It's hot, it's spicy, it's seriously slurpable and it's back for a limited time only. Yep, Surry Hills fried chicken temple Butter has brought back its Ramen Club for its ninth annual edition — and this year, it'll be hotter than ever. Butter Founder and Executive Chef Julian Cincotta has once again brought back his signature OG Fried Chicken Ramen for winter, and you can get your hands on a bowl right now. This long-running fan fave features thick-cut noodles, a marinated soft-boiled egg, enoki mushrooms and one of Butter's signature crispy fried chicken tenders, all swimming in a rich, aromatic, tonkotsu-style broth. There are a couple of new additions to this year's Ramen Club. First up, you'll be able to try a limited-time ramen topped with Forged by Vow's parfait and foie gras, made with cultured Japanese quail. Then, Butter has teamed up with local spice master The Fermentalist, known for its house-made hot sauces and bold chilli blends, for an all-new ramen that will bring some serious heat to the table. There'll also be an exclusive merch range with a to-be-revealed western Sydney fashion label, for those who like to wear their noods on their sleeve. The bowls will be dished up daily in limited numbers, and only in store, for $25 a pop. You can also add a crisp $8 Tiger beer on the side for the ultimate winter warmer.
One of Sydney's most successful restaurateurs, Maurice Terzini (Icebergs, Jacksons on George, Re) is back with a new casual restaurant and bar that's arrived on the streets of Potts Point. Snack Kitchen is the latest venue from the acclaimed hospo mainstay, now open in collaboration with his son Sylvester Terzini. The Macleay Street opening promises to combine high-quality Italian cuisine with a fun, social atmosphere. As the name suggests, the menu will focus on small plates, so you can order a bunch of things for the table and everyone can snack to their heart's content. Maurice Terzini said Snack Kitchen will deliver "a kitchen of simple ingredients but rich in flavour". "After steering some big ships, I feel as if I'm going back to the start of my career with a simple concept — it's coming full circle." What snacky plates of goodness can you expect exactly? Alongside your classics — olives, anchovies, prosciutto, crudo — there's mozzarella with chardonnay vinegar; mortadella paired with chilli oil; a braised bean, chickpea and ricotta combo; and polpetti with a fennel salad. Plus, you close out your experience with the perfect exclamation mark: an affogato. Pair the lot with a drop from a refined wine menu or a European-style digestive. And for those who feel like getting into the summer spirit, there's a range of spritzes and cocktails on offer. The signature Snack Spritz is sure to be a hit, combining Select, gin, cherry, Italian tonic and a basil spray. The father-son duo is also delivering a sense of family dining to the restaurant, with Snack Kitchen marking the first time they're leading a restaurant together. "After all these years of working for my father and legendary small venues, such as Napier Quarter in Fitzroy, it's so exciting to bring this knowledge into Snack Kitchen," says Sylvester. It's set to be a bustling hangout spot, bringing a more casual version of everything that Terzini is known and loved for to Sydney right when the mercury is really rising this summer. Snack Kitchen is now open at 95 Macleay Street, Potts Point, operating 3pm–late Tuesday–Saturday. For general enquiries, head to the restaurant's website.
Chat Thai is the worst kept secret amongst Thai people living in Sydney. With a focus on street food and dishes that are meant to be for Thai palates only, Chat Thai was meant to be a Thai person's Thai restaurant. But when you do the mainstay favourites so well, and at very, very reasonable prices, it's inevitable that the cat will get out of the bag. If you want to try something new, we recommend you sample the tom saap — a hot and sour soup with braised pork ribs. But for those who are less adventurous, the chilli fried rice, padt si-ew or ki mao are excellent. Chat Thai also has five varieties of som tum (green papaya salad), which embodies the balance between the salty, sweet, sour and spicy elements Thai cuisine is known for. For the uninitiated, start with the som tum thai and venture onto the pickled crab or fermented fish variants when feeling brave. Also, remember to specify your level of spiciness because the default is often too hot for most. You have been warned. To drink, it would be hard not have Thai milk tea with cha dam yem — a tea on the sweet end of the spectrum that's hard to resist. And do note that if you arrive during the dinner rush, expect to wait at least 45 minutes or longer for a table. Try and get in early and they might be able to offer you dishes still made from the lunch menu as well.
Across the last two months of 2023, most folks will celebrate festive season. Here's something else to mark this year: Godzilla season. New streaming series Monarch: Legacy of Monsters arrives in mid-November, combining kaiju with both Kurt (Fast and Furious 9) and Wyatt Russell (Under the Banner of Heaven). Then, the unrelated Godzilla Minus One will stomp onto the big screen Down Under to kick off December. This film marks a big return, and not just because Godzilla as a creature is huge in size (even though exactly how large the critter is varies between on-screen appearances). To the delight of fans of Zilly's rampages through its homeland's cinema, Godzilla Minus One is the first live-action Japanese Godzilla release about its namesake since 2016's excellent Shin Godzilla. When Godzilla first crawled out of the ocean and into cinemas, the famous movie monster made its debut appearance in the shadow of the Second World War. The link between the film's fears of nuclear holocaust and what Japan had just experienced wasn't an accident, in a picture that isn't just an excellent creature feature — the franchise-starting flick is stellar all round, including its glorious score. It was back in 1954 that Godzilla initially greeted the world. Now, almost seven decades later, 37 other movies have followed. The latest: Godzilla Minus One, which gives Zilly aficionados a long-awaited new Japanese Godzilla movie and takes its titular figure back to the country's postwar era. As seen in the both the first trailer for Godzilla Minus One and its just-dropped latest sneak peek, Japan is still coping with the aftermath of WWII's atomic bombings when the kaiju appears. The question: in a place that's already rebuilding, how will everyone both endure and battle against this towering critter? In a feature written and directed by Takashi Yamazaki (Lupin III: The First, Ghost Book), cue plenty of rampaging through the streets by Godzilla, plus fleeing by the film's humans. Cue buildings levelled, the ground both rumbling and crumbling, and explosions wreaking more havoc, too. Referencing going backwards from zero in its moniker, cue a film that follows people trying to survive and fight — all back in the time that gave birth to all things Godzilla. Already in cinemas in Japan since early November, Godzilla Minus One will hit the big screen Down Under from Friday, December 1. It follows three animated streaming efforts since Shin Godzilla: 2017's Godzilla: Planet of the Monsters, and 2018's Godzilla: City on the Edge of Battle and Godzilla: The Planet Eater. Of course, the broader franchise also includes America's take on Godzilla, starting with a low in 1998, then including another try in 2014, 2019's Godzilla: King of the Monsters and 2021's Godzilla vs Kong. After TV's Monarch: Legacy of Monsters, Godzilla x Kong: The New Empire, a sequel to Godzilla vs Kong, is due in 2024. Check out the latest trailer for Godzilla Minus One below: Godzilla Minus One will hit cinemas Down Under on Friday, December 1.
Just in time for Christmas — and well-timed for last-minute present shopping, too — the Marrickville Makers' Market is making its debut. Forget about buying your loved ones whatever's filling department store shelves. Here, you'll find one-of-a-kind art gifts crafted by artisans and local creatives. Would your mum like some handmade jewellery? Perhaps your bestie's living room could use an original print? Maybe your dad would love a piece of woodwork — and who doesn't like ceramics? Or, you could find give everyone the gift of slow fashion. Artists selling their wares include Dan O'Toole aka Ears, Birdhat, Eliza da Collage and Hause of Glassborow, while Babe Rave and other DJs will be spinning tunes to get you in the buying mood. Just head to Join the Dots at 102 Victoria Road, Marrickville on Saturday, December 22, with the market running from 10am–5pm.
Ever wanted to have an artwork from Archibald Prize winner Blak Douglas in your home? What about Nicholas Harding, Abdul Abdullah, Joan Ross or Lara Merrett? Artworks from these acclaimed artists and works from hundreds of established and upcoming creatives are all on sale this weekend for just $100 as part of a new art auction raising money for Studio A, a Sydney-based arts company assisting with the professional development of artists with learning disabilities. The Incognito Art Show is presenting more than 3000 A5-sized artworks from artists big and small this Saturday, June 18. The twist is, the identity of each artwork's artist is hidden until the piece is purchased. From former award winners to artists still mastering their craft, each person's work is presented without credit and every single one is available for $100. You can examine the collection online and hone in which artwork you have your eye on before the day. Then all you have to do is head to 2 Lacey Street, Surry Hills and pick up your favourite piece. All art will be sold on a first-come-first-serve basis, so while the art show is on all day Saturday, and Sunday morning pending stock, it's highly recommended you get down early to ensure you get your hands on any pieces you have in mind. The auction opens at 8am and each buyer is limited to three pieces per person. Browse the artworks and head along to support a great cause. [caption id="attachment_814771" align="alignnone" width="1920"] Studio A[/caption]
In Stay of the Week, we explore some of the world's best and most unique accommodations — giving you a little inspiration for your next trip. In this instalment, we take you to the Woodland Cabin, one of three luxe lodgings at Logan Brae Retreats in the Blue Mountains. With room for only two, any one of the cabins is an ideal getaway for when you need space, solitude and something a little fancy. WHAT'S SO SPECIAL? The magical quality of this escape starts well before check in. If you're heading here from Sydney, you'll start your journey by winding your way through Hazelbrook, Wentworth Falls and Blackheath (stopping off for deli provisions and vino, so there's no need to interrupt your imminent immersion in nature) before you're welcomed by expansive views across Megalong Valley. Once you pull into the gravel driveway and make your way up to the Woodland Cabin, you'll immediately be consumed by calm. Warmly hued festoon lights, wildlife wandering freely, a round plunge pool perched alongside your deck, a vista to rival most: everything is special here. THE SPACE Although there's only room for a pair at the Woodland Cabin, the lofty open-plan design, towering windows and pared-back earthy palette delivers a space that's anything but small. You'll arrive to an already-built fire in the hearth with logs aplenty stacked alongside — all you need to do is strike the match. There's a deep stone tub to soak in, which when married with that view makes for a deliciously spent afternoon. And in the bathroom? A wide double shower, stone-topped vanity and gold fixtures, a lineup of lush products from Apotheke, plus style-heavy towels and robes adding a transportive touch of luxe. Outside, deck chairs beckon you for a morning coffee, as does a breakfast bar and outdoor dining set. While the deep plunge pool ensures you can beat any country heat. FOOD AND DRINK As a delightful touch to start your trip, a basket of snacks, vino, chocolate and light breakfast supplies waits on the dining table for you. Then, in the kitchen, you've got all the essentials. An oven, gas stove and nice wide sink join all the usual suspects (fridge, microwave, toaster, pots and pans); and you've covered for both olive oil and salt and pepper. Caffeine a pre-requisite? You've got a dedicated coffee bench, you lucky thing. Espresso machine? Tick. Plunger? Tick. Percolator? Tick. You can even make your own drip coffee. There's freshly ground beans, milk — cow only, so BYOM(ilk) if you're an almond or oat drinker — plus a 12-strong selection of teas. If you don't want to cook, you can get catering from Lavender Hill Graze. There's breakfast boxes, barbecue and salad packs and grazing platters ideal for by the pool. You can even have a picnic basket (complete with bubbles and rug) delivered to your doorstep. THE LOCAL AREA The Blue Mountains is a classic choice for a Sydneysider's weekender. And it's with good reason. There are hikes up to world-class views and secluded waterholes, buzzy breweries and cosy restaurants — all surrounded by that fresh clean country air. Nearby your lodging are farmers markets (in Blackheath on the second Sunday of the month), Euro-inspired saunas and the option to explore the area atop a horse. And if you want to stay close, stroll to the staggering cactus plant or stick to the private Woodlands Walk for a top-notch spot to take in the sunset. Got a book? Head to the tree hammock and while away your time suspended among the trees. THE EXTRAS Beyond the fact that this spot is clearly a winner, the family-run stay boasts delightfully personal touches too. Take the props adorning the walls: hats fit for seasoned bushmen and a whip. You two holidaymakers can stage a shoot, ensuring you have more than happy memories when you leave. There's a set of vintage binoculars for spotting faraway critters and all the deets for you to organise an in-room spa treatment. You can even organise flowers on arrival, from the locally loved micro flower farm Floral by Nature. It's just about time you booked a stay, dear reader. 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.
The once pretty rowdy Maroubra Bay Hotel is now the more sedate and super-friendly Bay Hotel and Diner. It's a chilled-out, family-lovin' space, with a corner for 'nippers' and a wide-reaching menu, starring seriously big burgers and a 'schnitzel haus'. The emphasis is on big flavours and generous portions. Skip by on Sundays for the weekly roast. For healthy serving of highly Instagrammable views with your pub grub, this joint boasts serious a panoramic vista of the beautiful, utterly-untamed-by-the-city Maroubra Beach.
Sydney recently lost one of its favourite spots for decadent pastries and loaded sandwiches. After satisfying cravings on Enmore Road for six years, Saga Enmore had its final service in late June. However, when one door closes, another opens, and the beloved duo behind Saga is already back with a new venture: Salma's Canteen. Saga's Andy Bowdy and Maddison Howes have linked up with another popular Sydney duo, Michael Rantissi and Kristy Frawley of Kepos Street Kitchen, to launch this new Rosebery lunch spot which combines the best that each pair has to offer. Now open on Botany Road, Salma's Canteen offers a mix of hearty mains and salads from Rantissi, deli delights and sandwiches, and Bowdy's signature sweet treats — all in the one spot. The regularly changing menu leans heavily on fresh produce from Carriageworks' weekly market, which means the salads are big and heavy on greens, and the sambos will have you satisfied until dinner. Selma's is now also the one-stop shop for Andy Bowdy cakes. You can also expect some beloved favourites from the Saga menu to make their way over, including yuzu cheesecake, salted honey tart, and passionfruit and fennel seed palmiers. "I started out my career 18 years ago at Pink Salt, working under Michael, so to open a place together is pretty awesome," says Bowdy. "Michael and I have very similar philosophies in terms of food — we both love fresh, vibrant food and celebrating ingredients that are in season." "Everyone who loves food has a Salma in their life — a feeder and nourisher who brings people together to eat and talk, sending them home piled with leftovers," says Rantissi. "Salma's Canteen is the new Salma in your life — a one-stop shop that's part kitchen, part takeaway, part diner and part shop." Takeaway is the main mode of operation at the Rosebery shop, but there are a few spots both indoors and outside where you can sit for lunch or a post-work snack. The doors also stay open until 7pm Tuesday–Saturday, so you can swing past and pick up your dinner after work, a flaky pastry for dessert, or even stock up your pantry and take your home cooking to the next level. The cafe stocks the likes of Bowdy's shortcrust pastry and fruit curd, as well as Rantissi's meatballs, salmon pastrami and seasoned potatoes in takeaway containers, ready for you to use in your next home creation. Salma's Canteen is now open at Shop 2, 797 Botany Road, Rosebery — operating from 11am–7pm Tuesday–Saturday and 10am–4pm Sunday. Images: Mel Koutchavlis.
If you're on the hunt for some new-school fun to make the impending frosty months go faster, you can stop searching right now. Someone, somewhere, has dreamed up the impressive combination of bumper cars and ice-skating — and is bringing the concept Down Under. In an Aussie first, Bumper Cars on Ice will hit Alexandria's Ice Zoo this August, September and October — on select dates only — and promises to yank you right out of winter hibernation mode. This unique activity will have you pinballing around an ice rink in a bubble-shaped bumper car, slipping and sliding into mates. Tickets will set you back $37.84, which gets 12 mins on the ice and access to the Ice Zoo's 'winter wonderland', which will have DJs and a bar serving mulled wine (of course). Bumper Cars on Ice runs from 6–10pm on Friday and midday–10pm on Saturday. Adults only sessions run from 7–10pm both nights. Updated August 11.
Break out the Wensleydale! Following in the footsteps of the massively popular Pixar and DreamWorks Animation exhibitions, the latest show at Melbourne's Australian Centre for the Moving Image pays tribute to the studio behind stop motion's most iconic duo. Originally created for the Art Ludique – Le Musée in Paris, Wallace & Gromit and Friends: The Magic of Aardman is ACMI's contribution to this year's Melbourne Winter Masterpieces series. The delightful exhibition features more than 350 objects, including props, models, storyboards, concept art, photos, clips and behind-the-scenes interviews. It's a comprehensive survey of the history and creative process of the beloved animation studio, whose clay creations have charmed audiences for more than 40 years. Naturally, the exploits of Wallace and Gromit take centre stage. You can see the rocket the pair took to the moon in A Grand Day Out, admire the veggies growing in Gromit's carefully tended garden, and shake your fist at early character sketches for the dastardly Feathers McGraw. There's also an entire section dedicated to cracking contraptions that's sure to get your imagination working overtime. But there's much more to Aardman than what goes on at 62 West Wallaby Street, Wigan. From Creature Comforts to Chicken Run to the deeply unsettling Angry Kid, the exhibition leaves no stone unturned. You can even get a glimpse at a number of the studio's more memorable commercials and music videos, including their groundbreaking clip for Peter Gabriel's 'Sledgehammer'. Frankly, we could have spent all day exploring the exhibition. But for those of you who might be short on time, here are five things on offer you absolutely have to see. THE ORIGINS OF WALLACE & GROMIT Early sketches reveal the secret history of Gromit and his eccentric owner, who it turns out was originally a postman named Jerry. Doesn't quite have the same ring to it, does it? Reckon we can all agree creator Nick Park dodged a bullet there. THE CHICKEN RUN FLYING MACHINE A key model from Aardman's first feature-length film, the flying machine is a bizarre contraption born of hard work and a belief in the impossible. In that way, it is the item that best exemplifies the spirit of the studio itself. THE PIRATES! BAND OF MISFITS PIRATE SHIP Admittedly, the flying machine is somewhat overshadowed by what is inarguably the piece-de-resistance of the ACMI exhibition: the five-metre-high ship from The Pirates! Band of Misfits. So impressive is the model that you could be forgiven for thinking it's about to sail off at any moment. MAKE YOUR OWN CLAYMATION Fancy yourself the next Nick Park? Then why not try making a short animation of your own. Visitors will get the chance to mould a colourful clay character, before bringing them to life frame-by-frame. They say it's meant for kids and families, but don't let that stop you. AN EARLY LOOK AT EARLY MAN Round off your visit with a behind-the-scenes look at what Aardman are up to next. Due for release in early 2018, the prehistoric Early Man features the voice talents of Eddie Redmayne, Tom Hiddleston and Maisie Williams, and looks like an absolute blast. Wallace & Gromit and Friends: The Magic of Aardman is showing at at ACMI from June 29 until October 29. Images: Charlie Kinross.
If your mental manilla folder marked 'Yoko Ono' only has that old Simpsons episode in it, read on. For a woman who once inspired so much hate, Yoko Ono has a lot of love to give. Today the 80-year-old is cherished as an artist, musician and peace activist with global influence, but she was, when most first heard of her, Beatles fan enemy number one. She spiked John Lennon's morning English Breakfast with her boho voodoo, they said, and changed the band forever. That's how she was portrayed in that Simpsons ep, too, as the kooky banshee who seduced Barney Rubble away from the barbershop quartet. It's a testament to Yoko's talent, energy and batshit crazy charisma that her legacy transcends that nonpareil historical record. An exhibition of her work is opening next month at the Museum of Contemporary Art Australia. She's an enigmatic figure, containing multitudes, so here are some facts and figures that might help order your Ono thoughts. She Survived World War II In 1933 Yoko was born into a prosperous family descended from a Japanese emperor. She shuttled between San Francisco and New York as her banker father was transferred, but lived mainly in Tokyo. She was 12 when the city was fired-bombed by the Americans. As many as 130,000 people were killed in two days. I suspect this might be why she doesn't like war so much. She Studied at Sarah Lawrence Like that other eminent feminist Kat from Ten Things I Hate About You, Yoko enrolled at the east coast liberal arts college Sarah Lawrence, studying music. She'd transferred from Tokyo's Gakushuin University, where she was the first woman to enter the philosophy department. It seems she didn't attend many classes though; she was busy writing radical poetry and lying on top of John Cage's piano during his performances in New York. Some of Her Early Artworks Sound Really Cool And some of it sounds crap, but who cares? It was New York in the '60s, what's not to like? John Lennon first met Yoko at a preview of her exhibition in London in 1966. He was taken in by one particular work, in which a ladder leads up to a black canvas on the ceiling; up there was a spyglass on a chain, which revealed the word 'yes' written on the roof, which is great. More recently, she's been installing Wish Trees around the world and inviting visitors to hang wishes, written on little cards, on the trees' branches. It's a bit naff, as evidenced by this note left by Pharrell on the New York installation: "Wishing 4 all who seek to experience the shift of widespread illumination will have the inner stillness to share in the most momentous aspect of the ether." What? Her Honeymoon Was Spent in Bed, Away from War That earnest positivity pulses through most of her pieces, and perhaps none more so than the infamous honeymoon 'Bed-In for Peace'. After they married in Gibraltar, Spain, in 1969, Yoko and Lennon curled up on white fluffy sheets in an airy Amsterdam hotel room and smiled for the cameras. The couple were protesting against the Vietnam War, they told the assembled media, and they thought they could change the world ("start a revolution from [their] bed," is how Oasis put it). The image probably had more artistic impact than political, but that, of course, counts for something. She's still campaigning for peace, on the macro and micro levels; at the MCA exhibition you're invited to write your most honest love letter to your mum. She's a Really, Really Nice Lady, It Seems Asked which artists inspired her today, Yoko gave a big shout out to, well, all artists working today. "I just love anybody that does anything in the art world and the artistic world," she said in an interview. "We just have to keep working and I want everyone in the field to know that we support them." That said, she does single out Lady Gaga for some love. "She has a very lovely bottom," Yoko said of Gaga, after it graced the stage with her. "I think she's wonderful. John would have loved her, because she's an artist, she's fearless and she pushes every limit, which we both always adored. She has played on John's white piano and I think that's wonderful. Life moves on and you embrace it." Yes She Did Design These Pants See you at the merch table at the MCA, boys. Bonus! Just this week Yoko released her hypnotically bizarre and instantly viral music video, 'Bad Dancer', starring her pals the Beastie Boys, Questlove, Ira Glass, Roberta Flack, Cibo Matto and more. One more life achievement down. https://youtube.com/watch?v=d3mvEfON2CI War Is Over! (If you want it), an exhibition of Yoko's work across multiple disciplines, will be on at Sydney's Museum of Contemporary Art Australia from November 15, 2013, to February 23, 2014. The artist herself will also be present.
Every tattoo tells a story, whether it's the sole piece of ink adorning a person's skin or one of many on someone whose body is a walking art gallery. That tale can span many things, including the design's meaning and significance, and also everything around making and creating it. Get a tatt while standing 268 metres above Sydney, however, and you'll have one helluva anecdote to tell. For one morning only, Sydney Tower Eye's SKYWALK is offering something more than stunning views high above the Harbour City: tattoos. Teaming up with reality TV favourites Bondi Ink, it's hosting the world's highest tattoo studio over a quarter of a kilometre above the ground, at a pop-up announced to mark World Tattoo Day. That occasion — because there's one for everything — falls on Tuesday, March 21 in 2023. But the sky-high inking will occur from 9–10.30am on Wednesday, April 5. And, to truly commemorate a pop-up tattoo parlour setting up shop at such lofty heights, the folks getting everlasting mementos will actually receive Sydney skyline-inspired tattoos. Given that Bondi Ink is only whipping out its machines for 90 minutes, only two people will be inked — and if you're keen, you'll need to hope that you're one of the lucky winners. To enter, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27, and explain both which part of your body you'd like your new tatt to decorate and why you're so eager. [caption id="attachment_782364" align="alignnone" width="1920"] Sander Dalhuisen[/caption] "I've tattooed for some interesting events in my time but being invited to create a design for 'The World's Highest Tattoo Studio' on the Sydney Tower Eye is pretty unique; I'm looking forward to it," said Chris Molt, a Bondi Ink artist known for his airbrush, fine line and script skills. "We're already spoilt with our view at Bondi Ink, but the crew loved seeing the whole city from up high on the SKYWALK. No better view to feed into our Sydney skyline tattoo-designing," shared his colleague and visual artist Cristina Martinez, who has a penchant for fine line, traditional and colour tatts. Whoever Chris and Cristina end up inking, they'll get a semi-realistic design representing the Sydney vista, and then take a victory stride on the SKYWALK afterwards. Sydney locals, this might be the ultimate way to show your love for your home town. Interstate visitors, this is quite the souvenir. And new ink with a view — and of a view — isn't in your future, you can nab a ticket to head up to the Sydney Tower Eye Observation Deck on the day from 9am to watch. Bondi Ink's 'World's Highest Tattoo Studio' will pop up on Sydney Tower Eye's SKYWALK from 9–10.30am on Wednesday, April 5. To enter the competition to get inked, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27. For tickets to watch, head to the same place.
Although the menu spans many regions of the sub-continent, Billu's Indian Eatery in Sydney specialises in south Indian cuisine. Located in the heart of Harris Park, Billu's is the ideal place to bring the family or that someone special to sample Indian cuisine at its absolute finest. This includes dishing up dosas — rice flour pancakes stuffed with the filling of your choice, be it potatoes, spicy chicken or cottage cheese. Be sure to order the biryani, too. Whether you opt for prawn, vegetables or meat, it's one not to miss. The mains include bhuna gosht, a traditional Indian mutton made with goat's meat slowly cooked with onion, yoghurt, lots of whole spices, and ghee. If seafood is more your thing then dive into the goan fish curry, a warm and tangy curry which blends spice with coconut to bring out the subtle sweetness made famous in Goa. Alternatively the prawn vindaloo is ideal for those who know how to handle their spice. Served with brown onion gravy and hot vindaloo sauce, this one is not for the weak stomached. For those who have specific dietary requirements, Billus Indian Eatery caters to most dietary requirements, including gluten-free and vegan options, all packed with incredible combinations of flavour. For vegetarians the highlights include vegetable dumplings made from potato and cottage cheese or the dal tadka, a delightful mix of yellow lentils with a variety of spices, garlic, ginger and roast chillies. Finish off with classic Indian desserts such as moong daal halwa, jalebi rabri, motichoor lad parfait or just opt for some mango ice-cream instead. You definitely won't be leaving this beloved Sydney Indian restaurant hungry. Images: Cassandra Hannagan
In yet another southward-bound international fashion expansion, Uniqlo has just announced that it'll be opening in Australia for the first time come autumn 2014. Melbourne's Emporium, located on Lonsdale Street in the CBD, will be home to a four-level, 2180 square metre megastore selling the Japanese brand's quality yet affordable apparel. Heattech underwear, bold collaborations with designers and Ultra Light Down are among their signature products. "We are very excited to be opening our first store in Melbourne, Australia," Uniqlo's Australian CEO Shoichi Miyasaka commented. "The city is a great centre of style and we hope to make Uniqlo an essential stop for for fashion-conscious Melbourne shoppers looking for high quality, affordable clothes. "Our goal is to build a loyal customer base by offering every visitor the outstanding level of customer service that Uniqlo is known for within Japan, in a comfortable and welcoming shopping environment." Owned by Japan's Fast Retailing Co. (the globe's fourth biggest clothing retail giant), Uniqlo first opened in 1984 and now runs 1200 stores across 14 different countries. It's been moving steadily south for four years, having set up in Singapore in 2009, Malaysia and Thailand in 2010, the Philippines in 2012 and Indonesia earlier this year. Fast owns six other major brands: Theory, Princess tam.tam, J Brand, Helmut Lang, GU and Comptoir des Cotonniers, and sold a whopping 928 billion Japanese Yen (AU$10 billion) worth of goods during the 2011-2012 financial year. Via Daily Life
La Disfida is an institution. It even makes the pizza scholars of Sydney weak at the knees at the sheer mention of the street name. Pizzas with minimal toppings are swept in and out of the fiery oven in swift succession, and the place is routinely humming. And they’re all humming for one thing only: pizza. To get straight to the point, La Disfida do an outstanding rendition of the Margherita ($22): the smattering of tomato, mozzarella and basil lay the perfect foundations for a charming classic. Yet it’s the Tartufa ($26) that keeps them coming back. It's not the most beckoning of titles for a pizza, but honestly, when they've put wild mushrooms, prosciutto, mozzarella and truffle on a round of dough that’s been woodfired to perfection, are you really going to call the name police? And just quietly, should you decide to whet the appetite with some starters, the polenta chips with gorgonzola sauce ($17) are gob-smackingly delicious.
Nowadays, glamorous Hollywood productions aren't the only ones to find an audience; independent directors creating movies on a next-to-nothing budget and embracing new technologies and methodologies have more of an opportunity than ever to get their work seen. An idea, a DSLR, a Pozible campaign, a screening party et voila! Cult cinema star status is at your fingertips. With that in mind, UTS presents microWAVE 2013 — a celebration of micro-budget filmmaking. The symposium spans three days of talks from academics, filmmakers and showbiz insiders who show aspiring directors that art can be achieved without the monstrous budget. Also on the program are screenings of films created without stacks of cash. microWAVE kicks off with writer Jack Sargent on the history of underground film, followed by a screening of Robert Byington’s Somebody Up There Likes Me, starring the insanely hilarious Nick Offerman. Nick Buchner will also speak on the endless possibilities of a micro budget. So if you see yourself as the next Lena Dunham, Shane Carruth or Duplass brother, take a lesson from the book of microWAVE. microWAVE 2013 is hosted at UTS in the Bon Marche Studio and The Level 2 Studio.
If your idea of a good night out involves rubbing shoulders with artists, drinking and getting involved in some electric muscle stimulation, you should probably head along to 107 Projects for Electroscape: The here and now of digital art. The one-night only exhibition features seven contemporary Australian artists, including composer and sound artist Leah Barclay, glass-player Lucas Abela, multidisciplinarian Michaela Davies and new media artist Josh Harle. The night will involve everything from laser etching to robotics to 3D printing to the aforementioned EMS (that's practised by Davies; she attaches electrodes to people and makes them involuntarily play instruments or fight in an arcade game). Not only will you get to see some very cool, experimental creations, you'll also be benefitting the future of the Sydney gallery scene. Funds raised by ticket sales will be used by the Art Gallery of NSW to acquire new contemporary art for its collection.
Have you ever, ever had the theme tune from a 90s Australian television show lodged in your brain for decades? For anyone who watched the first two seasons of Round the Twist when they originally aired — or anytime afterwards, or the third and fourth seasons in the early 2000s as well — the answer is always yes. Audiences have author Paul Jennings to thank for the series, which initially adapted stories from his novels Unreal!, Unbelievable!, Uncanny and more. Musician Andrew Duffield also deserves gratitude, given that he composed the earworm of a main song. In 2024, Paul Hodge and Simon Phillips join the list, too, but for Round the Twist as no one has ever seen it before: as a stage musical. Hodge understands the power of that catchy theme. It's one of the influences, unsurprisingly, for the sound of the stage production from Queensland Theatre and Queensland Performing Arts Centre that's enjoying its world-premiere season at QPAC in Brisbane until Sunday, December 8, 2024. He also knows how deeply that the tune has burrowed into an entire generation of 90s kids' minds. "I said to Andrew Duffield, who wrote it, I said to him just before the rehearsal period 'how do you feel to know that you can just penetrate people's minds simply by them hearing 'have you ever…' and then it's stuck in their head for the rest of the day?" he tells Concrete Playground. "He was like 'oh yeah, it's fun. It's great'." Before he had musical-comedies Clinton the Musical and Joh for PM on his resume — and opera Riot as well — Hodge grew up as a fan of the lighthouse-dwelling Twist family and their supernatural-tinged adventures. If he hadn't, the idea to pen the musical of Round the Twist wouldn't have sprung for the writer and composer, who was inspired by randomly recalling a line from season-two episode 'Smelly Feet'. Phillips describes himself as too old to have known anything about the television series at the time, but helms yet another 90s Aussie classic making the leap from the screen to the stage. Previously, he's directed stage versions of Priscilla, Queen of the Desert and Muriel's Wedding. "I'm churlish that I missed out on Strictly Ballroom," he jokes. Fans have had since 2021 to look forward to the result of Hodge and Phillips' efforts with Round the Twist, when the musical was initially announced. This wasn't the first time that someone had approached Jennings and the Australian Children's Television Foundation, which produced the TV series, about bringing the Twists to the stage with tunes — but it was the first time that they gave the tick of approval. Hodges credits Jennings' stories first and foremost, including for having fun making the musical, and for a production that he hopes will be both entertaining and moving for theatregoers. "I think what Paul is really good at is that, as well as obviously his stories are fun and silly and bizarre, he understands what it's like to be a kid," Hodges advises. "There's this story of this kid coming to him at one of his book signings saying 'how do you know what it's like to be me?'. And I think that he understands also the not-so-fun parts of being a kid — what it feels like when you're embarrassed or you're scared, and things like first kisses and those kind of things. He looks at those moments and milestones of growing up, and portrays them in a very fun and silly and bizarre way. Because he has that understanding, his stories have a lot of heart in them, and that's what I've tried to maintain in the musical." How did Hodge approach his task as a fan of both Round the Twist and Jennings? "As a kid, I read Paul's short stories and then I watched the TV show, and it's fun going back and doing that again as an adult. The musical is based on the first two seasons, which were the ones that Paul wrote, and so I have now watched those — rewatched them — so many times now," he shares. "If there was any kind of Round the Twist trivia, I'm sure I could win them for the first two seasons." For Phillips, he looked at his perspective as bringing fresh eyes to something so adored by so many. "Initially, it was a long time before I watched the TV programs. I tried to read the script as if it was a fresh new work that no one had ever seen before, which indeed of course it was, but that didn't have the references. And then at a certain point you go 'I'm not quite sure why this is there', and the answer is 'because it's one of the most-beloved moments in the TV program' — and that's a good enough reason," he says. "But it also went through the process of gradually having a few of the favourite moments from the TV program getting lost in the storytelling. Because we realised that for this story to feel coherent, it just couldn't have everyone's favourite bit from the TV program, or it would have been a) four hours long and b) have no individual plot of its own." There were essentials that Hodge absolutely had to include, however. "I think I always knew that the 'Smelly Feet' episode, "up the pong!", would have to be in there, because that was the origin of it. It's interesting that for each of the Twist kids, I knew there was an episode that I felt had to be in there. For Bronson, it was 'Smelly Feet'. For Pete, it was 'Without My Pants'. And for Linda, it was 'Nails'. Those were the ones that had really stood out for me as a kid for each of the Twist kids." Hodge and Phillips also chatted with us about the musical's origin story, getting the green light from Jennings, the adaptation process, whether taking on something with decades of affection behind it was daunting, why Round the Twist endures and introducing it to a new generation — and more. On How Round the Twist The Musical Finally Came About Paul: "Apparently I wasn't the first to have the idea, but the Children's Television Foundation has said no previously. But the way it came about was that I had been trying to think of something that I could write for my whole family to come to, because I have a lot of nieces and nephews, and I wanted something that all the generations of the family could come to — my parents and my siblings and nieces and nephews. There's an episode of Round the Twist where Bronson, the youngest Twist kid, he's trying to save up the smell of his feet, basically, for six months, to then try to use it as a weapon. And when whenever he uses this power — he's using it for a good purpose — then he says 'up the pong!'. About eight years ago, my mum was changing my nephew's nappy one day, and she said 'ohh, that's a pongy nappy'. And my brain immediately went 'up the pong!'. Which, I think, also shows the enduring power of Paul Jennings' stories, for something from my childhood to come back to me in adulthood like that. When happened, then I went 'oh, Round the Twist, that's the thing that I should do'. And so then I then approached the Children's Television Foundation and Paul Jennings about adapting it, and the Children's Television Foundation said 'we've been approached before and said no, but we're going to say yes to you'. I feel very privileged and humbled that Paul and Jenny Buckland of the ACTF and Andrew Duffield, who wrote theme song, have placed their trust in me to tell these stories." Simon: "My analysis would be that it took someone, i.e. Paul Hodge, who had been the right age to watch the show to grow up and sufficiently develop the skillsets to write the musical. Because it was so of its time and of its audience. The 90s was its heyday, and so I feel that both in the writing of it and in the audience space for it, it's great that there's something that is there for the mid-30s to mid-40s generation who grew up on Round the Twist. But I, of course, didn't really know anything about the TV series, because I'm too old. And I think that's another reason why it took a while for the show to find producers — because the people who were in a position to support it financially probably also slightly missed the show, and didn't view it with the same affection as the generation who had really grown up on it. And so I started merely talking to Paul during COVID, who I'd met a couple of times before, when everyone was locked down — and I started really talking to him about the shape of the show and reading it for him and giving him some feedback. Then it started to find its feet after COVID. And indeed, with some fantastic assistance from the RISE funding, which got its workshopping process, that's what managed to get it up from the page to something that we could start really rehearsing on the stage proper." On Getting the Green Light From Paul Jennings and the Australian Children's Television Foundation Paul: "I think it was partly grasping why Paul's stories are so great. I think it was also that I could give a reason of why it should be a musical — not just coming in and going 'ohh, anything can be a musical'. Because I think with any story, the first question you have to ask if you're adapting something into a musical is 'why does this story sing?'. Lots of stories can sing — it's just people need to find the way to make that happen. To me, why I said this story sang was because in the way that Round the Twist works, all the episodes are kind of unrelated, because they're all each based on a Paul Jennings short story. But, over the course of a season, generally there's a thin thread that goes through the season and then pays off in the final episode of the season. In the first season, that thread is that they are hearing mysterious music that's coming from the top of the lighthouse, and then that pays off in the final episode. And in that final episode, they end up singing to resolve the plot. So I said that to me, already this story sang. Music was already a part of it, and singing was an incredibly important part of that finale of the first season. I think that was one of the reasons of why, to me, this story sang — and was one of the reasons that they gave it the green light." On Starting the Adaptation Process — By Watching Round the Twist, Of Course Paul: "I watched and continued to rewatch the show many times. And then, because there's 26 episodes in the first two seasons, it was a decision of going 'okay, what episodes am I going to include in the musical?'. So that was a process of partly going ' well, the finale episodes of the first two seasons are the ones that have an overarching arc to them, and the first episode of the series is obviously important in setting everyone up', so I assumed that I would be incorporating those. The I worked out my own thing of going 'what were my favourite episodes as a kid?'. Also, I trawled the internet to see if my episodes checked out as the same as other people's, what their favourites were. Then it was then trying to work out how to put all those together. And the thing that is holding the other important part of the music side of the musical —also of the TV show — is the theme song. So in the musical, the nursery-rhyme lyrics to the theme song are riddles that the Twist kids are trying to solve — and they are related to the different plots. So that's the thing that's holding these different episodes together as they're trying to work out this mystery. Over the process of writing, it's been a process of pulling all these disparate episodes together and shaving away each of the episode stories to its core element, and then merging different things together. When I sent the first treatment to Paul, then we had a conversation where I was saying 'well, in this episode there's a ghost that haunts a toilet, which is the first episode, Skeleton on the Dunny', and then there's this episode also where there's a ghost that haunts the toilet — and I've merged those two into one, and I've merged them also with this other idea'. And Paul was saying to me, 'well, that's the exact same type of thing that I was doing when I was adapting the books into the TV show'. So it was good to know that we were following the same process." On How to Tackle Directing a Musical with Such Adored Source Material Simon: "You essentially have to approach it in its own terms, based on its own musculature. You have to say 'what is this that we're making?', but you also fly in the face of certain elements from the original show at your peril. And this is that weird combo, because it's been books and a TV show, but the way that people relate to it, the characters have been semi-formed in people's minds via the TV show. Sometimes, I think when you're doing an adaptation of a film or something that has originated in celluloid, and you're putting it on stage, the ghosts of the people who originally played it is very strong in your audience's minds. I guess we have the advantage from the TV show that people also read it in book form and got their own individual images. And the casting changed inside the TV series anyway, so there's no single person where you could say 'that actor is in our minds Pete Twist' because he was a few different actors. So that helps us." On Not Being Daunted by Round the Twist's Page-to-Screen-to-Stage Path — and Huge Fandom Paul: "I think I'm more excited about it. I approach it from the point of view of a fan. Like, I am a huge fan of Round the Twist and that's how I've been writing it. It's as a fan and going 'if I was seeing a Round the Twist musical, what would I want to see on stage as a fan?'. So it's more been a process of going like 'ohh, people are going to love this bit'. It's been fun. And it's been important to me that it maintains the spirit of the original TV show. That's why I wanted to make sure that Paul and the ACTF and Andrew Duffield have been involved in the process as we've gone along." Simon: "It's more a great wave to surf — that you actually feel supported by the energy that its origins give you. And indeed, this is why so very many musicals that are made are adaptations of existing work: it gives the musical a launching pad, it gets it off the starting blocks with a little bit of an advantage, I think." On the Inspiration for the Musical's Songs Beyond the Iconic Theme Paul: "The theme song was the touchstone for the sound of the show in general. I wanted it to feel like it was all one whole and the theme song didn't feel separate from the rest of the score. So I used the feeling of the music in the TV show also a touchstone. And I wanted it to be definitively Australian, so I was listening to a lot of Australian pop and rock music, and I was listening to a lot of Triple J. I remember going back through the Hottest 100 one year, and going 'okay, these songs feel like they're the vibe of what I'm looking for'. I would just be listening to a lot of Australian music to try to make sure that the music in the show felt Australian." On Taking the Audience on a Tonal Rollercoaster Ride, as the TV Show Did Simon: "Part of the challenge, actually an interesting challenge of it, is that its tones are multifarious. So that's a balance, although music always helps with getting those maybe slightly illogical or over-sudden mood shifts that are required in a piece like this. Music is a fantastic tool in terms of immediately changing the audience's emotional sensibility depending on how the music's telling them to feel. In the end, the story is really quite moving, I think. It ends up having a big message about healing and restoring and mending the past. It's kind of a madcap farce in its first half in many ways, and then it becomes quite strong with heartfelt family elements to it in the second half of the show." On Why Round the Twist Struck Such a Chord with Audiences When It First Aired — and Since Simon: "I did have an opinion about that. I've been trying to articulate it a bit. I think there are, as always, many reasons, but I feel like it's very strongly to do with Paul Jennings' particular genius for identifying the inner hopes, fears and ambitions of children and teenagers, and speaking to those things in a way which was uncensored on behalf of saying the right thing for their parents. And so really quite often, the episodes of Round the Twist the TV series are dealing with really quite, in a way, risque or what would now be quite inappropriate ideas. But they're exactly the things that are going through teenagers' heads. And whatever you say, you can't stop teenagers having those anxieties and wishes and hopes, because they're teenagers, and their lives are changing, their bodies are changing. That was part of the real secret of the success, that it dared to be irresponsible about a whole number of different, quite erratic things. And then the other side is the imaginative — you can't help feeling that in another time and another place someone would have said 'but this doesn't make sense'. That was never an issue for Paul Jennings or the people who put his stories into TV. They were perfectly happy for it to have its own sense, its own illogical sense of logic, and stand or fall on that. I feel that was its secret ingredient in a way." On Conveying the Idea That Strange Things Do Happen — and It's Okay for Life to Be Strange, and for You to Be Strange Paul: "That's very important. And that was one of the things that I said to Paul when I was first approaching him and the ACTF about adapting the TV series, I said like that I feel like his stories are all 'weird things happen and it's okay to be weird. It's okay to be different'. One of the other main parts of the musical is, because sometimes it was quite scary in the TV show, there's this idea that I think is quite important that as well as it's okay to be weird, it's okay to be scared. Everyone gets scared. Even adults get scared." On Introducing Round the Twist to a New Generation Paul: "I am very excited by it. I always designed it as something that the whole family could come to, and that's why I think what is exciting to me is that the generation that grew up watching it will now be able to bring their kids and introduce their kids to the musical. So it's very, very exciting to me to have it for a new generation. And I think it shows the importance of telling Australian stories, and that they are good and they are worthwhile, and they should be supported and told — because these stories started out as books, and then they've become a TV show and now a musical. It shows the enduring power of those stories and how they were each passed down into different generations. Now I'm very excited that the new generation's going to get to experience these stories." Simon: "It pains one to say it, but you never really know what you've got as a show until you put it in front of that audience, however much your fingers may be crossed. You've honed it. This is the frustration of anyone who's worked on making a new musical, including the people whose musicals we see coming in from Broadway, fully honed and perfectly resolved — behind every one of those great musicals are three failed musicals and a lot of blood, sweat and tears. I think that you put a musical up there and our hope is that, this coming back to what we're talking about before, my job of trying to think about it as something that people who know nothing about Round the Twist might be coming to see — it has to have an energy and its own compelling narrative that takes them on a new and exciting, and hopefully equally eccentric, ride, as the TV series originally did." Round the Twist The Musical plays the QPAC Playhouse, Cultural Precinct, corner of Grey and Melbourne streets, South Bank, Brisbane until Sunday, December 8, 2024. Head to the Queensland Theatre and QPAC websites for tickets and further details.
In 2024, Doja Cat topped the Triple J Hottest 100 of songs from 2023 and added Coachella headliner to her list of achievements. This year, she's notching up a first touring-wise: the superstar's debut arena gigs in Australia. Come December 2025, the 'Say So', 'Kiss Me More' and 'Vegas' talent will hit Sydney, playing on Monday, December 1 at Qudos Bank Arena. Her Aussie (and NZ) shows are part of the rapper's Ma Vie world tour, which also has international stints in Manila, Singapore, Seoul, Tokyo, Bangkok and Kaohsiung locked in for December. The run of dates takes its name from Doja Cat's upcoming fifth album Vie. Expect to hear Jack Antonoff- and Y2K-produced single 'Jealous Type' as part of her set, with new tune first debuted live at San Francisco's Outside Lands Music Festival at the beginning of August. [caption id="attachment_1018453" align="alignnone" width="1920"] Dana Jacobs/WireImage[/caption] Vie follows 2018's Amala, 2019's Hot Pink, Planet Her from 2021 and 2023's Scarlet on the Grammy-winner's discography. It's the latter that delivered 'Paint the Town Red' — 2023's Hottest 100 number one, which marked the first time that a female rapper and woman of colour topped the poll.The tune also sat at number one on the Billboard Hot 100 chart for three weeks, was the first rap song to reach those heights in 2023 and topped the Billboard Global 200 chart for four weeks in a row, too. [caption id="attachment_1018452" align="alignnone" width="1920"] Jacob Webster[/caption] Top image: Raph_PH via Flickr.
It's undeniably tough for a hotel to cater their rooms to every guest that will ever stay in them, but this problem can be far more real for the intrepid traveller with a disability. The latest design of hotel room from new collaboration AllGo, however, seeks to change this fact by creating an adaptable room that makes rooms more accessible than ever before, all while channelling the contemporary aesthetic guests have come to expect from upmarket hotel experiences. The AllGo project is the brainchild of international architecture studio Ryder and contemporary bathroom design firm Motionspot. The idea came from the need to "create a concept that redefines the design of hotel bedrooms and bathrooms so they deliver the individual access requirements of guests without compromising on the aesthetics of the environment," according to Motionspot founder Ed Warner. Each room, according to the design, will incorporate features like handrails with braille printed on them, retractable wall panels that can fold away and act as furniture, wheelchair-friendly flooring, and motorised tracks to assist in access and egress to the bed. The best part is, however, that these features can be easily added and removed before the guest even arrives. The AllGo concept took out the top gong at the lauded Celia Thomas Prize late last year. The prize awards £20,000 (nearly AU$34,000) to the design that best creates a hotel experience for people with disabilities, and that can best "challenge the perception of hotel facilities set aside for disabled people, which can often be viewed as joyless, poorly designed and over-medicalised," according to the Royal Institute of British Architects. Gold medal-winning Paralympian, member of British parliament and bad-ass Baroness Tanni Grey-Thompson was one of the driving factors in having the Celia Thomas Prize created. "Great architecture is about spaces that make you feel better and which make you want to return," she said, and the AllGo design strives to achieve that goal for everyone. Motionspot and Ryder will use their winnings to have a pilot program for the design up and running within the year. Via PSFK.
Still on a high from watching Ash Barty become an Australian Open champion in January? Us too. Thankfully, there'll be plenty of exciting tennis happening in Sydney in March when Australia's bid for the Davis Cup kicks off at Sydney Olympic Park. On Friday, March 4 and Saturday, March 5 the Aussie team takes on Hungary at Ken Rosewall Arena. Head down to see the country's best athletes including Australia's top-ranked male player, Alex de Minaur, who'll be leading the charge alongside recent Australian Open doubles champion Thanasi Kokkinakis, Alexei Popyrin and doubles specialists John Peers and Luke Saville. Keen to head along? Tickets are on sale now and are $29 per person, with kids under 14 able to attend for free. So, round up your crew and get ready to cheer on Australia as they try to advance to the Davis Cup finals. Australia takes on Hungary to qualify for the Davis Cup Finals on Friday, March 4 and Saturday, March 5 at Ken Rosewall Arena at Sydney Olympic Park. For more information and to nab tickets, visit the website.
Ease into your weekend with a stroll around the Blackwattle Bay Loop, a gentle five kilometre walk that takes in the Anzac Bridge, Glebe foreshore and the Sydney Fish Markets. You'll walk past a colourful mural that illustrates the history of Blackwattle Bay, across lush lawns perfect for picnicking and catch picture-worthy views of the CBD. Once you've got your endorphin dose sorted for the day, head over to Glebe Markets for lunch and a browse. Grab some nosh from one of the food stalls, before spending some time rummaging around the vintage and contemporary fashion, jewellery, artwork and homewares.
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. THREE THOUSAND YEARS OF LONGING No one should need to cleanse their palates between Mad Max movies — well, maybe after Mad Max: Beyond Thunderdome, depending on your mileage with it — but if anyone does, George Miller shouldn't be one of them. The Australian auteur gifted the world the hit dystopian franchise, has helmed and penned each and every chapter, and made Mad Max: Fury Road an astonishing piece of cinema that's one of the very best in every filmic category that applies. Still, between that kinetic, frenetic, rightly Oscar-winning movie and upcoming prequel Furiosa, Miller has opted to swish around romantic fantasy Three Thousand Years of Longing. He does love heightened drama and also myths, including in the series he's synonymous with. He adores chronicling yearnings and hearts' desires, too, whether surveying vengeance and survival, the motivations behind farm animals gone a-wandering in Babe: Pig in the City, the dreams of dancing penguins in Happy Feet, or love, happiness and connection here. In other words, although adapted from AS Byatt's short story The Djinn in the Nightingale's Eye, Three Thousand Years of Longing is unshakeably and inescapably a Miller movie — and it's as alive with his flair for the fantastical as most of his resume. It's a wonder for a range of reasons, one of which is simple: the last time that the writer/director made a movie that didn't connect to the Mad Max, Babe or Happy Feet franchises was three decades back. With that in mind, it comes as no surprise that this tale about a narratologist (Tilda Swinton, Memoria) and the Djinn (Idris Elba, Beast) she uncorks from a bottle, and the chats they have about their histories as the latter tries to ensure the former makes her three wishes to truly set him free, is told with playfulness, inventiveness, flamboyance and a deep heart. Much of Miller's filmography is, but there's a sense with Three Thousand Years of Longing that he's been released, too — even if he loves his usual confines, as audiences do as well. "My story is true," Swinton's Alithea Binnie announces at the get-go. "You're more likely to believe me, however, if I tell it as a fairy tale." Cue another Miller trademark, unpacking real emotions and woes within scenarios that are anything but standard — two people talking about their lives in a hotel is hardly fanciful, though. The tales that the Djinn relays, with debts clearly owed to One Thousand and One Nights, also dwell in the everyday; some just happened millennia ago. The Djinn loved the Queen of Sheba (model Aamito Lagum), but lost her to the envious King Solomon (Nicolas Mouawad, Mako). He then languished in the the Ottoman court, after young concubine Gulten (Ece Yüksel, Family Secrets) wished for the heart of Suleiman the Magnificent's (Lachy Hulme, Preacher) son Mustafa (singer Matteo Bocelli). And, in the 19th century, the Djinn fell for Zefir (Burcu Gölgedar, Between Two Dawns), the brilliantly smart but stifled wife of a Turkish merchant. What spirits the Djinn's time-hopping memories beyond the ordinary and into the metaphysical, and Alithea's narrative as well, is the figure first seen billowing out of blue-and-white glass, then filling an entire suite, then slipping into white towelling. Something magical happens when you pop on a hotel bathrobe — that space and that cosy clothing are instantly transporting — and while Alithea resists the very idea of making wishes, she gets swept along by her new companion anyway. As a scholar of stories and the meanings they hold, she knows the warnings surrounding uttering hopes and having them granted. She also says she's content with her intellectual, independent and isolated-by-choice life, travelling the world to conferences like the one that's brought her to Turkey and then to the Istanbul bazaar where she spies the Djinn's misshapen home, even if her own backstory speaks of pain and self-protective mechanisms. And yet, "I want our solitudes to be together", she eventually declares, and with exactly the titular emotion. Read our full review. ORPHAN: FIRST KILL What's more believable — and plot twists follow: a pre-teen playing a 33-year-old woman pretending to be a nine-year-old orphan, with a hormone disorder explaining the character's eerily youthful appearance; or an adult playing a 31-year-old woman pretending to be a lost child returned at age nine, again with that medical condition making everyone else oblivious? For viewers of 2009's Orphan and its 13-years-later follow-up Orphan: First Kill, which is a prequel, neither are particularly credible to witness. But the first film delivered its age trickery as an off-kilter final-act reveal, as paired with a phenomenal performance by then 12-year-old Isabelle Fuhrman in the pivotal role. Audiences bought the big shift — or remembered it, at least — because Fuhrman was so creepy and so committed to the bit, and because it suited the OTT horror-thriller. This time, that wild revelation is old news, but that doesn't stop Orphan: First Kill from leaning on the same two key pillars: an out-there turn of events and fervent portrayals. Fuhrman (The Novice) returns as Esther, the Estonian adult who posed as a parentless Russian girl in the initial feature. In Orphan: First Kill, she's introduced as Leena Klammer, the most dangerous resident at the Saarne Institute mental hospital. The prequel's first sighted kill comes early, as a means of escape. The second follows swiftly, because the film needs to get its central figure to the US. Fans of the previous picture will recall that Esther already had a troubled history when she was adopted and started wreaking the movie's main havoc, involving the family that brought her to America — and her time with that brood, aka wealthy Connecticut-based artist Allen Albright (Rossif Sutherland, Possessor), his gala-hosting wife Tricia (Julia Stiles, Hustlers) and their teen son Gunnar (Matthew Finlan, My Fake Boyfriend), is this flick's focus. Like their counterparts in Orphan, the Albrights have suffered a loss and are struggling to move on. When Leena poses as their missing daughter Esther, Allen especially seems like his old self again. As also happened in Orphan, however, the pigtail- and ribbon-wearing new addition to their home doesn't settle in smoothly. Orphan: First Kill repeats the original movie's greatest hits, including the arty doting dad, the wary brother, taunts labelling Esther a freak and a thorny relationship with her mum. Also covered: suspicious external parties, bathroom tantrums, swearing to get attention and spying on her parents having sex. And yes, anyone who has seen Orphan knows how this all turns out, and that it leads to the above again in Orphan, too. Thankfully, that's only part of Orphan: First Kill's narrative. Twists can be curious narrative tools; sometimes they're inspired, sometimes they're a crutch propping up a flimsy screenplay, and sometimes they seesaw between both. Orphan: First Kill tumbles gleefully into the latter category, thanks to a revelation midway that's patently ridiculous — although no more ridiculous than Orphan earning a follow-up in the first place — and also among the best things about the movie. It's a big risk, making a film that's initially so laughably formulaic that it just seems lazy, then letting a sudden switch completely change the game, the tone and the audience's perception of what's transpired so far. That proved a charm for the thoroughly unrelated Malignant in 2021, and it's a gamble that filmmaker William Brent Bell (The Boy and Brahms: The Boy II) and screenwriter David Coggeshall (Scream: The TV Series) take. Working with a story by David Leslie Johnson-McGoldrick (The Conjuring: The Devil Made Me Do It) and Alex Mace (who earned the same credit on the original), it's one of their savviest choices. 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 June 2, June 9, June 16, June 23 and June 30; and July 7, July 14, July 21 and July 28; and August 4, August 11, August 18 and August 25. You can also read our full reviews of a heap of recent movies, such as Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, 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 and Hit the Road.
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 been under the weather. 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 13 that you can watch right now at home. AIR Bouncing across the screen with charm, energy and an 80s sheen, Air says one name often: Michael Jordan. This supremely crowd-pleasing and engaging film spins an origin story so closely linked to the NBA all-timer that the true tale simply wouldn't and couldn't have happened without him; however, it isn't actually the six-time championship-winning former Chicago Bulls player's own. Instead, Ben Affleck turns director again for the first time since 2016's Live By Night to recount how Jordan also became an icon in the footwear game. Think shoes, and everyone knows the word that usually follows this flick's title. Think Air Jordans, and Nike also springs to mind. Those sneakers are still being made almost four decades after first hitting stories — in fact, the brand is now notching up $5 billion in annual revenue, $150 million of which is going to its namesake — so Air answers the question no one knew they had until now: how did it initially happen? Affleck's feature heads back to the 80s, to 1984, when Jordan was a 21-year-old college standout newly in the NBA and facing a life-changing decision. Damian Young (Prom Night Flex) plays the basketball GOAT, but this is a movie about the making of a legend — so the pivotal character gets all the flick's admiration and praise while bounding into the boardroom wheeling and dealing. Crucially, Air doesn't block out Jordan. Rather, it pays tribute to his talent even without staging on-court scenes, and to the shrewd wrangling and negotiating that his no-nonsense mother Deloris (Viola Davis, The Woman King) did on his behalf with Nike's in-house basketball expert Sonny Vaccaro (Damon, The Last Duel) under CEO Phil Knight's (Affleck, Deep Water) watch. The ultimate outcome is clearly well-known, because if there was no agreement, there'd be no Air Jordans and therefore no movie (and the Beaverton, Oregon-based Nike would still be best known for jogging shoes). But the slam dunk this endorsement proved for giving athletes their financial dues when their talents make bank for sponsoring companies is no minor matter, and nor is it treated as such. Air is available to stream via Prime Video. Read our full review. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Aftersun is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Women Talking is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SCREAM VI Going into Scream VI, viewers know who the killer definitely isn't: the horror franchise's OG final girl Sidney Prescott. Neve Campbell's (The Lincoln Lawyer) character has been a pivotal part of every Ghostface-stalked flick from 1996's initial Scream through to 2022's fifth entry Scream, but famously isn't in the stab-happy saga's latest chapter due to a pay dispute. That's one big change for returning filmmakers Matt Bettinelli-Olpin and Tyler Gillett to grapple with in their second slice of the blood-splattering, scary movie-loving action. À la Friday the 13th Part VIII: Jason Takes Manhattan — which gets an early nod, naturally — they also move said action to New York. But even if you take Ghostface and the murderer's targets out of Woodsboro, and shake up who the masked maniac swings a knife at, Scream is going to Scream in a screamingly familiar fashion. It has before in Ohio in Scream 2 and Hollywood in Scream 3, and the series knows it. New movie, new city, same setup, same gravelly Roger L Jackson voice, same 'Red Right Hand' needle drop, same overall formula: throw in the same winking, nodding, self-referential attitude, plus the same penchant for mentioning horror movies, their tropes and cliches, and general film theory, and that's Scream VI's easy cut. Once again, someone dons Ghostface's ghost face, of course, and uses whichever blade happens to be in the vicinity (and a shotgun) to terrorise teens and long-victimised targets. Murder Mystery's James Vanderbilt and Ready or Not's Guy Busick haven't taxed themselves with the screenplay — their second Scream effort, after the previous flick — but the franchise's pattern keeps making a comeback for a reason. While intrepid reporter Gale Weathers (Courteney Cox, Shining Vale) notes the world's current "true-crime limited series" obsession, whodunnits and murder-mysteries date back further, and that's where every Scream instalment has also carved a niche since the late, great Wes Craven and Dawson's Creek creator Kevin Williamson started things off. Scream VI is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. 65 If there's one thing that a film about Adam Driver fighting dinosaurs shouldn't be, it's average. Only ridiculously entertaining or ridiculously terrible will do, and those two outcomes needn't be mutually exclusive. The appeal of 65 is right there in that four-word premise, as it was always going to be, because getting the intense White Noise, House of Gucci, Annette and Star Wars actor (and BlacKkKlansman and Marriage Story Oscar-nominee) battling prehistoric creatures is that roaringly ace an idea. He should brood, and his dino foes should stalk, snap and snarl. That is indeed what happens thanks to writer/directors Scott Beck and Bryan Woods, who penned the first A Quiet Place, plus have horror movies Nightlight and Haunt on their past helming resumes. But for a flick that isn't required to offer anything else and knows it — well, other than laser guns to shoot at said dinosaurs, because not even the man who plays Kylo Ren can confront a Tyrannosaurus rex or pack of raptors barehanded — 65 doesn't possess enough B-movie energy. Beck and Woods have taken the very B-movie path story-wise, though. As 65's trailer made plain, this is a Frankenstein's monster of a film mashup, stitching together limbs from a stacked pile of other sources to fuel its narrative. The Jurassic Park and Jurassic World franchise, the Predator series, the Alien and Prometheus saga, Logan, The Last of Us, The Man Who Fell to Earth and, yes, A Quiet Place: they each earn more than a few nods, and never with subtlety. So too does Planet of the Apes, but the fact that 65 is set on earth all along isn't a late-picture twist. What else would the title refer to? That said, Beck and Woods begin their movie elsewhere, taking time-travel 65 million years backward out of the equation. Instead, Driver's pilot Mills ends up on our pale blue dot from a civilisation out there in space, and one more advanced during earth's Cretaceous period than humankind is today. 65 is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. LIVING Turning in an Oscar-nominated performance, Bill Nighy (The Man Who Fell to Earth) comes to this sensitive portrayal of a dutiful company man facing life-changing news with a wealth of history; so too does the feature itself. Set in London in 1953, it's an adaptation several times over — of iconic Japanese director Akira Kurosawa's 1952 film Ikiru, and of Leo Tolstoy's 1886 novella The Death of Ivan Ilyich, which the former also takes inspiration from. That's quite the lineage for Living to live up to, but Nighy and director Oliver Hermanus (Moffie) are up to the task. The movie's second Oscar-nominee, Nobel Prize-winning screenwriter Kazuo Ishiguro, unsurprisingly is as well. Also the author of The Remains of the Day and Never Let Me Go, he's at home penning layered stories with a deep focus on complicated characters not being completely true to themselves. When those two novels were turned into impressive pictures, Ishiguro didn't script their screenplays, but he writes his way through Living's literary and cinematic pedigree like he was born to. A man of no more words than he has to utter — of no more of anything, including life's pleasures, frivolities, distractions and detours, in fact — Williams (Nighy, Emma.) is a born bureaucrat. Or, that's how he has always appeared to his staff in the Public Works Department in London County Hall, where he's been doing the same job day, week, month and year in and out. He's quiet and stoic as he pushes paper daily, overseeing a department that's newly welcoming in Peter Wakeling (Alex Sharp, The Trial of the Chicago 7). It's through this fresh face's eyes that Living's audience first spies its central figure, adopting his and the wider team's perspective of Williams as a compliant and wooden functionary: a view that the film and its sudden diagnosis then challenges, as Williams does of himself. Living is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MISSING Screenlife films such as Missing should be the last thing that moviegoers want. When we're hitting a cinema or escaping into our streaming queues, we're seeking a reprieve from the texts, chats, pics, reels, searches, and work- and study-related tasks that we all stare at on our phones and computers seemingly 24/7. (Well, we should be, unless we're monsters who can't turn off our devices while we watch.) There's a nifty dose of empathy behind thrillers like this, its excellent predecessor Searching, and the similar likes of Unfriended and Profile, however, that relies upon the very fact that everyone spends far too much time living through technology. When an on-screen character such as Missing's June (Storm Reid, The Last of Us) is glued to the gadget on their desk or lap, or in their hand — when they're using the devices that've virtually become our new limbs non-stop to try to solve their problems and fix their messy existence, too — it couldn't be more relatable. As Missing fills its frames with window upon window of June's digital activities, cycling and cascading through FaceTime calls, Gmail messages, WhatsApp downloads, Google Maps tracking, TikTok videos, TaskRabbit bookings, plain-old websites and more, it witnesses its protagonist do plenty that we've all done. And, everything she's undertaking feels exactly that familiar — like the film could be staring back at each member of its audience rather than at an 18-year-old who starts the movie unhappy that her mother Grace (Nia Long, You People) is jetting off to Colombia with her new boyfriend Kevin (Ken Leung, Old). That sensation remains true even though Missing's viewers have likely never had their mum disappear in another country, and their life forever turned upside down as a result. We've all experienced the mechanics behind what writer/directors Will Merrick and Nick Johnson (who make their feature debut in both roles after editing Searching) are depicting in our own ways, with only the vast power of the internet able to help. Missing is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TO LESLIE A character drama about a West Texas woman who wins the lottery, but six years later has nothing to show for it except pain, alcoholism and burned bridges, To Leslie is all about English talent Andrea Riseborough's remarkable performance — famously so thanks to her Best Actress Oscar nomination for an indie film widely underseen until that nod of approval. Nothing can take away the power of the Mandy, Possessor and Amsterdam star's stunning portrayal. A spectacular performance is a spectacular performance regardless of what surrounds it. So, Riseborough's work in the debut feature from seasoned TV director Michael Morris (Better Call Saul, 13 Reasons Why, Brothers & Sisters) remains a gut-punch no matter the controversy around the campaign by high-profile names to help get her the Academy's recognition, with Kate Winslet, Edward Norton and Jennifer Aniston among those advocating for accolades. To Leslie remains Riseborough's movie despite comedian and actor Mark Maron uttering the words that sum it up best, too. In his latest compassionate performance — with a less-gruff edge than he sports in GLOW — he plays Sweeney, the co-proprietor of a roadside motel in Leslie's hometown. That's where she ends up again after the money runs out, plus her luck and everyone she knows' patience with it. As scripted by Ryan Binaco (3022), Sweeney is another of To Leslie's flawed characters. The movie teems with such folks because everyone of us is flawed, and it sees that truth with the clearest of eyes. In a sincere but awkward chat, Sweeney explains how his now ex-wife's drinking helped end his marriage; however, he catches himself afterwards, making a point to say that just because his story turned out like that, that doesn't mean Leslie's will as well, or that he thinks it that'll occur. To Leslie is available to stream via iTunes and Prime Video. Read our full review. DUNGEONS & DRAGONS: HONOUR AMONG THIEVES More than most games, Dungeons & Dragons thrives or dies based on the people rolling the dice, creating their own characters and casting spells. Whether Stranger Things' demogorgon-slaying teens are hunched over a table imagining up their fantasy dreams, or flesh-and-blood folks who aren't just part of a TV series find themselves pretending that they're fighters and clerics, an adventure or campaign is only as good as the party at its core. Writer/directors Jonathan Goldstein and John Francis Daley understand this. The latter definitely should: the one-season TV great Freaks and Geeks, which gave him his start as an actor when he was just a kid, threw D&D some love, too. As filmmakers, Goldstein and Daley jump from Game Night to Dungeons & Dragons: Honour Among Thieves with a clear mission: making the swords-and-sorcery flick's cast its biggest strength. This game-to-screen flick sports a stacked roster, starting with Chris Pine (Don't Worry Darling) as Edgin Darvis, a bard and former member of the Harpers who turned petty thief — complete with a Robin Hood-esque attitude — after his wife passed away. Since his daughter Kira (Chloe Coleman, Avatar: The Way of Water) was a baby, he's been co-parenting with his gruff best friend Holga Kilgore, a stoic exiled barbarian, who is played with exactly the stern look that Michelle Rodriguez (Fast & Furious 9) was always going to bring to the part. They start the film in a dungeon, but Edgin and Holga are soon trying to reunite with Kira after rogue and con artist Forge Fitzwilliam (Hugh Grant, Operation Fortune: Ruse de Guerre), their former pal, turned nefarious while they were in prison. Cue help from Simon Aumar (Justice Smith, Sharper), a sorcerer with hefty confidence issues; tiefling druid Doric (Sophie Lillis, IT and IT: Chapter Two); and paladin Xenk Yendar (Regé-Jean Page, The Gray Man). Dungeons & Dragons: Honour Among Thieves is available to stream via Prime Video. Read our full review. TILL There's no shortage of heartbreak in Till, a shattering drama about the abduction, torture and lynching of 14-year-old Emmett Till in Mississippi in 1955. Clemency writer/director Chinonye Chukwu tells of a boy's tragic death, a mother's pain and anger, and a country's shame and trauma — and how all three pushed along America's 20th-century civil rights movement. Heartache lingers in the needless loss of life. Fury swells at the abhorrent racism on display, including in the justifications offered by the unrepentant perpetrators. Despair buzzes in the grief, personal and national alike, that hangs heavy from the second that Emmett is dragged away in the night. Fury seethes, too, because an atrocious murder like this demands justice and change, neither of which was ever going to be easy to secure given the time and place. Indeed, the US-wide Emmett Till Antilynching Act making lynching a federal hate crime only became law in March 2022. Heartbreak builds in and bursts through Till from the outset — and in sadly everyday situations. Emmett, nicknamed Bo by his family, is played as a lively and joyful teen by the impressive Jalyn Hall (Space Jam: A New Legacy). He's confident and cheery, as his mother Mamie Till-Mobley (Danielle Deadwyler, Station Eleven) has lovingly raised him to be in Chicago. But even department-store shopping for a trip to the Deep South is coloured by the threat of discrimination. So, as his departure to see relatives gets nearer, Mamie utters a few words of advice. She's stern and urgent, trying to impart to him the importance of adhering to Mississippi's unspoken rules. She implores him not to do anything that could be construed as looking at white people the wrong way, to apologise profusely and instantly whenever he has to, and to heed the different set of norms. "Be small down there," she says — and it's one of the movie's many crushing moments. Till is available to stream via iTunes and Prime Video. Read our full review. EMPIRE OF LIGHT They don't call it movie magic for nothing, as plenty of Hollywood's leading lights have made it their mission to stress. A filmmaker's work should ideally make that statement anyway — seeing any picture and taking any trip to the pictures should, not that either always occurs — but overt odes to cinema still flicker with frequency. Across little more than 12 months, Kenneth Branagh's Belfast has featured a scene where his on-screen childhood alter ego basks in the silver screen's glow, and Damien Chazelle's Babylon made celebrating Hollywood and everything behind it one of its main functions. With The Fabelmans, Steven Spielberg revisited his formative years, following the makings of a movie-obsessed kid who'd become a movie-making titan. Now 1917, Skyfall, Spectre and American Beauty director Sam Mendes adds his own take with Empire of Light, as also steeped in his own youth. A teenager in the 70s and 80s, Mendes now jumps back to 1980 and 1981. His physical destination: the coastal town of Margate in Kent, where the Dreamland Cinema has stood for exactly 100 years in 2023. In Empire of Light, the gorgeous art deco structure has been rechristened The Empire. It's a place where celluloid dreams such as The Blues Brothers, Stir Crazy, Raging Bull and Being There entertain the masses, and where a small staff under the overbearing Donald Ellis (Colin Firth, Operation Mincemeat) all have different relationships with their own hopes and wishes. As projectionist Norman, Toby Jones (The Wonder) is Mendes' mouthpiece, waxing lyrical about the transporting effect of images running at 24 frames per second and treasuring his work sharing that experience. Empire of Light is that heavy handed, and in a multitude of ways. But duty manager Hilary (Olivia Colman, Heartstopper) and new employee Stephen's (Micheal Ward, Small Axe) stories are thankfully far more complicated than simply adoring cinema. Empire of Light is available to stream via Disney+, Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. ANT-MAN AND THE WASP: QUANTUMANIA In the 31st Marvel Cinematic Universe film's opening beats — and the third Ant-Man movie, after directed OG flick and 2018's Ant-Man and the Wasp — the titular shrinking hero (Paul Rudd, The Shrink Next Door) is indeed Ant-Man and the Wasp: Quantumania's star. As returning filmmaker Peyton Reed initially revels in, he's a celebrity basking in the fame of being among the Avengers and dealing with Thanos, and he's written a memoir about it — a book, Look Out for the Little Guy, that'll genuinely exist IRL come September. But the bliss of Scott's success gets cut down when he learns that his now 18-year-old daughter Cassie (Kathryn Newton, Freaky) has been secretly tinkering with Hope and her ant-obsessed physicist father Hank Pym (Michael Douglas, The Kominsky Method). The trio's project: sending signals down to the quantum realm. Hank's wife and Hope's mother Janet (Michelle Pfeiffer, French Exit) is also unimpressed, given that rescuing her from that microscopic place, where she spent 30 years, was no minor part of the plot of the last Ant-Man entry. Viewers should savour the precious time outside the quantum realm in Quantumania; there isn't much of it. No sooner are the Lang/van Dyne/Pym swarm talking about Cassie, Hope and Hank's experiments than they're all transported to said subatomic space, with working out how to get home far from their only worry. Janet had led the others to believe that all she found when she was gone was nothing upon nothing, but entire civilisations and species, akin to Star Wars' different planets, people and critters with a dash of Dune's and Mad Max: Fury Road's landscapes and themes, lurk below. So does the banished, trapped and genocidal Kang the Conqueror (Jonathan Majors, The Harder They Fall), the time-hopping, world-destroying new adversary who likes annihilating things just because he can — and he desperately and nefariously wants out as well. Audiences will, too, thanks to a rote threequel that has a key series-building task — kicking off the MCU's phase five — first, foremost and at a giant cost. Ant-Man and the Wasp: Quantumania is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. WINNIE-THE-POOH: BLOOD AND HONEY Never meet your heroes. Kill your darlings. A murderous rampage through the Hundred Acre Wood — a slasher take on a childhood favourite, too — Winnie-the-Pooh: Blood and Honey sticks its paws in both pots. Based on AA Milne's famed creation, which initially appeared in kids' poetry book When We Were Very Young in 1924, this schlockfest is exactly what a headline-courting low-budget horror flick about a homicidal Pooh and Piglet seemed sight unseen, and in its trailer. Blood and Honey is all about that high-concept idea, and splashing around as many instances of bloody bother as possible, to the point of repetition. It slathers on well-executed gore, but isn't anything approaching good or so-bad-it's-good. That said, it's also a reminder that everything changes, even a cute, cuddly stuffed animal revered by generations — and that carving away cosy notions about comforting things is a fact of life. Commenting on ditching one's safety blankets and inevitably being disappointed by one's idols is an unexpected — and perhaps unintended — bonus here. With so little plot and character development to writer/director/producer Rhys Frake-Waterfield's (The Killing Tree) script, making a statement is hardly Blood and Honey's main meal. This is a film of opportunity. Milne's loveable bear of very little brain entered the public domain at the beginning of 2022, which is what gave rise to this gruesome spin on figures seen on the page, in plenty of cartoons, and also examined in recent movies such as Goodbye Christopher Robin and Christopher Robin. As sure as the titular teddy's historical love for ditching pants and palling around with Piglet, Tigger, Eeyore, Owl, Kanga and Roo, this Texas Chainsaw Massacre-style Pooh twist primarily exists because the premise was too irresistible thanks to copyright laws. Winnie-the-Pooh: Blood and Honey is available to stream via Google Play, YouTube Movies, 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 — and fast-tracked highlights from January, February, March and April, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies, plus movies you might've missed and television standouts of 2022 you mightn't have gotten to.
Back at full capacity and back at The Wharf. After a rough old year, Sydney Theatre Company is returning to revamped digs at its old home in Walsh Bay with Act 2 — the second half of its 2021 season. With all of Sydney tipsy on our newly regained freedom, STC has cast the net wide, selecting 11 works guaranteed to beguile avid theatregoers and new converts alike. Featuring reworked classics such as The 7 Stages of Grieving, Death of a Salesman and the return season of Kip Williams' reimagining of The Picture of Dorian Gray, a one-woman audio-visual wit-banquet starring Eryn Jean Norvill, Act 2 suffers no shortage of heavy hitters. But there's also plenty for those prepared to look a little further afield. Sigrid Thornton will make her STC debut (finally) in a prickly tussle with fake news in The Lifespan of a Fact, while Squabbalogic have transformed Gough Whitlam's trials and tribulations into the self-described 'extremely serious musical comedy' The Dismissal. [caption id="attachment_802327" align="alignnone" width="1920"] Image: Brett Boardman[/caption] Sure, you might have spent a good chunk of the last year cooped up at home with only actors for company. But these ones aren't behind a glass screen. And they're busting to welcome you back — face-to-face — to the newly-renovated Wharf Theatres, Roslyn Packer Theatre and the Sydney Opera House. To explore the program and to book, head to the Sydney Theatre Company website.
It has finally happened again, Sydneysiders. The city's projectors remained silent, its theatres bare and the smell of popcorn faded during the city's almost four-month-long lockdown; however, Sydney's picture palaces are now back in business. When stay-at-home restrictions are in place, no one is ever short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over over the last year or so, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent more time than usual in the past 18 months 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 films are hitting cinemas so that you can do just that. And, after checking out the best new movies that you could only see on the big screen when picture palaces reopened, we've now rounded up, watched and reviewed the new movies that have just arrived in theatres this week. THE LAST DUEL A grim historical drama that recreates France's final instance of trial by combat, The Last Duel can't be described as fun. It hinges upon the rape of Marguerite (Jodie Comer, Free Guy), wife of knight Jean de Carrouges (Matt Damon, Ford v Ferrari), by his ex-friend Jacques Le Gris (Adam Driver, Annette) — aka the event that sparked the joust — so that term will obviously never apply. Instead, the movie is exquisite in its 14th-century period staging. After a slightly slow start, it's as involving and affecting as it is weighty and savage, too. When the titular battle takes place, it's ferocious and vivid. And with a #MeToo spirit, the film heartbreakingly hammers home how poorly women were regarded — the rape is considered a crime against Carrouges' property rather than against Marguerite herself — making it an expectedly sombre affair from start to finish. The Last Duel must've been fun to make from a creative standpoint, however. Damon sports a shocking mullet, and Ben Affleck (The Way Back) dons a ridiculous blonde mop while hamming up every scene he's in (and demanding that Driver drop his pants), although that isn't why. Again, the brutal events seen don't earn that term, but teasing out Marguerite, Carrouges and Le Gris' varying perspectives is fascinating. Director Ridley Scott (All the Money in the World) and his screenwriters — Good Will Hunting Oscar-winners Damon and Affleck, plus acclaimed filmmaker Nicole Holofcener (Enough Said) — have clearly seen Rashomon, the on-screen benchmark in using clashing viewpoints. In their "he said, he said, she said" tale, journeying in the iconic Japanese film's footsteps proves captivating. It must've been an enjoyable challenge for its cast, too, terrible hairstyles and all; as moments repeat, so much of the movie's potency stems from minuscule differences in tone, angle, emphasis and physicality. "The truth according to Jean de Carrouges" proclaims The Last Duel's first chapter, adapting Eric Jager's 2004 book of the same name in the process. (Le Gris and Marguerite's segments, following in that order, receive the same introduction.) Even in his own instalment, Damon plays Carrouges as a scowling and serious soldier, and as petulant and entitled. He's also a victim in his own head. That attitude only grows as Le Gris finds favour with Count Pierre d'Alençon (Affleck), cousin to teenage King Charles VI (Alex Lawther, The Translators), and starts collecting his debts — including Carrouges' own. And when the knight marries the beautiful and well-educated Marguerite, it's purely a transaction. It also deepens his acrimony towards Le Gris long before the rape, after land promised in the dowry ends up in his former pal's hands via the smarmy Pierre. Still, Carrouges is instantly willing to fight when he hears about the sexual assault. That said, it's also just another battle against Le Gris and the Count, after taking them to court and the King over their property squabble. In Le Gris' chapter, where Driver broods with an intensity that's fierce even for him, Carrouges' joylessness and pettiness is given even more flesh. Also explored here: the Count's hedonism, the ambition and greed driving the opportunistic Le Gris, and the fixation he develops with Marguerite. Scott ensures that the rape lands like the horror it is, too, leaving no doubt of its force and coercion despite Le Gris' claims otherwise. Read our full review. THE HARDER THEY FALL Idris Elba. A piercing gaze. One helluva red velvet suit. A film can't coast by on such a combination alone, and The Harder They Fall doesn't try to — but when it splashes that vivid vision across the screen, it's nothing short of magnificent. The moment arrives well into Jeymes Samuel's revisionist western, so plenty of stylishness has already graced its frames before then. Think: Old West saloons in brilliant yellows, greens and blues; the collective strut of a cast that includes Da 5 Bloods' Delroy Lindo and Jonathan Majors, Atlanta's Zazie Beetz and LaKeith Stanfield, and If Beale Street Could Talk Oscar-winner Regina King; and an aesthetic approach that blasts together the cool, the slick and the operatic. Still, Elba and his crimson attire — and the black vest and hat that tops it off — is the exclamation mark capping one flamboyant and vibrant movie. Imaginative is another appropriate word to describe The Harder They Fall, especially its loose and creative take on American history. Where some features based on the past take a faithful but massaged route — fellow recent release The Last Duel, for example — this one happily recognises what's fact and what's fantasy. Its main players all existed centuries ago, but Samuel and co-screenwriter Boaz Yakin (Now You See Me) meld them into the same narrative. That's an act of complete fiction, as is virtually everything except their names. The feature freely admits this on-screen before proceedings begin, though, and wouldn't dream of hiding from it. Team-up movies aren't rare, whether corralling superheroes or movie monsters, but there's a particular thrill and power to bringing together these fictionalised Black figures in such an ambitious and memorable, smart and suave, and all-round swaggering film. After proving such a commanding lead in HBO series Lovecraft Country, Majors takes centre stage here, too, as gunslinger Nat Love. First, however, the character is initially introduced as a child (Anthony Naylor Jr, The Mindy Project), watching his parents get murdered by the infamous Rufus Buck (Elba, The Suicide Squad). A quest for revenge ensues — and yes, Nat shares an origin story with Batman. Samuel definitely isn't afraid to get stylised and cartoonish, or melodramatic, or playful for that matter. One of the keys to The Harder They Fall is that it's so many things all at once, and rarely is it any one thing for too long. This is a brash and bold western from its first vividly shot frame till its last, of course, and yet it's also a film about the tragedies that infect families, the violence that infects societies, and the hate, abuse, prejudice, discrimination and bloodshed that can flow from both. It's a romance, too, and it nails its action scenes like it's part of a big blockbuster franchise. As an adult, Nat still has Rufus in his sights. It'll take a few twists of fate — including a great train robbery to free Rufus en route from one prison to the next — to bring them face to face again. The sequence where the outlaw's righthand woman Trudy (King) and quick-drawing fellow gang member Cherokee Bill (Stanfield) take on the law is sleek heist delight, and the saloon clash with marshal Bass Reeves (Lindo) that gets Nat back on Rufus' trail is just as dextrously handled. Nat also has bar proprietor and his on-again, off-again ex Stagecoach Mary (Beetz) on his side, plus the boastful Beckwourth (RJ Cyler, Me and Earl and the Dying Girl), sharp-shooting Bill Pickett (Edi Gathegi, Briarpatch) and diminutive Cuffee (Danielle Deadwyler, P-Valley). Everyone gets their moments, and every one of those moments sashays towards a blood-spattered showdown. Read our full review. MALIGNANT Nearly two decades have passed since a pair of Melbourne talents made a low-budget horror flick that became a franchise-starting smash, sparking their Hollywood careers. Thanks to Saw, James Wan and Leigh Whannell experienced every aspiring filmmaker's absolute fantasy — a dream they're still living now, albeit increasingly on separate paths. Wan's latest, Malignant, is firmly grounded in those horror roots, however. Most of the Insidious and The Conjuring director's resume has been, aside from recent action-blockbuster detours to Fast and Furious 7, Aquaman and the latter's upcoming sequel. With Malignant, though, he shows how strongly he remains on the same page as his former collaborator. Anyone who's seen Whannell's excellent Upgrade and The Invisible Man will spot the parallels, in fact, even if Malignant is the far schlockier of the three. Malignant is also an exercise in patience, because plenty about its first half takes its time — and, when that's the case, the audience feels every drawn-out second. But after Wan shifts from slow setup mode to embracing quite the outrageous and entertainingly handled twist, his film swiftly becomes a devilish delight. Heavily indebted to the 70s-era works of giallo master Dario Argento, David Cronenberg's body-horror greats and 80s scary movies in general, Malignant uses its influences as fuel for big-swinging, batshit-level outlandishness. Most flicks can't segue from a slog to a B-movie gem. Most films can't be saved by going so berserk, either. Wan's tenth stint behind the lens can and does, and leaves a limb-thrashing, blood-splattering, gleefully chaotic imprint. Perhaps it's a case of like name, like approach; tumours can grow gradually, then make their havoc felt. Regardless, it doesn't take long within Malignant for Dr Florence Weaver (Jacqueline McKenzie, Miss Fisher and the Crypt of Tears) to proclaim that "it's time to cut out the cancer" while treating a locked-up patient in the film's 1992-set prologue. This is a horror movie, so that whole event doesn't turn out well, naturally. Jump forward a few decades, and the feature's focus is now Seattle resident Madison Mitchell (Annabelle Wallis, Boss Level), who is hoping to carry her latest pregnancy with her abusive husband to term. But then his violent temper erupts again, she receives a head injury, and childhood memories start mixing with visions of gruesome killings linked to Dr Weaver's eerie hospital — visions that Madison sees as the murders occur. Bearing telepathic witness to horrific deaths is an intriguing concept, although hardly a new one — and, that aforementioned first scene aside, it's also the most interesting part of Malignant's opening half. Wan and screenwriter Akela Cooper (Grimm, The 100) play it all straight and obvious, including when the cops (Containment's George Young and Songbird's Michole Briana White) are skeptical about Madison's claims. That leaves only her younger sister Sydney (Maddie Hasson, Mr Mercedes) believing what's going on, and leaves the movie a plodding psychological-meets-supernatural thriller predicated upon routinely predictable but improbable character decisions. It makes the second half feel positively electrifying in contrast, when the big shift in tone comes, but also makes viewers wonder what might've been if that lurid look and kinetic feel had been present the whole way through. Read our full review. ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN When Anthony Bourdain strode around the world, and across our screens, in food-meets-travel series A Cook's Tour, No Reservations, The Layover and Parts Unknown, he was as animated as he was acerbic and enigmatic. Beneath his shock of greying hair, the lanky New Yorker was relatable, engaging to a seemingly effortless degree and radiated a larger-than-life air, too. The latter didn't just apply because he was a face on TV, where plenty gets that bigger-than-reality sheen, but because he appeared to truly embrace all that life entailed in that hectic whirlwind of travelling, eating and waxing lyrical about both. Arriving three years after his suicide in 2018, documentary Roadrunner: A Film About Anthony Bourdain captures that. It's so filled with Bourdain thanks to all that time he'd spent in front of the camera, it'd be near-impossible for it not to. But it also lurks under a shadow due to its now-infamous choice to use artificial intelligence to add dialogue that its subject didn't speak. Watching the film, there's no way of knowing which words Bourdain merely penned but didn't utter; the technology truly is that seamless. It still resounds as an unnecessary move, though, especially when such lines might've been incorporated in ways that wouldn't sit at stark odds with his visible liveliness. Roadrunner delves behind the facade that Bourdain presented to the world, of course. It notes his death immediately and goes in search of the sorrow and pain that might've led to it, as mulled over by friends such fellow chefs David Chang and Éric Ripert, and artist David Choe; crew members on his shows; and his second wife Ottavia Busia. Still, once you know about the AI, there's a sense of disconnection that echoes through the doco — because it surveys all that Bourdain was, compiles all of this stellar material and still resorted to digital resurrection. Thankfully, the passion and curiosity that always made Bourdain appear so spirited — yes, so alive, as compared to being vocally recreated by AI after his death — still makes Roadrunner worth watching. That's true for Bourdain fans and newcomers alike, although director Morgan Neville (Oscar-winner 20 Feet From Stardom) doesn't use his two-hour-long film as a birth-to-life primer for the uninitiated. Crucially, as also proved the case with his 2018 Mr Rogers documentary Won't You Be My Neighbor?, Neville jumps through the details of Bourdain's life in a way that also muses on what his success and popularity said about the world. Why he struck such a chord is as essential an ingredient in Roadrunner as how he went from cook to celebrity chef, TV host, best-selling author and travel documentarian. The footage of Bourdain — from his shows, obviously, as well as from a plethora of TV interviews, behind-the-scenes clips and home videos — is edited together with the same restlessness that the man himself always exuded. You don't spend most of your year travelling if you can be easily pinned down, after all. It's a wise choice on Neville and editors Eileen Meyer (Crip Camp: A Disability Revolution) and Aaron Wickenden's (Feels Good Man) parts, but Neville has long had a knack for making his films feel like his subjects. Talking-head chats are spliced throughout, offering further details and grappling with how Bourdain's story ends; however, Roadrunner is repeatedly at its finest when it's peering at him and showing how his work encouraged us all not just to watch, but to eat, travel, think, talk and live. Read our full review. BECOMING COUSTEAU He's been parodied in a Wes Anderson film and mentioned in a Flight of the Conchords song. His red beanie, and those worn by his fellow crew members on his research ship Calypso, are an enduring fashion symbol. He won the second-ever Cannes Film Festival Palme d'Or — becoming not only the first filmmaker to receive the prestigious prize for a documentary, but the only one to do so for almost half a century afterwards. When he started making television in the 60s, he turned his underwater-shot docos about the sea into truly must-see TV. He helped create undersea diving as we know it, and he's the most famous oceanographer that's ever lived. He was also one of the early voices who spoke out about climate change and humanity's impact upon the oceans. He's a rockstar in every field he dived into — and he's Jacques Cousteau, obviously. Becoming Cousteau touches on all of the above — except The Life Aquatic with Steve Zissou and Flight of the Conchords' 'Fou de Fafa', of course — and makes for a a riveting splash into its namesake's life and career. There's just so much to tell, to the point that it frequently feels as if director Liz Garbus (an Oscar-nominee for What Happened, Miss Simone?) could've filled an entire series instead. Her big-screen tribute to Cousteau doesn't suffer from packing so much into its slice of celluloid, however. It simply makes the most of its time, leaving viewers wanting more because they've loved what they've just experienced. Becoming Cousteau is the cinematic equivalent of having a splash, gazing fondly at the sea's blue expanse, or peering deeply at the ocean's underwater wonders, all activities that beg for as much of your attention as possible. This isn't just an affectionate ode, though, even with ample praise floated Cousteau's way. When Garbus includes vision of wide-eyed children beaming up at her subject with wonder splashed across their faces, you could call it a case of a director telling audiences how they should feel — or signalling how she's looking his way, or both. But she knows that Cousteau's achievements, and the glorious archival footage that comes with it, elicits that reaction anyway. She also doesn't shy away from the thornier aspects of his personal and professional lives, tragedies and struggles among them. This is a film about a man who lived a life like no one else's, especially when he kept plunging beneath the sea, but it's also a movie about a man first and foremost. That's why Garbus sticks to a familiar biographical documentary format, as tempting as it might've been to take a more playful route. By chronicling Cousteau's existence in a chronological fashion — from naval officer to icon, with help from his own words as read by French actor Vincent Cassel (The World Is Yours) where footage doesn't exist — she emphasises who he becomes as he spends more and more time in, atop and contemplating the ocean. Yes, her title is that straightforward; however, neither the simplicity of Becoming Cousteau's structure nor the descriptiveness of its moniker can sum up this fascinating and thoughtful documentary. There's nothing standard about the way it charts his evolution or examines how he used his fame, either, or about the glorious way it selects, curates and compiles its wealth of clips — or about the movie's transfixing ebb and flow. SOME KIND OF HEAVEN If you didn't know that Some Kind of Heaven was a documentary, you might think that it was a skit from I Think You Should Leave with Tim Robinson. The same kind of social awkwardness that makes the Netflix sketch comedy such an equally savage and hilarious watch is present in this factual look at the retirement community also dubbed "god's waiting room": The Villages, Florida, the world's largest master-planned, age-restricted locale of its kind, and home to more than 120,000 people. This is a place for folks aged over 55 to live in multiple senses of the world. Couples tend to move there, then sign up for some of the thousands of activities and clubs that get them out dancing, kayaking, cheerleading, swimming and more. If a resident happens to be on their own — usually after their partner's passing — they can get involved in the local singles club, too. Around since the early 80s, and also described as "Disney World for retirees", this community is meant to be a dream. It was specifically designed to resemble the kinds of small towns its inhabitants likely grew up in, right down to the shop-filled main street and the large town square, and locals aren't ever meant to want to leave. But as Some Kind of Heaven follows four folks who've made The Villages their home — including one ex-Californian import that's just squatting — it demonstrates the reality that lingers behind the busy facade and glossy sales pitch. Requiem for a Dream's Darren Aronofsky is one of the doco's producers and, while Mother!-style horrors never quite pop up, this isn't a portrait of bliss by any means. Many of The Villages' residents are clearly happy. In his first feature-lengthy documentary, filmmaker Lance Oppenheim trains his gaze at people who aren't likely to appear in any of the community's brochures, however. Every shot lensed by cinematographer David Bolen (1BR) and boxed into the film's square frame is scenic and striking — Some Kind of Heaven sports an exquisite eye for visual composition — but much of what the movie depicts feels like stepping into a surreal alternative realm. (In one sequence, the camera meets a room filled with women called Elaine, all of whom introduce themselves one after one — and it's a scene that could've come straight out of any one of David Lynch's visions of suburban horror.) Approaching their 47-year wedding anniversary, Reggie and Anne think they've found the place for them. That's what they're both saying, at least, but The Villages means different things for each of them. Reggie has used the move to embrace his love of drugs and doing whatever he wants, and Anne has once again been forced to stand by his side, including when he's sent to court and admonished for his rudeness while representing himself. Then there's Barbara, a widow from Boston who didn't ever plan to live in Florida alone. She still works full-time, a rarity among her fellow residents, and she yearns for the company she thinks a margarita-loving golf cart salesman might bring. Rounding out the interviewees is the sleazy Dennis, an 81-year-old living in his van until he can find an attractive and rich woman to marry. Some Kind of Heaven doesn't judge him, or anyone else in its frames, but it lets these stories speak volumes about a place positioned as a fantasy land and yet really just bringing out the chaotic teenager inside everyone. LOVE YOU LIKE THAT She's alive, wrapped in seaweed. When a woman with amnesia washes up on the beach in Love You Like That, no one makes that Twin Peaks-esque comment. That's the most surprising thing about this Australian rom-com, because it doesn't skim on the obvious inclusions from that point onwards — and it isn't shy about swimming through an ocean of cliches, either. Indeed, by the time its big finale arrives to the sounds of John Paul Young's 'Love Is in the Air', blatantly trying to bring Strictly Ballroom to viewers' minds seems like the next natural step for a movie that's as generic and derivative as it comes otherwise. It's a misguided move, though, reminding audiences of what they would've been better off watching. Seafront Sands' mysterious new arrival (Allira Jaques, Charlie's Farm) claims she can't remember anything, including her name; however, she gravitates towards Mim, after the beach where she was found. People are drawn towards her in return, with the fictional coastal town swiftly influenced by her presence. Romance and kindness seem to follow in her footsteps — leaving Harrison (Mitchell Hope, Let It Snow), the local ladies' man who also runs a dating agency, intrigued. Of course, Mim has made her appearance on a day when the council is trying to woo developers, a big beach festival is scheduled and a policeman is pondering popping the question, and has an impact upon all three. There's a twist to Love You Like That, pegging the film firmly in the realm of sappy, soapy fantasies — although it lurks in that territory well before the big revelation arrives. That said, this is a tonally chaotic film. It's schmaltzy from start to finish, but also tries to stitch in middle-aged siblings mending their squabbles, a local cafe owner confronting her grief over her missing-in-action soldier husband, Harrison's parent issues thanks to an ailing dad and mum he never knew, and the raucousness of his assistant Emily (comedian Steph Tisdell) and her forcefully outgoing personality. Mostly, Love You Like That plays as if debut writer/director Eric C Nash has thrown everything he can at the screen to see what sticks. Alas, all that lingers is ridiculousness. The twist earns that description, and so does the seesawing mess that both precedes and follows it. A cast that includes well-known Aussie faces such as John Jarratt (Wolf Creek) and Chris Heywood (Dirt Music) — both in wasted parts — can't improve the careening screenplay. They also can't anchor a mood that changes in an instant like it's bobbing and weaving on the surf, including the jerky lurching from overblown sweetness (whenever Mim has an effect on people) to over-amped comedy (because Emily seems like she's come hurtling in from a completely different movie). Love You Like That is sunnily shot, but it's impossible to plaster over the film's many struggles with warm hues, beach imagery and wide smiles. Or, with 'Love Is in the Air' — which'll also get viewers thinking about how little this flick conjures. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Sydney cinemas when they reopened on October 11, and what opened on October 14. You can also read our full reviews of a heap of movies currently screening, such as In the Heights, Black Widow, Nine Days, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Pig, The Killing of Two Lovers, Nitram, A Fire Inside and Lamb.
Sydney's art world and global cultural clout are about to receive a huge boost, with the Art Gallery of NSW's new Sydney Modern Project finally throwing open its doors on Saturday, December 3. Perched upon a hill next to the original AGNSW, looking down on Woolloomooloo's Finger Wharf, the world-class museum boasts a series of stunning and immersive exhibition spaces housed within an expansive open-plan glass building. On Tuesday, NSW Premier Dominic Perrottet called the Sydney Modern Project New South Wales' "most significant cultural build since the Opera House". The ambitious four-level, $344-million project is filled with breathtaking works of art. Wonder through the gallery and you'll discover fully immersive exhibition spaces, vibrant works from world-renowned artists, and huge sculptures welcoming you into the building or looking out onto the harbour. [caption id="attachment_880682" align="alignnone" width="1920"] Aerial view of the Art Gallery of New South Wales' new SANAA - designed building, 2022, photo © Iwan Baan[/caption] The first piece of art that's sure to catch your eye is the pair of massive, larger-than-life bronze statues that stand at the front of the museum. Created by artist Francis Upritchard, these tree-like figures are playfully incorporated into the outdoor foyer of the building. Once inside, there's plenty to discover. As you enter, head into the Yiribana Gallery that's been relocated from the lowest level of the original AGNSW building to the entrance of Sydney Modern. Here you'll find a showcase of Aboriginal and Torres Strait Islander artworks spanning across mediums and messages. One of the nicest touches of this new Yiribana Gallery is its floor-to-ceiling glass windows that offer views of the surrounding ocean and trees, connecting the space with its natural surroundings. [caption id="attachment_880677" align="alignnone" width="1920"] Installation view of the Dreamhome: Stories of Art and Shelter exhibition in the new building at the Art Gallery of New South Wales, featuring Samara Golden Guts 2022 © Samara Golden, photo © Iwan Baan[/caption] Continue around the gallery and you'll find works from two of Japan's most renowned artists. Yayoi Kusama has created a set of massive spotted flowers that can be observed from a large outdoor space overlooking Woolloomooloo. One level below these multi-coloured structures, you'll find Japan Supernatural: Vertiginous After Staring at the Empty World Too Intensely, I Found Myself Trapped in the Realm of Lurking Ghosts and Monsters, a chaotic 2019 artwork from Takashi Murakami. Some of the opening exhibitions include Dreamhome: Stories of Art and Shelter, a multi-media exhibition ruminating on the concept of home and shelter; Outlaw, a series of works from rule-breaking artists inside a space purpose-built for evolving time-based art; and Adrián Villar Rojas: The End of Imagination, a fully immersive work that places visitors in the gallery's underground exhibition space called The Tank, shrouded in darkness with each piece of art slowly being revealed by a set of spotlights. [caption id="attachment_880681" align="alignnone" width="1920"] The Tank space in the Art Gallery of New South Wales' new SANAA - designed building, 2022, photo © Art Gallery of New South Wales, Jenni Carter[/caption] From Saturday, December 3 until Sunday, December 11, the Sydney Modern Project will be open until 10pm each day, giving Sydneysiders more chances to come and explore the new facilities. Accompanying these extended opening hours will be a series of opening celebrations that includes a free concert in The Domain with Ellie Goulding, Meg Mac and Electric Fields, a nightly drone show over Wooloomooloo from Reko Rennie and a series of talks from artists and creatives. All events are free, but if you want to head along to the concert, talks or the gallery on the opening weekend, you'll have to sign up for a ticket. For five years now, the Sydney Modern Project has been on its way — originally announced in 2017, officially given a green light in 2018 and revealing its first commissioned artworks in March 2022. [caption id="attachment_880685" align="alignnone" width="1920"] Exterior view of the Welcome Plaza of the Art Gallery of New South Wales ' new building , featuring Yayoi Kusama Flowers that Bloom in the Cosmos 2022 , photo © Iwan Baan[/caption] The Sydney Modern Project is located next to the Art Gallery of NSW. It will open on Saturday, December 3 with extended opening hours of 10am–10pm until Sunday, December 11.
Usually, for one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it typically seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest tunes and talent the country has to offer. There's nothing usual about 2020, though. And, yes, that applies to this beloved music-fuelled celebration. In fact, after announcing back in July that it would still forge ahead this year as a physical — but socially distanced, COVID-safe and scaled-down — event, BIGSOUND has just revealed today, Thursday, September 3, that it'll now proceed as a virtual-only affair. Rather than four days of conferences, live festival showcases, secret shows and official parties, music fans can look forward to keynote addresses, online workshops, panels, discussions and an Australian artist showcase called The BIGSOUND50, all across a condensed two-day online program. The lineup wont be revealed until the end of September, but the event will still happen next month — having already moved from its normal timeslot to Wednesday, October 21 and Thursday, October 22, the digital-only BIGSOUND is keeping the latter dates. Announcing the change in an emailed statement, BIGSOUND management advised that the shift in direction stems from "ongoing COVID-19 restrictions and domestic border closures"; however the festival will adjust. It'll also address the challenges of 2020 and what that means for the industry moving forward by focusing on three specific themes: community, survival and re-futuring. [caption id="attachment_636254" align="aligncenter" width="1920"] Waax, BIGSOUND 2017. Image: Bec Taylor.[/caption] Overseeing the virtual program are Janne Scott, BIGSOUND's creative director (and Splendour In The Grass' senior creative manager); Alethea Beetson, the event's First Nations producer and programmer; and conference programmer Tom Larkin. Beetson, as well as festival co-programmers Dominic Miller and Ruby-Jean McCabe, will select the artists featured in The BIGSOUND50. Past BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. BIGSOUND 2020 will run virtually on Wednesday, October 21 and Thursday, October 22, with further details set to be announced in late September. For more information — or to obtain a free online delegate pass — visit bigsound.org.au. Top image: Keynote speaker Mo'Ju at BIGSOUND in 2019
Music festivals are back, following a chaotic couple of years for reasons that we all know and lived through. That's great news in general — and particularly ace news if you've been hanging out for the return of Listen Out, which hits Sydney's Centennial Park on Saturday, October 1. Fuzzy's national electronic-meets-hip hop festival will make a huge comeback for its first gigs since 2019, complete with a hefty lineup led by Disclosure and The Jungle Giants. Also on the bill: everyone from BARKAA and Electric Fields to BBNO$ and Tove Lo. [caption id="attachment_626784" align="alignnone" width="1920"] Mitch Lowe[/caption] The lineup goes on — however, in just as excellent news, Sydney's leg is also timed across the October long weekend. Spending a day dancing in a crowd, then still having two days off afterwards? That's the perfect way to dive back into festival life. LISTEN OUT 2022 LINEUP: 24kGOLDN AJ Tracey BARKAA BBNO$ Blanke Bru-C Central Cee Chris Lake Culture Shock Dameeeela Disclosure Electric Fields James Hype JID The Jungle Giants Kito Louis The Child LP Giobbi Meduza Memphis LK Miiesha Nia Archives Pirra Pretty Girl Qrion Stace Cadet and KLP Roddy Ricch Tove Lo Trippie Red
It’s a truly eye-popping spread of international art stars at the AGNSW’s summer blockbuster, Pop to Popism. Much of it will be familiar; you’ll see Warhol’s famous Marilyn series and Lichtenstein’s In the Car. But beyond the colourful brushstrokes of American artists picking apart consumer culture, you're bound to stumble across a few local and lesser known artists who were nowhere near the New York hotbed of creative activity. Though you might not find their works stamped on pencil cases and postcards in the gift shop, here’s a list of underrated artists you ought not to skip over. Alain Jacquet: Pop and the Dot Roy Lichtenstein spoke about breaking an image down into tiny abstract elements. But unlike his clean lines of handpainted dots, Alain Jacquet developed a more textured technique by allowing different coloured dots to bleed into each other. This French artist was part of a mini-movement at the tail-end of Pop Art. Like their American cousins, the European artists of the school of New Realism were interested in using the materials of everyday life and avoiding the traps of figurative painting. Jacquet’s reworking of Manet’s canonical Luncheon on the Grass deserves to be appreciated up close. Like a hazy summer dream, there is a real sense of warmth and vitality to his work. Annandale Imitation Realists: Pop and Protest In 1960s Sydney, the beginnings of a local Pop Art scene might be attributed to the Annandale Imitation Realists, a group describing themselves as a 'spoof art organisation'. Mike Brown, Colin Lancely and Tony Tuckson produced eclectic mixed media assemblages, drawing from a range of different sources. Breaking through the conservatism of public life, these edgy inner-westies were passionate crusaders for free expression. In fact, Brown was the only Australian artist to be successfully prosecuted for obscenity. While Warhol and Lichtenstein imitate the aesthetic of advertising, this group revelled in nonsensical statements, visceral messiness, and a disregard for authority. They represent an exotic and exuberant counterpoint to the Pop Art that was unfolding across the Pacific. Martha Rosler: Pop and Activism An overlooked figure in the male dominated world of pop art, Martha Rosler moves within the spectrum of social critique. Her incisive series House Beautiful: Bringing the War Home fuses together militancy and materialism. Using photomontage, she reconstructs advertisements aimed at housewives with scenes from the Vietnam War. It's a bizarre juxtaposition; the models are all smiles while soldiers and child casualties peep through windows. Like Richard Hamilton’s earlier and more famous collage, this is a satire of the modern home. But Rosler’s series feels a lot more pressing. She simultaneously tackles the outdated ideal of femininity and the ethics of a media saturated war. Vivienne Binns: Pop and Feminism With second wave feminism in full swing, Vivienne Binns shocked her Sydney audience by exhibiting paintings of vaginas in 1967. Becoming one of the first female artists to address sexuality, her intricate and brightly coloured works drew strong backlash. An abbreviation of vagina dentata, Vag Dens is one of the most significant paintings of this period. In terms of her style, it is as if Abstract Expressionism has entered the realm of '70s psychedelia and become infused with sexual empowerment. Still active today, Binns has a reputation as one of the most radical women on the Australian art scene. Martin Sharp and Tim Lewis: Pop and Deconstruction While you’re sure to see Martin Sharp’s shiny psychedelic posters of Bob Dylan and other famous faces, his collaborative works with Tim Lewis represent the point at which Pop Art began to turn in on itself. During the dying days of this global phenomenon, the Aussie duo was preoccupied with appropriating the big personalities of the movement. It's interesting to see the cartoonish and the cult of celebrity paired with aesthetic purists, like Mondrian, and tortured geniuses, like Van Gogh. Imposing the new faces of postmodernism onto the masters of modernism, they created playful works that prematurely historicise Pop Art with the kind of wry humour it probably deserves. Edward Ruscha: Pop and Language A mighty artist in his own right, Edward Ruscha is more of an associate than a proponent of Pop Art. Of course, one of the rivers running through this art movement is text: whether it be the onomatopoeic sound effects of Roy Lichtenstein, the capitalist slogans of Barbara Kruger, or the self-aware ramblings of Mike Brown. Though Ruscha's training was similarly grounded in commercial art, his word paintings are more visceral and experimental than his colleagues. For instance, he has been known to use odd materials like gunpowder and red wine in his work. Fascinated by "the raw power of things that made no sense," he combines the spoken sounds of language with the written word to create a kind of visual noise. Gilbert and George: Pop and Performance Although these cheeky Londoners have long been part of the Kaldor collection, it's interesting to see Gilbert and George reframed as a part of Pop to Popism. Beginning their career with a series of performances, they insisted that art is everything the artist does. By repeating the same set of activities every day, they turned their lives into a perpetual performance. Their later photo-based works have a strong graphic quality. Full of "words and turds", these brightly coloured self-portraits are highly stylised reflections of modern life. At the tail-end of the exhibition, it's hard not to love this pair of conservative rebels with their mix of English propriety and bodily glee. They might be thought of as the contemporary caretakers of Pop Art. Images: Martin Sharp, Alain Jacquet, Mike Brown, Martha Rosler, Vivienne Binns, Martin Sharp and Tim Lewis, Edward Ruscha, and Gilbert and George.
The Crown has reached that part of its story: the details that everyone knows no matter how invested you are in Britain's royal family, headlines about them or Netflix's regal drama. With its sixth and final season, the series will step into the relationship between Princess Diana and Dodi Fayed, including the tragic events of their trip to Paris — all of which will be the focus of its four-episode first half. As the just-dropped trailer for the opening part of the show's goodbye demonstrates, heartbreak is on its way. Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki earns the bulk of the spotlight as Diana, including the frenzied attention she received from the media. Also seen in the sneak peek: the news arriving of Diana and Dodi's car accident, and the Palace's reaction. Start practising your royal wave: it's time to bid farewell to the hit drama in two sittings, with both arriving before 2023 is out. The first four episodes will stream from Tuesday, November 16, and then the second from Saturday, December 16. As well as saying goodbye to the series overall, viewers will also be moving on from The Crown's time in the 20th century in this sixth and final season. After covering Diana's death and the aftermath, the hit show will embrace the 21st century in its latest run. Accordingly, The Crown will cover the early days of Prince William and Kate Middleton's relationship, and focus on the man currently second in line to the throne after Queen Elizabeth II's passing in 2022. Screen debutant Ed McVey takes on the role of Prince William, while newcomer Meg Bellamy is slipping into Middleton's shoes. The show's sixth season will follow the IRL pair's first meeting at university in St Andrew's, starting the story that's played out in plenty of headlines and a ridiculous amount of worldwide media coverage since 2001. This dramatised take on history's last season will also cover the Queen's (Imelda Staunton, Paddington) Golden Jubilee and Charles' (Dominic West, The Pursuit of Love) marriage to Camilla (Olivia Williams, The Father). When The Crown began, it kicked off with Queen Elizabeth II's life from her marriage to Prince Philip back in 1947. The first season made its way to the mid-50s, the second season leapt into the 60s, and season three spanned all the way up to the late 70s. In season four, the royal family hit the 80s, while season five hopped to the 90s. Just like in season five, Game of Thrones and Tales from the Loop's Jonathan Pryce wears Prince Philip's shoes — and Princess Margaret is played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. News around the show's fifth and sixth seasons has changed a few times over the past few years. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. Then, the streaming platform had a change of heart, revealing it would continue the series for a sixth season after all. Check out the trailer for the first part of The Crown season six below: The Crown's sixth season will hit Netflix in two parts, with the first four episodes streaming from Tuesday, November 16, and then the second from Saturday, December 16. Images: Daniel Escale, Netflix / Leftbank.
Fonts are more cheeky and charming than we give them credit for. Their shared practicality on the computer screen never gets in the way of their distinct personalities. Each character is individual and up for the count. Whether full-bodied or standing slightly askance, they blink back at the cursor and soldier forth to selflessly serve language, rhythm and imagery. We all know the font family, but rarely stop to consider its authority and influence, whether in cascading style sheets or deprecating HTML scripts. We now realise that all roads lead to Times New Roman, and we long ago figured out who shot the Sans Serif, but the typefaces installed on your system surely deserve a indelible tribute outside the Microsoft Corporation. Thankfully (bold tag) Roller Studio is celebrating the release of the second Go Font Urself book, a font-tastic volume featuring type-riffic artworks that highlight the uniqueness of the English language. If loosened letterforms don't excite you, the inclusion of international artists, designers and typographers will, and all proceeds raised at the launch will be donated to the Penrith Museum of Printing. Presented by Kirin First Press Beer, the GFUS* Typography Initiative invites all and sundry to revel in the craft, beauty and creativity of fonts at Roller Studio. Get your caps lock on, rearrange the glyphs of your inner font into a thumbs up gesture, and bag a copy of the book after 6pm. Image: Siggi Eggertsson
When March arrives, the Murray River transforms into a wonderland of reds, oranges and golds. It's the ideal season to visit. While outdoorsy types can walk, cycle and paddle, wine aficionados can linger over autumnal releases, with rolling vineyards and river sunsets as their backdrop. Here are five dreamy ways to enjoy the Murray's changing colours, from drifting down the river on a houseboat to cycling along share paths scattered with sculptures and cantering on horseback through red river gum forests. SLEEPOVER ON A HOUSEBOAT To completely immerse yourself in the river – from dawn till dusk – stay on a houseboat. All you have to do is sit back, relax and watch the day roll by (unless, of course, you're captain). Or, you can get as adventurous as you like, mooring at riverside villages, stopping by wineries for tastings, embarking on kayaking escapades, jumping in the water for dips and trying your hand at fishing. Most vessels come with a variety of spaces, including sunny decks, glass-walled lounge rooms and outdoor spas. If you've cash to splash, go for a luxury model, such as Magic Murray Houseboats' Magic or Murray River Houseboats' Decadence, which each feature four queen or king bedrooms, luxurious linen, TVs galore, a spa and sun deck. Meanwhile, Mildura Houseboats' fleet ranges from back-to-basics to total extravagance, so there are options for any budget. Stacks more boats are listed on the Wander Victoria website. JUMP ON A BICYCLE It's possible to ride the entire length of the Murray, from its source on the slopes of Mount Kosciuszko to its mouth in Coorong, about 75 kilometres southeast of Adelaide. However, if you don't have weeks to spare (and Amazonian legs), then there are plenty of shorter cycle paths to explore. In Echuca, the Food and Wine Trail takes in numerous cellar doors and local producers, including Morrisons Winery and Cape Horn Vineyard, which both afford expansive views of the river. If you're heading to Albury, conquer the Wagirra Trail, a six-kilometre roll dotted with river-inspired sculptures created by local Indigenous artists. And in Mildura, you'll find several options, including the 12.5-kilometre Riverfront Highlights route, which passes Mildura Arts Centre, Old Mildura Homestead and Ornamental Lakes. PADDLE A CANOE, KAYAK OR STAND-UP BOARD Another way to see autumn from the water – apart from hiring a houseboat – is by canoe, kayak or stand-up paddleboard. For red river gums, koalas and cockatoos, make tracks to Barmah National Park, where there are four paddling trails, between 2.7 and 17.4 kilometres long. Nearby lies Murray Valley National Park, home to the Edward River, a tranquil tributary of the Murray sprinkled with picnic areas and swimming spots. You'll find hire facilities in many riverside towns, including Echuca (Echuca SUP and Echuca Boat and Canoe Hire), Cohuna (Murray River Adventours) and Albury-Wodonga (Canoe the Murray). If you're not confident paddling on your own or would like someone else to take care of the organising, book an adventure with Southern Side Eco Tourism, who'll take you to remote terrain and put you up in a bell tent, or River Country Adventours, whose canoe safaris run on the Goulburn River. HORSE RIDING THROUGH RED RIVER GUM FOREST If reading Black Beauty changed your life forever, then make your equine dreams come true at Billabong Ranch. This 390-acre property just ten minutes' drive from Echuca is an adventure park, where you can jump on a horse's back and canter alongside rivers and through red river gum forest. There are four journeys to choose from: a one-hour bush and creek ride, a two-hour journey beside Goulburn River, a three-hour escapade taking in the Goulburn and the Murray, and a winery ride, which carries you to a local cellar door. If you're feeling particularly adventurous, then the latter can be turned into an overnighter, with extra activities, such as a longer ride to a local pub, a mini cattle muster, a cruise on a paddle steamer and a tour of the Great Aussie Beer Shed. GO WINE TASTING What better way to admire dazzling autumn leaves than with a glass of wine in hand? There are several places to sip and sample along the Murray. If you're Mildura-bound, then begin your explorations at the Sunraysia Cellar Door, where more than 250 wines await your review. Just 15 minutes' drive away in Trentham Cliffs is Trentham Estate, a family-owned winery and restaurant on the banks of the Murray. It's one of many waterfront wineries along the river. Drive southeast for two hours to reach Piangil, where you'll find Andrew Peace's cellar door, then another two-and-a-half to Echuca Moama, home to Cape Horn Vineyard and Morrisons Winery. While you're in the area, get off the beaten track with a trip along the Backroads Trail, stopping at The Old School to try some small-batch meads and Restdown for organic drops. For more ideas on how to spend your autumn getaway in the Murray River region and across the state, check out the Wander Victoria website.
Darling Quarter is pulling out all the stops during this year's Vivid Sydney. As always, the creative festival has an unmissable program of cultural events — with free live music in Tumbalong Park and pop-up cabaret bars joining all the showstopping light installations it's known for. Taking it one step further is Sip & Savour on the Green, which brings alfresco market-style eats to the recently redeveloped Darling Quarter. Until Saturday, June 18, ambient strings of fairy lights, rows of hammocks and live entertainment join a lineup of some of Sydney's best street-food vendors. Just moments away from the CBD, Tumbalong Park and Darling Harbour, Darling Quarter is the ideal spot to meet and eat before you begin your Vivid Sydney explorations. Feel like dim sum? Head to Delight Asian Cuisine for its selection of small bites. There are shish kebabs and toasties from Pocket Rocketz and nachos for everyone — the carnivores, vegos, vegans and gluten-averse alike — from Agape Organic Food Truck. If you're in need of a sweet treat, nab yourself a hammock and delight in a Nutella crepe from French Kiss Creperie, or try a scoop of Bubble O'Vivid, the limited-edition strawberry bubblegum ice cream from Gelatissimo that's sure to deliver a scoop of nostalgia too. Plus, joining the lights, music and street eats is the House of Bombay Bar, a pop-up watering hole slinging gin-laced cocktails courtesy of Bombay Sapphire, Vivid Sydney and Darling Quarter. If you grab a seat inside the bar, you can enjoy a six-course street-food degustation for $60 too. This stellar event is just the beginning for the precinct, so keep your eyes peeled — there's a bevy of restaurants and bars set to open over the year ahead. Heading to Vivid Sydney? Make a beeline for Darling Quarter and dine under the stars at Sip & Savour on the Green.
It's a Tuesday night, you're dragging your feet through the fluorescent corridors of your local supermarket. The recipe in your hands calls for rump steak. You trawl through the packaged meat stacked on the shelves, bumping shoulders with other desperate customers. But there is none to be found. You opt for scotch fillet and convince yourself it's close enough. Waiting behind a tired queue for the self-service checkout you notice everyone around you is clinging to various packaged food items. You stand in the queue and wonder why we spend so much of our time in soulless supermarkets waiting for food that is wrapped in (lots of) plastic and just OK quality. But what if it was different? Enter Sydney's independent merchant renaissance. The food and beverage scene in Sydney is changing. While a lot of us still cling to our routine (daily, weekly) supermarket shop, specialty stores that pride themselves on restaurant-quality produce, education and excellent chat are becoming more and more popular. If you want to avoid the above scenario — or, in the words of Queen, break free from the supermarket slog — here are some alternatives
Honestly, I'm kind of sceptical about this sort of thing. Putting on a show about environmental crises at the MCA is comparable to putting out a zine about being shy and liking cupcakes. It's not even preaching to the converted — the difference between audience and author opinion is so potentially slight as to make it akin to talking to oneself. To some extent, In The Balance conforms to that expectation, with a goodly amount of preaching about recycling and how long a plastic container takes to degrade (no, really?). As well as more than a few documentations of environmental protests — admittedly in relatively effective contexts like the Tasmanian old growth fracas — encompassing your typical banner waving and cops/pigs witticisms. But it's a credit to the show's curation that these elements don't so much grate as form a framework of expected reactions upon which a lot of arguably more interesting works create nuance. Much of In The Balance is quite spectacular, with a good deal of excellent photography covering both verdant and destroyed landscapes, alongside numerous plant installations which lend each room a beauty and liveliness. This serves to open the mind to the show's concerns via aesthetic appreciation rather than duh-duh sloganeering. Perhaps the most vibrant example being Lauren Berkowitz's plastic bag sculpture, which drapes from the ceiling white, quiet and enveloping. You (or maybe I) can't help but want to spend time with this, and an appreciation of it utilises a different part of the brain than that which is normally hostile to environmental engagement via it's association with cockweed environmentalists. Whether this results in any action is up for debate, but that it involves thought potentially outside a viewer's usual pathways with regards to "the environment" makes In The Balance a compelling experience.
Look around you. While you sneakily read this article at work, pay close attention to your surroundings. Are they dull? Do you have a baller view or is it beige cubicles far as the eye can see? Have you the requisite poster of a cat hanging off a ledge, reminding you that life is a struggle for even the most noble of animals? Yeah. Same. But it needn't be like this. People are resigning themselves to the fact that if we have to spend so much damn time at work, we might as well work in a nice environment. Cue Muse, Surry Hill's newest contemporary coworking space. Muse is determined to balance the creative and career aspects of life, with a coworking space packed extras that will make you actually want to go to work. Their calendar is littered with yoga classes, social and networking events, art classes and exhibitions and professional workshops. And best of all it's open to all levels of membership, from permanents to hot deskers. So if you want break up a work day with a yoga workout, sign up for a casual day and try it out. They're looking for freelancers in the creative industries to go hand in hand with their art-centric functionality — and they offer great spaces for photoshoots and events too, just FYI. Stripped-back brick, minimalist office furniture and moody, sophisticated lighting makes the whole office feel like a page out of an interior decorating magazine, and not the dull pre-fab offices we were promised as children. The whole thing is quite inspirational. And Friday afternoon drinks on their private rooftop terrace? Also inspirational. Very inspirational. Find Muse at 74-76 Campbell Street, Surry Hills.
The Dolphin Hotel's Wine Director Shun Eto has just returned from a trip to Sicily, and he's brought back all of his favourite boozy discoveries to share with local wine lovers. To celebrate the return of summer and to provide Eto with a platform to sample these exciting drops, the Surry Hills pub is throwing a massive wine mixer dedicated to southern Italy on Sunday, December 4. There are a few ways you can approach this sunny-season party. The festivities will be kicking off a Lunch with Frank and Friends, an exclusive multi-course meal and accompanying masterclasses through which Eto and fellow sommelier Jack Steer guide you through the wines of Sicilian producer Frank Cornelissen. To pair with the wines, chefs Danny Corbett and Aldo Lara have pulled together a menu based around the communal Sicilian dining table. There are just 20 spots available for this lunch, with each ticket costing $145. [caption id="attachment_696742" align="alignnone" width="1920"] Elise Hassey[/caption] From 2pm, The Dolphin will be hosting a two-hour wine tasting. For $15, you'll be able to sample up to ten different wines from a range of Sicilian and southern Italian winemakers including Cornelissen, Emilio Sciacca, Girolamo Russo, COS and Occhipinti. There will also be a specially curated bar snack menu available during the tasting, with the likes of fried Naples pizza, bruschetta, anchovies on toast with seaweed butter and rigatoni alla norma all gracing the menu. Tickets for this can be pre-purchased but walk-ins are also welcome. Closing out the day's happenings will be a free party from 4pm, with a range of wines available for purchase by the bottle or glass. It'll feature tunes from Daniel Lupica, who will be exploring house, disco, boogie and a variety of other sounds until late. And, if tasting these Sicilian drops puts you in the mood to head on your own Italian adventure, you can book your next dream holiday through Concrete Playground Trips with deals available on flights, stays and experiences at destinations all around the world.
First we got word of the Yoncé skyscraper, then the elevated park. Melbourne's CBD is on the receiving end of a wealth of weird and wonderful architectural riches recently — and there's more to come. Although this announcement leans more towards the embarrassment side of things. Introducing the 'pantscraper', which is indeed not a weird product brought to you by Danoz Direct, but the popular name of the recently approved 41-storey tower project of developers Cbus Property. The building is so named because of the bizarre double tower design and denim blue colour scheme that combine to look remarkably like a bland pair of baggy pants fit for a giant. The pantscraper design was knocked back a few times and not, as you would assume, for its slightly ridiculous aesthetic, but because the huge tower cast a shadow on both the north and south banks of the Yarra River. However, after negotiations with the Andrews government — which saw them agree to lop six storeys off the top — the new design has been approved. Construction will begin at the Collins Street site by September. Although it may seem like just another bloody skyscraper, this particular bloody skyscraper comes with a perk. They're closing off Market Street and will convert the extra space into a council-run public park — that's a new park right in the middle of the CBD. What could be more relaxing than kicking back in a lush, green park while a giant pair of pants looms over you, watching your every move? Nothing, that's what — and we, for one, welcome our new pant overlords. Via The Age.
When New Farm Cinemas, The Elizabeth Picture Theatre, Red Hill Cinemas, Dendy Coorparoo, Reading Newmarket and Reading Jindalee all opened their doors in Brisbane within a few of years, it was a movie buff's dream. If you love heading to the flicks, you can never have too many places to get your big-screen fix. Those sites, and the River City's other places to catch a film, are about to get company, however — and an Australian-premiere experience. Whether Angelika Film Centre will host any Australian premieres is yet to be revealed, but opening in Brisbane in mid-2023 marks the first Aussie site — and the first outside of the US — for the brand. If you're not familiar with the name, it started in Soho in New York City in September 1989, and has grown to nine American locations since. Next stop for its projectors: the Sunshine State's film-loving capital. Reading Cinemas Group is behind the fresh addition to Brisbane's cinema scene, which has been in the works since 2017, but now sports the Angelika ties. It will make its home across two storeys at Woolloongabba's South/City/SQ. Filmgoers can look forward to an eight-screen, 400-seat cinema complex, which will span 2500 square metres. For those pre-movie drinks — or post-picture chats — Angelika Film Centre will also feature an elevated alfresco bar area, as inspired by the chain's OG Big Apple site, with views over the precinct. Film-wise, the venue will screen arthouse, independent and international films, plus releases from major Hollywood studios — but more specialised movies rather than big guaranteed blockbusters. Think: newly minted Oscar-winner Everything Everywhere All At Once if the cinema had been open in 2022, for instance. Snacks-wise, as well as cocktails from the bar, the Angelika will serve up popcorn and boast a lolly station. Fancy something a bit more substantial during your movie? There'll also be a luxe in-theatre service that'll include light food and drink options brought to you as whatever you're watching plays. "We are very excited to launch our first International Angelika Film Centre location in the heart of the amazing South/City/SQ precinct," said Mark Douglas, Managing Director of the Reading Cinemas Group for Australia and New Zealand. "The Angelika at South/City/SQ will deliver a diverse slate of films, in a world-class cinema environment. With plush recliner seats in every screen, the very latest in digital projection and sound, along with our fantastic Highline Terrace Bar and Soho Lounge auditoriums, Woolloongabba is set to be the place to see a movie in Brisbane." South/City/SQ — or South City Square, if you prefer — just keeps expanding, filling over 12,000 square metres of retail, lifestyle, wellness and hospitality space (which sits alongside 5000 square metres of green space, too). Already, the precinct includes Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine. And, it's set to welcome two-level brewpub The Wright House , which also features a with a Mad Men-inspired chophouse, in September. [caption id="attachment_893537" align="alignnone" width="1920"] Markus Ravik[/caption] Angelika Film Centre will open at South/City/SQ, 148 Logan Road, Woolloongabba, sometime in mid-2023 — we'll update you with an exact launch date when one is announced.
Saying that your island is the funniest in the world is a big gamble. For one, you're competing against places with funny names, such as Intercourse Island. Then there's the quantative issue of islands that have a higher population of comedians, such as Great Britain.Luckily, the World's Funniest Island isn't legally bound to accurately representing its name, though it does go to great lengths to reach the mark. For two whole days comedy-lovers have the option of being trapped on an island with an assortment of hilarious acts, running from stand-up comedy through to cheeky burlesque. Top of the list are the international past blasters, Alexei Sayle (of the Young Ones) and The Goodies. But definitely check out local produce, such as the dubbed darlings of the Imperial Panda Festival - the Mad Max Remix, Edinburgh-storming rock act, the Axis of Awesome, and the most highbrow of events, the Erotic Fan Fiction readings.Also, if you want to engage in an activity that is rife with pun opportunities, you're welcome to grab a camping pass for the two days on the island. Choice phrases like "Put it in there," and "I can't get it up high enough," will never be the same again.Video of Erotic Fiction Favourites: Shia Labeouf by Nuclear Palm Comedy (not performing at World's Funniest Island)https://youtube.com/watch?v=p5OHPnRBUD0
Your must-see movie list just keeps growing, but your wallet doesn't want to play ball. Call Dendy Opera Quay's latest special a case of great thinking, then, with the chain offering up discount tickets that'll solve your problem. Every week up until December 19, you can catch up on a recent flick from the last month. The selected movie changes each Thursday, but you head along to see it any time across the next seven days — and you'll only pay $7. A wide variety of films are getting the cheap treatment, from The Meg to BlacKkKlansman to Crazy Rich Asians, and including Searching, A Simple Favour and the upcoming The Girl in the Spiders's Web too. Check Dendy's Did You Miss It? page to keep an eye on what you should see each week, with online bookings taken from two weeks in advance. Your budget will thank you.
The returning Fantastic Film Festival Australia isn't just about celebrating cult-classic movies. This cinema showcase is one of several in Australia that wears its love for the weird, wild and wonderful — the strange and surreal, too — on its screens, and that means going heavy on the latest flicks that fit that description. But when the Sydney event includes beloved retro titles on its lineup, it usually does something special with them. So, in 2023, as part of its just-announced program, it has particularly attention-grabbing plans for Zoolander and the OG Teenage Mutant Ninja Turtles live-action movie. Ben Stiller's comedy about the world of modelling might be all about donning clothes, but FFFA's session of the film is going in the opposite direction, joining the fest's growing spate of nude screenings. The event debuted the concept in 2021, then brought it back in 2022 for the 25th anniversary of The Full Monty. Now, patrons are asked to wear nothing but their best blue steel look — or magnum if they prefer — while watching a really, really, really, ridiculously good-looking movie. Clothes are required at FFFA's showing of Teenage Mutant Ninja Turtles, but don't worry about eating pizza beforehand — you'll be able to smell it during the session. The fest is going with a scratch-and-sniff experience, in what it's calling Teenage Mutant Ninja Turtles Stink-O-Vision and will be a world-premiere. As you watch Leonardo, Donatello, Michelangelo and Raphael (and Sam Rockwell in a blink-or-you'll-miss-it part), you'll be told to scratch a card at certain moments to get smelling. Some scents will be tasty. Some definitely won't. Running from Friday, April 14–Sunday, April 30 at Ritz Cinema in Randwick, FFFA's 2023 bill also features a 2K restoration of Takashi Miike's Audition, but mostly it's serving today's fresh flicks that'll be tomorrow's cult favourites. Opening the fest is Polite Society, about a martial artist-in-training endeavouring to save her sister from an arranged marriage — and a hit at this year's Sundance Film Festival. Closing it: LION-GIRL, a futuristic, post-apocalyptic sci-fi film about saving humanity (aren't they all?) that boasts character design by manga artist Go Nagai. Elsewhere on its 2023 program, Fantastic Film Festival Australia will screen the 1997-set Zillion, the highest-grossing film in Belgium in 2022, which tells of a computer whiz who creates the biggest discotheque in the world; Evil Dead Rise, the latest title in the ongoing zombie franchise, and prime fodder for a midnight slot; and Holy Shit!, which is completely set in a portaloo rigged with explosives. Or, there's a movie that FFFA is calling An Untitled and Perfectly-Legal Coming-Of-Age Parody Film — it isn't naming it because it was surrounded by controversy at its world premiere at the 2022 Toronto International Film Festival, but you can easily work out by a quick online search, especially if you're fond of comic-book characters. It'll screen with the director in attendance, in what'll be one of its rare public showings so far. A number of Australian efforts are also on the lineup, starting with Rolf de Heer's The Survival of Kindness, which recently proved a hit at the Berlin International Film Festival. There's also Beaten to Death, a new-wave Ozploitation thriller set in remote Tasmania; the giallo-style Blur, about an investigation into a strange entity; and The End of History, about Australian techno producers Darcy and Pat as they chase their creative dreams in Berlin.
Just because your bank account's looking a little light post-Christmas and New Year needn't mean resorting to an entire month of Mi Goreng. Not when you've got the legends at Brick Lane offering what might just be the dinner deal of the year. On Tuesdays through Saturdays until March 11 you can book a table at the cheery Darlinghurst restaurant and enjoy an eight-course feast, with bottomless wine and beer, for the blisteringly affordable price of just $50. If you've ever wrapped your mouth around some of Brick Lane's mod-Indian fare, you'll know that's an offer not to pass up. The special edition menu will feature a mix of Brick Lane favourites and exclusive new creations, including the likes of masala tostadas, crunchy wonton poppers and a coconut chicken curry with cabbage slaw. You can view the whole menu here. Teamed with an hour and a half of free-flowing beers and wines, this is exactly the kind of food situation you need to banish those last remaining post-holiday blues. Brick Lane is open for dinner Tuesday to Saturday, but can open for lunch if you have a large booking. Just enquire through the website. UPDATE MARCH 28, 2018: Due to overwhelming popularity, Brick Lane has made this $50 deal permanent.
With over 8 million people living in its five boroughs, New York is one of the most populous metropolitan areas in the world. So, some of the city's wealthier residents have come up with an inventive way to squeeze into The Big Apple: by building buildings on top of other buildings. Think dens perched on top of apartment blocks, pods stored next to air-conditioning vents and rooftop 'cubes' overlooking the Hudson. These creative structures are not only fantastic to marvel at with their contrasting designs and modern styles, but are also a great solution to housing shortages in large cities. Here are ten of the most creative examples in NYC. Rooftop A-Frame Rooftop House and Terrace Three Story Rooftop House Icosa Village Pod in Williamsburg Loftcube by Werner Aisslinger Midtown Rooftop Garden House on Top of an Apartment Central Park West Rooftop Garden Rooftop House and Garden East Village Cape Cod House Soho House Rooftop
We've all wondered what goes on behind closed doors. It's the whole reason that gossip magazines and reality TV exist, after all. But, there's a difference between reading about it or watching it on television, and actually walking into someone's hotel room and seeing it with your own eyes — and QT Gold Coast is currently letting people do the latter. At the first Hotelling program in what is hoped will become a regular event, audiences explore the building from the penthouse down to the tennis court; however they're privy to more than fancy '80s-style baths in the former and somewhere to play sports at the latter. They also meet the inhabitants, from a hostess living right at the top, to a visiting IT exec fighting with his wife, to an otherworldly presence channelling a rock star. Okay, okay, so they're actually actors that are playing a part in a site-specific performance piece put together by Bleached Arts, QT Gold Coast and City of Gold Coast, but they're replicating the weird, wonderful, over-the-top and ordinary things that go on the mini society that is a hotel (and a hotel on the Gold Coast in particular). First cab off the rank is Slavka, partying on the highest level of the place that just last week hosted the Thor: Ragnarok wrap party. She greets attendees warmly, gets them dancing, and then sends them on their merry way. With the event called Down The Rabbit Hole, that's mostly the direction everyone is then headed, with multiple stops. At one of them, the aforementioned Larry from Perth lets you into his room, where you'll overhear his phone conversation, help sing happy birthday to his son Morgan, and watch his reaction as his marriage almost falls apart. Also on the itinerary: a homage to rock-gods like Mick Jagger, Iggy Pop and Patti Smith, which will make you feel like you're in their rooms. Plus, there's some more adventurous fun on the agenda when you enter the domain of a Gold Coast-based sex counselling service, Rhythm Stick, that has chosen QT Gold Coast as a venue to solicit new clients. Or, do what absolutely everyone does when they're somewhere with plenty of high-rises: try to look into a neighbouring tower. Here, international surveillance artist Joao Montessori customises his signature artwork, In-Focus, to Gold Coast's hotel landscape, inviting you to stare in at a neighbouring block. Yep, it's a little bit like Rear Window. Over the course of the three-hour event, attendees go up and down between different rooms and peering into different lives in four groups — and no group has the same experience, or sees the exact same performances. Don't think the hallways are safe, though. There, you just might spy a Russian wrestling his bear-hat; a tall, twitchy and somewhat creepy Donnie Darko-esque rabbit, a pyjama-clad woman looking for her best bunny buddy (yep, rabbits are a thing), a go-go dancer who doesn't dance and a lost Kiwi. There's more, including several interactive components — but, at something like Hotelling, much of the fun is about experiencing it for yourself. And, about getting into the swing of things; everyone's a voyeur and a performer down deep, after all. Just a word of warning, though: you'll be in close quarters with many, many people in a whole lot of elevators. And, even if you've never had vertigo before, the experience of continually getting into a lift just might cause your first bout (we're speaking from experience). Hotelling takes place at QT Gold Coast from November 4 to 5. For more information, visit the event website and Facebook page. Images: Matt Marny. Slavka, Penthouse, performed by Nadia Sunde; Like A Rolling Stone, Room 706, performed by Kate Harman; The Crying Man, Room 306 performed by Todd MacDonald; In-Focus, Room 1915 performed by Hayden Jones with Steph Pokoj, Reuben Witsenhuysen, Marco Sinigaglia and Tammy Zarb; The Otherworld, Hallways.
If you're looking for an afternoon deal this Spring, Sydney's inner-east seems to be the place to head. On top of regular long-running deals like Cafe Freda's $30 pasta and wine nights, Surry Hills and the surrounds have served up three huge food and arts festivals in Surry Thrills, Eastside Unlocked and the Heart of Surry Hills. In even better news: there's also a huge set of happy hour deals being rolled out across Surry Hills, Darlinghurst, Woolloomooloo and Potts Point throughout November. Happy Hours $20 Deals come from the same minds as Eastside Unlocked and has pulled together a massive lineup of food and drink deals. So, what are these deals? At Bar Nina you'll get a set of three rock oysters and a glass of prosecco, Giuls is offering truffle and cream pasta with a glass of wine, at the Burdekin Hotel you'll be served a schnitzel and a house beer, wine or spirit, or head to The Winery for two Surry Hills Spritzes. [caption id="attachment_800266" align="alignnone" width="1920"] Billy Zammit[/caption] Club 77 is making a date out of it and offering two of its 77 Dogs and two house beers, seltzers or natural wines for $20. And Butter has a different approach to the promotion, with deals on fried chicken wings, beers and slushies that can be added together for a $20 deal. There are dozens of other deals from venues like Bitter Phew, Dean's Lounge, Four Pillars Sydney Laboratory, Goros, Riley St Garage and Jangling Jacks just to name a few. Head to the Happy Hours website to see all the deals and when they're available.
Masala Theory's second location arrived at sleek Bondi digs in 2023 bringing Yashpal Erda's inventive take on Indian cuisine to The Hub, the suburb's bustling Hall Street precinct also home to Da Orazio, bills, Gelato Messina and China Diner. With the eatery's proximity to the beach, you can enjoy a sunshine-filled stroll before dining in the evening or — if you have the presence of mind to book in for lunch after a day time dip — you can alleviate that inevitable post-beach hunger in a pretty spectacular manner. The menu features Masala Theory's crowd favourites like the famed curry bombs, the towering Three Sisters chaat and the pizza-inspired 'naanza'. You'll also find original dishes created specially for the beach-adjacent location: seafood-starring selections feature heavily, with the Bombay-inspired fish and chips, a roasted coconut barramundi curry and a luxe prawntini taking centre stage. Start with the dosa onion rings, the vegetarian-friendly wada pav sliders or the crispy bang-bang gobhi. For mains, the selection spans from big-hitting dishes like the coal-smoked mango lamb chops to vego and vegan options like the flavour-filled south Indian malai curry and the vego koftas with green curry sauce. And we encourage you to pair your meal with one of Masala Theory's crafted cocktails. Take your pick from highlights like its popular Mumbai marg, the chai t-roni or a neo-Indian spin on a classic with the 545 wala old fashioned.
