Maybe viewing old episodes of Aerobics Oz Style helped you stay active during 2020's first long lockdown. Perhaps you've been obsessed with the now-iconic Key & Peele aerobics meltdown sketch for years, as everyone should be. Or, you might've watched the excellent Kirsten Dunst-starring On Becoming a God in Central Florida and got bitten by the water aerobics bug. Whichever fits — or even if none of the above applies to you — leotards, exercise and all things 80s haven't been far from our screens in recent years. And, they'll feature again in a big way in Apple TV+'s new ten-part dark comedy series Physical. Set in the decade that's always going to be synonymous with leg warmers, Physical sees Rose Byrne make the leap from hanging out with talking CGI rabbits in terrible book-to-screen adaptations to getting hooked on aerobics. She plays Sheila Rubin, a San Diego housewife who has always played her dutiful part as expected, but struggles with her self-image and her sense of self in general. Then, the only form of exercise that TV shows and movies seem to think that anyone did back in the 80s suddenly enters her life. Cue a journey that brings Sheila success, sees her forge her own path beyond being a wife and mother, and also turns her into a lifestyle guru. As seen in both the first sneak peek last month and the just-dropped new trailer, she obviously won't be posting about her daily life on social media — but this show is set in the peak VHS era, so expect videotapes to play a part in the story. Physical is set to start streaming on Friday, June 18, and will drop its first three episodes in one hit before releasing the rest weekly afterwards. Naturally, big hair and spandex are set to play a huge part in the supremely 80s-looking series. Alongside Byrne, the show stars Rory Scovel (I Feel Pretty), Dierdre Friel (Second Act), Della Saba (Ralph Breaks the Internet), Lou Taylor Pucci (American Horror Story), Paul Sparks (The Lovebirds) and Ashley Liao (Fuller House). Desperate Housewives and Suburgatory's Annie Weisman created, wrote and executive produced Physical, and serves as its showrunner, while Cruella's Craig Gillespie, Dead to Me's Liza Johnson and Love Life's Stephanie Laing all enjoy stints in the director's chair. Check out the latest trailer trailer below: Physical starts streaming via Apple TV+ on Friday, June 18.
When you enter she's already there, sitting small and restless amid the expanse of cool, eggshell-white tile, beige packing boxes and gleaming appliances. This room is a model of edge-of-town housing developments; an arena for a single-act battle of deeds, words and undercurrents; and purgatory for one woman at the twilight of her years. Playwright Tommy Murphy's much-anticipated follow-up to Holding the Man and Saturn's Return, Gwen in Purgatory was developed under the Philip Parsons Award and directed and guided to fruition by Neil Armfield at Company B. The result is an immaculate production of a finely tuned script. At its centre is 90-year-old Gwen Houlihan (Melissa Jaffer), lifelong resident of Queanbeyan, cloistered in her new digs and caught in a web of technologies that have kept moving faster as she has slowed down to a shuffle. Literally. Her phones are ringing and she just can't reach them in time. It's funny, but you don't want to laugh too hard; as well as being absurd, Gwen's situation is all too real, as is her pain. And the staggered arrival of her surviving children and grandchildren — Daniel (Nathaniel Dean), Peg (Sue Ingleton) and Laurie (Grant Dodwell) — isn't the balm you'd hope. They each bring their family-spun neuroses and mixed intentions as they dodge their looming duty of care and fill the room with tension. In the background, ingeniously, floats Father Ezekiel (Pacharo Mzembe), a young, Nigerian priest plugging Australia's ecclesiastic skills shortage. He has come to tend to his congregant but spends most of the play observing the interaction of the Houlihans — like us in the audience but saintly. A number of things raise this way above your average Aussie cringe-comedy. Foremost is a script in which there is verbosity yet no syllable of excess; every word is meticulously plotted, resonates and interlocks in surprising ways and comes back to bite its characters. And what characters: written with warmth, rendered with devotion, they evoke empathy even at their nastiest. It's wholesome, somehow, so you can probably take your actual grandma — although you may think twice about leaving her at the end of the evening. Image by Heidrun Lohr. https://youtube.com/watch?v=xZ25xCi17BY
It's been quite a year of events for the MCA, what with their involvement with Vivid, their Future Classic summer Sunday sessions and yoga on the roof. But for the year's last instalment of MCA ARTBAR driven by Audi, the MCA is going all out with indigenous artist Adam Hill (a.k.a. Blak Douglas) curating the 2015 finale. In what have been some of our favourite nights this year, the MCA's monthly parties are an always-excellent after-dark extravaganza of art, music, food and booze. A perfect combination, really. November's Blak Douglas-directed event — aptly named Blakout — will include performances by Ursula Yovich, Leah Flanagan, MC Boomali and the Rising Sun Trio, interactive artworks by Aroha Groves and Adam Gezcy, and a slam poetry workshop taken by Luka Lesson. If you want to partake in some discussion, there'll be a special BlakChat roundtable, along with a few film screenings for those who want to simply wine and watch. We even hear that some pole dancing will be going down. Of course, a ticket gets you entry into the MCA so you can see their current exhibitions — it'll be your last chance to see Primavera 2015 and Matthys Gerber, both closing December 6 — in a different light, after the sun goes down. But the best place to be is the rooftop bar, where DJ Black President (a.k.a. Leo Tanoi) will be shooting vibes until 11pm.
About Time is a new pop-up bar embracing the idea that nothing lasts forever by opening in a soon-to-be-demolished building in Sydney's CBD. Situated on the corner of Hunter and Bligh Streets, the venue opens from Wednesday, October 20 until the site's demolition in late 2022 to make way for the new Hunter Street metro train station. So it will go out with a literal wrecking ball. That's proper rock and roll. About Time is the baby of seven hospitality veterans, pulling together experience at a slew of Sydney venues including Opera Bar, The Baxter Inn, The Gidley and The Roosevelt. The menu is centred around an ever-changing drinks menu and simple slow-cooked and coal-fired dishes with an affinity for fun twists on Australian culinary classics. Think boozy versions of the servo slushie including Irish coffee and Frosty Fruit flavours, plus roast lamb sandwiches and the classic combo of Jatz and French onion dip made in-house. The lamb sandwich will be sourced from family farms in NSW and slow-roasted over coals before served on a damper roll from St Malo Bakery and topped with mint jelly. A rotating list of wines will also be on hand, with the bar's owners giving themselves the freedom to chop and choose selections for the drinks list depending on supply and what they're enjoying. Nothing lasts forever, after all. "Expect to see cracking examples of Australian wine alongside delicious European drops on a rotating list," partner Shannon Ponsford says. "If we can only get a few cases, when it's gone – it's gone!" Spritzes on taps and an array of inventive cocktails cap off the About Time drinks line-up. According to co-owner and award-winning bartender Jono Carr: "The cocktails will be fun and approachable, made with care, using high-end spirits, quality ingredients and forward-thinking techniques."
The art world's love affair with Andy Warhol has lasted far longer than 15 minutes. Australia's fondness for the iconic artist definitely hasn't been fleeting, either. In 2023 alone, not one, not two, but three different exhibitions Down Under have showcased or are about to celebrate his work; however, only the just-announced Instant Warhol is solely dedicated to his skills with a polaroid camera. On the Gold Coast in autumn, Pop Masters highlighted Warhol's pieces alongside works by Jean-Michel Basquiat and Keith Haring. In Adelaide around the same period, Andy Warhol & Photography: A Social Media honed in on the artist as a shutterbug. Obviously, Instant Warhol has the same idea as the latter, but it will only be filled with polaroid portraits — 59 of them. [caption id="attachment_906816" align="alignnone" width="1920"] Andy Warhol self-portrait in drag, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption] This time, Warhol's work is headed to Ballarat, displaying from Saturday, August 26–Sunday, October 22 at the Art Gallery of Ballarat during the Ballarat International Foto Biennale. The regional Victorian photography festival is never short on things to see, but Instant Warhol is quite the drawcard for the biannual event. The original snaps that Warhol himself took — when he wasn't painting Campbell's soup cans and images of Marilyn Monroe, of course — will be on display. Even if you haven't seen them before, some should be familiar. One of the reasons that the artist captured polaroids, other than loving them, was to turn some of the famous faces he snapped into his screen prints. [caption id="attachment_906817" align="alignnone" width="1920"] Top image: Andy Warhol, Sylvester Stallone, 1980. © Andy Warhol Foundation for the Visual Arts, Inc. Artists Rights Society [ARS]/Copyright Agency, 2023.[/caption] Drawn from the thousands of photographs he took with the instant cameras between 1958–87, this selection of pictures will also feature images of Warhol himself. They're all coming to Australia thanks to The Brant Foundation, with founder Peter M Brant one of Warhol's early patrons, then a friend, and also the the producer of Warhol's films L'Amour and Bad. "Warhol had an unparalleled ability to chronicle the visual culture of his time. The Brant Foundation is delighted to share our collection of portraits including celebrities such as Mick Jagger, Jean-Michel Basquiat and Liza Minnelli for the Australian public to discover and enjoy," said Allison Brant, The Brant Foundation's current director. 'These original polaroids captured a moment in time and went on to identify our culture, our art form, our view of celebrity. Warhol was the inventor of the 'superstar' and it's fascinating to take a moment to absorb these tiny snaps within our fast and furious scrolling world," added Vanessa Gerrans, CEO of Ballarat International Foto Biennale. [caption id="attachment_906823" align="alignnone" width="1920"] Platon, Cate Blanchett, November 2004.[/caption] As revealed earlier in May, 2023's event will also feature People Power — Platon, which'll span 120-plus portraits by photographer Platon, including images of everyone from Cate Blanchett to the snapper himself. Also already announced: a showcase of Yvonne Todd and Erik Johansson's work, with Todd's The Stephanie Collection making its Australian premiere, and a suite of Johansson's surreal landscapes and optical illusions world premiering in Ballarat. [caption id="attachment_906824" align="alignnone" width="1920"] Erik Johansson, Above All, C-Type, 180 x 135cm.[/caption] Instant Warhol will be on display at the Art Gallery of Ballarat, 40 Lydiard Street North, Ballarat, during the Ballarat International Foto Biennale from Saturday, August 26–Sunday, October 22, 2023 — head to the festival's website for further details. Top image: Photograph of Andy Warhol taking a polaroid picture while sitting with Jack Ford and Bianca Jagger on the Truman Balcony, U.S. National Archives and Records Administration courtesy Gerald R. Ford Presidential Library via Wikimedia Commons.
Timing is everything in Where the Crawdads Sing, the murder-mystery melodrama set in America's Deep South that raced up bestseller lists in 2018, and now reaches cinemas a mere four years later. Its entire narrative hinges upon a simple question: did North Carolina outcast and recluse Kya Clark (Daisy Edgar-Jones, Fresh), cruelly nicknamed "the marsh girl" by locals, have time to speed home from an out-of-town stay to push star quarterback Chase Andrews (Harris Dickinson, The King's Man) from a fire tower, then resume her trip without anyone noticing? On the page, that query helped propel Delia Owens' literary sensation to success, to Reese Witherspoon's book club — she's a producer here — and to a swift film adaptation. But no timing would likely have ever been right for the movie's release, given that Owens and her husband are wanted for questioning in a real-life murder case in Zambia. Unlike the film, those off-screen details aren't new, but they were always bound to attract attention again as soon as this feature arrived. One of the reasons they're inescapable: the purposeful parallels between Owens' debut novel and her existence. Like Kya, Owens is a naturalist. The also southern-born author spent years preferring the company of plants and animals, crusading for conservation causes in Africa. Where the Crawdads Sing is timed to coincide with Owens' own life as well; it's set in the 50s and 60s and, as a child (played by Jojo Regina, The Chosen) and a teenager, Kya is around the same age that Owens would've been then. Another reason that the ways that art might link with reality can't be shaken, lingering like a sultry, squelchy day: what ends up on-screen is as poised, pristine and polished as a swampy southern gothic tale can be, and anyone in one. There's still a scandal, but forget dirt, sweat and anything but lush, vivid wilderness, plus a rustic hut that wouldn't look out of place on Airbnb. That Instagram-friendly aesthetic comes courtesy of filmmaker Olivia Newman (First Match), who helms a visually enticing movie — again, incongruously so given the story it unfurls and the location it dwells in — that's as typical as a murder-mystery meets coming-of-age tale meets southern romance can be. The film starts with Chase's body, the investigation that springs and the certainty around the insular small town of Barkley Cove that the supposedly feral and uncivilised marsh girl is responsible. Evidence is thin, but bigotry runs deep against someone who grew up with an abusive father (Garret Dillahunt, Ambulance), was left behind by her other family members and spent the bulk of her years fending for herself in poverty. That said, as in Owens' source material, that's just the framework. On the screen, though, Where the Crawdads Sing's dive into Kya's life feels like it's also been adapted from Nicholas Sparks' pages. Most of Barkley Cove has always shunned Kya, other than generous store owners Jumpin' (Sterling Macer Jr, House of Lies) and Mabel (Michael Hyatt, The Little Things), who she sells mussels to — the feature's only Black characters, who are woefully only used to stress how callous the rest of the town proves, rather than to even dream of digging into matters of race in America's south as the civil rights movement started to gather steam. Also kindly, taking on her defence, is her Atticus Finch-esque local lawyer Tom Milton (David Strathairn, Nightmare Alley). But romance still blossoms not once but twice for Kya, first with the doting, poetry-reading Tate Walker (Taylor John Smith, Blacklight), and then with arrogant rich kid Chase. That's where Newman's film prefers to reside, charting the ups and downs of Kya's affairs of the heart. That's why the movie appears so immaculate that it shimmers with a marsh-chic gleam as well. Smooching in the swamp replaces The Notebook-style kissing in the rain here. Skimming the surface replaces fleshing out what makes Kya tick, what her surroundings truly mean to her, and humanity's complex ties to nature. Kya is the strongest part of Where the Crawdads Sing, but the film makes everything about and around her so by the numbers. Taken from the book, sometimes-evocative turns of phrase litter Lucy Alibar's (Beasts of the Southern Wild) script, endeavouring to conjure up a rich atmosphere and bring Kya's inner feelings to life, including her love for the bayou. They're always far too neat, however, like everything within view. And as impressive as Edgar-Jones is as an actor (see also: fellow page-to-screen hit Normal People), it's impossible to reconcile Where the Crawdads Sing's careful words and dreamy vision of marsh life — such as the way its star is styled — with what the film tells rather than shows about its central character. Kya's kinship with the wetlands is stressed over and over, of course. Where the Crawdads Sing rarely misses an opportunity to mention it. The audience is informed that it's where she feels safe and at home, and learns to be herself — and also provides the inspiration behind her career as an illustrator, cataloguing the creatures that only live in the kind of thick bushland described in the movie's title. But viewers are still stuck doing exactly what the picture rallies against in its narrative: believing their eyes and taking appearances at face value. The only alternative is sketching in minutiae and texture that just isn't in the film — that is, bringing what's present in the book to this version of the story, including what Newman and Alibar left out, then combining the two in your head. That's not how turning novels into movies should work; they're standalone pieces of art, not visual companions. It doesn't fit the tale being told — one that includes child abandonment, sexual assault, domestic violence, and both societal and legal prejudices — but the movie's backdrop does always look stunning, as lensed with the golden glow of a tourism commercial by cinematographer Polly Morgan (A Quiet Place Part II). That's Where the Crawdads Sing, though: pretty rather than profound, meaningfully complicated or substantial. Dickinson and Smith's plights also sum up the film perfectly. While the always-welcome and ever-reliable Strathairn puts in a fine performance that's largely defined by rousing speeches, both Dickinson and Smith do exactly what's asked of them without being given much room to play anything but stock roles. That's Where the Crawdads Sing at its very best, too: always utterly standard. That said, although never visibly or emotionally, it's usually far muddier than that.
One of the world's largest sporting events is coming to Sydney: FIFA Women's World Cup 2023™. Get ready to immerse yourself in a month-long celebration of football, food, music and entertainment at the highly anticipated FIFA Fan Festival™ held in the heart of Sydney's iconic Darling Harbour at Tumbalong Park from July 20 to August 20. Bonus: it's free to get in. Watch each match live on the giant screens and show off your own footy skills with your mates at the FIFA Fan Festival™ playground. There is a penalty practice, football minigolf, football snooker and even a shooting speedometer so you can find out who has the most powerful shot. Want to really put your skills to the test? Challenge your mates and other footy fans to a full-fledged match game on the festival's pop-up pitch — pitch is closed while the matches are streamed so make sure you check the schedule before you challenge your mates to a match. Just steps away from the giant screens, the FIFA Store awaits, with a treasure trove of jerseys and official merch. Don't forget to grab a ball and test it out on the festival pitch, to channel your inner football star. Delve into the rich heritage of the FIFA Women's World Cup™ at the on-site FIFA Museum. Explore the journey of this premier women's sporting event through captivating films, interactive displays and historic artifacts. Dive deep into team profiles, gaining insights into your favourite players and their rivals. Show off your creativity in the jersey colouring-in competition, and check out the trophy itself in the museum's display room. It isn't just celebrating football excellence here. There will be a whole host of musicians, singers and DJs performing throughout the month, including Jessica Mauboy, Jack River, Little Green and many more. Stay fuelled with an excellent culinary lineup, including acclaimed chef Josh Niland slinging his signature tuna cheeseburger. Beyond that, there's an array of street eats, like dumplings, pizza, gozleme and even classic Aussie barbecue, available. A range of Aussie wines and beers will be served from the two festival bars, as will mulled wine. The FIFA Women's World Cup Fan Festival™ takes place from Thursday, July 20 till Sunday, August 20 at Tumbalong Park, Darling Harbour. Check out the website for the full schedule of events.
While they’re among our closest neighbours, the cinema of Indonesia doesn’t get a whole lot of attention in Australia, save for the martial arts carnage of The Raid and its recent sequel. Yet there’s a lot more to the Asian archipelago’s movie industry than broken limbs and severed tendons, as is demonstrated by the program at this year’s Indonesian Film Festival. Although unable to rival other national film fests in terms of size, the IFF aims to showcase the diversity of Indonesia’s national cinema through a selection of films across a variety of genres. Amongst the most intriguing entries on the 2014 program are Something in the Way, a drama about a devout Muslim taxi driver who falls in love with a prostitute, and What They Don’t Talk About When They Talk About Love, a coming-of-age story set in a school for the blind. The festival will also welcome several filmmakers, producers and actors as guests, with many screenings being followed by audience Q&As. For the full IFF program, visit the festival website
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles 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 ten that you can watch right now at home. BARBIE No one plays with a Barbie too hard when the Mattel product is fresh out of the box. As that new doll smell lingers, and the toy's synthetic limbs gleam and locks glisten, so does a child's sense of wonder. The more that the world-famous mass-produced figurine is trotted through DreamHouses, slipped into convertibles and decked out in different outfits, though — then given non-standard makeovers — the more that playing with the plastic fashion model becomes fantastical. Like globally beloved item, like live-action movie bearing its name. Barbie, the film, starts with glowing aesthetic perfection. It's almost instantly a pink-hued paradise for the eyes, and it's also a cleverly funny flick from its 2001: A Space Odyssey-riffing outset. The longer that it continues, however, the harder and wilder that Lady Bird and Little Women director Greta Gerwig goes, as does her Babylon and Amsterdam star lead-slash-producer Margot Robbie as Barbie. In Barbie's Barbie Land, life is utopian. Robbie's Stereotypical Barbie and her fellow dolls (including The Gray Man's Ryan Gosling as Stereotypical Ken) genuinely believe that their rosy beachside suburban excellence is infectious, too. And, they're certain that this female-championing realm — and the Barbies being female champions of all skills, talents and appearances — has changed the real world inhabited by humans. But there's a Weird Barbie living in a misshapen abode. While she isn't Barbie's villain, not for a second, her nonconformist look and attitude says everything about Barbie at its most delightful. Sporting cropped hair, a scribbled-on face and legs akimbo, she's brought to life by Saturday Night Live great Kate McKinnon having a blast, and explained as the outcome of a kid somewhere playing too eagerly. Meet Gerwig's spirit animal; when she lets Weird Barbie's vibe rain down like a shower of glitter, covering everything and everyone in sight both in Barbie Land and in reality, the always-intelligent, amusing and dazzling Barbie is at its brightest and most brilliant. Barbie is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. TALK TO ME An embalmed hand can't click its fingers, not even when it's the spirit-conducing appendage at the heart of Talk to Me. This is an absolute finger snap of a horror film, however, and a fist pump of a debut by Australian twins Danny and Michael Philippou. As RackaRacka, the Adelaide-born pair have racked up six-million-plus subscribers on YouTube via viral comedy, horror and action combos. As feature filmmakers, they're just as energetic, eager and assured, not to mention intense about giving their all. Talk to Me opens with a party that's soon blighted by both a stabbing and a suicide. It segues swiftly into a Sia sing-along, then the violent loss of one half of the Aussie coat of arms. A breakout hit at the 2023 Sundance Film Festival, where it sparked a distribution bidding war won by indie favourite A24, it's constantly clicking, snapping and ensuring that viewers are paying attention — with terror-inducing imagery, a savvy sense of humour, both nerve and the keenness to unnerve, and a helluva scary-movie premise that's exceptionally well-executed. The picture's outstretched mitt is the Philippous' Ouija board. That withered and scribbled-on paw is also a wildly unconventional way to get high. In a screenplay penned by Danny with fellow first-timer Bill Hinzman, but based on Bluey and Content executive producer Daley Pearson's short-film concept — yes, that Bluey — shaking hands with the distinctive meat hook is a party trick and dare as well. When the living are palm to palm with this dead duke, in flows a conjuring. A candle is lit, "talk to me" must be uttered, then "I let you in". Once heads are kicking back and the voices start, no one should grasp on for more than 90 seconds, as Hayley (Zoe Terakes, Nine Perfect Strangers) and Joss (Chris Alosio, Millie Lies Low) explain. But, as she navigates the anniversary of her mother's death, Mia (Sophie Wilde, The Portable Door) is up for going as far as she can. Here, being consumed by sinister spirits, not consuming booze, is an escape. That, and filming whatever twisted chaos happens when you connect with the otherworldly. It isn't all fun and frights and games, though; when her best friend Jade's (Alexandra Jensen, Joe vs Carole) 14-year-old brother Riley (Joe Bird, First Day) takes part, traumatic consequences spring. Talk to Me is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Danny Philippou. THE NEW BOY Warwick Thornton, Cate Blanchett, Deborah Mailman, Nick Cave and Warren Ellis: name a better Australian quintet. The director of Samson & Delilah and Sweet Country, the two-time Oscar-winner and recent Tár tour de force, the local screen mainstay, and the Bad Seeds bandmates and seasoned film composers all combine not for the ultimate Aussie dinner party, but for The New Boy. None are debuting in their jobs. All are exceptional. They're each made better, however, by the luminous and entrancing Aswan Reid. As well as playing the titular part, the 11-year-old first-time actor lives it among such a wealth of acclaimed and experienced talent — and he's such a find in such excellent company, while saying little in words but everything in every other way, that Thornton's third fictional feature owes him as much of a debt as its applauded and awarded household names. There's a spark to Reid from the moment that he's first spied grappling with outback law enforcement under blazing rays as Cave and Ellis' (This Much I Know to Be True) latest rousing score plays. His sun-bleached hair couldn't be more fitting, or symbolic, but it's the confident way in which he holds himself as New Boy, plus the determined look on his face, that sears. Wily and wiry, the feature's eponymous figure is toppled by a boomerang, then bagged up and transported to the remote Catholic orphanage doted on by Sister Eileen (Blanchett, Nightmare Alley) in the 1940s. The cop doing the escorting notes that the kid is a bolter, but the nun is just as fast in her kindness. She sees what Thornton wants his audience to see: a boy that beams with his presence and through his sense of self, even though he's been snatched up, taken from his Country and forced into a Christian institution against his will. Sister Eileen is as drawn to him as the movie, but — and not just due to the red wine she likes sipping and the subterfuge she's keeping up about the resident father's absence — she isn't as certain about what to do. The New Boy is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Warwick Thornton. RED WHITE & BRASS Watch Red, White & Brass and you'll never see the pre-game or half-time entertainment at a big sporting match the same way again. Of course, if Rihanna, or Beyoncé with Destiny's Child, or a heap of hip hop and rap legends are taking to the stage at the Super Bowl, you won't question it — but if there's a community band on the turf, you might start wondering when they first picked up their instruments, why and if it was only four weeks ago to make it to this very gig. Are they just out there because they were that desperate to see their team play? And, because they missed out on expensive and instantly sold-out tickets? Were they so eager, in fact, that they bluffed their way into a gig by claiming to already be a musical group, then had to speedily do anything and everything to learn how to get melodic, and obviously not embarrass themselves, in a passion-fuelled whirlwind of pretence and practice? A band solely forming to score access to a rugby game sounds like pure screenwriting confection. Often enough, though, when tales like that make it to the silver screen, it's because they're so wild that they can only be true. Such is the case with Red, White & Brass' premise, as it notes at the outset, with co-writer Halaifonua (Nua) Finau scripting the story with first-time feature director Damon Fepulea'i from his very own experiences. Back in 2011, New Zealand hosted the Rugby World Cup, which was a source of particular excitement to Aotearoa's Tongan population, and especially to avid aficionados at a Wellington church. The kind of fans that were showing their devotion by decking out their homes in the Tongan flag top to bottom, hitching the red-and-white cloth to every free space on their cars and carrying around the symbol on their phone cases, they were determined to see Tonga play France in their own home city, and willing to whatever it takes to do so — wholesomely, in the type of underdog story about fervour, ingenuity, self-belief and luck that engagingly makes for an easy and warm-hearted cinema crowd-pleaser. Red, White & Brass is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with John-Paul Foliaki and Damon Fepulea'i. CARMEN Breaking down a classic tale best known as an opera, rebuilding it as a lovers-on-the-run drama set across the US–Mexico border and making every moment burst with emotion, Benjamin Millepied's Carmen is a movie that moves. While its director is a feature debutant, his background as a dancer and choreographer — he did both on Black Swan, the latter on Vox Lux as well, then designed the latest Dune films' sandwalk — perhaps means that the former New York City Ballet principal and Paris Opera Ballet Director of Dance was fated to helm rhythmic, fluid and rousing cinema. His loose take on Georges Bizet's singing-driven show and Prosper Mérimée's novella before it, plus Alexander Pushkin's poem The Gypsies that the first is thought to be based on, is evocative and sensual. It's sumptuous and a swirl of feelings, too, as aided in no small part by its penchant for dance. And, it pirouettes with swoon-inducing strength with help from its stunningly cast leads: Scream queen and In the Heights star Melissa Barrera, plus Normal People breakout and Aftersun Oscar-nominee Paul Mescal. When Mescal earned the world's attention in streaming's initial Sally Rooney adaptation, he had viewers dreaming of fleeing somewhere — Ireland or anywhere — with him. Carmen's namesake (Barrera) absconds first, then has PTSD-afflicted Marine Aidan (Mescal) join her attempt to escape to Los Angeles. Carmen runs after her mother Zilah (flamenco dancer Marina Tamayo) greets the cartel with thunderous footwork, but can't stave off their violence. Aidan enters the story once Carmen is smuggled stateside, where he's a reluctant volunteer border guard in Texas alongside the trigger-happy Mike (Benedict Hardie, The Drover's Wife The Legend of Molly Johnson). As the picture's central pair soon hurtle towards California, to Zilah's lifelong friend Masilda's (Rossy de Palma, Parallel Mothers) bar, they try to fly to whatever safety and security they can find. That may be fleeting, however, and might also be in each other's arms. Carmen is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Benjamin Millepied. HOW TO BLOW UP A PIPELINE Every story is built upon cause and effect. One thing happens, then another as a result, and so a narrative springs. Inspired by Andreas Malm's non-fiction book of the same name, How to Blow Up a Pipeline isn't just strung together by causality — it's firmly, actively and overtly about starting points, consequences and the connections between. Here's one source for this impassioned tale about determined and drastic environmental activism: the warming world. Here's an originator for that, too: fossil fuels, humanity's reliance upon them and the profits reaped from that status quo. Now, a few outcomes: pollution, catastrophic weather changes, terminal illnesses, stolen and seized land, corporate interests prioritised over ecological necessities, and a growing group that's driven to act because existence is at stake. Turning a text subtitled Learning to Fight in a World on Fire into a fictional feature, How to Blow Up a Pipeline joins all of the above, stressing links like it is looping string from pin to pin, and clue to clue, on a detective's corkboard. In his second feature after 2018's smart and effective camgirl horror Cam, writer/director Daniel Goldhaber isn't trying to be subtle about what dovetails in where. With co-screenwriters Jordan Sjol (a story editor on Cam) and Ariela Barer (also one of How to Blow Up a Pipeline's stars), he isn't attempting to rein in the film's agenda or complexity. This movie tells the tale that's right there in its name, as eight people from across America congregate in Texas' west with a plan — an octet of folks who mostly would've remained loosely connected, some strangers and others lovers and friends, if they weren't desperate to send a message that genuinely garners attention. Goldhaber's latest is explosive in its potency and thrills, and startling in its urgency, as it focuses on a decision of last resort, the preparation and the individual rationales before that. How to blow up hedging bets on-screen? That's also this tightly wound, instantly gripping, always rage-dripping picture. How to Blow Up a Pipeline is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. SISU Lean, mean and a Nazi-killing machine: that's Sisu and its handy-with-a-hunting-knife (and pickaxe) protagonist alike. This stunningly choreographed Finnish action film's title doesn't have a literal equivalent in English, but writer/director Jalmari Helander's (Rare Exports: A Christmas Tale) latest effort means stoic, tenacious, resolute, brave and gritty all in that four-letter term; again, both the movie and the man at its centre fit the description. Former soldier Aatami Korpi (Jorma Tommila, also Rare Exports: A Christmas Tale) has one aim. After he strikes gold and plenty of it in Lapland's far reaches, he's keen to cash in. For someone who has already lost everyone and everything to World War II, that requires transporting his haul; however, the year is 1944 and German troops still lurk even as the combat winds down. Accordingly, getting those gleaming nuggets from the wilderness to a bank means facing a greedy and unrelenting platoon led by Helldorf (Aksel Hennie, The Cloverfield Paradox), who can spy a payday and an exit strategy for himself. Before anything yellow shimmers, Nazi-filled tanks are sighted, a single shot is fired or a blow swung, Sisu explains its moniker as "a white-knuckled form of courage and unimaginable determination". Text on-screen also advises that "sisu manifests itself when all hope is lost." As a film, Sisu may as well be shorthand for John Wick meets Inglourious Basterds meets Django, the iconic 1966 spaghetti western that Quentin Tarantino riffed on with Django Unchained, too — plus all of that meets the work of legendary spaghetti western director Sergio Leone as well. The carnage is that balletic. The Nazi offings are that brutal, roguish and inventive. And valuing deeds over dialogue as a lone figure dispatches with nefarious forces against an unforgiving landscape, and no matter what they throw at him, is firmly the setup. Sisu is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. INDIANA JONES AND THE DIAL OF DESTINY Old hat, new whip. No, that isn't Dr Henry Walton 'Indiana' Jones' shopping list, but a description of Indiana Jones and the Dial of Destiny. While the fifth film about the eponymous archaeologist is as familiar as Indy films come, it's kept somewhat snapping by the returning Harrison Ford's on-screen partnership with Fleabag's Phoebe Waller-Bridge. When this 15-years-later sequel to 2008's Indiana Jones and the Kingdom of the Crystal Skull begins — swinging into cinemas after 1981's Raiders of the Lost Ark, 1984's Indiana Jones and the Temple of Doom and 1989's Indiana Jones and the Last Crusade, too — Indy's trademark fedora and strip of leather have already enjoyed ample action. So has the George Lucas-created franchise's basic storyline. If you've seen one Indy outing in the past 42 years, you've seen the underlying mechanics of every other Indy outing. And yet, watching Ford flashing his crooked smile again, plus his bantering with Waller-Bridge, is almost enough to keep this new instalment from Logan and Ford v Ferrari filmmaker James Mangold whirring. Across the quintet of Indy flicks — a number contractually locked in at the outset, even if it took almost half a century to notch them all up — a trinket always needs recovering. Whether it's a relic, stone, cup, carving or, as here, a device by Ancient Greek mathematician, philosopher and inventor Archimedes that might facilitate time travel, nefarious forces (typically Nazis) always want said item as well. Also, only antics that've influenced the likes of Tomb Raider, National Treasure and Jungle Cruise can ensure that whatever whatsit is at the heart of whichever picture stays out of the wrong hands. The object in question falls into those mitts at some point, of course. Indy goes globetrotting and cave diving to save it, and skeletons and creepy-crawlies tend to get in his way. Reliably, he has female company. Frequently, there's a young offsider tagging along. A constant: the whole escapade bounding to the tune of John Williams' rousing theme, which is now acoustically synonymous with adventure. Indiana Jones and the Dial of Destiny is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. THE BOOGEYMAN Teenagers are savage in The Boogeyman, specifically to Yellowjackets standout Sophie Thatcher, but none of them literally take a bite. Grief helps usher a stalking dark force to a distraught family's door; however, that malevolent presence obviously doesn't share The Babadook's moniker. What can and can't be seen haunts this dimly lit film from Host and Dashcam director Rob Savage, and yet this isn't Bird Box, which co-star Vivien Lyra Blair also appeared in. And a distressed man visits a psychiatrist to talk about his own losses, especially the otherworldly monster who he claims preyed upon his children, just as in Stephen King's 1973 short story also called The Boogeyman — but while this The Boogeyman is based on that The Boogeyman, which then made it into the author's 1978 Night Shift collection that gave rise to a packed closet full of fellow movie adaptations including Children of the Corn, Graveyard Shift and The Lawnmower Man, this flick uses the horror maestro's words as a mere beginning. On the page and the screen alike, Lester Billings (David Dastmalchian, Boston Strangler) seeks therapist Will Harper's (Chris Messina, Air) assistance, reclining on his couch to relay a tragic tale. As the new patient talks, he isn't just shaken and shellshocked — he's a shadow of a person. He's perturbed by what loiters where light doesn't reach, in fact, and by what he's certain has been lurking in his own home. Here, he couldn't be more adamant that "the thing that comes for your kids when you're not paying attention" did come for his. And, the film Lester has chosen his audience carefully, because Will's wife recently died in a car accident, leaving his daughters Sadie (Thatcher) and Sawyer (Blair) still struggling to cope. On the day of this fateful session, the two girls have just returned to school for the first time, only for Sadie to sneak back when her so-called friends cruelly can't manage any sympathy. The Boogeyman is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. Read our full review. MEG 2: THE TRENCH Jaws, but bigger. Jurassic Park but sharks. Like a prehistoric underwater predator scooping up a heap of beachgoers in one hefty mouthful, describing what The Meg and its sequel Meg 2: The Trench are each aiming to be is easy. Ridiculous big-screen fun that sets Jason Statham (Fast X) against multiple megalodons, his scowl as shiny as their razor-sharp teeth: they're the type of waters that this creature-feature franchise also wants to paddle in. Since debuting in cinemas in 2018, all things The Meg have always had a seriousness problem, however. They're at their best when they're also at their silliest, but they're rarely as entertainingly ludicrous as they're desperate to be. This five-years-later follow-up might task Statham with shooting harpoons while riding a jet ski at a tourist-trap holiday destination called Fun Island — and also busting out the line "see ya later, chum", which lands with such a sense of self-satisfaction that it feels like the entire reason that the movie even exists — but such gleeful preposterousness is about as common as a herbivore with a meg's massive chompers. Again based on one of author Steve Alten's books — he's penned seven so far, so more flicks are likely — Meg 2: The Trench doesn't just want to ape the Jurassic series. It does exactly that overtly and unsubtly from the outset, but this film is also happy to brazenly treat multiple movies from a few decades back as fuel for its choppy antics. When the feature starts, it's 65 million years ago, dinosaurs demonstrate the cretaceous period's food chain, then a megalodon shows who's boss from the water. Obviously, life will find a way to bring some of this sequence's non-meg critters into the present day. Next comes a dive in The Abyss' slipstream, before embracing being a Jaws clone again — even shouting out to Jaws 2 in dialogue — but with a Piranha vibe. Before it's all over, Meg 2: The Trench also flails in Mega Shark Versus Giant Octopus' direction, just with a visibly larger budget. Meg 2: The Trench 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, April, May, June, July and August, too. You can also peruse our best new films, new TV shows, returning TV shows and straight-to-streaming movies of 2023 so far
With winter fast approaching, a new wardrobe is surely in order. And a huge warehouse sale is definitely the place to get it. The annual sass & bide Sydney warehouse sale is back this year and will be managed by Designer Sales Australia. Designers Sarah-Jane Clarke (sass) and Heidi Middleton (bide) of the fashion label sass & bide have reduced some of their newest collections and styles by 50-70 percent for just four days from April 18-21. So if you're looking for a whole new wardrobe or just a few essential winter pieces, be sure to make your way to Byron Kennedy Hall. If interested, check out the sass & bide Facebook event for more information and updates.
Eriksson Architects have compiled a proposal for an eco-silicon valley that will revolutionise modern enviro-friendly architecture. They have created blueprints for the Mentougou Eco Valley, an experimental 100 square-metre development with buildings of diverse contemporary design. If and when the Chinese government approves the proposal, the company plans to install the Mentougou Eco Valley about 60 kilometers west of Beijing, in a deep valley surrounded by lush mountains, an ideal haven for eco-friendly living. The city will be self-sufficient in producing water, returning nutrients back to the environment and maintaining its own agriculture because it will be built amidst vast vegetation and small bodies of water. Protected by the surrounding wall of mountains, noise and pollution are also kept out of the Mentougou Eco Valley. The development is designed to include nine environmental research institutes, a city center and small residential neighbourhoods built into the mountains that would house over 50,000. The architects will experiment with new building materials and designs, technologies and floor plans in an attempt to build the most modern eco-friendly city ever created. [via designboom]
If you're a Queenslander who is currently in New South Wales or the Australian Capital Territory and you've been thinking about heading home, the Sunshine State has put a timeline on your return. The same applies to NSW and ACT residents pondering a holiday up north, or to anyone who has been in the two areas in the past 14 days and plans to mosey up to Queensland sometime soon — with the state implementing new border restrictions from 1am on Saturday, August 8. When the weekend kicks in, Queensland will completely close its border to NSW and ACT, Premier Annastacia Palaszczuk announced today, Wednesday, August 5. Both regions have now been declared hotspots by Queensland's Chief Health Officer, which means that all visitors from NSW and ACT will be denied entry to Queensland, except for rare exemptions and returning Queenslanders. If you fall into those categories, you'll have to fork out for a 14-day stretch of mandatory hotel quarantine. The Premier advised that exemptions will be limited, however, including for compassionate reasons. During the shutdown, the aim is to only allow folks who live in border communities and essential workers such as truck drivers to cross. Anyone who fits that description will need to obtain a pass, with those who reside in the area requiring proof of address and photo identification to do so. https://twitter.com/AnnastaciaMP/status/1290786409465278464 The move comes in response to rising COVID-19 case numbers down south, and follows earlier decisions to ban visitors from Victoria, as well as several parts of NSW — once Queensland started reopening its border in mid-July to interstate travellers, that is. The restrictions on NSW visitors started with the Campbelltown, Liverpool and Fairfield City local government areas, then spread to include the entirety of Greater Sydney, a limit that came into effect this past weekend. "I know it's going to be tough on Queenslanders," Premier Palaszczuk explained. "But your health comes first. We need to protect not only our health, we need to protect the families, we need to protect our economy. We've seen what's happened in Victoria. We don't want to see that happening here." The Premier also stressed that Queenslanders shouldn't be thinking about travelling south. "It's also very important that Queenslanders stay in Queensland. Now is not the time to travel to New South Wales. Now is not the time to travel to Victoria," she said. The border closure with NSW and the ACT will be in effect at least until the end of August, when the Queensland Government will undertake a review. From 1am on Saturday, August 8, anyone who has visited New South Wales or the Australian Capital Territory in the past 14 days will not be allowed to enter Queensland unless they are a returning resident or are entering for one a few essential reasons. For more information, head to the Queensland Government website. Image: Yun Huang Yong via Flicker.
In the mood for an art adventure? Across February and March, when you grab a ticket to Brett Whiteley: Drawing is Everything at the Art Gallery of NSW, you can hop on a free return shuttle bus that'll take you between the gallery, the Brett Whiteley Studio in Surry Hills and Wendy's Secret Garden in leafy Lavender Bay. It's the perfect way to spend an afternoon and immerse yourself in the exuberant, expressive world of one of Australia's most beloved artists. Running every week from Friday to Sunday, the bus departs the gallery at 2pm and brings you back at 5pm. Though we wouldn't blame you if you find yourself tempted to linger longer in the Secret Garden; it's a pretty dreamy spot for an impromptu picnic, romantic assignation or sketching session. On that note, the exhibition provides visitors with a pencil and drawing booklet, in case the urge to record a creative response does arise. It's kind of great to know you're gazing on the iconic view that Whiteley found inspirational enough to capture on canvas time and time again. Word to the wise — seats are extremely limited, so make sure you pop to the Members Desk (located at the gallery's entrance) on the day to secure yourself a spot. You'll just need to flash your Brett Whiteley: Drawing is Everything exhibition ticket or Art Gallery of NSW membership card. For more information on the tour, visit the Art Gallery of NSW's website.
Right now you're probably thinking about your next meal (we know we are). Will it be another Bon Appétit-inspired cook-up to impress everyone you're cooped up with in isolation, or have you earned yourself a night off from all that upskilling in the kitchen? If your enthusiasm for cooking has begun to wane, you may be reaching for your favourite takeaway app to start browsing the options for a quick fix. Before you do, check your booze stash. Trust us, there is a connection. At the moment, if you spend $50 or more on any Pernod Ricard products — such as vodka or gin for your quarantinis — you'll receive a $10 voucher to use on Deliveroo. [caption id="attachment_745926" align="alignnone" width="1920"] Mary's Burgers by Nikki To[/caption] While we don't want to encourage excessive drinking during the COVID-19 lockdown, it's possible that you've already emptied your last bottle of wine and those cocktails you were shaking in week one have made your liquor cabinet look a tad dry. Pernod Ricard's range includes champagnes, cognac, gin, tequila, rum, whiskies and wines from brands like Absolut, Glenlivet, Jameson, Kahlua and Monkey 47, as well as Australian whites and reds from Jacob's Creek and St Hugo Wines. And the best part is that you can make your purchase from any online or bricks-and-mortar store, including BWS, Dan Murphy's, Liquorland, Porters Liquor, and a number of other participating stores. Just make sure you keep your receipt. Once you've made your purchase, it's easy to claim your Deliveroo voucher. Simply upload an image of your receipt to Pernod Ricard's website and, once validated, you'll be sent a discount code to your email address. You can then use the Deliveroo code for any food order — whether you're craving a hangover-busting burger, an icy Gelato Messina, or a comforting curry. Find out more about the Pernod Ricard offer here. The offer runs until the end of July, or until stocks last, and once you have your Deliveroo voucher you can use it immediately or until April 8, 2021. Find all the FAQs here.
What better way to cap off a Monday than with retro arcade games and beer taster paddles? Running from 3pm till late on Monday, October 23, you can while away your afternoon/evening playing air hockey, Time Crisis 2 or one of the two Nintendo 64s while savouring drinks from a few of the best small breweries around. New Zealand brewery Garage Project, Thirsty Crow from Wagga Wagga and South Australia's Pirate Life are supplying the beer, with everything from light pale ales to super-heavy black IPAs. Oh, and it's free entry.
Well that's a title, isn't it? Pay your money for an hour of songs and stories that will be wonderfully weird with a hint of delicious darkness. Gen Fricker's fresh off supporting superstar Reggie Watts on his recent national tour, so get in now so you can say you knew her way back when. This is one of our top picks of the Sydney Comedy Festival. Check out our full top ten.
The current true crime craze has filled our ears with acclaimed podcasts and packed our streaming queues with must-watch TV programs. Now, it's turning a former teen idol into a serial killer. After singing his way through high school, playing frat pranks at college and saving lives on California beaches, Zac Efron is swapping teen musicals, Bad Neighbours flicks and Baywatch remakes for a stint as notorious serial killer Ted Bundy. The end result is Extremely Wicked, Shockingly Evil and Vile, which focuses not only on the horrific string of killings that would eventually lead to Bundy's arrest and execution (he confessed to 30 homicides, but is suspected of committing more), but also on his relationship with single mother Liz Kloepfer (Lily Collins). How did the infamous figure charm his victims? How did Kloepfer fall in love with a psychopath? Both questions sit at this heart of this crime thriller. As the movie's first trailer (below) demonstrates, it's quite the change of pace for Efron, who has been garnering impressive reviews for his performance. Also starring John Malkovich and Haley Joel Osment, the film screened at the Sundance Film Festival over the past weekend, debuting 30 years after Bundy's execution on January 24, 1989 — almost to the day, a case of gruesome timing that obviously isn't a coincidence. Extremely Wicked, Shockingly Evil and Vile director Joe Berlinger is clearly steeped deep in all things Bundy at the moment, with the filmmaker's other project — Netflix documentary Conversations with a Killer: The Ted Bundy Tapes — premiering just last week on the actual anniversary of the murderer's death. Berlinger created, wrote and directed the four-part series, and his name should be familiar to die-hard true crime fans beyond that. He was also behind the three Paradise Lost documentaries, about the Robin Hood Hills murders and subsequent West Memphis Three trials — movies that played an enormous part in bringing the case to broader attention. Outside of his usual genre, Berlinger also directed acclaimed music doco Metallica: Some Kind of Monster — and the band's James Hetfield also features in Extremely Wicked, Shockingly Evil and Vile. While you're waiting to Extremely Wicked, Shockingly Evil and Vile to hit local screens, check out the unsettling first trailer below: https://www.youtube.com/watch?v=-lW6Z38HHJw 'Extremely Wicked, Shockingly Evil and Vile' doesn't currently have an Australian release date. We'll update you if and when that changes.
Kiwis based in Australia hoping to see family across the ditch can start planning their sojourns home sooner than expected. New Zealand's planned five-step border reopening plan has been brought forward this week, with isolation requirements for double-vaccinated Kiwis returning home scrapped weeks earlier than expected. From 11.59pm on Wednesday, March 2, vaccinated Kiwis entering New Zealand from Australia will no longer need to self-isolate. Prime Minister Jacinda Ardern announced the change of plans amid New Zealand's current Omicron outbreak, which sees the country currently suffering the highest rates of COVID-19 transmission in the world. But Australians holidaymakers shouldn't get planning a quick weekend jump across the ditch just yet. Vaccinated Aussie citizens wanting a holiday in New Zealand still have to wait for step four of the original border reopening plan, which sees all travellers from Australia and from countries who don't require special visas able to enter NZ. While that is still currently proposed to happen around July this year, Aussies can cross their fingers they may be able to head across for an adventure holiday earlier. COVID-19 Response Minister Chris Hipkins advised last month that "the reopening to visa-free tourists is also likely to be brought forward, with July being the latest date we anticipate this happening." Of course, during all five steps, testing will remain critical. Every traveller will be required to undertake a rapid antigen test (RAT) on the day they arrive and on day five or six. All positive RATs must be registered and followed up with a PCR test. New Zealand had 19,599 new cases reported on Tuesday, March 1, with over 300 cases currently in hospital. Kiwis returning to New Zealand from Australia will not need to isolate upon arrival from 11.59pm on Wednesday, while Australian holidaymakers will need to wait to enter the country until later in 2022. For more information, head to the New Zealand Government's COVID-19 website.
New York, the 1960s. Sister Aloysius is a hard-bitten nun and principal of the St. Nicholas Church school. When she suspects Father Flynn, the parish priest of abusing a student, her pursuit of the truth is fearsome and unflinching. Flynn protests his innocence, but Aloysius is a scalpel in search of a jugular. As she tightens her grip, she begins to question not only her beliefs, but the institution she's served her whole life. Best known as a film adaptation starring Meryl Streep and Phillip Seymour Hoffman, John Patrick Shanley's Catholic paranoia party Doubt took the 2005 Pullitzer Prize for Drama as well as a Tony Award for Best Play. Shanley's script is precise and cold, the scenes brisk as the Bronx winter setting. This is a text steeped in bitterness and suspicion — the characters twisted and the ground frozen. Think on your sins before booking for this one. Image: John Marmaras.
In Sydney, the words 'waterfront' and 'secret' are seldom found in the same sentence. But Little Fish Bar has done a fine job of pulling off the contradiction. Huddled up next to its much bolder mothership, Flying Fish Restaurant, on Pyrmont's historic Jones Bay Wharf, the bar breaks the propensity for Harbourside ostentation with its cosy, casual, hideaway feel, yet still delivers all the views. And this summer, it is set to take on an even more enchanting dimension when the Little Fish Summer Gin Garden pops up. Filled with lush vines, bursts of colour and a stair garden packed with flowers and herbs, the space will take on a kind of tropical oasis feel. To mark the occasion, Bar Manager and gin guru Adrien Charpentier has put together a brand new gin menu. Heading it up is, of course, Little Fish's famous Audemus Spirit's Pink Pepper Gin, all the way from France. You can't try this drop anywhere else in the country. In fact, only 500 bottles have been released worldwide. It's best served with just a dash of tonic, to bring out the nine botanicals found inside, which include pink peppercorns, juniper, cardamom and a honey distillate. Other premium gins on the 'Botanical Plot' menu are local drop 'The Cutglass' (from The West Winds, Dalkieth), G'Vine (from Cognac, France) and Monkey 47 (from Loburg, Germany). If that's all sounding too adventurous, you can always stick to a tried and tested classic, like Hendrick's, Bombay Sapphire or Tanqueray No.10. Alternatively, give matters a shake-up with a choice of three delicately balanced 'Medicinal Cocktails': Lady Lavender (G’Vine gin, Rossi D'Asiago Limoncello, Lillet Blanc, tonic, lavender); Gin Bramble (The Botanist gin, lime, crème de cassis, sugar syrup, raspberry); and Rosemary Winds ('The Cutlass' gin, Noilly Prat, lemon, orgeat syrup, sugar syrup, rosemary, chilli, bitters). For snacks, Flying Fish Executive Chef Stephen Seckold has come up with a bunch of gin-loving dishes. These include freshly shucked Sydney rock oysters with gin and cucumber granita; handpicked cheeses and condiments; and a 'Chef’s Garden Menu' that will change every week. Some of the front-runners are spanner crab croquettes with fennel aioli; cider-braised chorizo, tarragon and crisp potato sandwich; and half-shell scallops with grilled herbs and rose dressing. Little Fish Summer Gin Garden (Jones Bay Wharf, 19-21 Pirrama Road, Pyrmont) will pop up from Saturday 15 November through to Friday 19 December. Opening hours are Monday, 5pm-10.30pm; Tuesday-Saturday, noon - 9.30pm; and Sunday, noon-4pm. To brush up on your gin skills (and perfect your Casablanca quotes) before heading along, check out our ‘Bluffer’s Guide to Gin’.
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
If you're sick of seeing those bright orange barriers around the CBD's light rail construction sites, your eyeballs could soon be in for some relief, with news most barriers will be removed or reduced before Christmas. ALTRAC Light Rail, the consortium overseeing the project, has announced the bulk of major construction work is nearing completion, with many of the eyesore barriers soon set to disappear from the stretch between Circular Quay and Town Hall, as well as in Surry Hills. "We are excited to be able to show the public what the end-state will look like along this part of the alignment, with barriers starting to be reduced on George Street near Circular Quay and more barriers to be reduced this weekend near Martin Place," ALTRAC Light Rail CEO Glenn Bentley said in a statement. The removal of the barriers will hopefully help improve the visibility of and access to some of the city's local businesses. Although, for some, it'll be too little, too late, with an inquiry into the impact of the construction of the light rail, launched by the state in May, having received 193 submissions from locals businesses and residents. Some of the businesses saying they've been impacted by the construction — or have been forced to close — include The Book Kitchen, Bishop Sessa and Cafe Jacks. Some barriers will be sticking around, too, including ones around light rail stops and localised sites staying for safety purposes and to manage traffic flow. It's also expected that barriers in Randwick, Kensington and Kingsford will be firmly in place until February 2019. Bentley said Sydneysiders can expect the next phase of the project to be "less intrusive", with temporary localised barriers in place for short periods of time during installation of underground cables and overhead wiring. The initial plan was to have the Sydney Light Rail up and running by 2019, though, thanks to a slew of delays, it's currently slated for completion in May 2020. Image: Sydney Light Rail
A man, his family and a firearm: all three sit at the heart of The Seed of the Sacred Fig. A girl and a gun might've been late, great French filmmaker Jean-Luc Godard's perfect formula for a movie, but Iranian writer/director Mohammad Rasoulof now adapts that setup around his own cinematic passion: fighting back against the Iranian regime. IRL, over the course of more than two decades, he's faced the wrath of his homeland's censorship, seen his work banned, been prohibited from making movies and from leaving the country, and endured multiple prison sentences. When Rasoulof's eighth and latest masterful and moving feature debuted at the 2024 Cannes Film Festival, he was in attendance after fleeing Iran, where a new eight-year jail term had just been handed down. The first shoots of the idea for The Seed of the Sacred Fig came to the filmmaker while the now-exiled talent was incarcerated. Imprisoned during the 2022–23 Women, Life, Freedom protests that sprang from the death in custody of Mahsa Amini, he saw the movement from inside Evin Prison in Tehran. Upon his release, it became part of his new big-screen narrative, with the picture even incorporating real on-the-ground footage. Also guiding The Seed of the Sacred Fig is a question that Rasoulof has long contemplated from his dealings with the regime — and that flowed through in his prior film, 2020 Berlin International Film Festival Golden Bear-winner There Is No Evil — also: "how do people who work with the system function internally?". As the protests about the loss of a woman arrested for allegedly wearing her hijab improperly also were, Rasoulof's Best International Feature Oscar-nominee is a snapshot of generational clashes and change, too. The man: Iman (Missagh Zareh, Homeless), who has just been promoted to investigating judge in the Revolutionary Court. The family: his wife Najmeh (Soheila Golestani, Two Dogs), college-aged daughter Rezvan (debutant Mahsa Rostami) and younger offspring Sana (Setareh Maleki, Cafe). The gun: Imam's service piece, freshly bestowed upon him for his new role. When the weapon goes missing, he starts pointing fingers, already paranoid about the public fallout from his job and now suspecting those closest to him — the youngest of which are only just learning what he does for a living. Adding to the powder-keg situation: the nationwide political uprising, which has Imam signing death sentences, comes to his home courtesy of Rezvan's friend Sadaf (Niousha Akhshi, The Lion Skin) and puts the family matriarch at odds with his horrified daughters. At Cannes — where Rasoulof's 2013 film Manuscripts Don't Burn won the FIPRESCI Prize and his 2017 feature A Man of Integrity emerged victorious in the Un Certain Regard section — The Seed of the Sacred Fig collected five different accolades from its berth in the main competition, a Special Jury Prize among them. Other film festival audience awards have also come its way, including in Sydney, plus nominations at the Golden Globes and BAFTAs. To get the movie to viewers, though, and to make it to begin with, involved shooting in secret with Rasoulof largely unable to be on set. Then came the 28-day journey out of Iran to Germany, the country that The Seed of the Sacred Fig represents at the 2025 Academy Awards. What does the global response to the film — the festival slots, popping up at Locarno, Melbourne, New Zealand, Telluride, Toronto, New York, Busan, London, Adelaide and Brisbane events as well, and many others; the nominations and prizes, right through to the Oscars — mean to Rasoulof given what he went through to bring the movie to fruition and ensure that audiences could see it? "I'm very happy that a film that half of which had not yet been shot exactly one year ago, while we were shooting, is being seen by worldwide audiences and doing so well," he tells Concrete Playground. "And I think it's not just me. I think everyone involved in its making is very happy, because what brought us together really was fighting for artistic freedom — and all we dreamt of was managing to complete the shoot without being arrested." How does Rasoulof navigate the scrutiny, oppression and attempted censorship that comes his way each time that he makes a film? How did The Seed of the Sacred Fig evolve from seeing how Iranian women were protesting to following a family of three women and an investigating judge impacted by the uprising? What does the reality of directing a movie in secret entail — and what impact does it have on the finished product, given how much energy is expended just to avoid the authorities' attention? Digging into a powerful picture that's designed to inspire questions with the man behind it, we also asked Rasoulof about all of the above. On Navigating the Scrutiny, Oppression and Attempted Censorship That Rasoulof Faces Whenever He Makes a Film "Well, I think the biggest difference, if I think about one year ago and now, is hope. Of course, I did have hope one year ago, but the hope I have now is much greater. It was really like a small crack through which the lights came in that I could see in the distance. And it's grown, and this gives me greater energy to continue working and to continue living. And I don't think it's just me. I think again, all my cast and crew feel exactly the same way or similarly." On How The Seed of the Sacred Fig Evolved From Seeing How Iranian Women Were Protesting to Following a Family of Three Women and an Investigating Judge Impacted by the Uprising "For many years, I was very curious about the people who work in the regime, in the different parts of the regime that I had dealings with — the security operators, the censorship operators, the judiciary. And I was really concerned with trying to understand, on the one hand, how they think, but also while they interrogated me, I'd be wondering 'how do we differ? Why are they unable to understand me and why am I unable to understand them?'. And so this curiosity stayed for me, and I was always hoping I could find an opportunity to explore it in a film. In 2022, I was arrested a few months before the Woman, Life, Freedom movement began. And after the movement began — at its height, in fact — I had a chance encounter with a senior prison official, who told me how he'd come to hate himself and even thought about taking his life because of his job and his collaboration with the regime, and how fiercely he got criticised and pressurised all the time by his children because of his job. And at that point I thought it would be really interesting to tell a story about a family where such a big divide had arisen, but which would also, at the same time, allow me to pursue that question that had stayed with me for all these years about how do people who work with the system function internally." On the Parallels Between the Film Being Made Clandestinely and the Secrets Being Kept Among the Family in the Movie "The limitations move along with you from the moment you start writing the script. They always accompany you when, of course, you're working in a repressive regime. And so you've got to find new ways ahead to make your film, but that also leads to a very strong awareness of the choices you're making — because if you make the wrong choice, you might not be able to continue. So we go to sets on the basis of decisions we've made early on to suit in a very precise way. And yet, during the shoot, there will always be unpredicted variables, things, problems, unexpected scenarios whereby you've got to make a different choice to what you were expecting in the moment. So you can plan as much as you want, but it's only when it comes to executing the work that you realise 'if I can't shoot, if I can't do that as planned, how can I proceed?'. And limitations really force you to find new paths forward." On Directing a Feature When You're Not Able to Be On Set "I started shooting and making films and 35mms during the analogue periods, when you didn't know what you'd see, really — what you were filming until later when it was developed in in a lab. And so you had a general impression and general image, but you didn't have a precise image or impression. And then later on, the video assist was introduced, where you could sort of control the set and watch the monitor at the same time — which became very fascinating for me and for lots of other filmmakers, because we were able to focus on the monitor. And in a way, [that's how] we made this film — we had a monitor that I had access to online while directing remotely. And then I had a secure sound connection to the set, mediated by a number of assistants. Of course, it was very slow. There were interruptions. There were moments when the connection was lost, and so I'd lose the control of the set for various minutes and then we had to reestablish it — so it was very laborious and difficult. But what mattered the most was that I was able to maintain, the priority was for me to maintain my concentration, but also to make do with the slowness and the inevitable delays. Wherever possible, of course, I would come as close as possible to set or actually appeared a few times, and that was much more fun and much better." On the Approach to Casting — and to Building an On-Screen Family — When You're Making a Movie in Secret "It's always difficult to compose a family in any film, because the members of the family have to look similar in a convincing way to the audience. So of course, if you're making a film underground, it becomes much more difficult to compose a believable family, because you're choosing from a much smaller pool of actors. But we spent a lot of time on this with my close collaborators, examining all the possibilities. And once we selected the father and the younger daughter, we then managed to find the mother and the older daughter. But yes, it was very difficult. It was extremely time-consuming. But I think in the end we were very successful." On How Having to Work in Secret, and the Energy That Goes Into It, Impacts a Finished Film "Well, when you're working with this kind of pressure, you always do have this feeling that you may manage to escape the system, and to ignore it and to defy it, but it doesn't mean you're escaping limitations. You're simply working with a different set of limitations. What is paramount to me is that the audience, when it watches the film, should not feel that the film was made with this sort of limitation. Of course, there are lots of aspects that I would have liked to play more with under different circumstances, but let's say the priority is really for the audience to feel that they're watching something that wasn't shot under this kind of duress." The Seed of the Sacred Fig opened in Australian cinemas on Thursday, February 27, 2025.
Playing brothers Lee and Austin in Sam Shepard's True West on Broadway some years back, actors Philip Seymour Hoffman and John C. Reilly were known to switch parts when the mood struck. This factoid is cool on its own, but once you've seen True West, you'll know it's deep, too. The brothers are identified by their differences, but each contains the other within him. House-sitting for his mother is Austin (Brendan Cowell), the good son who can be trusted to water the plants and not steal the neighbours' televisions. He's on the verge of his Hollywood break, and as he works on his screenplay by candlelight, the lifting glow and flicker of movement reveal another figure in the room: Lee (Wayne Blair), the other brother, scrappy, itinerant and threatening. They started out middle class but ended up estranged in distant American realities. Austin is meeting with a producer tomorrow, and though he'd prefer Lee out of the house, Lee has his own story to peddle — a Western. It's California, and the play takes place in the too-bright day and cloaking night. Plain domesticity clashes with neon scene changes. It's a setting of contrasts and codependence that in every way reiterates you can't have light without the dark. The first half of the play is nice, an exercise in tensions waxing and waning with little propulsion and a rolling meditation on why we treat family the way we do, even when they disappoint or frighten us and even when we abuse or indulge them. But the play really saddles up around the 45-minute mark, when Shepard engineers an explosive and poetic reversal of roles that sees the men explore their latent undersides, admit mutual admiration, co-write a Western, drink and trash the joint. Austin's typewriter bears the brunt of their frustrations. Staging True West must have been a bit of a gamble for the Sydney Theatre Company; the play relies on US narrative and popular culture in a way that means it can't be transplanted to a different time or place (with different accents), and even with these most committed of actors, the Americanisms at times seem jarring. Still, the production soars above those obstacles. Hoffman is directing this outing, which is a thrill, and he has clearly broken and bonded his cast. Blair and Cowell are amazing to watch here, each unbearably intense, in his own way.
SET: The Play, created and directed by Sam Atwell, is a tale of two halves. The first half tells the behind-the-scenes story of the fictional Australian soap Obsessions, which intertwines around its male lead Finlay Jones (Trent Baines); the second half is a whodunnit investigating his shock homicide. The play's success is also divided — with the second act easily surpassing the first in its achievements. The play aims to satirise the glamorous world of television, and despite being well informed to do so — with almost all of the cast and production team having been involved with Home and Away at some point — it ironically manages to mock itself through an overuse of the style. The first act derides the 'sex sells' television mindset through a surfeit of sex jokes and suggestive acts, but the extent of the crudeness is so overwhelming that the actors seem too embarrassed to commit, making the audience feel uncomfortable. This works against the play when later attempts at audience inclusion falter due to the lingering unease. Ultimately, the play's endeavours to break down the fourth wall merely chip away at it, leaving rubble too dangerous for either actor or audience to approach. However, the second act redeems the first act as a necessary prelude to the highly entertaining investigation that follows. The interrogations allow for compelling comedic injection from charismatic cops Detective Bryan Sizemore (Christian Willis) and Leanne 'Stumbles' Bridges (Alison McGirr), and with the crass removed, we experience the amusing exploration of characters that was demanded earlier. The murder mystery is masterful, with everyone having a motive, and you'll think you have it all figured out before being surprisingly informed you were entirely mistaken. For all the cliffhanger talk on stage, the conclusion doesn't demand tuning in for the next episode, but it is still neatly delivered by the audience favourite, Delilah 'Double D' DeRouge (Madeleine Chaplain), even if it does feel rushed. SET: The Play's satirical swing at the world of television has the metaphorical batsman playing and missing, but it is nevertheless enjoyable, particularly when the charming detective duo and Delilah are involved. Whilst it will not create any 'obsessions' anytime soon, it still offers Sydney some theatrical fun worth sitting through the first act for.
Looking for an excellent wine to sip? Plenty of prizes, nods and gongs have you covered. Looking for a great bar to drink a few glasses in? That's the domain of the Wineslinger Awards — which announced its top 50 venues for 2020 back in August, and has now revealed its picks for the best four wine-sipping spots in the country. Wine lovers in Melbourne, Adelaide, Brisbane and Geelong, rejoice — your patch of turf is home to one of 2020's top vino venues in Australia. Only one can boast the overall winner, though, and that'd be Melbourne. This year's Wineslinger award went to the Carlton Wine Room — and that's a particularly nice win given that the venue was closed for almost seven months of the year due to COVID-19 lockdowns. In the other fields, Adelaide's Leigh Street Wine Room nabbed the 'Best New Haunt' prize. Yes, that gong is rather self-explanatory. And in the 'Maverick' category — which is awarded to a venue that pushes the limits — Brisbane's Snack Man emerged victorious for defying food-and-wine pairing combinations (including matching Chinese snacks with European vino). The three aforementioned awards were all voted on by more than 100 industry experts; think sommeliers, winemakers, hospitality tastemakers and journalists. But for vino aficionados at home, there's also the 'People's Choice' prize — and that went to Union Street Wine in Geelong, which has been serving great drops since 2014. [caption id="attachment_789256" align="aligncenter" width="1920"] Carlton Wine Room[/caption] For folks looking for your next drinking spot, you now have four places to add to your must-visit list — whether they're close to home or you're making travel plans for when life gets back to normal. If you need further suggestions, the 50-venue shortlist shared the love around the country, with 15 bars in New South Wales and the Australian Capital Territory, 12 in Victoria, eight in Western Australia, and five each in South Australia, Tasmania and Queensland. The Wineslinger Awards were created in 2018 by Rory Kent, who also founded the Young Gun of Wine Awards. Where the latter prize aims to recognise stellar up-and-comers, the former is all about excellent and innovative places where vino lovers can enjoy an ace drop. Announcing this year's Wineslinger winners, Kent noted that "2020 has been the toughest year ever for Wineslingers in this country, and that's made it equally tough on cutting edge winemakers who rely on the passionate individuals and their brilliant venues to capture the imaginations of wine lovers". He continued: "we're so excited to celebrate the places and hospitality professionals serving up the best wine experiences in the country, and after months of lockdown and restrictions, getting back to supporting them in person." For further details about this year's Wineslinger Award winners, visit the awards' website. Top images: Carlton Wine Room, Snack Man, Leigh Street Wine Room, Union Street Wine.
While La Niña may be threatening hot vax summer, no doubt you still intend on living it up over the warmer months. After all, you've got mates to catch up with, new bars to check out and a swathe of live gigs to see. And, with all these social occasions coming up, you're probably keeping an eye out for some new summer threads. Lucky for you, top seltzer brand White Claw has teamed up with local fashion brand Barney Cools to bring you the ultimate wardrobe to cruise around in this summer. The brands are basically the epitome of summer, so the collab makes sense. And the best news? You can score it for free. The White Claw x Barney Cools all-white capsule collection includes three epic items: a terry cord party shirt, a breezy vintage-style tee and corduroy cap. Each limited-edition piece is designed to be genderless, too, so they'll suit anyone and everyone who's keen to make the most of summer. Oh, and did we mention that the prize also includes one White Claw variety pack? The new-release pack includes four flavours: watermelon, mango, lime and grapefruit. There are ten White Claw x Barney Cools packs to be won around the country. Should you win, you'll score some White Claws and all three clothing items, so you can don them to the beach, pub, park and just about everywhere else you plan to hit this summer. Keen to win some new summer threads? Enter your details below to go in the running. [competition]836217[/competition]
The festive season is officially upon us, which means it's time to think about what to gift your loved ones. We know present shopping can be quite the task, and having someone in your life who has practically everything is an even bigger challenge. If you're out of ideas or simply want to shake it up this year, we've got you covered. Together with Archie Rose, we've compiled a far-reaching list of unique experiences that we confidently believe will make the ideal gift for that certain hard-to-buy-for someone. A mate who's passionate about liquor? Parent who loves cooking? Someone that could use a little of salsa's flair in their life? These are the experiences to gift them. [caption id="attachment_878644" align="alignnone" width="1920"] Nikki To[/caption] BOOZY MASTERCLASS AT ARCHIE ROSE See your loved one become a bartender for the day by via one of Archie Rose's creative cocktail masterclasses. They'll learn how to shake, stir and pour the professional away, and end up with a new skill to impress with at the next gathering. The history of cocktail culture will be served alongside a lesson in how to make three timeless cocktails. Alternatively, send them along to the Rosebery distillery to blend their own bottles of whisky or gin. They'll learn the ins and outs of how the liquids come to fruition, before using their nose and palate to blend their own bespoke drop. Now, if you've got a special someone that really loves their booze, this pressie is for them: a bottle from Archie Rose's Tailored Spirits offering. Although less hands-on, it's no less involved. Choose the botanicals for a customised bottle of gin to gift them, or play creative director and design the label for a bottled cocktail (which will be lucky to make it to Boxing Day). And if you're going all out, pick a base malt, spirit style, cask type and strength, then lean back knowing a truly unique cask of whisky is being created by the resident experts. Word of warning: your bottles won't be on their way to you until two or three months down the track, but what a thing to look forward to in the new year. CHEESE-MAKING WITH KRISTEN ALLAN Kristen Allan is no stranger to the cheese business. After starting her own dairy-powered company in 2012, this pioneer has perfected the art of cheese making — and winning multiple awards over the course of her career thus far. So, if you've got a fromage fanatic in your circle, what better gift than getting them in the presence of a master? Even better, in a hands-on class where they'll craft halloumi or feta, ricotta or burrata. Nabbing a gift voucher will see them pick a time that's right for them to come and witness the magic of Allan's techniques. Not only will your gift see them take their relationship with food to new heights, but they'll also be able to add their creations to meals at home (and even gift you a creamy serve of stracciatella in return). There's hands-on Melbourne classes and online courses too, for those you love out of the Harbour City. PICKLING WORKSHOP AT CORNERSMITH On the hunt for an end-of-year festive activity to do with mates? Look to Cornersmith's range of lessons at its cooking school for a fun and fermented way to spend your day. Make chutney on Saturday, November 26, or preserve tomatoes on Saturday, December 3. You'll leave with some jars that could make the perfect preserved pressies, plus new-found knowledge and kitchen skills. Or stick to the classics and get pickling on Saturday, December 10. During your session, you'll be taught how to make a seasonal vegetable pickle, the perfect pickled fruit to accompany a cheese plate, plus a quick and slow pickle. (And, you can use BYEBYE2022 at the checkout to get 25% off the last of this year's classes.) If you're gifting, stick to a voucher. The classes cover fermentation, kombucha, dumplings, pasta, seasonal preserving, waste-free cooking and more. [caption id="attachment_878603" align="alignnone" width="1920"] Declan Blackall Photography[/caption] SAUNA SESSION IN THE BLUE MOUNTAINS European sauna culture officially landed in Australia this spring thanks to the passionate team at Blue Mountains Sauna. And a double pass to visit is the ideal present for that certain person who appreciates heat, health and endorphin-inducing activities. Co-founder Inga Sommerfeld grew up in northern Europe, where saunas are the norm. After moving to Australia and meeting her partner Nikita, the two realised that here down under, there was a shortage of establishments delivering an authentic sauna experience — with those delightful hazes of 'löyly'. What awaits your lucky giftee in the mountains? A carefully crafted room that radiates 80–90°C dry heat, ice baths and a recovery session around a fire. For the full experience, if the weather permits, the snow outside is awaiting to deliver a cold shock to warm bodies between sessions. SALSA CLASS AT LATIN JUNCTION Know someone that needs a little extra flair in their life? Or have a rhythmically gifted friend? Hit them with a ten-class pass to Latin Junction. There's everything from salsa to bachata, reggaeton to Latin fusion — and it's accessible for everyone (even those with two lefties). As well as gifting the skills of the New York Walk or the Enchufa, you'll be giving a gift that creates community through music and movement. They'll be burning up the dance floor in no time. [caption id="attachment_878600" align="alignnone" width="1920"] Veronica Eastell, Radical Wellbeing Studio[/caption] KNIFE-MAKING WORKSHOP AT NORDIC EDGE Yes, crafting your own knife is certainly a thing — a thing that Bjorn and his team at Nordic Edge know well. Gifting an avid cook? A fond forager? Someone that just loves doing things with their hands? If so, this Brookvale joint has the perfect pressie for them. Picture your pal at a one-day knife-making workshop. Being guided by master craftspeople, they'll set to work making their own hand-forged chef's knife. Over eight hours, they'll shape their own blade, quench it and grind it, then use a high-grit belt for a smooth, sharp finish. As well as taking home an original knife, they'll score knowledge about the forge, anvil, tools and techniques of blacksmithing, too. GIFT VOUCHER FOR THE RITZ Got a movie-lover in your life? Treat them to a one-of-a-kind cinematic experience at Ritz Cinemas. The heritage-listed building has stood in Randwick since 1937, and is one of only two original art deco cinemas left in Sydney. Along with a rich history, the space delivers events aplenty for those who live and breathe film. From screenings of films on 35mm and a constant stream of cult classics, to the latest releases and special events, it's a cinephile's dream. How to let them pick their perfect prize? A gift card that's valid for three years (and valid for use across films, events and food and drink), or a Movie Club membership (which will gift them $15 tickets for themselves and a guest, cheapies on Tuesdays and a $1 ticket on sign up). If you've got a loved one who has everything, look to experiences this holiday season. A top option? A boozy masterclass at Archie Rose in Rosebery. Head to the website for more information. Top images: Nikki To (first, second, fourth); Veronica Eastell, Radical Wellbeing Studio (third)
When children from Panem's first 12 districts are chosen to fight to the death, each year's unlucky kids conscripted into the bloodthirsty fray that gives The Hunger Games franchise its title, they aren't simply battling for survival. In this dystopian saga stemming from Suzanne Collins' novels, they're brawling to entertain the wealthy residents of the ruling Capitol — they're forced to submit to a display of power and control, too, and to demonstrate humanity's innate cruelty — all while waging war against perishing into nothingness. Arriving eight years after the series' last page-to-screen adaptation, The Hunger Games: The Ballad of Songbirds & Snakes is a swung sword, flung spear, hurled hatchet and jabbed knife in the same type of skirmish. This is a blockbuster franchise, but 2012's The Hunger Games, 2013's The Hunger Games: Catching Fire, 2014's The Hunger Games: Mockingjay — Part 1 and 2015's The Hunger Games: Mockingjay — Part 2 have long faded from the big screen, which virtually means no longer existing to Tinseltown, other than as fuel to relight the flame. So kicks in the "sequels, prequels, spinoffs, continuations, TV shows, remakes, reboots, reimaginings or perish" motto that may as well be etched onto the Hollywood sign. Why The Hunger Games' battle royales exist, and what their purpose and substance are, prove topics of conversation more than once in The Ballad of Songbirds & Snakes. A tale that features the person who created the games and the mind overseeing them — that'd be Dean Casca Highbottom (Peter Dinklage, Cyrano) and Dr Volumnia Gaul (Viola Davis, Air) — ought to ponder such notions. A jump back in time in a now five-entry franchise, and a chapter that runs for 157 minutes at that, couldn't leave it out. But a sense of nothingness still swirls around this picture, even if Collins did actually write a novel with a plot that justifies the movie's existence (unlike comparable shenanigans over in the Wizarding World, aka the Fantastic Beasts films). There's an insignificant air to this return trip to YA bleakness, as smacking of chasing cash and keeping IP bubbling in the popular consciousness was bound to inspire; this doesn't feel like a return or a bonus, but an optional extra. The Ballad of Songbirds & Snakes is largely engaging as it's flickering. To spin its origin story for President Coriolanus Snow, who Donald Sutherland (Lawman: Bass Reeves) portrayed with such gleeful menace in the initial movies and Tom Blyth (Billy the Kid) plays now as a young man 64 years earlier, it enlists a compelling cast. And, although nowhere near as meticulously, smartly and affectingly, it convincingly enough attempts the Better Call Saul feat of getting its audience hoping for a different path for someone with a murky future already inescapably established thanks to its lead performance. In the dialogue, riffs on Corio's surname spark retorts like "snow lands on top" — bad puns and heavy-handed nudges towards past films don't serve The Ballad of Songbirds & Snakes well — yet "snow dissolves" is the prevailing vibe. Coriolanus himself doesn't here and there's four past pictures to prove it, but for all his longevity and this feature's length, the picture dedicated to him isn't the lingering kind. There's a prologue to this prequel, where a pint-sized Corio (Dexter Sol Ansell, Emmerdale Farm) and his cousin Tigris (debutant Rosa Gotzler) experience the horrors of Panem's nation-changing conflict firsthand, leaving only their grandma'am (Fionnula Flanagan, Smother) to be their guardian. When he's 18 and attending the Capitol's prestigious Academy, times are still tough for the remaining Snows, including the still-doting Tigris (Hunter Schafer, Euphoria); however, Coriolanus is a clever, savvy and determined fake-it-till-you-make-it type. As he dresses the part around his mostly snobby classmates, his hopes for college and security are all pinned on the scholarship-style Plinth Prize, which is usually awarded for academic excellence. But Highbottom and Gaul come bearing unforeseen news: in the tenth year of the country's kill-or-be-killed fights, with interest from the viewing masses lagging, the top students will be tasked with mentoring the games' tributes. Their assigned competitor winning won't guarantee them the prize, either; boosting the contest's status is just as important. Having seen other Hunger Games entries, or read them, isn't a prerequisite for following The Ballad of Songbirds & Snakes. Those who have will know the setup for the movie's first two thirds. Folks in that category will also spot the over-emphasised nods throughout the entire film to its Jennifer Lawrence (No Hard Feelings)-starring predecessors, to the point of wishing that you didn't. So, the reaping singles out the year's batch of doomed contenders, Corio is allocated District 12's Appalachian-accented underdog female recruit Lucy Gray Baird (Rachel Zegler, Shazam! Fury of the Gods) and, of course, she proves more than the Capitol bargained for. The Ballad of Songbirds & Snakes makes good on its title by giving Lucy Gray a voice that can and frequently does carry a tune, which enamours her to everyone watching on. Her fellow gladiatorial competitors aren't impressed, especially with her public popularity. Also in the been-there-done-that category: romantic sparks flying amid the life-or-death games, with The Ballad of Songbirds & Snakes happy to enter Romeo and Juliet's arena. Betrayal, duplicity, political scheming, autocratic barbarism, an indictment of entertainment at its most sensational and a savaging of the constant push to attract eyeballs pop up expectedly, too, the latter with zero self-awareness about how The Hunger Games movies are now in that domain. Returning director Francis Lawrence, who helmed Catching Fire and both Mockingjay instalments, is workmanlike. Screenwriters Michael Lesslie (The Little Drummer Girl) and Michael Arndt (also returning from Catching Fire) draw upon Collins' source material in the same way. Accordingly, along with production design that looks the part, it's Blyth and company that make the most of the film. As it tells its tale in three sections entitled 'The Mentor', 'The Prize' and 'The Peacekeeper' The Ballad of Songbirds & Snakes is never big on surprises, even when it heads to District 12 in its last chapter — but its stars are all in. If Blyth couldn't make Corio's vulnerability and kindness so resonant before it gives way to steeliness and ruthlessness, the film would suffer a fatal blow. If Zegler didn't shimmer with verve regardless of whether she's singing (chops already established in West Side Story), this Hunger Games entry's Hunger Games wouldn't muster up a second of tension. Tyrion Lannister might cast a shadow over Dinklage's Highbottom, but the Game of Thrones star has already demonstrated why that's a can't-look-away prospect. Davis is having a ball as the villainous head gamemaker, relish that's matched by Jason Schwartzman (Asteroid City) as always-on TV host Lucky Flickerman. Although the same can't always be said for the film around them — and definitely doesn't apply to bringing back the saga from nothingness — the odds are at least in this excellent cast's favour.
Horror fans, your favourite spooky season is fast approaching — and how better to welcome Halloween month than with a spine-tingling new stage show guaranteed to make your palms sweat? (Keep that in mind if you're heading in on a date.) Darlinghurst Theatre Company is back treading the boards this spring in vampire-thriller meets coming-of-age story (oh, that old genre) Let the Right One In, opening at the Eternity Playhouse on October 6. If the name sounds familiar, it's because Tony Award-winner Jack Thorne has adapted it for the stage from the best-selling novel and cult-classic vampire film by Swedish writer, John Ajvide Lindqvist. Thorne is known for writing a little stage show you might have heard of called Harry Potter and the Cursed Child, and his résumé also includes BBC's His Dark Materials and the BAFTA-winning National Treasure. Directed by Alexander Berlage (American Psycho) and starring a bevy of local talents including Heartbreak High's Will McDonald and Convict's Stephen Anderton, this is a vampire tale not all about the jump scares. Instead, it draws on coming-of-age horrors of real life, through the eyes of lonely, bullied teen Oskar (McDonald) and his neighbour Eli (newcomer Sebrina Thornton-Walker). Their social differences as outsiders bond them, but when a series of grisly, unexplained murders strikes throughout the neighbourhood, their unlikely friendship is tested beyond all imaginable limits. This critically acclaimed show racked up a series of five-star reviews during its London run, garnering praise from the likes of Time Out, The Guardian and The Observer. And of course, Darlinghurst Theatre Company is known for creating immersive experiences by transforming its foyer, so your show experience starts the moment you enter the venue. If you haven't ventured back to the theatre since lockdown, put this one on your spring calendar — Berlage says both fans of the film and those new to the story will be equally enthralled. "It's a type of theatre that you don't see a lot of on stage, particularly in Sydney," he says. "It's a genre piece – combining a coming-of-age story with elements that draw on both the supernatural and horror. At its core, the production explores the deeply human experience of desperately trying to find hope and one's place in the world." Running from October 6 until November 20, tickets start at just $54 for an evening of thrills, chills and spookiness in an iconic Sydney location.
We've seen plenty of services which will print your phone photos, but just when you thought iPhoneography couldn't get any more nifty, designer Mac Funamizu has conceptualised instant iPhone printouts for photos on the go. His iPhone case would allow your pretty iPhone pics to be printed Polaroid-style. The concept includes other functional features. For example, if you upload the photo to a website, you can add an QR code for the URL on the back. For a geo-tagged photo, you can also include the map to show where the photo was taken. Says Funamizu, "Yes, I’m one of those people who still relish the feel (and smell) of photos." [Via Lost at E-Minor]
Blak Markets are back at The Rocks this weekend, bringing the now-famous offering of Indigenous makers, artists and small business owners together for a special Mother's Day celebration. While the market has historically run for a weekend, this will see 20 stallholders popping up in Dawes Point Park for one day only, from 10am–4pm on Sunday, May 11. It's not just a great activity to visit with Mum — it's a great chance to meet some talented creatives and celebrate the special day with a community, while you spend an afternoon wandering the markets and chatting with the makers. You can also enjoy a Welcome to Country and smoking ceremony when the market opens, as well as live dance performances, a weaving workshop, and a dance and ochre workshop for any kids, before the fun concludes at 4pm. On the stallholder front, you can take home the likes of handmade dolls by Dollies Tribe & Co; gorgeous artworks by Saretta Art & Design, Soul Reign and Kourt; native bushfood and plants from IndigiGrow; and much more.
Since 2011, DJ Tom Loud's travelling dance party Hot Dub Time Machine has ripped up stages the world over, offering a rolling crossfade of the last six decades of pop-music. Now, ready to sink his teeth into a new chapter of music-infused revelry, Loud's announced his latest project, Hot Dub Wine Machine — a series of al fresco get-togethers that'll take over four of the country's best-loved wine regions. This Australia-wide tour follows the raging success of Hot Dub Wine Machine's inaugural event, which saw over 6000 wine and music lovers flock to McLaren Vale's Serafino Winery in December last year. This time around, the scenic vistas and rolling hills of Hope Estate in NSW's Hunter Valley, Rochford Estate in Victoria's Yarra Valley, Ocean View Estate in Queensland's Somerset Valley, Home Hill Winery in Tasmania's Huon Valley, and Houghton Winery in WA's Swan Valley (so many valleys!), will play host to the festivities. Each boutique event will run from early afternoon through to after dark, and feature a hand-picked smorgasbord of Australian musical talent. This will all lead into one of Hot Dub's signature sets, which will see audiences dancing their way from 1954 to today, as the DJ mixes an iconic song from each year. Backing up the tunes, expect a careful curation of locally-sourced gourmet eats, craft beer, cocktails, and of course, some sensational vino from these iconic Australian wine regions. Safe to say, it's probably the rowdiest event these wineries will host all year. Hot Dub Wine Machine will take over Home Hill Winery on Saturday, March 4, Hope Estate on Saturday, March 18, Rochford Estate on Saturday, March 25, Ocean View Estate on Saturday, April 1, and Houghton Winery on Saturday, April 8. Tickets are now on sale here. Images: Pat Stevenson. Updated: January 19, 2017.
You know those muggy, dusky nights in the height of summer when all you can hear is cicadas? The heat of the day's subsided but something about it lingers, and relief only sets in when the massive southerly that hits after dark raises goosebumps on your skin, and weirdly you find yourself reaching for a jumper. Well, Sport for Jove are about to launch into their sixth season of outdoor summer theatre, with a double bill of magic and the spirit world that seizes that summer twilight feeling and runs with it, through the forest at the Everglades Garden, Leura. Susanna Dowling directs Shakespeare's cautionary fairy story A Midsummer Night's Dream. The characters — young lovers and dreamers — enter a forest world between sleep and waking, on the shortest night of the year. The fragile bonds of family, friendship and love are broken, while the Fairy Kingdom is upended and entangled with the human world in a war over a mortal child. And with Arthur Miller's parable of mass hysteria, The Crucible, director Damien Ryan creates a haunting site-specific production of the modern classic. Drawing a parallel between the Salem witch hunt of 1692 and the McCarthyism gripping the US in the '50s, this play is a timeless (and timely) reminder of the evils of ignorance, and the deadly combination of hatred and power. If the season trailer's anything to go by, this will be some seriously edge-of-your-seat, immersive, electric-as-the-summer-evening-air theatre.
What a time to be alive for gin lovers. Last month, we introduced you to a rainforest-infused gin from Byron Bay. Now, we're heading south, to Tasmania, where brand new distillery Southern Wild has just opened. Its first offering is a trio of gins known as Dasher + Fisher, named for two rivers that travel from Tassie's snowy mountains to its northwest coast. Each spirit represents a section of the rivers' journey, the first being 'Mountain', the second, 'Meadow' and the third, 'Coast'. What all three have in common is a trio of uniquely Tasmanian botanicals: pepperberry, lavender and wakame seaweed. Distiller George Burgess, who's been perfecting his recipes for a decade, then blends these base botanicals with additional native ingredients, sourced from local growers, to give each gin its distinctive profile. "My goal, right from the get-go, was to try and create a gin that would allow me a multi-layered experience," says Burgess. "It took a lot of experiments and a lot of work to try and get that layering to the point where it was achieving what I set out to do." 'Mountain' is a dry-style drop, which puts the pepperberry up front, surrounded by another ten botanicals, including eucalypt, rosemary and sage. 'Meadow', a modern gin, emphasises the lavender, which is combined with 14 other botanicals, including freshly-picked oranges. Meanwhile, 'Ocean' is all about powering up the wakame seaweed, made more complex thanks to 11 other botanicals. You can buy Dasher + Fisher online, via Southern Wild's website. To visit in person, get yourself to Devonport, on Tassie's north coast. The distillery is open Monday to Wednesday between 10am and 5pm, and Thursday to Sunday from 10am till late. There are live music events and, if you're keen to take a tour with George, it's a good idea to book in advance. Images: Jason Loucas.
If you're just a hunk, a hunk of burning love for the one and only Elvis Presley, and you live in Australia, you've been having quite the few years. A massive exhibition dedicated to the king of rock 'n' roll came our way, Baz Luhrmann's AACTA-winning and Oscar-nominated biopic Elvis wowed fans, and Sofia Coppola's Priscilla is the headed to the big screen soon. Also on offer: a new Presley-focused stage musical that debuted in Sydney in August, is now playing Melbourne's Athenaeum Theatre, and has just locked in its 2024 dates and stops. Called Elvis: A Musical Revolution, this production features more than 40 of the singer's hits, because there's just that many songs to include. All of the expected favourites are worked into the biographical musical, which means everything from 'Jailhouse Rock', 'Hound Dog', 'That's All Right' and 'All Shook Up' through to 'Suspicious Minds', 'Heartbreak Hotel', 'Burning Love' and 'Blue Suede Shoes'. 'Good Rockin' Tonight', 'Earth Angel', 'Don't Be Cruel' and 'Are You Lonesome' get a whirl as well, as do 'Blue Moon of Kentucky', 'See See Rider', 'Can't Help Falling in Love' and 'A Little Less Conversation'. That's what the show's audience hears. As for what everyone sees — what makes the musical one for the money, naturally — the production's story tells Elvis' tale from his childhood in Tupelo, Mississippi through to his triumphant '68 Comeback Special. If you've seen the aforementioned Elvis, none of it will be new news, but Elvis: A Musical Revolution works its hip-swinging magic anyway. Sydney will get a return date with the musical from February 2024, with Elvis set to be in the building at the State Theatre again. After that, it's Her Majesty's Theatre's turn in Adelaide from April, Crown Theatre in Perth's time in the spotlight from May and HOTA, Home of the Arts on the Gold Coast's from June. Starring Rob Mallett (House Husbands, Singin' in the Rain), Elvis: A Musical Revolution hails from David Venn Enterprises, which has also been behind Cruel Intentions: The '90s Musical, The Wedding Singer and Bring It On: The Musical — and arrives via a partnership with Authentic Brands Group, the owner of Elvis Presley Enterprises. Also behind the scenes, the musical's book comes courtesy of David Abbinanti and Sean Cercone — who have Saturday Night Fever: The Musical and Ghost: The Musical on their resumes — with Abbinanti also composing the orchestrations, arrangements, and additional musical and lyrics. "We couldn't be happier about the response from audiences, and look forward to celebrating the life and music of Elvis Presley with even more Elvis fans and theatre lovers across the country," said producer David Venn. "It's a testament to our cast and creative team, as well as the enduring legacy of The King." ELVIS: A MUSICAL REVOLUTION 2024 AUSTRALIAN DATES: Until Sunday, December 24, 2023 — Athenaeum Theatre, Melbourne From February 2024 — State Theatre, Sydney From April 2024 — Her Majesty's Theatre, Adelaide From May 2024 — Crown Theatre, Perth From June 2024 — HOTA, Home of the Arts, the Gold Coast Elvis: A Musical Revolution is currently playing Melbourne, and will keep touring Australia until at least mid-2024. Head to the show's website for further details, tickets for Melbourne and to join the ticket waitlist elsewhere. Images: Ken Leanfore / Daniel Boud.
Under stark lighting and to the beat of a throbbing soundtrack, a dancer and a bodybuilder come together in an unlikely pas de deux that tests the boundaries of physical endurance. This is MAXIMUM, the aptly named piece by Australian choreographer and dancer Natalie Abbott, recently returned from the Festival d’Avignon in France to showcase her performance in Sydney as part of Score season by Performance Space. The unique dance work developed when Abbott began collaborating with bodybuilder Donny Henderson-Smith. "I originally wanted to be lifted off the ground for a 45-minute show and thought it would be a strong contrast to work with a bodybuilder," explains Abbott. "When I began to work with Donny, though, I realised how much more information and personality he could bring to the work. We still include a pretty long and devastating lift; however, the piece is really more about us working together to find unity and a common language for performance. Given such an unexpected collaboration, the differences between dancing and bodybuilding are hard to ignore. Initially, MAXIMUM appears to be a performance of contrasts: light and heavy, small and large, grace and grunt. Despite this, the two performers find a unique harmony through mental focus and physical strength. The challenging choreography tests dancer and bodybuilder equally, and the whole idea of what happens to the human body at physical extremes is what fascinates Abbott. "My training as a dancer was quite intense and I really had to push my body to get through that," she says. "I know that the training is probably even more intense for a bodybuilder and this is why I was interested in exploring the relationship between both practices. Both forms are so intense and focused, yet yield such dissimilar results. I was super interested in exploring the dynamics of placing both bodies next to each other. The connotations of a massive male next to a smaller female, the traditional context of a man partnering a woman and what these images automatically imply for a viewer. My vision was then to override these assumptions and reveal us as humans, rather than performers, a bodybuilder and a dancer." You’d expect the performers to have endured intense physical training to prepare for such a gruelling performance. Not so, says Abbott, who points out “we need to be challenged during the [show]”, and so while the two prepared by tuning their bodies into sync, they avoided additional fitness training. That means the exhaustion we see on stage is real; the charade of a performance is stripped away to reveal the humans behind the choreography, lending the show its raw physicality that has both challenged and captivated audiences. ("Beautifully achieved, exhilarating work," wrote ABC Arts after the premiere at Next Wave.) Maximum plays as part of Performance Space's Score season of works driven by dance, movement, music and noise. Abbott is particularly “curious and excited” to see One Thing Follows Another... by Gail Priest and Jane McKernan, a performance inspired by the 1960s avant-garde that plays on ideas of independence and collaboration between music and dance. Other highlights include the genre-defying fusion piece Keep Everything by critically acclaimed dance company Chunky Move, as well as Psychic Synth, a digital work by Pia Van Gelder that will read your mind. Score is on from August 1 to September 7 at Carriageworks. See MAXIMUM from August 27-30. Single tickets are $25 adult/$15 concession, or you go all out and buy a season pass for $130. See the website for details.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with a worldwide pandemic forcing picture palaces across the globe to shut down temporarily in the interest of public safety, the film industry is being forced to adjust. While no one in Australia can currently head to their local movie theatre, sit in a darkened room with a crowd of fellow film buffs and feast their eyes on the silver screen, that doesn't mean we aren't eager to see the latest flicks. In fact, as these quarantine days turn into isolation-heavy weeks, you can be forgiven for craving something new to watch. So, film distributors have started fast-tracking their recent releases from cinemas to streaming — movies that were playing in theatres when they closed, flicks that had just released and even films that didn't yet get the chance to hit the big screen. Here's a dozen you can watch right now at home. https://www.youtube.com/watch?v=KLAJyugYEiY THE INVISIBLE MAN Our critic says: "As written and directed by Australian filmmaker Leigh Whannell, this slow-building version of The Invisible Man isn't an account of a scientist corrupted by his latest discovery, as seen in its predecessors. Rather, it's a portrait of a woman at the mercy of a man who'll do anything and use any means to get what he wants. The end result: psychological horror mixed with futuristic science-fiction and layered with a piercing societal statement, and it's as effective as it sounds. Of course, anyone who saw Whannell's previous feature Upgrade will realise that this is the only interpretation of The Invisible Man that he could've made. The Aussie talent continues his fascination with body modification and tech-enabled surveillance, as well as his fondness for hyper-kinetic action, a pervasive mood of dread and tension, and a sparse, sleek look — plus his interrogation of the kind of society that, with not too many imaginative tweaks needed, we just might be headed for." — Sarah Ward The Invisible Man is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=ygzqL60kvwU BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) Our critic says: "From the moment that Margot Robbie stole the show in Suicide Squad, a Harley Quinn-focused spinoff was always inevitable. So, knowing when they're onto a good thing — and witnessing their now Academy Award-nominated Australian star keep rising in fame via I, Tonya, Mary, Queen of Scots, Once Upon a Time in Hollywood and Bombshell — the folks behind the DC Extended Universe have gone and done the obvious. Thankfully, the powers-that-be learned a few lessons along the way, leaning into everything that first made the anarchic character attract so much big-screen attention. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is vividly stylised, irreverently upbeat, and both frenetic and fluid. To the benefit of every fight and chase scene, it's also more concerned with eye-popping action choreography than overblown special effects. The movie's riotous mood, lurid colour scheme and kookily comic sensibilities can't smooth out all of its bumps, though, but put it this way: Suicide Squad, this definitely isn't." — Sarah Ward Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=UrmnEHSJx-M COME TO DADDY Our critic says: "Following a map to a remote waterside location, Norval Greenwood (Elijah Wood) knocks on his father's door, reuniting with the man he hasn't seen for more than 30 years. It's a tense, awkward scene, with more of the same following — and, in a movie that segues from reunion drama to unsettling mystery flick to crime thriller, things only get unhinged and deranged from there. Marking the feature directorial debut of New Zealand producer-turned-filmmaker Ant Timpson (The ABCs of Death, Turbo Kid, Deathgasm), Come to Daddy proves an anarchic, unruly and very amusing ride, complete with committed performances not just from Wood, but from Martin Donovan, Michael Smiley and The Breaker Upperers' Madeleine Sami as well. It's also inspired by reality, although to say more would be to reveal too much about a movie that revels in its twists and turns. And in its ample splashes of gore and blood, too." — Sarah Ward Come to Daddy is available to stream via Google Play, YouTube and Umbrella Entertainment. https://www.youtube.com/watch?v=HxKXiQvyG_o ONWARD Our critic says: "Onward tells the tale of brothers Ian and Barley Lightfoot (Marvel co-stars Tom Holland and Chris Pratt), two teenage elves who've grown up without their dearly departed dad. Thanks to an unexpected flash of long-dormant magic, they're given the chance to spend one last day with their father — but, in order to do so, they'll have to undertake a perilous quest in Barley's rundown van Guinevere. From this description, you might've noticed that Pixar's usual formula isn't at play here, with the company branching beyond the "what if toys/cars/rats/robots/monsters/feelings had feelings?" setup that's served it so well in everything from the Toy Story franchise to Inside Out. Rest assured, however, that Onward's central elf siblings do indeed experience a whole heap of emotions as they cast spells, try to decipher mysterious maps, endeavour to avoid curses, explore their complicated brotherly relationship and team up with a part-lion, part-bat, part-scorpion called The Manticore (Octavia Spencer)." — Sarah Ward Onward is available to stream via Google Play, YouTube and iTunes, and will hit Disney+ on Friday, April 24. https://www.youtube.com/watch?v=uxAWKALOCAg THE HUNT Our critic says: "When The Hunger Games pit people against each other in an elaborate battle royale-style fight to the death, it did so in a dystopian post-apocalyptic world. In Craig Zobel's The Hunt, a similar situation applies — but, taking aim at the political divides so prominent between the left and right in America today, this satirical horror-thriller is firmly set our current reality. Here, 14 strangers awaken in a remote woodland area, gagged but with access to a giant crate of weapons. Soon afterwards, the shooting starts. Pitting "deplorables" against "liberal elites" in a film with the kill-or-be-killed chaos of reality TV parody Series 7: The Contenders and action choreography that'd make the John Wick franchise proud, The Hunt is nowhere near as savage, smart or politically astute as it thinks it is. That said, thanks to a steely lead performance by GLOW's Betty Gilpin, a playful sense of humour and a willingness to toy with audiences as much as it does with its characters, it entertains far more often than it provokes." — Sarah Ward The Hunt is available to stream via Google Play and iTunes. https://www.youtube.com/watch?v=FbHkNiIyl3I THE WAY BACK Our critic says: "Pitched as Ben Affleck's big comeback role after a run of average-at-best flicks — including his short-lived turn as Batman — The Way Back follows a faded man who used to be a big deal. His character was once a high school basketball star; however the years since have been filled with bad choices, tragedy and an overabundance of alcohol. Given the chance to relive his glory days by coaching the school's struggling current team, he embarks on a quest for redemption. As well as boasting Affleck's best performance since Gone Girl, it's to The Way Back's credit that this underdog story on multiple levels doesn't always take the obvious route. Still, it's guilty of leaning on illness-related heartbreak for easy, cliched emotional manipulation, rather than trusting its central performance. Affleck feels like he's trying a little too hard to follow in his brother Casey's footsteps, too, with similarities to the far superior Manchester by the Sea evident." — Sarah Ward The Way Back is available to stream via iTunes. https://www.youtube.com/watch?v=Je22_P3Qm7U THE GENTLEMEN Our critic says: "When in doubt, they say to go back to your roots. Given that Guy Ritchie's last two films were Aladdin and King Arthur: Legend of the Sword, it's fair to assume that doubt had squarely reared its head. As the director's name alone evokes the sound of cockney rhyming slang and the image of grimy London back alleys, dancing bedazzled elephants were about as off-brand as it gets. So he goes back to his roots with The Gentlemen — and it's a warm and welcome return. Overall, The Gentlemen is fun, to put it in the simplest of terms. It's certainly not without its faults — the patchwork of styles, from action film to hip hop music video and everything in between is constantly jarring — but the general experience is an agreeable one. Like the scotch enthusiastically consumed by the film's unofficial narrator, Fletcher (a delightful turn by Hugh Grant), The Gentlemen is a little rough at first, but smoother with every sip until you're silly drunk and smiling like a fool." — Tom Glasson The Gentlemen is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=llt7-EQP6dg EMMA Our critic says: "In the latest big-screen version of Jane Austen's beloved novel, well-heeled chaos ensues — as much chaos that can within stately and sprawling country manors, while compliant, silent servants are always on hand, and amidst polite conversation constantly tinted with gossip (although as Downton Abbey keeps demonstrating, that's plenty). Emma circa 2020 does everything it's supposed to, including using its sumptuous production and costume design to paint a vivid picture of Regency-era England, but it adds little of its own personality. Austen's prose, here shaped into a screenplay by The Luminaries' author Eleanor Catton, still sparkles with wit. Making her feature filmmaking debut, photographer and music video director Autumn de Wilde retains the novel's playful mood, and pairs it with a sweeping sense of visual symmetry that'd do Wes Anderson proud. And yet, this adaptation feels mostly indistinguishable from the many other unchallenging film and TV versions of literary classics that've reached screens over the years. In fact, the end result is fine, but in the passable rather than excellent sense of the word." — Sarah Ward Emma is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=78k9Mhgzy74 JUST MERCY Our critic says: "Just Mercy boasts much that other films would envy, such as an emotive true tale, serious subject matter that's sadly still relevant today and a top-notch cast. Eyes blazing, his voice calm yet commanding, and compassion driving his every move, Michael B. Jordan is especially fantastic as real-life lawyer Bryan Stevenson — and he's matched by a restrained but no less resonant Jamie Foxx as a man on death row and resigned to the lie of the land in the deep south. But the feeling that this has all been seen before is used to particularly compelling effect here. It's something that writer/director Destin Daniel Cretton is clearly cognisant of, as he was when he focused on troubled teens living in a group home in the excellent Short Term 12. Layering in other cases, such as that of fellow condemned prisoner Herbert Richardson (Rob Morgan), the filmmaker draws attention to the unending spate of real-life stories such as these. That's not a new revelation, but it bears heavily on a movie that's already weighty anyway." — Sarah Ward Just Mercy is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=szby7ZHLnkA SONIC THE HEDGEHOG Our critic says: "Cast-wise, there's a clear standout. Jim Carrey is back in full force, dropping the most endearingly over-the-top performance audiences have seen from him in ages. As villain Dr Robotnik, he's somehow even more cartoonish than the CGI Sonic — and it's spectacular. Like Sonic's running, however, there's far too little of it throughout. Instead, the lion's share of screen time is reserved for Sonic (voiced by Parks and Recreation's Ben Schwartz) and his new pal Tom Wachowski (James Marsden), the local sheriff who's helping him avoid capture. Giving credit where credit's due, Marsden delivers the goods, charming his way through scenes that ought to have tanked hard. Schwartz, too, makes the inspired choice of keeping Sonic low-key instead of manic, resulting in a far more likeable hero." — Tom Glasson Sonic the Hedgehog is available to stream via iTunes. Read our full review. https://www.youtube.com/watch?v=bpbKh4FqR2g RICHARD JEWELL Our critic says: "All it took was a concert and a backpack for Richard Jewell's (Paul Walter Hauser) life to change forever. That's the real-life story that monopolised news headlines 24 years ago. It's also the tale that Jewell, with his desperate desire to work in law enforcement, was overjoyed to have attached to his name. And, it's the narrative that Richard Jewell tells, although Clint Eastwood's involvement should make it obvious that it doesn't end there. As demonstrated with gusto in the latter years of his five-decade directorial career, Eastwood is drawn to heroes. He's not just fascinated by people acting bravely, but by true tales of fortitude in the face of pressure, scrutiny, admonishment and even contempt by society, authorities and bureaucracy. American Sniper's flag-waving tribute to the deadliest marksman in US military history, Sully's recreation of the Miracle on the Hudson and subsequent investigation, and The Mule's account of an octogenarian forced to become a drug courier to make ends meet — they all fit the profile, as does Jewell's swift slide from saviour to suspect." — Sarah Ward Richard Jewell is available to stream via Google Play, YouTube and iTunes. Read our full review. https://www.youtube.com/watch?v=D-7ACXBRP-g BLOODSHOT Our critic says: "Vin Diesel as Frankenstein's monster? Vin Diesel reliving the same events over and over again, Edge of Tomorrow-style, to right a past wrong? Vin Diesel filled with tiny robots — including in a Terminator-esque scene where half his face is exposed, revealing the nanotechnology gleaming beneath his flesh? Throw in shades of Universal Soldier and RoboCop as well (and some speedy car chases, because Diesel sure does love getting fast and furious behind the wheel), and that's Bloodshot. Yes, as well as tasking Diesel with playing a US soldier brought back from the dead, Bloodshot attempts to revive a variety of parts itself — all cobbled and spliced together from multiple other science-fiction stories and action flicks. Indeed, the fact that Bloodshot is actually based on a comic book character dating back to 1992 doesn't seem anywhere near as important to first-time feature director David SF Wilson as nodding at a heap of other pop culture titles." — Sarah Ward Bloodshot is available to stream via Google Play, YouTube and iTunes. Read our full review.
Maybe you've sipped mulled wine at a winter market. Perhaps, when the weather gets colder each year, you make a beeline to whichever bar is serving the coveted concoction. Or, you could have fond memories of vacations spent in Europe downing plenty of glühwein. Whichever fits, drinking warmed-up wine is one of the best parts of the frosty season — including at home. Because everyone should be able to sip this delicious tipple even if they're not leaving the house — because of lockdowns, winter lethargy or any other reason — Jam Shed Wines has started making mulled wine mixes. You add it to a bottle of shiraz, heat it in a saucepan, bring it to simmer and then let it steep. After that, you can add oranges, berries and/or stone fruit as garnishes, pop in some orange liqueur if you'd like, and then you get drinking. It's that straightforward, although there is one catch: you can only pick up the mix with bottles of the brand's shiraz. Consider it a two-for-one kind of deal, given that you need some wine to make use of the mulled wine mix anyway. It's a limited-time-only special, too, with the mix on offer with Jam Shed shiraz at independent retailers while stocks last. You'll also score a jam jar to sip your soul- and stomach-warming homemade tipple out of, with the brand's shiraz retailing at $13 per bottle. And yes, only drinking mulled wine all winter — out of all the different types of booze you could possibly choose from — is completely acceptable. Jam Shed Wines is giving away mulled wine mixes with bottles of its Jam Shed Shiraz at independent retailers for a limited time. For further details about the brand, head to its website.
It's the absolute last thing Melbourne needs right now, but just after 9am this morning, Wednesday, September 22, the city was hit by what's reported to be an earthquake. Yep — we're out here deep into Lockdown 6.0, having clocked up over 200 days of stay-at-home orders, and the universe goes and dials up the drama with the literal shifting of tectonic plates. Just who exactly Melbourne pissed off so badly, is yet to be revealed. The experts over at the Seismology Centre shared details of the quake on Twitter, confirming a magnitude 5.3 earthquake hit Gippsland and was felt right across Melbourne, a good 100 kilometres away. The earth shakes lasted about 20 seconds, which proved pretty exciting stuff for this particular writer who hadn't even had their morning coffee yet. The preliminary magnitude 5.3 estimation is yet to be officially confirmed and may be revised. As you can imagine, Twitter fired up instantly following the quake, as people rushed to swap notes on Melbourne's 843576th bad news event of the year. There'll be more information to come as the experts recover from this sneak environmental attack. But in the meantime, here are some winning reactions from the Twitterverse. We'll bring you more information as details unfold on the earthquake event from this morning. Sounds like Melbourne's going to be in need of a good construction industry — Josh Withers (@JoshuaWithers) September 21, 2021 im pretty sure an earthquake is the sixth seal opened during the apocalypse. good news melbourne, just one to go! — Jim Malo (@thejimmalo) September 21, 2021 Statewide earthquake in Vic, 5.6. Whoever is writing this script of the impending apocalypse is getting ridiculously heavy-handed, I mean just fucking introduce a fun love interest or something and give us a breakhttps://t.co/erVIIzC7Ny — Marieke Hardy (@mariekehardy) September 21, 2021 pic.twitter.com/appe69o1u5 — fungbunger (@parsfarce) September 21, 2021 At what point do we accept that God hates Melbourne? — James Colley (@JamColley) September 21, 2021 FACT: Melbourne are 0-1 in VFL/AFL Grand Finals that immediately followed magnitude 6.0+ earthquakes in Victoria pic.twitter.com/7cGOgsMfUY — Michael (@HiReception) September 22, 2021
When Baz Luhrmann makes a new film, the world takes notice — including the Australian Academy of Cinema and Television Arts and its annual awards. No stranger to heaping the filmmaker's movies with accolades, with every single one of his past flicks from Strictly Ballroom through to The Great Gatsby scoring nominations (and those two specific titles winning Best Film), AACTA has continued the trend by showering the director's latest in 2022 nods. Topping the just-announced nominations for this year's AACTA Awards — which were previously called the AFI Awards, before changing their name — Elvis picked up a whopping 15 nods, the most of any film. The accolades recognise the best and brightest in Australian cinema and television each year, with Mystery Road: Origin also scoring the same amount of noms in the TV categories. In their respective formats, Elvis and Mystery Road: Origin have plenty of company. The former is competing against Here Out West, Sissy, The Drover's Wife The Legend of Molly Johnson, The Stranger and Three Thousand Years of Longing for 2022's Best Film, for instance — and the latter is up against Bump, Heartbreak High, Love Me, The Tourist and Wolf Like Me for the year's best television drama. The winners of those categories, and AACTA's full list of fields, will be announced in early December on two dates: Monday, December 5 and Wednesday, December 7. Also highlights among the film nominees: 13 nominations apiece for The Drover's Wife The Legend of Molly Johnson and Three Thousand Years of Longing, Austin Butler getting an unsurprising Best Actor nomination for playing the King of Rock 'n' Roll, Nude Tuesday scoring a heap of love, acting nods for the powerful Blaze and a whole heap of recognition for The Stranger, including for writer/director Thomas M Wright. And, among the TV cohort, Mystery Road: Origin also picked up five noms in the four acting fields for TV dramas, spanning Mark Coles Smith, Tuuli Narkle, Daniel Henshall, Steve Bisley and Hayley McElhinney; Love Me and The Twelve nabbed ten nominations each across all categories; and Heartbreak High's James Majoos received the show's sole acting nod. Across both film and TV, a heap of international names graced the acting nominations, too, a common AACTAs trend. On 2022's list: Idris Elba and Tilda Swinton for Three Thousand Years of Longing, both the aforementioned Butler and Tom Hanks for Elvis, Sean Harris for The Stranger, Jackie van Beek and Jemaine Clement for Nude Tuesday, Joanna Lumley for Falling for Figaro and Jamie Dornan for The Tourist. Here's a selection of this year's major AACTA nominations, ahead of the awards' ceremonies on Monday, December 5 and Wednesday, December 7 — and you can check out the full list on AACTA's website: AACTA NOMINEES 2022: FILM AWARDS: BEST FILM Elvis Here Out West Sissy The Drover's Wife The Legend of Molly Johnson The Stranger Three Thousand Years of Longing BEST INDIE FILM A Stitch In Time Akoni Darklands Lonesome Pieces Smoke Between Trees BEST DIRECTION Baz Luhrmann, Elvis Hannah Barlow and Kane Senes, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller, Three Thousand Years of Longing BEST LEAD ACTOR Austin Butler, Elvis Rob Collins, The Drover's Wife The Legend of Molly Johnson Joel Edgerton, The Stranger Idris Elba, Three Thousand Years of Longing Damon Herriman, Nude Tuesday BEST LEAD ACTRESS Aisha Dee, Sissy Leah Purcell, The Drover's Wife The Legend of Molly Johnson Julia Savage, Blaze Tilda Swinton, Three Thousand Years of Longing Jackie van Beek, Nude Tuesday BEST SUPPORTING ACTOR Simon Baker, Blaze Jemaine Clement, Nude Tuesday Malachi Dower-Roberts, The Drover's Wife The Legend of Molly Johnson Tom Hanks, Elvis Sean Harris, The Stranger BEST SUPPORTING ACTRESS Jada Alberts, The Stranger Jessica De Gouw, The Drover's Wife The Legend of Molly Johnson Olivia DeJonge, Elvis Joanna Lumley, Falling For Figaro Yael Stone, Blaze BEST SCREENPLAY Baz Luhrmann, Sam Bromell, Craig Pearce and Jeremy Doner, Elvis Jackie van Beek, Nude Tuesday Leah Purcell, The Drover's Wife The Legend of Molly Johnson Thomas M Wright, The Stranger George Miller and Augusta Gore, Three Thousand Years of Longing BEST DOCUMENTARY Ablaze Clean Everybody's Oma Franklin Ithaka River TELEVISION AWARDS: BEST DRAMA SERIES Bump Heartbreak High Love Me Mystery Road: Origin The Tourist Wolf Like Me BEST TELEFEATURE OR MINISERIES Barons Savage River The Twelve True Colours Underbelly: Vanishing Act BEST COMEDY PROGRAM Aftertaste Five Bedrooms Hard Quiz Shaun Micallef's Mad as Hell Spicks and Specks Summer Love BEST LEAD ACTOR IN A TELEVISION DRAMA Mark Coles Smith, Mystery Road: Origin Jamie Dornan, The Tourist James Majoos, Heartbreak High Sam Neill, The Twelve Hugo Weaving, Love Me BEST LEAD ACTRESS IN A TELEVISION DRAMA Isla Fisher, Wolf Like Me Claudia Karvan, Bump Kate Mulvany, The Twelve Tuuli Narkle, Mystery Road: Origin Bojana Novakovic, Love Me BEST COMEDY PERFORMER Wayne Blair, Aftertaste Patrick Brammall, Summer Love Harriet Dyer, Summer Love Tom Gleeson, Hard Quiz Charlie Pickering, The Weekly with Charlie Pickering Doris Younane, Five Bedrooms BEST SUPPORTING ACTOR IN A TELEVISION DRAMA Hayley McElhinney, Mystery Road: Origin Jacqueline McKenzie, Savage River Heather Mitchell, Love Me Brooke Satchwell, The Twelve Magda Szubanski, After the Verdict BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Steve Bisley, Mystery Road: Origin Brendan Cowell, The Twelve Daniel Henshall, Mystery Road: Origin Damon Herriman, The Tourist Thomas Weatherall, Heartbreak High
UPDATE, June 10, 2022: Hustlers is available to stream via Stan, Netflix, Google Play, YouTube Movies, Prime Video and iTunes. Kudos to the bright minds behind Hustlers' many needle drops. When the film's trailer hit, it used Cardi B's 'Money' as its soundtrack — not only nodding to the rapper's co-starring status, but capturing the movie's materialistic vibe with its sultry lyrics about diamonds, jets and oh-so-much cash. In the picture itself, Janet Jackson's 'Control' initially does a similar job, opening the feature with a statement that really couldn't sum up its characters better. While they're literally rolling around in moolah until the global financial crisis hits, Hustlers' resourceful strippers are always at the mercy of their banker clientele. Forced to get creative when times get tough, they turn the tables on the guys usually throwing notes their way, hatching quite the entrepreneurial scheme to reclaim their bodies, lives and independence. The pesky little fact that, by drugging well-off men, running up huge charges on their credit cards and pocketing the profits, these gals are as shady as their Wall Street marks — well, Hustlers has a music cue for that also. It might seem obvious to introduce Jennifer Lopez's Ramona, the mastermind of the group, to the sounds of Fiona Apple's 'Criminal'; however, her eye-catching entrance shows that her allure is as seductive as the song's beat. Elsewhere, the film lets its characters scream in delight to Britney's 'Gimme More' and serenade Usher (as himself) to his own 'Love in the Club'. It uses Lorde's 'Royals' to telling effect, too. These are knowing, savvy music choices in a picture that's always coolly calculating. To truly unpack this real-life tale of bling-coveting erotic dancers scamming the financiers who just fleeced a nation, it needs to be. Experienced at disrobing on the job, but nervous when she moves to a new New York strip joint in 2007, Dorothy (Crazy Rich Asians' Constance Wu) hardly follows the film's lead — at first. Known as Destiny on stage, she's barely getting by until she becomes as bewitched by Ramona as all the guys around her. Standing out among the other dancers (including not just Cardi B, but Lizzo), their double-act lights plenty of clients' fires and keeps the duo flush with cash. Then, post-GFC, the dollar bills stop raining from the sky. Fast forward to 2014, and Dorothy is relaying the details to Elizabeth (Julia Stiles), who's writing about the strippers' escapades. More than just a framing device, the pair's chats have a basis in actual events, with writer/director Lorene Scafaria (The Meddler) adapting Hustlers from a 2015 New York magazine article. It's not the heady, dancing heyday that Elizabeth is most interested in, however, and nor is the piece that Hustlers is inspired by. Rather, it's the hijinks that follow when Ramona concocts her pilfering plan. Aided by two other pals (Keke Palmer and Lili Reinhart), Dorothy and Ramona start living their wildest dreams — enjoying a level of wealth, excess, comfort, security and, yes, control that they've never experienced before. "I kept thinking there was some magic number," Dorothy notes as she tries to explain what the women got up to, how and why, although the film does a perceptive job of making that plain beyond her words. Playing out like a gender-flipped Magic Mike meets The Wolf of Wall Street, the movie doesn't turn its characters into heroes by any means. But, it saves its deepest savagery for another target: the money-hungry American dream that today's brand of corporation-favouring capitalism gleefully encourages and endorses. It's a delicate balancing act, thoughtfully interrogating Dorothy and company's story without glorifying their actions — and it's one that Hustlers nails. Like many a great heist and gangster flick before it, this upbeat crime drama eschews the simplicity of black-and-white morality. Aptly, given that it's constantly bathed in neon-lit hues, it avoids mere shades of grey, too. Here, all that glitters seems gold and silver, but it's really laden with chrome and encrusted with diamantes. Scafaria styles her whole picture in the same fashion, with its shining frames welcoming viewers in, then exposing the stark, seedy reality. The twist that makes Hustlers exceptionally astute as well as engaging and entertaining? While Dorothy and Ramona desperately want to gain control, they're still firmly steeped in a flimsy, male-defined world. Accordingly, their rise to the top was always going to prove fleeting and superficial — so the bonds they make and break along the way shape their story more than the cash, jewels and designer clothes. Hustlers never shies away from this fundamental truth, or from a warts-and-all depiction of its wily protagonists as well. It can't, and it's all the better for it. Of course, if Wu and the especially fantastic Lopez didn't ground this larger-than-life true story in fleshed-out characters, it'd all mean next to nothing. Thankfully, from its spicy narrative to its potent themes to its stellar performances, Hustlers both works the pole and packs an almighty punch.
We're first introduced to Jasmine (Cate Blanchett), an unpleasant socialite who's fallen on hard times, as she talks the ear off a poor woman on a plane to San Francisco, her fellow passenger having made the mistake of interrupting a monologue she was having with herself. It's a fitting introduction to Woody Allen's claustrophobic new drama, which follows Jasmine to San Francisco, where she hopes to start afresh after her husband, Hal (Alec Baldwin), is exposed as a fraudster and adulterer. An unrepentant snob with a haughty bearing and a wardrobe full of designer clothes, Jasmine finds herself at odds with her adopted sister, Ginger (Sally Hawkins), whom she plans to stay with until she is back on her feet. Jasmine had little time for Ginger when she was living high on the hog in Manhattan and finds herself appalled at Ginger's working-class lifestyle and new boyfriend, Chili (Bobby Cannavale), a mechanic. Still clinging to her old luxurious lifestyle and increasingly embracing delusion, Jasmine finds she is so cut off from the modern world that she needs basic computer classes before she can even think about her lofty ambitions to train as a designer. The story flashes back and forth between Jasmine's glamorous New York life of polo matches and Hamptons holidays and her later comeuppance in California. Along the way, Ginger and ex-boyfriend Augie (Andrew Dice Clay) make a rare visit to New York, where Jasmine suggests Hal can invest money for Ginger and Augie. The flashbacks find Jasmine in wilfully ignorant bliss, raising the question of whether she should have taken more of an interest in his staggering accumulation of wealth. There are definite echoes of Blanchett's tour de force performance in A Streetcar Named Desire here, with Chili a kind of hot-blooded Stanley to Jasmine's pretentious Blanche Dubois figure. As in the Tennessee Williams classic, the arrival of a down-on-her-luck heroine strains the relationship of her reluctant hosts, and Hawkins is terrific as the long-suffering Ginger. The performances make up for the shortcomings in a script which is surprisingly slight at times, lacking for something new to say about the Bernie Madoff-like figure of Hal and his downfall. Still, the prickly figure of Jasmine, a character who is by turns contemptible and pitiful, washing Xanax down with vodka as she endlessly recounts stories from better times, is perfectly realised, and Blanchett's compelling work lights up one of Woody Allen's darkest films. https://youtube.com/watch?v=BXnktqEWvGM
Electro dance trio RÜFÜS know a thing or two about touring. Currently on the road for their national Worlds Within Worlds tour, the Sydney threesome have whipped up thousands-strong crowds with their euphoric melodies at many an Aussie festival over the past few years. This time, however, the triple j favourites have collaborated with Red Bull and Melbourne art and design studio ENESS, creators of otherworldly interactive light installations. The ENESS wizards have done their light-fuelled thing in unexpected spaces worldwide — from the streets of Mumbai to the French Alps. Now bringing both creative teams together, RÜFÜS combine material from their debut album Atlas with a 12,000-LED-strong backdrop. Operated in real time, the hyperreal set responds to the music in a fusion of virtual projections with physical space. It's a perfect complementary partnership for the trio's escapist dance sound. The Worlds Within Worlds tour is also RÜFÜS' last hurrah in Oz before heading to Berlin to work on their next record. It's worth checking out, especially if Vivid Sydney didn't quite satisfy your appetite for trippy light installations. (Really, can that ever be satisfied?)
Messina's next guest for its monthly Messina Eats pop-up is Melbourne's inventive Japanese-fusion eatery Mr Miyagi. Serving as Mr Miyagi's Sydney debut, the pop-up will see the Windsor eatery's Japanese-inspired hot dogs and tacos pop-up at Messina's Rosebery HQ for two special days. On offer will be three version's of Mr M's famous Japa-Dawgs — each served in a soft bao roll. Sink your teeth into either truffle wagyu beef, panko-crumbed 48-hour pork belly or a tempura tofu beetroot invention. Make sure you order a side of Miyagi's wasabi fries, too. The Spider Crab Taco will also be on offer — a delicious tempura soft shell crab set in a crunchy nori taco shell combined with pickled jalapeños, curried mayo, guacamole and sushi rice. Not to be forgotten, Messina will join in, too, with its Easy Cheesy Japanesy, a baked cheese tart served with strawberry yuzu gelato. The Mr Miyagi pop-up will run from 12pm till late.
If you thought there was some pretty good drinking to be found here in your own backyard, it turns out you were spot on. Sydney has proven it's delivering some world-class drinks skills, with new entrant Maybe Sammy nabbing a spot in this year's prestigious World's 50 Best Bars awards – the only Australian bar to do so. And as if ranking at number 43 on the list wasn't enough, the cocktail bar also beat out plenty of contenders to be named the awards' Best Bar in Australasia. Not too shabby at all, considering co-owners Stefano Catino, Vince Lombardo and Andrea Gualdi only opened the bar in The Rocks at the start of this year. Catino said he is "blown away" by the ranking, saying a big thanks to the team for bringing their "clear vision" for the bar to life. Referencing the glam hotel bars of the world, while pulling inspiration from the 50s Rat Pack's era, Maybe Sammy has made quite a splash in its first few months of life. Its luxurious styling nods to old-school Vegas glamour, all blush pink velvet banquettes and lush indoor greenery, while the list of theatrical signature drinks pays homage to the classics. [caption id="attachment_744476" align="alignnone" width="1920"] Vince Lombardo and Stefano Catino at the awards.[/caption] This isn't Maybe Sammy's first time in the winner's circle, either — it also took out the title of Best New International Cocktail Bar at the revered Spirited Awards in the US earlier this year, and bartender Guali was the Australian bartender of the year in 2017 for his work at sister venue Maybe Frank. And while Sydney might have trailed behind a certain southern city in this year's Global Liveability Index, you could argue it reigns supreme when it comes to drinkability. Melbourne scored just one spot in the World's 50 Best Bars' 51-100 list for 2019, with long-time contender Black Pearl clocking in at number 80. As well as claiming the country's only Top 50 position, Sydney had three other bars in the mix for the Top 100: PS40 ranking at 95th, The Baxter Inn placing 79th and long-running favourite Bulletin Place taking 66th spot. Just saying. The best of them all, though, is New York's all-day restaurant-bar Dante's — it was named the World's Best Bar at the ceremony in London earlier this morning, jumping up from its 2018 position of 9th. The World's 50 Best Bars awards were this year judged by 510 expert voters across 58 countries. If you're in Sydney, you can drop by Maybe Sammy for a celebratory drink — the bar does a $5 happy hour on mini martinis, negronis and irish coffees from 4.30–5.30pm. You can check out the full lineup of the World's 50 Best Bars 2019 here, and see 51-100 here.
Calling all companions, Whovians and Time Lords: the TARDIS has materialised in Whotown. I mean Newtown. Thats right, a Totally Awesome Radical Doctorwho Impromptu Shop has opened up at 7 Wilson Street, allowing you to purchase all of your favourite Doctor Who memorabilia and necessities to fight Daleks. The pop-up shop, the first of its kind, is part of the upcoming November 23 50th anniversary celebrations and will allow Australians to purchase exclusive merchandise never before made available to them. This includes replica props and coats from the UK and Canada, as well as the Doctor Who Home range, allowing you to pour your tea from a TARDIS themed pot and pour your emotions over the deaths of past and present companions into a Dalek-themed diary. Traditional merch items will also be on sale, including DVDs, books and toys. Oh, by the way, you can get your photo taken in-store with a Dalek or even a replica TARDIS (the real one this time). The store is open 10am-6pm daily, but be quick; it is only here until June 20 before it departs for more time-travelling escapades through the universe.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, comedies, music documentaries, 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. https://www.youtube.com/watch?v=dQKaZS9bK5U BLACKBIRD Helming an English-language remake of 2014 Danish film Silent Heart, director Roger Michel realises a crucial fact: if you're going to amass a cast that includes Kate Winslet (Ammonite), Mia Wasikowska (Judy & Punch), Sam Neill (Rams), Lindsay Duncan (Made in Italy), Rainn Wilson (The Meg) and Susan Sarandon (The Jesus Rolls), you need to give every single actor something weighty to do. So, working with a script written by Christian Torpe (TV's The Mist), as the original feature also did, the Notting Hill, Le Week-End and My Cousin Rachel filmmaker ensures that his high-profile cast members all get their time in the spotlight in the dialogue-heavy Blackbird. Their lesser-known co-stars Anson Boon (1917) and Bex Taylor-Klaus (13 Reasons Why) are similarly given their moments. As an ensemble effort, this illness-driven family reunion drama makes the most of its on-screen talent — and that remains the primarily by-the-numbers movie's biggest achievement as it endeavours to balance its weepie premise with its increasingly heated war of words. Playing characters who have been brought together in immensely difficult circumstances, and who each weather a predictable grab-bag of troubles once they're all in the same place for a weekend, Blackbird's lineup does always stress its work (no one here is overly subtle here), but they also help breathe feeling into a feature that'd be a far lesser affair without them. Winslet's high-strung angst, Wasikowska's baked-in melancholy and Neill's calm facade come in particularly handy, with the trio playing Jennifer, Anna and Paul — the chalk-and-cheese daughters and doting husband of the ailing Lily (Sarandon). Along with Jennifer's spouse Michael (Wilson) and son Jonathan (Boon), Anna's girlfriend Chris (Taylor-Klaus) and Lily's lifelong best friend Liz (Duncan), they've all gathered for one last hurrah. Terminally ill with a degenerative condition and unwilling to endure the worsening effects that are still certain to come, Lily wants to spend a few days farewelling her nearest and dearest at the well-appointed family home. Whether relatives come together for Christmas or for teary goodbyes (both of which apply here in their own ways), films about the concept never miss an opportunity to let sparks fly. With such heightened emotions whirring around during Lily's last days, that's forcefully, noticeably the case here. Blackbird makes the astute point that everyone has pain and secrets, even when they're facing the loss of a loved one, but that observation has become well-worn by the movie's many predecessors. Also routine is the movie's magazine-style visual sheen. If it wasn't for the sharp performances, watching this sometimes-moving picture would largely feel like simply looking at famous faces workshop trauma in a scenic letting. The feature's visuals are meant to isolate its characters against their eye-catching setting, but often it just loiters rather than meaningfully lingers. https://www.youtube.com/watch?v=wqoyVcrX_lA BOSS LEVEL Being a fan of time loop films can sometimes feel like being stuck in one yourself, especially when the genre's overly derivative entries reach screens. At their best, movies about repeating the same events over and over again call attention to life's small joys, its pervasive chaos or a combination of both. At their worst, such flicks use the concept as an empty gimmick to prop up an otherwise flimsy narrative. Boss Level veers in both directions at times. There's a cannily cathartic bent to the onslaught of destruction that comes its protagonist's way every time he awakens, all thanks to a horde of bloodthirsty assassins intent on ending his existence. Like Groundhog Day's Phil Connors at his most nihilistic, the film embraces the fact that life is carnage, literalising the idea as action movies do. But, as directed by Joe Carnahan (The Grey, The A-Team) and co-written by the filmmaker with Chris and Eddie Borey (Open Grave), Boss Level also attempts to paper over a slight narrative with rhythmically choreographed punches, bullets, swords and stunts, plus greeting card-level life lessons. It's exactly as straightforward as it sounds, and as standard. And, even for viewers unacquainted with Source Code, Edge of Tomorrow, the Happy Death Day franchise and Palm Springs, the film always feels as if it's following in better footsteps, including via sci-fi decor that could've stepped right out of Stargate and fight scenes that've taken inspiration from the John Wick series. Indeed, the movie's titular reference to video games isn't its only overt nod elsewhere. An ex-special forces soldier who now counts drowning his sorrows and bedding women he meets in bars as his main pastimes, Roy Pulver (Frank Grillo, Jiu Jitsu) has endured the same day 139 times when Boss Level begins. Through pithy narration, he explains the ins and outs of his new routine, where a flying blade acts like an alarm clock each and every morning, and the murderous foes just keep coming from there. Although yet to ascertain why he's been forced into this brutal cycle, Roy is beginning to suspect that it's linked to his ex-wife Jemma Wells (Naomi Watts, Penguin Bloom), who oversees a shadowy project for a sinister corporation led by the ominous Colonel Clive Ventor (Mel Gibson, Fatman). Roy and Jemma have a teenage son (debutant Rio Grillo) together, which complicates matters — because the former has hardly been a doting dad, adding to his regrets; and because the video game-loving kid also gives him something to lose. Like the most formulaic of side scrollers, Boss Level's highlights stem from its action scenes, rather than any story that's meant to fill in the gaps around them. That said, all those frenetic fists, kicks and weapons are helped by the elder Grillo, who has long screamed for more big-screen attention. Indeed, in a cast that also includes Michelle Yeoh (Last Christmas) and Ken Jeong (Occupation: Rainfall), he's the only one that isn't just aping what the movie does more often than not and simply going through the motions. https://www.youtube.com/watch?time_continue=95&v=sf2EzBQiTr8&feature=emb_logo BILLIE EILISH: THE WORLD'S A LITTLE BLURRY When documentaries such as Amy and Kurt Cobain: Montage of Heck peered into the private lives of their very public central figures, they also gave rise to a clear realisation: without treasure troves of home videos and personal materials, all prophetically recorded and kept by their subjects and their loved ones long before they were stars, these films simply could not be made. That'll remain true of movies that look back at famous faces from times gone by (as seen in the recent Zappa), but Billie Eilish: The World's a Little Blurry definitely doesn't give off the same sensation. For today's top talents, the notion that it's lucky such footage even exists to give rise to a documentary has become out of date. It's now a given that almost anyone with even a sniff of fame — let alone musicians who've won five Grammys, topped Triple J's Hottest 100, notched up a number one album and single, and sung a Bond theme, all while still in their teens — will have recorded every aspect of their existence. And, it's also just a fact of life that such a tendency won't have begun with their ascending popularity. Accordingly, The World's a Little Blurry does indeed have a wealth of material at its disposal, but this latest addition to the ever-growing pop star documentary genre doesn't feel like a revelation, a peek behind the facade, or a rare candid look at someone usually seen through music videos, concerts and formal interviews. That's the other thing about celebrities today: their social media feeds already give fans a window into their worlds, and even helped catapult them to success, so the documentaries that inevitably follow can come across as more of the same. Starting with the recording of When We All Fall Asleep, Where Do We Go? — which, yes, happened in her brother Finneas O'Connell's bedroom — The World's a Little Blurry perfectly fits the now-recognisable musician doco mould. From the moment that 'Bad Guy' became the ubiquitous track of 2019, a movie about Eilish was always bound to find its way to audiences, and to play out as this RJ Cutler (The September Issue, Belushi)-directed effort does. Raw, frank, relatable, accessible and even playful, the film adopts the same tone that's become synonymous with pop star Twitter and Instagram feeds. With Eilish's record label among the feature's producers, it's as rubber-stamped and carefully constructed as celebrity social media accounts are as well. That doesn't make The World's a Little Blurry any less engaging, or strip away the power of watching Eilish be herself for 140 minutes, but viewers are always seeing the sanctioned warts-and-all version of the documentary's point of focus (and, when she feels like it, the hamming-it-up-for-the-cameras version as well). Even just spanning a couple of years, the feature nonetheless provides a thorough snapshot of its subject's life, including her dislike of songwriting, the process of finishing the album, multiple tours, her Coachella set and the Grammys, plus her around-the-house behaviour, her rapport with her brother and parents, her romantic ups and downs, and her quest to get her drivers license. What resonates strongest, however, is one of the other influences behind the film's existence. Eilish's well-known love of Justin Bieber provides the movie's most illuminating thread, especially seeing the former start sobbing when she meets the latter. She was a big fan of Justin Bieber: Never Say Never, too, as her mother explains — and now, she has a matching movie. Billie Eilish: The World's a Little Blurry is currently screening in select cinemas, and is also available to stream via Apple TV+. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on November 5, November 12, November 19 and November 26; and December 3, December 10, December 17, December 26; and January 1, January 7, January 14, January 21 and January 28; February 4, February 11 and February 18. You can also read our full reviews of a heap of recent movies, such as The Craft: Legacy, Radioactive, Brazen Hussies, Freaky, Mank, Monsoon, Ellie and Abbie (and Ellie's Dead Aunt), American Utopia, Possessor, Misbehaviour, Happiest Season, The Prom, Sound of Metal, The Witches, The Midnight Sky, The Furnace, Wonder Woman 1984, Ottolenghi and the Cakes of Versailles, Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters and The Little Things.
When the Sydney Film Festival announced its full program at the beginning of May, it didn't actually announce its full program. Every year, the fest's powers-that-be always leave a little room for a few last-minute additions. That's what happens when you reveal your lineup just as the Cannes Film Festival is getting underway, and then hold your opening night just a few weeks afterwards — and it means that Sydney's cinephiles now have another eight films to try to fit into their busy movie-watching schedules. This year's late SFF announcement features quite the impressive Cannes haul, including Palme d'Or winner Shoplifters and Special Palme d'Or winner The Image Book. The former is the latest film by acclaimed Japanese filmmaker Hirokazu Kore-eda, telling the story of a family of thieves who take in an abandoned and abused young girl. The latter is the newest feature from iconic director Jean-Luc Godard, one of the pioneers of the French New Wave. Nearly six decades after making his first movie, he has mixed together snippets of old flicks with YouTube propaganda, plus news headlines, paintings and politically charged voiceover, to make a statement about the role of cinema in contemporary society. Other Cannes award recipients include the highly lauded Burning, which is directed by Korean auteur Lee Chang-dong, based on a short story by Haruki Murakami and co-stars The Walking Dead's Steven Yeun (who, as regular SFF-goers might remember, attended the festival last year for the closing night screening of Okja). It's joined by best director winner Cold War, a historical drama from Ida filmmaker Pawel Pawlikowski, plus Camera d'Or and Queer Palm winner Girl, about a transgender 15-year-old studying to become a ballerina. And then there's what's certain to be the most divisive film of the festival: Gaspar Noé's Climax. It won Cannes' Directors' Fortnight sidebar, and it's reportedly as provocative as the Irreversible and Love helmer's movies always prove. Following a dance party that gets hellish (yes, that's going to be an understatement), it was only shot in February this year. Helping round out the new batch is the Adam Driver-starring The Man Who Killed Don Quixote, which means the movie does really exist, even if director Terry Gilliam famously made a documentary about his failed attempt to finish a previous version with Johnny Depp. Last but not least, Woman at War is the newest effort from Icelandic filmmaker Benedikt Erlingsson, who made the crowd-pleasing fest hit Of Horses and Men back in 2013. The 2018 Sydney Film Festival will run from June 6 to 17. To peruse the full program and to buy tickets, head to the festival website.
It's not every day you come across a robot movie that stars swashbuckler Hugh Jackman and weirdos Die Antwoord, but that's exactly what's happening right now. The South African hip hop group step onto the silver screen for the new movie from their fellow countryman Neill Blomkamp, the filmmaker behind two of the most interesting and well-received sci-fi films of recent times, District 9 and Elysium. Jackman? He's the bad guy for once. Chappie begins when a robot created for law enforcement (to help bring down Johannesburg's notoriously high crime rate) is programmed with a brand new piece of AI software that allows it to develop feelings and opinions. To start with, he's as innocent and curious as a child, though even more quick to learn. Under the care of Yolandi and Ninja (the Die Antwoord duo play gangsters but keep their names) but exposed to the conflicts of the world, the lessons he gets are sometimes good, sometimes bad. Whatever happens, you know you're in for an original two hours of cinema. As Tom Huddleston writes in the Time Out London review, "This hugely entertaining oddity could never be mistaken for the work of any other filmmaker." Chappie (© 2015 Columbia TriStar Marketing Group, Inc. All Rights Reserved) is in cinemas on March 12, and thanks to Sony Pictures Releasing Australia, we have 20 double in-season passes to give away in Sydney, Melbourne and Brisbane. To be in the running, subscribe to the Concrete Playground newsletter and then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
