley Crüe drummer in the 90s, Pam & Tommy is all about the pair's sex tape, because that intimate recording was the pop-culture scandal of that decade. Also, it's impossible to step into Anderson and Lee's romance without it. Indeed, the show knows that it's spinning an out-there story, even by celebrity terms, and that everyone watching will has their own ideas already formed about the incident. Pam & Tommy leans into that exact certainty to begin with — talking penis and all — but, as James' performance demonstrates, it never sees the tale it's telling as a joke. Co-starring Seth Rogen (An American Pickle) as the carpenter who stole the footage after being treated unfairly by Lee, this rollicking ride of a show is also a thoughtful retelling and interrogation of a tabloid-fodder incident that changed multiple lives and wrongly cemented Anderson's reputation. The first six episodes of Pam & Tommy are available to stream via Star on Disney+, with new episodes dropping weekly. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January 2022 — and our top new TV shows of 2021, best new television series from this year that you might've missed and top straight-to-streaming films and specials as well.
