If there's a great Mighty Morphin Power Rangers movie aching to be made, it's the one that Elizabeth Banks thinks she's in. Playing the villainous Rita Repulsa in the latest big-screen instalment of the franchise, she can barely contain her glee as she struts around the small Californian town of Angel Grove caressing faces, ripping out teeth, croaking lines about her love of gold and even devouring the shiny substance. If only the rest of the film enjoyed the same sense of fun. The '90s series didn't take much seriously – and how could it, when it featured overdubbed action footage from Japan's Super Sentai? Alas, the bulk of this reboot seems to have forgotten that. Admittedly, given that one of this new movie's first scenes involves a teenager chatting about pleasuring a bull, it initially seems that director Dean Israelite (Project Almanac) and screenwriter John Gatins (Kong: Skull Island) haven't ditched the goofiness entirely. Appearances can be deceiving, though. Just as a group of diverse high schoolers can turn out to be colour-coded superheroes, so too can a film that features a wise-cracking robot (voiced by Bill Hader), Krispy Kreme as the source of life on earth, and monsters fighting robot dinosaurs prove a bland addition to an all-too-familiar genre. Gritty origin stories — we've been there and done that over and over again. Adolescent angst, outcasts bonding in detention and kids learning that everything's better when they're part of a team — yep, we've seen that before too. That's what happens when troubled but charismatic quarterback Jason (Dacre Montgomery), "on the spectrum" nerd Billy (RJ Cyler), ostracised cheerleader Kimberly (Naomi Scott), show-off Zack (Ludi Lin) and perennial new girl Trini (Becky G.) cross paths at an abandoned mine, find glowing coins and acquire new superpowers. Thankfully, the former Ranger turned talking wall that is Zordon (Bryan Cranston) is on hand to fill them in on their mission to save the world from Rita, who has just been fished out of the ocean after 65 million years. Most of the movie is happy to watch the diverse new quintet hang out, talk about their problems, test out their skills and bond — because, if there's one thing that Hollywood loves more that zero to hero stories, it's setting the scene for future flicks. Even if it hadn't just been revealed that the producers have a six-film story arc ready and raring to go go, those intentions are evident from the outset. One day, making sure each movie is engaging on its own, rather than acting as filler for more to come, might become a priority again. Unfortunately, that's not the case here. Indeed, by the time the fighting rolls around, you could be forgiven for feeling like it's too little, too late. The final battle against Rita and her giant metallic minion Goldar offers a welcome albeit messily-shot burst of energy, as well as a glimpse of the type of tone the powers-that-be might want to adopt if five more flicks do come down the production line. It's just a shame you have to watch Power Rangers morph from The Breakfast Club to Chronicle to Fantastic Four to Transformers in order to get there. Still, at least it's better than 1995's Mighty Morphin Power Rangers: The Movie, which is only worth revisiting if you want to see the Rangers roam through Sydney.
First Nations artist and dancer Shana O'Brien brings her exhibition, Inner Landscapes, which tells stories of the land and our connection to it, to the Gosford Regional Gallery and Edogawa Commemorative Garden from Friday, May 24, to Monday, June 3. O'Brien uses her art to give insight into the lives of her ancestors. Her use of colours and shapes evokes her emotional journey. As a proud Darkinjung woman, O'Brien feels a particular connection to the area where this performance will take place. As a dancer and graduate of NAISDA College, Australia's premier performing arts institution specifically for Aboriginal and Torres Strait Islander students, O'Brien has worked with some of New South Wales' best choreographers and artists. She's also performed with Sydney's famous Bangarra Dance Theatre and participated in the Banff Indigenous Dance Lab in Canada. Shana O'Brien brings a real artistic pedigree, so go to Gosford at the end of May and let her take you on a journey to the land and beyond. Top Image: Shana O'Brien, Inner Landscapes
UPDATE, December 2, 2020: Disobedience is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. There's a moment in every Sebastian Lelio film that cuts to the core of the writer-director's protagonists; that lets audiences peer into their hearts and souls. As seen in Gloria and A Fantastic Woman, it's usually a contemplative pause amidst a hectic frenzy — one heightened not only by the filmmaker's empathetic gaze, but by the stellar talent he's always pointing his lens towards. In Disobedience, this moment comes early. Photographer Ronit Krushka (Rachel Weisz) segues from busy days taking pictures to frantic nights finding comfort in bars, clearly masking her true feelings behind a carefully controlled facade. And so she sits for mere seconds, catching her breath, her eyes darting around as she looks towards the camera, and her hands ripping at her shirt with frustration and yearning. If Ronit is inwardly restless just going about her regular New York routine, then she's almost jumping out of her skin when she's called back to North London upon the death of her rabbi father. The Orthodox Jewish community she once belonged to is barely cordial, with the traditional greeting "may you have a long life" cutting like a weapon. But childhood friends Dovid (Alessandro Nivola) and Esti (Rachel McAdams), now married and still devout, welcome Ronit into their home, black sheep though she may be. Grief about her dad and guilt over their estrangement aren't the primary source of Ronit's distress, however. Nor is the rebellious, defiant reputation she's instantly given upon her homecoming. Rather, it's the torrid relationship that Ronit shared with Esti when they were teenagers — and the rekindled feelings sparked by her return. Adapted by Lelio and co-writer Rebecca Lenkiewicz (Ida) from Naomi Alderman's 2006 novel of the same name, Disobedience isn't a film about romance with religious tension layered on top, or one about religion with romance thrown in. Matters of affection and matters of theology are both involved, but characterising this complex, nuanced and soulful movie as one or the other does it a disservice. This is a story that recognises the many competing factors that shape a person's identity and choices, as well as the ongoing tussle between being true to oneself and meeting the expectations of others. Accordingly, desire, duty and faith intertwine in a picture that charts the influence each has had upon each member of its central love triangle. And make no mistake: while the film follows its two female protagonists as they try to follow their hearts amidst oppressive circumstances, Disobedience is a love triangle as much as it's a lesbian love story. The sensitivity Lelio brings to the forbidden romance is also applied to Dovid, a rabbi-in-training who embodies the fundamentalist principles blocking Ronit and Esti's bliss, yet proves just as torn about what's right. A lesser film would paint him as the villain, but that's the kind of easy depiction Disobedience shies away from at every turn. Although the movie delves into a cloistered world that's set in its ways and unwilling to change, nothing about its characters, their emotions or their struggles is anywhere near as straightforward or clear cut. There's a reason that Lelio favours shades of grey, visually, after all. Weisz, McAdams and Nivola are similarly multifaceted — so much so that, in the ultimate compliment to each actor, their respective characters feel as though they could walk right off the screen. The blend of steeliness and vulnerability Weisz brings to the bulk of her work courses through Ronit's veins, with the star also one of the movie's producers. Nivola plays Dovid as decent but conflicted, weathering every narrative beat with quiet poignancy. But it's McAdams who is in rarely-seen form. Earlier this year, she stole the show while showcasing her comedic chops in the vastly dissimilar Game Night. Now, she dons a kosher wig to lay bare the devastating pain of a woman torn between her head and her heart. https://www.youtube.com/watch?v=NnCLTbLKfv4
When a decent drink costs almost $20 and a restaurant main is at least $30, it might seem like $100 can't get you very far in Sydney. But we've set out to show you that you can still enjoy a night out without breaking the bank, thanks to Forage The Rocks. The Rocks is chock-full of lively bars, restaurants and pubs offering exciting deals throughout the month of August. From happy hour tipples to decadent dinners, these are the top venues around the historic precinct where you can take advantage of exclusive specials and discounts that happen even when Forage the Rocks isn't on. Consider your next group hang sorted. Pre-Dinner Aperitifs Start the night off right with happy hour at two of the most elegant venues in The Rocks. Enjoy a drink with views of Sydney Harbour at Bar Lulu, the upstairs bar of Asian fusion restaurant Luna Lu. Every Sunday to Thursday between 3–6pm, you can get a beer for only $10 or wine and cocktails for $15. If you're feeling peckish, check out Le Foote's daily happy hour from 5–6pm, which includes a martini, negroni or sbagliato (with prosecco in it, if you know, you know) for $12, a glass of wine for $7 and the signature fish sandwich for $15. Dinner Once you've whet your appetite, it's time for a hearty meal to accompany your drinks — and we've found two deals under $30. Opt to keep the winter chills at bay with a satisfying beef and Guinness pie at The Mercantile Hotel, which is paired with a pint of Guinness for just $25. Meat lovers should head to The Orient on Friday to tuck into a rump steak with chips and slaw for $26 — get in early, as they are only available until sold out. Wash it down with a cocktail at the pub's terrace bar, Mrs Jones, which will set you back only $15 during happy hour from 5–7pm on Mondays to Wednesdays. Dessert No night out is complete without a sweet treat, so we've compiled two options that come in at less than $20. For a hit of nostalgia and comfort, dig into stacks of fluffy buttermilk pancakes at Sydney establishment Pancakes on The Rocks. Go classic with the Lemon Meringue or Apple Crumble, or indulge in chocolate decadence with the Coco Berry, topped with coconut, cream, chocolate sauce and raspberry coulis. Each option is served with a generous helping of ice cream and costs $15.95. If you're after something more luxe, meander along Kendall Lane to reach Pony Dining. The modern Australian restaurant offers house-made truffles for $4 apiece, which you can pair with David Franz Botrytis semillon or Gundog Estate muscat for $12 a glass. Post-Dinner Drinks and Dancing Now that you're full and fed, it's time to keep the night going strong — and maybe even throw on your dancing shoes. Step back in time when you grab a drink at Sydney's oldest licensed pub. Dating back to 1828, The Fortune of War boasts beer on tap, glasses of wine starting from $9.80 and cocktails for $20, as well as live music from Wednesday–Sunday. Next door, you'll find The Fortune of War Lock Up, which is the venue's newly opened, more refined sibling, serving the same drinks and pub fare with table service in a refurbished police station from the 1800s. You can't go to The Rocks without soaking up a view of the harbour, and what better place to do it than with a cold one in hand on the rooftop of The Glenmore Hotel? The Rocks institution hosts DJs on Saturday night and acoustic sets on Sunday, with daily meal and drinks specials, trivia and live sports during the week. It's beats and bass until the early hours at The Argyle. The versatile venue has been a mainstay of Sydney's nightlife for over 15 years, housing six bars, a courtyard and a nightclub within its heritage digs. There's a $20 cover charge for headline DJs on Friday and an RnB club night on Saturday, or you can drop in during the week to avoid the entry fee. Find more ways to Forage the Rocks at the website. Top image: Kristoffer Paulsen
Florist Sarah Cowley of Haven and Sarah loves putting together beautiful bouquets of seasonal flowers. And with a selection of homewares and related products for sale in her shop as well, all your Mother's Day, engagement, and birthday gift needs are well looked after under Cowley's artistic eye. Since opening in 2014, Haven and Sarah's bright, cheerful displays have been decorating the street and calling in passersby. Whether you are lucky enough to live locally or are just passing through, it's worth picking up a bunch and taking a moment to browse the shelves stocked with gorgeous ceramics, candles and cushions.
A young British soldier gets separated from his regiment and has to make his way back to safe terrain amid the height of the Troubles in Belfast. That’s the basic set-up of war-time thriller '71, a film that epitomises the murkiness of the conflict that it depicts. Performance, character, cinematography and story are cloaked in an air of uncertainty and mistrust, with people on both sides of the camera keeping their cards held close to their chests. The result is a film that’s heavy on atmosphere but never quite comes together as a compelling whole. The movie begins with a squad of British soldiers being dispatched to the Northern Irish capital. Their assignment is to help quell growing unrest in the city, where clashes between Protestant loyalists, Catholic nationalist and various factions of the IRA have transformed entire neighbourhoods into war zones. The magnitude of the conflict is made clear on the platoon’s first mission, when a house search sparks a riot. In a hasty retreat, Private Gary Hook (Jack O’Connell) is accidentally left behind — trapped in dangerous territory and surrounded by people who want him dead. Director Yann Demange does great work establishing the look and feel of Belfast circa 1971. The empty grey streets leave you feeling queasy during daylight hours, and hum with danger at night. It’s a quality reminiscent of John Carpenter’s Escape from New York, a comparison driven home by David Holmes’ pounding score. Handheld camerawork further enforces the sense of immediacy, particularly during the film’s sudden, unflinching moments of brutal violence. Unfortunately, the docudrama approach comes at cost. O’Connell, recently seen in Unbroken, does a lot with very little dialogue, but ultimately we know almost nothing about his character. That goes double for the people hunting him, and triple for the double agents and soldiers trying to coordinate his rescue. For the most part, the ancillary characters — the reluctant young revolutionary, the unscrupulous spy — feel more like archetypes than they do real people. Screenwriter Gregory Burke hints at more complex plot machinations concerning people further up the food chain, but it never amounts to anything of substance. So the film fluctuates between gripping and strangely uninspiring — commanding your attention during certain key sequences, but leaving very little impression after the fact.
It's a film about searching for treasure, and it is indeed a treasure. La Chimera is also dreamy in its look and, while watching, makes its viewers feel as if they've been whisked into one. There's much that fantasies are made of in writer/director Alice Rohrwacher's fourth feature, which follows Corpo Celeste, The Wonders and Happy as Lazzaro — God's Own Country breakout and The Crown star Josh O'Connor leading the picture as a British archaeologist raiding tombs in 80s-era Italy chief among them. Thinking about Lara Croft, be it the game, or the Angelina Jolie (in 2001 and 2003 flicks)- or Alicia Vikander (2018's Tomb Raider)-led movies, is poking into the wrong patch of soil. Thinking instead about the way that life is built upon the dead again and again, and upon unearthed secrets as well, is part of what makes La Chimera gleam. Rohrwacher's latest, which also boasts her Happy as Lazzaro collaborator Carmela Covino as a collaborating writer — plus Marco Pettenello (Io vivo altrove!) — resembles an illusion not just because it's a rare mix of both magical-realist and neorealist in one, too (well, rare for most who aren't this director). In addition, this blend of romance and drama alongside tragedy and comedy sports its mirage-esque vibe thanks to being so welcomely easy to get lost in. As a snapshot of a tombaroli gang in Tuscany that pilfers from Etruscan crypts to try to get by, it's a feature to dig into. As an example of how poetic a film can be, it's one to soar with. The loose red thread that weaves throughout La Chimera's frames, intriguing folks within the movie, also embodies how viewers should react: we want to chase it and hold on forever, even as we know that, as the feature's 130 minutes tick by, the picture is destined to slip through our fingers. Wearing his crumpled linen suits and residing in his makeshift shack, O'Connor's Arthur knows what it's like to not be able to grasp tightly onto what you want. Just as the movie that he's in transports its audience four decades back, he's stuck in the past, obsessing over the missing Beniamina (Yile Yara Vianello, The Beautiful Summer). Stolen Italian artefacts are his trade, with friends to help with the excavations but his own divining methods (rod included) locating where an invisible X marks the spot. When he's not dowsing and delving, or offloading the loot he extracts to antiquities dealers who profit from and perpetuate the cycle of tombaroli thievery far more than Arthur and his pals, the mansion of Beniamina's mother Flora (Isabella Rossellini, Spaceman) is his frequent pilgrimage. It was equally true of The Wonders and Happy as Lazzaro: a movie by Rohrwacher, and with cinematographer Hélène Louvart (Disco Boy, The Lost Daughter, Never Rarely Sometimes Always) behind the lens, is a movie that looks ethereal and earthy at once. Shot on a mix of different film stocks (35-millimetre, 16-millimetre and Super16), La Chimera's imagery virtually floats, but it similarly sees the dirt and the grit. Arthur's journey couldn't better live and breathe that contrast as he illicitly uncovers riches in a marvellous setting, but not without the grime and the risk that goes with it. He also starts the feature freshly released from jail for his grave-robbing manner of making a living, then spends his time chasing more 2000-year-old pieces — pottery, statues and such — that mysterious broker Spartaco will pay for, as punctuated with chats with Flora and a burgeoning connection with her housekeeper Italia (Carol Duarte, Segunda Chamada). The language of archaeology, whether taking from the dead or studying history through its physical remains, is the language of discovering and seeking — and mine, disinter and pursue, Arthur does, including with his feelings and hopes. He pines for his lost love while burrowing down where valuables, secrets and lives gone by are kept; he's navigating his own Orpheus and Eurydice as well. He's haunted, plunging literally to where such torments spring from in humanity's eternal grappling with mortality, and also emotionally and psychologically into memories that gnaw as if they too are possessed. A mastery of symbolism is among Rohrwacher's many skills as a filmmaker; however, so is a command of effortlessly lingering in the realm, as La Chimera does, between the tangible and intangible. Here's another talent to her name: casting, especially with O'Connor standing in front of the camera. While Rossellini's involvement is a magnificent touch — only she can switch to marauding from warm, and back, so naturalistically and so quickly; also, the link with Italian cinema history that she brings via her director father Roberto Rossellini, the neorealist great, is so wonderfully apt — O'Connor is an exquisite choice as La Chimera's lead. Rumpled charm, lost-soul melancholy, drifting and yearning, a hold on his temper that's flimsier than a deal on the relics black market: as Arthur, he conveys or has them all. A picture as enigmatic as this needs someone at its centre that's able to both go with its flow and be grounded — and again, in a role that joins Mothering Sunday, Emma, Hope Gap and Challengers on his post-God's Own Country resume, that's O'Connor. As La Chimera proves evocative and expressive, and loose and playful, it takes its audience on an adventure so layered and distinctive that Rohrwacher could be the only one guiding it. Thoughtful and contemplative as her film also is, it has clear eyes to stare daggers at social inequality, and towards those who think that they can own the past. Forming a trilogy with The Wonders and Happy as Lazzaro — one about beekeepers, the other about sharecroppers, each fascinated with communities that are far from the everyday now, as with the tombaroli — La Chimera almost feels as if it has pulled off a heist itself, then. In ensuring that every single element of the movie works perfectly, this gem steals itself a place as an unforgettable piece of cinema; long may it keep being cherished.
Of course Tim Burton did a Dumbo remake. How could he not? For a director who's built his career around tales of misunderstood misfits, outcasts and oddities, an orphaned and absurd-looking circus elephant must've been all but irresistible. 'Edward Aero-Ears', if you will. And yet, this is more of a reimagining than a remake, melding modern themes of gender equality, animal welfare and anti-corporatisation with Burton's trademark touch of the macabre. The first notable difference between this version and the animated original from 1941 is its timeline, set now in post-war 1919. Burton certainly doesn't shy away from the bleak realities of the WWI era. His protagonist, Holt Farrier (Colin Farrell), is a traumatised veteran who's lost an arm to the War and a wife to influenza. Finding work scarce and his injury an added obstacle to employment, Holt rejoins the old circus where once he dazzled as a horseback entertainer, but now merely shovels elephant manure. It's there, though, where he and his children (Nico Parker and Finley Hobbins) discover Dumbo, the baby elephant with enormous ears, whose appearance sees him mocked by audiences and dismissed by the circus owner (Danny DeVito). In one of the film's more heartbreaking scenes (and there are few; this is definitely a tissues-at-the-ready situation), Dumbo's mother Jumbo is wrenched from her son and hauled away after she kills her torturous trainer and handler (a suitably loathsome Phil Zimmerman). It's not the only grim moment in the film, either. With his mother now gone, and amidst grief and despair, Dumbo's miraculous ability to fly becomes apparent, launching him into stardom and attracting the interests of an unscrupulous Walt Disney-esque theme park owner named V. A. Vandevere (Michael Keaton). From there, predictably, the circus's seemingly golden ticket reveals itself to be a far darker deal from which escape offers up all manner of perils. The live-action remake is Disney's new cash card (as if it needed one). Having already made bank with Beauty and the Beast, the studio is now poised to release both Aladdin and Mulan, followed later in the year by the Lion King, which will doubtless eclipse all manner of box office records. Where Disney has been successful so far is in melding human actors with their digital counterparts, and Dumbo, if you'll forgive the pun, soars in that respect. His enormous blue eyes and delicate expressions imbue him with almost more emotion than any of the actors given speaking parts, and when he flies so too does the film. Sadly, however, too much of the remainder feels entirely lacklustre, despite its exaggerated colourful palette. The characters, aside from DeVito and, to a lesser extent, Farrell, are woefully underwritten, while the performances are borderline pantomime. And in a movie named after him, not nearly enough focus is placed on Dumbo himself. https://www.youtube.com/watch?v=ocWpGdITSR4
Natasha Khan, aka Bat For Lashes, is a willowy enigma wrapped in feathers and furs. The musical world of the Brighton-based singer-songwriter is one of full moon's, fairytales and sparkling things, all composed with the kind of delicate intensity that inspires obsessive devotion from people sitting in their bedrooms wearing headphones around the world. Nominated for a collection of Brit Awards and Mercury Prizes, Bat For Lashes' reputation rests on two albums — Fur And Gold and Two Suns — a handful of cover-versions, including The Cure's 'A Forest' and Depeche Mode's 'Strangelove,' and 'Let's Get Lost', a collaboration with Beck, which is the one solitary thing that convinces me the Twilight franchise can't be as bad as all that. Although frequently likened to Kate Bush, Bjork and PJ Harvey, the similarities are drawn mostly because her powerful voice and echoing melodies mark her out as completely unique amongst other contemporary female artists. Which is why Bat For Lashes is one of the most highly anticipated acts set to perform during this year's Vivid Live Festival. Bringing with her a modest orchestral contingent to accompany her, and a whole lot of creative energy from the new album she's currently working on, you can count on Bat For Lashes to deliver the sort of magical performance to match the kaleidoscopic sails of the illuminated Opera House. https://youtube.com/watch?v=n1wnOUH2jk8
Before it was a ten-part Prime Video series, Daisy Jones & The Six was a book. And before Taylor Jenkins Reid's 2019 novel jumped back to the 70s rock scene, Fleetwood Mac lived through, stunned and shaped the era. No matter where or when an adaptation popped up, or who took to the microphone and guitar in it, bringing Daisy Jones & The Six to the screen was always going to involve leaning into Mick Fleetwood, Stevie Nicks, John McVie, Christine McVie and company's story. Reid has said that she took loose inspiration from the band; "it's a Fleetwood Mac vibe," she's also noted. Those parallels are as obvious as a killer lyric in Daisy Jones & The Six. Creators Scott Neustadter and Michael H Weber have a recent history of riffing on true and classic tales, too — their last two projects were The Disaster Artist, which they co-scripted based on Greg Sestero's memoir about making Tommy Wiseau's The Room; and Rosaline, a retelling of William Shakespeare's Romeo and Juliet from the titular Romeo-spurned character's perspective. With directors James Ponsoldt (The End of the Tour), Nzingha Stewart (Inventing Anna) and Will Graham (A League of Their Own), the duo approach Daisy Jones & The Six exactly as that pedigree brings to mind: it's heightened, impressively cast, and well-versed in what it's tinkering with and recreating; it also isn't afraid of romance and tragedy, or of characters going all-in for what and who they're passionate about. On the page, this melodramatic tale of sex, drugs and rock 'n' roll unspools as an oral history. On streaming, it's framed by two-decades-later documentary interviews where key figures — Daisy Jones (Riley Keough, Zola), members of The Six and other pivotal folks in their careers — share memories to-camera. The eponymous musicians burned bright but flamed out fast together, opening text on-screen informs the audience before anyone gets talking. A huge stadium gig at Chicago's Soldier Field late in 1977 was their last, coming at the height of their popularity after releasing hit Rumours-esque record Aurora. Viewers immediately know the ending, then, but not what leads to that fate. Introduced in the show's flashbacks as the ignored child of wealthy parents, Daisy couldn't be more obsessed with music. A childhood spent internalising her mother's cruel comments that she doesn't have the voice or talent to follow her dreams holds her back in Daisy Jones & The Six's first episode, however, even as she couldn't spend more time hopping between Sunset Strip's venues. Cue another piece of IRL rock history, of course, thanks to Keough's pitch-perfect casting. She doesn't play her part like she's playing Elvis Presley's granddaughter — aka herself — but she makes fantastic use of her rockstar genes, including in her energy, swagger, stare, volatile temperament, and all the ferocious singing that the American Honey, The Girlfriend Experience and The Lodge star does herself. Daisy Jones & The Six takes its time putting the two parts of its moniker together, but follows The Six's origins from the outset as well, when Billy Dunne (Sam Claflin, Book of Love) agrees to front his younger brother Graham's (Will Harrison, Madam Secretary) high-school band. The full group initially spans guitarist Eddie Roundtree (Josh Whitehouse, Valley Girl), drummer Warren Rojas (Sebastian Chacon, Emergency) and bassist Chuck Loving (Jack Romano, Mank). But when dental school and the security it represents beckons the latter, and British keyboardist Karen Sirko (Suki Waterhouse, The Broken Hearts Gallery) joins their number, there's still just five band members moving from Pittsburgh to Los Angeles to make a proper go of it after tour manager Rod Reyes (Timothy Olyphant, Amsterdam) tells them that's where the serious action is at. Aspiring photographer Camila (Camila Morrone, also a Valley Girl alum) is the sixth person with The Six; she's Eddie's crush but Billy's girlfriend, then his wife and the mother of his child. She's also one of the reasons that the love-hate pull he feels towards Daisy earns two oft-used words: it's complicated. As much as Daisy Jones & The Six is a portrait of a band and a snapshot of an era, it's firmly a love triangle, too. Does great art only spring from deep feelings? Does faking it till you make it apply to discovering your artistic groove with someone and selling a bond that'll sell albums? What's the difference between finding a soulmate and seeing your own reflection peering back in another's eyes, struggles and life? They're all queries the series ponders. Fleetwood Mac's tumultuous relationships and breakups are a matter of history, which no one needs to know when sitting down to Daisy Jones & The Six. As Keough twirls onstage, adores shawls and lengthy sleeves, glares pure determination and fire, and self-medicates heavily, though, consider this a condensed fictionalisation. The Buckingham to her Nicks is Claflin, obviously, as duelling lead singer-songwriters Daisy and Billy keep circling around each other from the moment that ace record producer Teddy Price (Tom Wright, True Story) puts them together. She's desperate to make it big and not just be her lyric-stealing ex-boyfriend's, or anyone's, muse, but seeks solace all day with pills and booze. He's sober and trying to get his band another shot after a tussle with drink and drugs derails their first tour, almost ruins his marriage and sees him miss his daughter's birth. No one needs to have seen Almost Famous, either, to know where Daisy Jones & The Six heads. Still, this quickly engrossing series engages in the moment like a catchy refrain. Spinning a familiar but nonetheless involving story of chasing dreams, fame's excesses and troubles, and learning whether someone is a mirror or a kindred spirit, it looks the part in every wardrobe choice — including the disco attire worn by Daisy's pal Simone Jackson (Nabiyah Be, Black Panther), who gets close to her own episode about trying to make it in an industry unwelcoming to Black and queer artists, and the embrace she finds in New York with DJ Bernie (Ayesha Harris, Abbott Elementary) instead. Daisy Jones & The Six's songs are earworms as well, whether the show is giving the suite of 70s-style tunes written by Phoebe Bridgers, Marcus Mumford, Jackson Browne and more a whirl, or dropping a soundtrack of other cuts that, yes, even features Fleetwood Mac. Check out the trailer for Daisy Jones & The Six below: Daisy Jones & The Six streams via Prime Video.
UPDATE, April 9, 2021: The Gentlemen is available to stream via Amazon Prime Video, Google Play and YouTube Movies. 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 a director whose 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. Boasting an enviable cast, The Gentlemen is a Lock, Stock and Two Smoking Barrels and Snatch-style crime caper centred upon Mickey Pearson — a marijuana kingpin looking to exit the UK's drug trade at the height of his career. Played by Matthew McConaughey, Mickey is a charming but ruthless American expat whose fondness for the London lifestyle sees him decked out in tweed, cavorting with the aristocracy and taking tea whenever the opportunity calls for it. When word of his impending retirement begins to spread, however, its sets off a series of secret alliances and double-crosses that puts the entire deal at risk, as well as a number of lives. There's a lot to like about The Gentlemen, but the highlight is surely its unofficial narrator, Fletcher (a delightful turn by Hugh Grant). Fletcher is a seedy private detective who digs up dirt for the tabloids. Rather than dish said dirt on Mickey, he decides it would be more profitable to offer to lose it in exchange for a healthy payout. The film structures its story around Fletcher as he makes his case to Mickey's bodyguard and consigliere, Raymond (Charlie Hunnam) — which he does by laying out the details as if he's writing a screenplay. The meta nature of it all could've been right on the nose, but Ritchie pulls it off thanks in no small way to Grant's giddying and likeable performance. Where Ritchie rediscovers his mojo by returning to his roots, Grant does so by ditching, the foppish hair and awkward humility, and replacing it with homoerotic innuendo and sleazy hubris. He goes completely against form — it's a joy to behold. So too is Michelle Dockery as Mickey' wife, Rosalind. Every shred of her time on Downton Abbey is abandoned as she struts and swears her way through The Gentlemen like an Essex-based Lady Macbeth. By contrast, Colin Farrell plays one of the most understated characters of his career, but the result is just as compelling. Known simply as Coach, he trains local youths in boxing to help rehabilitate them from a life of crime. Sporting his real-life Irish accent and a selection of remarkable tracksuits, Farrell lights up his scenes with equal parts controlled menace and lyrical wordplay. Against such terrific supporting roles (Succession's Jeremy Strong also deserves mention for his amusing, albeit also cartoonish turn), the film's two leading men are far less memorable. That's not to say they don't deliver the goods — it's just that their goods are less sparkly. Hunnam doesn't quite nail the reserved tough guy routine, although he does land the film's best line. As for McConaughey, he forever feels like the odd man out, with his southern drawl at odds with the abundant cockney. 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 Fletcher throughout, The Gentlemen is a little rough at first, but smoother with every sip until you're silly drunk and smiling like a fool. https://www.youtube.com/watch?v=Je22_P3Qm7U
The Pride opens with a good murder, and spends the rest of its running time waiting for the next. It plays out a cruel dining-room drama about failure, usurpation and suburban masculinity, wrapped in the absurd, animal tension that its actors are all in lion onesies. Lion Bruce (Brendan Ewing) is a murderer. And at the same time, clumsy, inadequate, unsuccessful and living in the suburbs. He seems to start the play by usurping a previous alpha male lion's place in the affections of fellow lion Linda (Adriane Daff). The two bounce around an '80s-era domestic kitchen, excited at their newfound domesticity and new, joint answering machine message. But his pride of place doesn't look like it will last for long. The play's miniature world of creepy domesticity and big-cat dynamics blur as a litter of cubs brings with it the prospect of Linda's sisters moving in for child-minding duties. Linda demands Bruce renovate the house. And he, in turn, constantly demurs from this blokey duty, in a show of both ineffectiveness and reluctance. Enter James (Russell Leonard), new lion in the neighbourhood. He sees himself at first as the enthusiastic new apprentice to this elder lion. But Bruce seems to know what happens with old male lions, and feels more and more threatened as the play rolls on and he himself begins to age. James is merely needy, but Linda's disappointment feeds Bruce's resentment of the new interloper. Despite their posturing and enthusiasm, none of these lions are particularly cool. Social climbers at best — the 'pride'; in the title isn't about collective nouns — each draws a sense of importance from the others to try to fit in their lion world. These are dork lions, obsessed with consumer products, like clap-on light fittings. And what starts as a dorky comedy gets its sense of foreboding from its lion suits and the constant tension around when their animal instincts will re-emerge. As you wait, director Zoe Pepper seems to favour the identities the characters project a bit more than what they're feeling, while Nathan Nisbet's sound and Lucy Birkinshaw's lighting sit neatly with the production in simple yet effective understatement. Esther Sandler has also created some appropriately expressive onesies. In fact, what would be a darker play is by turns sad or funny because: lions. But, given this story's darker theme, with its protagonists' posturing and suffering played more for comedy than for sympathy, it would have been great to get to more murder in a little earlier in the evening. Photo by Skye Sobejko. https://youtube.com/watch?v=1zbvgR2H5Y0
It's been five years since Robert Rodriguez turned in Sin City: A Dame To Kill For, and a full decade since James Cameron directed Avatar. Now, though, they've teamed up to create Alita: Battle Angel, a $200+ million sci-fi blockbuster based on Yukito Kishiro's iconic 90s cyberpunk manga of the same name. Set-up wise, it's a very familiar tale. We're deep into the future (2563, to be exact), and the world continues to reel from The Fall, aka the war to end all wars. Earth's remaining cities are massively overcrowded slums resembling the favelas of modern-day Sao Paulo, whilst high above them floats Zalem — the luxurious haven for the super wealthy and elite. In that sense, Alita is alota like 2013's Elysium and the recent Netflix series Altered Carbon, although for a refreshing change the inhabitants of the lower city aren't presented as weary, ravenous scum fighting one another for every last consumable. There's even a blue sky, regular sunlight, fresh fruit and delicious chocolate. Sure, there are the usual scavengers and rogues of various forms, but for the most part the community is exactly that — a harmonious, multicultural confederacy of peoples just trying to eek out a new life for themselves in the post-Fall world. The hero, too, enters the story with a very familiar backstory. Alita, a damaged cyborg rescued from the trash piles of Zalem, has no memory of her past. When push comes to literal shove, however, she discovers she's possessed of extraordinary martial arts abilities and highly lethal tendencies. In other words, Jason Bourne with robot limbs. Very quickly, Alita's childlike naivety gives way to a revenge-fuelled blood lust as she seeks out those who would do her (and her loved ones) harm. Gradually, too, the memories of her previous life (and mission) begin to resurface, setting her upon a seemingly-inevitable path towards Nova, the mysterious entity pulling all the strings from high above in Zalem. Portrayed by a digitally-enhanced Rosa Salazar, Alita is literally a wide-eyed wonder to behold. The special effects wizadry of Cameron's team has rendered her believable enough to not be distracting, yet different enough to do justice to the story's sci-fi legacy. Indeed, the majority of the film's characters carry some form of technological enhancement, ranging from simple mechanical arms to fully-fledged mech suits, most notably those 'worn' by the cyborg assassin Grewishka (a terrific Jackie Earle Haley). The myriad enhancements are gleefully displayed by Rodriguez during several scenes of motorball, a violent and frenetic sport that feels like the bastard offspring of NASCAR, Quidditch and roller derby. Basically, picture Mario Kart, but instead of spinning your opponent out with a banana, you rip their face off with a chainsaw. In supporting roles, Christoph Waltz delivers the best and most nuanced performance as Ido, the kindly surgeon who discovers, repairs and cares for Alita. Less convincing are Jennifer Connelly as Chiren, Ido's ex-wife, and Mahershala Ali as Vector, the kingpin of motorball. Keean Johnson, who'd comfortably double for a young Colin Farrell, plays the part of Alita's would-be love interest Hugo, however their dialogue (and indeed almost all of the film's dialogue) feels punishingly awkward and unnatural. Only Ido and Alita achieve a believably tender relationship, helped by the fact that they also have the film's only fleshed out backstories. Lack of originality notwithstanding, Alita: Battle Angel still delivers an engaging experience thanks to Rodriguez's nimble and full-throttle direction. The film's fight scenes are its strongest asset, with Alita's balletic combat offering the perfect counterpoint to her opponents' brute force. She's a terrific heroine to get behind — surefooted in her abilities, noble in her intentions and charming in her wisecracking. Whilst a sequel hasn't been confirmed, the film's ending all but demands one, and with a little more work on the scripting front, it could easily deliver a white-knuckled gangbuster of a sci-fi franchise. https://www.youtube.com/watch?v=w7pYhpJaJW8
When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. Swiftly an amateur historian, Philippa objects to the characterisation of the last Plantagenet sovereign as monstrous, a usurper and a murderer, and the connection between this dim standing in the annals of history and being a person with a purported disability. As she researches via piles of books, zoom chats and the Richard III Society, aka the Ricardians, she questions what's fact and fiction — not just due to Shakespeare, but also Tudor propaganda from five centuries earlier. Arguing the case, including with dismissive academics, is one thing; however, taking on the search to find the monarch's long-lost skeleton is another. It's a two birds, one stone situation in The Lost King's neat screenplay: restore the denigrated ruler's reputation and put his remnants to rest, and show Philippa's own naysayers — or even just herself — what she can achieve. Yes, she follows a hunch. Yes, there's an obligatory gag about it British cinema loves an everyperson taking on the establishment, and underdogs in general. The past two years have also delivered The Dig and The Duke, after all. The first chronicled another extraordinary find by someone not deemed an expert, and the second delighted in its working-class protagonist's antics with Goya's Portrait of the Duke of Wellington — and, in a case of tonal seesawing, The Lost King recalls both. There's clearly a fascinating IRL story behind this flick, which ripples with intrigue whether or not you already know the details (or you've merely seen the trailer, which spells everything out). There's also a tussle between positioning the film as a bit of a caper and something more serious. Having Philippa see Richard III (Harry Lloyd, Brave New World) — being haunted by the play's version of him and talking to him, in fact — wavers between the two moods depending on the scene. Buried within The Lost King is a sense that Frears, Coogan and Pope — who all collaborated on Philomena, too — aren't always sure how they want the movie to land with audiences. They're patently keen for it to inspire rousing support for everyone who's ever been downplayed, cast aside or ignored, including for their gender and health. They're eager for the same emotions to spark up for anyone ever saddled with a pre-judged narrative about themselves that isn't accurate, as both Richard III and Philippa are, as well. And yet, there's also an air of not quite trusting that the true tale being relayed innately evokes those responses. It does, so everything feels simplified and smoothed out here, given too many quirks and rendered a tad cartoonish. Also noticeable: using the contemptuous academics as easy adversaries, perhaps as conveniently as Shakespeare is said to have demonised Richard III. Getting angry at seeing Philippa pushed aside and underestimated again and again is easy, but so is spotting how The Lost King itself is constructing its story. Thankfully, Frears does trust in Hawkins, the feature's MVP alongside its real-life details (and an on-screen treasure in everything from Happy-Go-Lucky and Submarine to The Shape of Water and the Paddington movies). The two-time Oscar-nominee serves up a winning, earnest and relatable blend of vulnerability, warmth, curiosity and determination, plus the kind of persistence that arises when someone has spent too long being forced to fight just to be seen, let alone valued. Indeed, even when The Lost King is at its slickest and most straightforward — or when it inexplicably focuses on whether John will get a new car — she's its anchor and heart. With Philomena in 2013, The Lost King's key creative trio also unearthed the past. As they do now, they similarly told of addressing secrets and redressing wrongs. And, they centred on a mature woman, enlisted a phenomenal leading lady to play the part, gave Coogan a prime role and set it all to an emphatic Alexandre Desplat (Guillermo del Toro's Pinocchio) score. There's no doubting why their latest collaboration has a formulaic feel to it, then, despite the intriguing slice of history it brings to the screen. No one needs the type of intuition that guided Philippa to the Adult Social Services department's car park in Leicester, to a space marked 'R' for reserved, to spy those parallels. No one needs as much force and fantasy as The Lost King deploys, either, to understand that this is a rare and meaningful tale that's told with all the subtlety of the world's latest royal goodbye — so, very little. Richard III and Queen Elizabeth II's deaths mightn't have much in common but, via this still engaging-enough film, they do share that.
Western Sydney could use a love letter right now, and that tribute arrives in Here Out West. The product of eight up-and-coming screenwriters from the area, it celebrates a place that has spent much of the past year garnering attention for a reason no one wanted: thanks to the tighter rules applied to the region during Sydney's four-month stretch of stay-at-home conditions in 2021, it was home to New South Wales' strictest lockdown of the pandemic to-date. Thankfully, COVID-19 isn't this movie's focus. Instead, as told in nine languages — Arabic, Bengali, Cantonese, Kurdish, Tagalog, Turkish, Vietnamese, Spanish and English — and helmed by five female filmmakers, Here Out West dwells in everyday lives. It champions by seeing and recognising, and by trumpeting voices that have always been there but are infrequently given a microphone. Of course, as thoughtful and meaningful as Here Out West is — and as welcome a move it makes with sincere multicultural representation in Australia — it really shouldn't stand out as much as it does. There shouldn't have needed to be a concerted effort to champion western Sydney voices to make a film like this. It shouldn't grab attention as a rarity, either, and it shouldn't feel so timely because of the events of the last 12 months. Here Out West does all of these things because it's an outlier in Australia's homegrown filmic output, but it also clearly makes a case that's already apparent and inherent anyway: that presenting more than just the stereotypical image of Australia, and opting for a genuine picture of the country as it actually is instead, should always be the baseline and status quo. Opening shots of suburban houses and looping highways set the scene: viewers aren't journeying to an Aussie beach or the nation's parched outback expanse, aka two of the prevailing visions of this sunburnt, sea-girt continent on-screen. Rather, Here Out West unfurls its octet of intertwined vignettes in spaces far more ordinary — not to downplay the importance of surveying western Sydney, but to clearly note that these are its daily playgrounds. It's here that mothers have babies, neighbours look after the kids next door, grandmothers worry about their grandchildren, dads struggle to connect with their sons, and sport and food are among the ways that people come together. It's here that adults bicker among themselves over love, and with their parents about their futures. It's where lives begin and end, and where folks with dreams both big and modest also try to start anew. And yes, all of these scenarios are covered by the film's narrative. Initially, Here Out West spends time with Nancy (Geneviève Lemon, The Tourist), who takes care of her eight-year-old neighbour Amirah (debutant Mia-Lore Bayeh), but wasn't actually planning to help out today. She has a newborn granddaughter to meet — one that the authorities are planning to take away, so Nancy makes a drastic decision that'll ripple throughout the community across the movie's one-day timeframe. In the film's second segment, hospital carpark security guard Jorge (fellow first-timer Christian Ravello) is brought into the wider story, and also gets a snapshot chapter of his own. His instalment then intersects with friends Rashid (Rahel Romahn, Moon Rock for Monday), Dino (Thuso Lekwape, Book Week) and Robi (Arka Das, Babyteeth), who run through the streets arguing about Rashid's cousin. Next, their section links in with Ashmita (Leah Vandenberg, The Hunting) and her dying Bengali-speaking father back at the local hospital. Returning to specific spots comes with territory, because it comes with living anywhere; paths cross, people are drawn to the same busy and central locations, and some facilities — such as Here Out West's pivotal hospital — are always a hive of activity in any community. That truth continues to drive the film as it meets Kurdish refugees Keko (De Lovan Zandy) and Xoxe (Befrin Axtjärn Jackson), who are hoping to make a new beginning that still involves his penchant for music and her skills hand-weaving carpets, before jumping to Tuan (Khoi Trinh) and his brother Andy (Brandon Nguyen), who possess varying ideas about what it means to be Vietnamese Australian. Then comes a glimpse at nurse Roxanne's (Christine Milo, It's a Cult!) day as she works a double shift and misses her family in The Philippines. And, there's also Winnie (Gabrielle Chan, Hungry Ghosts) and Angel (Jing-Xuan Chan, Neighbours) as the mother and daughter close their Chinese restaurant for the last time. The common threads linking Here Out West's chapters are the ties that bind everyone: family, place and hope. But writers Nisrine Amine, Das (who acts as well as pens his section of the film), Bina Bhattacharya, Matias Bolla, Claire Cao, Dee Dogan, Vonne Patiag and Tien Tran find their own takes on the movie's common elements, sometimes by drawing from experience — and, unsurprisingly, the feature frequently feels personal. That sensation connects each of the picture's segments, too, with every section peering intimately at western Sydney residents, their lives and their emotions, and showing both the specific and the universal in the process. That isn't a revolutionary overall approach, and has long made so many stories strike a chord on pages, stages and screens, but the way that Here Out West uses such sparks of recognition is equally astute and moving. As directed by feature first-timers Fadia Abboud, Lucy Gaffy and Julie Kalceff, as well as the more seasoned Ana Kokkinos (Blessed) and Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Here Out West also charts a route that most anthologies do — because not every part matches the last or next. Each of its eight vignettes bring engaging people to the screen, and function as perceptively drawn character studies, but there's more to some than others. That's as fitting as the movie's naturalistically shot look, however, because that too reflects the reality that Here Out West so determinedly channels. Some tales are slight, others are immense and plenty sit in-between, but in this powerful, authentic, diversity-celebrating ode to western Sydney, they're all worth telling and sharing.
Vivid is back in town for 2023 and the lineup couldn't get much bigger. From the festival's first dedicated program of food events to a massive live music contingent across venues the Sydney Opera House, Carriageworks and The Abercrombie, the 23-day festival is filling Sydney with a massive array of events from Friday, May 26–Sunday, June 17. The headline happenings include a two-week residency from New York chef Daniel Humm at Matt Moran's Aria, a live chat between The White Lotus' Mike White and Jennifer Coolidge and Devonté Hynes (also known as Blood Orange) performing selected classical works with the Sydney Symphony Orchestra — but these will set you back a pretty penny. While everyone's feeling the pinch of inflation, we've compiled a list of the best free and affordable things you can catch at this year's festival. Here are our picks for the 14 best things to do at Vivid 2023 for under $50. Top image: Daniel Boud.
Don't let anyone ever tell you that audiences aren't fond of kick-ass women doing spectacular things. And, if someone ever dares to try, refer them to the two biggest phenomenons in Australia right now: Barbie and the Matildas. In cinemas, the former has been busting records both locally and worldwide. On TV, the national women's soccer team has been making history, too. The latter has also being doing the same on the field, as everyone knows — because we've all been watching the Sam Kerr-led team, helping their 2023 FIFA Women's World Cup matches kill it in the ratings. When Australia played France on Saturday, August 12, Australia's eyeballs followed every move from the first whistle through to the 7–6 penalty shootout in the Matildas' favour. How many eyeballs? Every single one belonging to more than 7.2-million people according to the Seven Network's ratings data. The Matildas' Women's World Cup games are available to watch via the Seven Network and 7plus, and also Optus Sport, so exact figures get a bit tricky — and also OzTAM, which captures broadcast audience numbers, doesn't factor in folks watching in pubs, clubs, sports venues, at AFL grounds before Aussie rules matches and at other out-of-home venues. Plus, at the time of writing, OzTAM hasn't yet covered the game's 30 minutes of extra time or penalty kicks, thanks to the nil-all draw when regulation time was up. Still, Seven has made an educated estimation, starting with the fact that an average of 4.17-million people watched the match either via its free-to-air station or its streaming service. Thanks to the latter, the network also advises that the game was the country's biggest streaming event ever. View this post on Instagram A post shared by CommBank Matildas (@matildas) To put the Matildas' TV feat in context, 2022's AFL and NRL grand finals didn't hit the 4.17-million figure — or come close. Last years' AFL numbers? 3.06-million viewers nationally. Unsurprisingly, as the ABC reports, Australia's quarter-final defeat of France enjoyed the biggest TV audience of the year. The Guardian notes that it was likely the biggest audience since Cathy Freeman's iconic 400-metre race at the 2000 Olympics. All up, Seven advises that its coverage of the Women's World Cup so far has reached 11.9-million broadcast viewers, then another 2.3-million folks via 7plus — all while the bulk of the tournament's games, especially those that don't feature the Matildas, are only on Optus Sports. How many people will watch the Australia v England game at 8pm on Wednesday, August 16? We're a competitive nation — surely we want to not only beat the Lionesses, but smash the France match's ratings as well. The Matildas' 2023 FIFA Women's World Cup games are available to watch via the Seven Network and 7plus, and also Optus Sport — with select other games also on Seven, and the entire tournament streaming via Optus Sport. The FIFA Women's World Cup 2023 runs from Thursday, July 20–Sunday, August 20 across Australia and New Zealand, with tickets available from the FIFA website. Top image: Liondartois via Wikimedia Commons.
Something delightful is 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 starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). 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 over the past three months, 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=oLV63nrXYSY&feature=youtu.be DAVID ATTENBOROUGH: A LIFE ON OUR PLANET Since the early 1950s, David Attenborough's stunningly shot documentaries have been awash with revelatory sights and detailed insights from the natural world, sharing the kind of wonders that eager audiences would be unlikely to see or discover themselves otherwise. Seven decades later, after becoming a constant, respected and beloved presence in the field, the now 94-year-old's passionate and vibrant work has earned its place in history several times over — but it might also become a record of a world, and of natural history, that's lost due to climate change. With this in mind, and to motivate a response to combat both global warming and the catastrophic loss of biodiversity blighting the environment, the great broadcaster presents David Attenborough: A Life On Our Planet. On offer: an urgent and far-ranging exploration of how our pale blue dot evolved to its current state, what might be in store if we continue down this path, and how and why things could and should change. Determined in his tone, the veteran natural historian calls the documentary his witness statement several times within its frames, and it's as powerful and devastating as intended. Bookended by scenes in Chernobyl that are initially designed to illustrate what can happen ecologically when bad planning and human error combine — a situation that, Attenborough posits, applies to climate change as well — A Life On Our Planet is both broad and intricate, and personal and political too. Cycling through the earth's life to-date to provide a snapshot of the planet's predicament, it delivers a comprehensive overview, a raft of telling facts and figures, and a plethora of reflections from its central figure. It also features the now-requisite array of eye-catching footage that Attenborough's hefty body of work has long become known for, served up here to not only revel in its glory and showcase his exceptional career, but to demonstrate what's fading away due to humanity's impact upon the globe. Accordingly, it's impossible not to be moved by the film. If viewers won't listen to Attenborough on this topic, and as he explains what he's seen and where he sees things heading, then they probably won't listen to anyone. In the documentary's latter third, A Life On Our Planet follows in the footsteps of Australian doco 2040, too, by pondering how the world might adapt for the better — and again, if that doesn't motivate action, what will? David Attenborough: A Life On Our Planet opens in Australian cinemas on Monday, September 28, with a chat between David Attenborough and Michael Palin screening with the film. The documentary only hits Netflix on Sunday, October 4. https://www.youtube.com/watch?v=OAxtH_xwlnM THE HIGH NOTE With 2019's Late Night, filmmaker Nisha Ganatra stepped inside the world of television, contrasting the journeys of a hardworking woman just starting out and a celebrated but stern female veteran of the field who is unsure of what she wants for the future. Switch the setup to the music business, then swap Mindy Kaling's smart Late Night screenplay for a thoroughly by-the-numbers affair by first-timer Flora Greeson, and The High Note is the end result. In this overtly formulaic feature, lifelong music buff Maggie Sherwoode (Dakota Johnson) is a committed and overworked personal assistant to 11-time Grammy-winning R&B superstar Grace Davis (Tracee Ellis Ross). She's also an aspiring producer who's working on a record with up-and-coming musician, David Cliff (Kelvin Harrison Jr), on the side. Maggie toils away at a demanding gig, albeit for a legend, but clearly dreams of more than merely ferrying her idol around town, picking up her dry cleaning and administering enemas on tour. With Grace's latest string of shows wrapping up, a live greatest hits album in the works and no new music released for some time, the singer herself also wants something different; however long-time manager Jack (Ice Cube) is trying to push Grace towards the easy money of a ten-year Las Vegas residency. There's much that's likeable here, including the soundtrack and the cast. The former spans both new tracks and vintage hits (including an appealing singalong to TLC's 'No Scrubs', and Harrison Jr crooning 1957 classic 'You Send Me' by the king of soul Sam Cooke), while the latter is The High Note's best asset. If only the impressive roster of on-screen talent were working with better material. As well as hitting every obvious note and delivering an awful (and predictable) soap opera-esque twist late in the game, The High Note lacks the resonant commentary that made Late Night as clever and savvy as it was amusing and affecting. The fact that it isn't easy being a woman in music isn't ignored here, but it's pointed out via generic lines of dialogue that simply sound like throwaway soundbites. The reality that both ageism and racism blight the industry too, and that a hugely successful Black woman over 40 still gets ignored by those calling the shots, receives the same cursory treatment. Indeed, The High Note is more content to keep any statements as superficial and easy as a disposable pop song, and to serve up as standard a feel-good fairy tale about chasing one's dreams as an algorithm would probably spit out. Read our full review. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; and September 3, September 10 and September 17. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators and An American Pickle.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. ELVIS Making a biopic about the king of rock 'n' roll, trust Baz Luhrmann to take his subject's words to heart: a little less conversation, a little more action. The Australian filmmaker's Elvis, his first feature since 2013's The Great Gatsby, isn't short on chatter. It's even narrated by Tom Hanks (Finch) as Colonel Tom Parker, the carnival barker who thrust Presley to fame (and, as Luhrmann likes to say, the man who was never a Colonel, never a Tom and never a Parker). But this chronology of an icon's life is at its best when it's showing rather than telling. That's when it sparkles brighter than a rhinestone on all-white attire, and gleams with more shine than all the lights in Las Vegas. That's when Elvis is electrifying, due to its treasure trove of recreated concert scenes — where Austin Butler (Once Upon a Time in Hollywood) slides into Presley's blue suede shoes and lifetime's supply of jumpsuits like he's the man himself. Butler is that hypnotic as Presley. Elvis is his biggest role to-date after starting out on Hannah Montana, sliding through other TV shows including Sex and the City prequel The Carrie Diaries, and also featuring in Yoga Hosers and The Dead Don't Die — and he's exceptional. Thanks to his blistering on-stage performance, shaken hips and all, the movie's gig sequences feel like Elvis hasn't ever left the building. Close your eyes and you'll think you were listening to the real thing. (In some cases, you are: the film's songs span Butler's vocals, Presley's and sometimes a mix of both). And yet it's how the concert footage looks, feels, lives, breathes, and places viewers in those excited and seduced crowds that's Elvis' true gem. It's meant to make movie-goers understand what it was like to be there, and why Presley became such a sensation. Aided by dazzling cinematography, editing and just all-round visual choreography, these parts of the picture — of which there's many, understandably — leave audiences as all shook up as a 1950s teenager or 1970s Vegas visitor. Around such glorious centrepieces, Luhrmann constructs exactly the kind of Elvis extravaganza he was bound to. His film is big. It's bold. It's OTT. It's sprawling at two-and-a-half hours in length. It shimmers and swirls. It boasts flawless costume and production design by Catherine Martin, as his work does. It shows again that Luhrmann typically matches his now-instantly recognisable extroverted flair with his chosen subject (Australia aside). Balancing the writer/director's own style with the legend he's surveying can't have been easy, though, and it doesn't completely play out as slickly as Presley's greased-back pompadour. Elvis is never anything but engrossing, and it's a sight to behold. The one key element that doesn't gel as convincingly: using the scheming Parker as a narrator (unreliable, obviously) and framing device. It helps the movie unpack the smiling-but-cunning manager's outré role in Presley's life, but it's often just forceful, although so was Parker's presence in the star's career. In a script by Luhrmann, Sam Bromell (The Get Down), Craig Pearce (Strictly Ballroom, Romeo + Juliet, Moulin Rouge! and The Great Gatsby) and Jeremy Doner (TV's The Killing), the requisite details are covered. That includes the singer's birth in Tupelo, Mississippi, and extends through to his late-career Vegas residency — with plenty in the middle. His discovery by Parker, the impact upon his parents (Rake co-stars Helen Thomson and Richard Roxburgh), his relationship with Priscilla (Olivia DeJonge, The Staircase), Graceland, America's puritanical reaction to his gyrating pelvis, the issues of race baked into the response to him as an artist: they're all featured. Thematically, those last two points thrum throughout the entire movie. Elvis questions why any hint of sex was such a shock, and why it was so easy for a white man who drew his songs, style and dance moves from Black culture, via his upbringing, to be dubbed a scandal. Read our full review. NUDE TUESDAY In Nude Tuesday, you can take the unhappy couple out of their daily routine — and slip them out of their clothes in the process — but escaping to a mountainside commune, ditching the dacks, palling around with a goat and gleaning relationship advice from the author a book called The Toothy Vulva just can't solve all woes. What that list of absurd plot points and experiences can do is fill out a film that's gleefully silly, often side-splittingly funny, and also just as perceptive as it is playful. The basic premise behind this New Zealand sex comedy borrows from plenty of fellow movies and TV shows about stuck-in-a-rut folks seeking bliss and renewal, plus solutions to bland marriages, with a gorgeous change of scenery. But helping make Nude Tuesday such a winner is every offbeat choice that's used to tell that tale. Getting naked is only part of it, given that not a lick of any recognisable language is spoken throughout the entire feature — although plenty of words and sounds are audibly uttered. Nude Tuesday understands one key point, as everyone watching it will: that relationships are all about communication. The film is also well aware that so much about life is, too — and storytelling. Here, though, expressing emotions, connections and narrative details all boils down to gibberish and bodies. This amusing movie from writer/director Armağan Ballantyne (The Strength of Water) and writer/star Jackie van Beek (The Breaker Upperers) does indeed strip down its performers in its last third, living up to its name, but it saddles them with conveying almost everything about their characters via body language before that. Each piece of dialogue spoken echoes in unintelligible nonsense, using completely made-up and wholly improvised terms. Even covers of 'Road to Nowhere' and 'Islands in the Stream' do as well. And while subtitled in English by British comedian Julia Davis (Camping), that text was penned after shooting, in one of the film's other purposefully farcical twists. The result is patently ridiculous, and marvellously so — and hilariously. It's such a clever touch, making a movie about marital disharmony and the communication breakdown baked within that's so reliant upon reading tone and posture, as couples on the prowl for the tiniest of micro-aggressions frequently hone in on. Initially, the feature needs a few scenes to settle into its unfamiliar vernacular, which takes cues from The Muppets' Swedish Chef in its cadence. Via an opening map, which situates the story on the fictional pacific island of Zǿbftąņ, Nude Tuesday's language also resembles an IKEA catalogue. But once Ballantyne, van Beek and the latter's co-stars find their groove — with a literally bloody attempt to make adult nappies sexy, a supermarket tantrum involving tossed cans and a tense anniversary dinner — everything, including the movie's chosen tongue, clicks into place. Van Beek and Australian The Tourist actor Damon Herriman play Nude Tuesday's central pair, Laura and Bruno. In the first but not last example of just how compellingly they use their physicality, the talented lead twosome paints a picture of relatable malaise from their introductory moments together. Laura and Bruno are bogged down in a dull cycle that revolves around working at jobs neither loves — she spruiks those mature-age diapers, he sells bathroom fixtures — then trudging home exhausted and exasperated to deal with their kids, and later crumbling into bed knowing they're going to repeat it all the next day. Sex doesn't factor in, and neither is content with that, but resolving their troubles themselves is out of reach. Then, they're gifted a getaway to ẄØnÐĘULÄ to assist. But this woodland getaway, run by charismatic and lustful sex guru Bjorg Rassmussen (Jemaine Clement, I Used to Go Here), wants its new guests to expose all in multiple ways. Read our full review. LOST ILLUSIONS Stop us when Lost Illusions no longer sounds familiar. You won't; it won't, either. Stop us when its 19th century-set and -penned narrative no longer feels so relevant to life today that you can easily spot parts of it all around you. Again, that won't happen. When the handsome and involving French drama begins, its protagonist knows what he wants to do with his days, and also who he loves. Quickly, however, he learns that taking a big leap doesn't always pan out if you don't hail from wealth. He makes another jump anyway, out of necessity. He gives a new line of work a try, finds new friends and gets immersed in a different world. Alas, appearances just keep meaning everything in his job, and in society in general. Indeed, rare is the person who doesn't get swept up, who dares to swim against the flow, or who realises they might be sinking rather than floating. The person weathering all of the above is Lucien Chardon (Benjamin Voisin, Summer of 85), who'd prefer to be known as Lucien de Rubempré — his mother's aristocratic maiden name. It's 1821, and he's a poet and printer's assistant in the province of Angoulême when the film begins. He's also having an affair with married socialite Louise de Bargeton (Cécile de France, The French Dispatch), following her to Paris, but their bliss is soon shattered. That's why he gives journalism a try after meeting the equally ambitious Etienne Lousteau (Vincent Lacoste, Irma Vep), then taking up the offer of a tabloid gig after failing to get his poetry published. Lucien climbs up the ranks quickly, both in the scathing newspaper business — where literary criticism is literally cash for comment — and in the right Parisian circles. But even when he doesn't realise it, his new life weighs him down heavily. Lost Illusions spins a giddy tale, but not a happy one. It can't do the latter; exactly why is right there in the title. As a film, it unfurls as a ravishing and intoxicating drama that's deeply funny, moving and astute — one that's clearly the product of very particular set of skills. No, Liam Neeson's recent on-screen resume doesn't factor into it, not for a second. Instead, it takes an immensely special talent to spin a story like this, where every moment is so perceptive and each piece of minutiae echoes so resoundingly. The prowess behind this seven-time César Award-winner belongs to three people: acclaimed novelist Honoré de Balzac, who wrote the three-part Illusions perdues almost 200 years ago; filmmaker Xavier Giannoli (Marguerite), who so entrancingly adapts and directs; and Jacques Fieschi (Lovers), who co-scripts with the latter. There's more to Lucien's story — pages upon pages more, where his tale began; 149 minutes in total, as his ups and downs now play out on the screen. When Louise decides that he doesn't fit in, with help from the scheming Marquise d'Espard (Jeanne Balibar, Memoria), spite rains his way. When Etienne introduces him to the realities of the media at the era, and with relish, he's brought into a dizzying whirlwind of corruption, arrogance, fame, power, money and influence. When Lucien starts buying into everything he's sold about the whys and hows of his new profession, and the spoils that come with it, Lost Illusions couldn't be more of a cautionary tale. Everything has a price: the glowing words he gleefully types, the nasty takedowns of other people's rivals and the entire act of spending his days doing such bidding for the highest fee. Read our full review. MINIONS: THE RISE OF GRU What's yellow, round, inescapably silly and also just flat-out inescapable? Since 2010, when the first Despicable Me film reached screens, Minions have been the answer. The golden-hued, nonsense-babbling critters were designed as the ultimate sidekicks. They've remained henchman to malevolent figures in all five of their movie outings so far, and in the 15 shorts that've also kept telling their tale. But, as much as super-villain Gru (Steve Carrell, Space Force) would disagree — he'd be immensely insulted at the idea, in fact — Minions have long been the true drawcards. Children haven't been spotted carrying around and obsessing over Gru toys in the same number. The saga's key evil-doer doesn't have people spouting the same gibberish, either. And his likeness hasn't become as ubiquitous as Santa, although Minions aren't considered a gift by everyone. At their best, these lemon-coloured creatures are today's equivalent of slapstick silent film stars. At their worst, they're calculatingly cute vehicles for selling merchandise and movie tickets. In Minions: The Rise of Gru, Kevin, Stuart, Bob, Otto and company (all voiced by Pierre Coffin, also the director of the three Despicable Me features so far, as well as the first Minions) fall somewhere in the middle. Their Minion mayhem is the most entertaining and well-developed part of the flick, but it's also pushed to the side. There's a reason that this isn't just called Minions 2 — and another that it hasn't been badged Despicable Me: The Rise of Gru. The Minion name gets wallets opening and young audiences excited, the Rise of Gru reflects the main focus of the story, and anyone who's older than ten can see the strings being pulled at the corporate level. Gru's offsiders are present and cause plenty of chaos, but whether he gets to live out his nefarious boyhood dreams is director Kyle Balda (Despicable Me 3), co-helmers Brad Ableson (Legends of Chamberlain Heights) and Jonathan del Val (The Secret Life of Pets 2), and screenwriter Matthew Fogel's (The Lego Movie 2) chief concern. His ultimate wish: to become one of the Vicious 6, the big supervillain team of 1976, when Gru is 11. That sinister crew happens to have an opening after some infighting and double-crossing among Belle Bottom (Taraji P Henson, Empire), Jean Clawed (Jean-Claude Van Damme, Haters), Nun-Chuck (Lucy Lawless, My Life Is Murder), Svengeance (Dolph Lundgren, Aquaman), Stronghold (Danny Trejo, The Legend of La Llarona) and Wild Knuckles (Alan Arkin, The Kominsky Method). Accordingly, when Gru receives an invite to audition, he's as thrilled as a criminal mastermind-in-training can be. The Minions are hired as Gru's assistants and, after his tryout for the big leagues ends in him stealing the Vicious 6's prized possession, quickly spark the usual Minion antics. Of course they lose the pivotal object. Of course the Vicious 6 come looking for it. Of course the Minions do everything from learning kung fu (from Master Chow, voiced by Everything Everywhere All At Once's Michelle Yeoh) to virtually destroying San Francisco. There's more calculation than inspiration behind their havoc, however; rather than Charlie Chaplin and Buster Keaton-esque heights, their slapstick hijinks feel as structured and obvious as the film's nods to a wealth of genres (martial arts, spy, road trip, blaxploitation and more) and its hefty list of blatant era-appropriate needle drops ('Funkytown', 'Fly Like an Eagle', 'Born to Be Alive' and the like). It also plays like colour and movement around Gru, rather than the central attraction viewers want it to be. Also, something can't be surreal if it's so thoroughly expected, as the bulk of Minions: The Rise of Gru is. It isn't clever enough to be gloriously ridiculous, either. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; and June 2, June 9 and June 16. You can also read our full reviews of a heap of recent movies, such as The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear and Men.
Saturday September 24 sees the closure of William Street to cars and the spilling of fun and frivolity onto the tar for the annual William Street Laneway Festival. All of the shops along this strip have events, special prices, drinks, food and deals galore to lure you away from the mega-complexes and back to the simple joy of wandering and shopping in Paddington's home of unique boutiques. Not just a day for the girls (although you could bring your fella and dump him at The London when he starts to stare blankly at your 'What do you think?') there will be a ping-pong tournament at Nudie Jeans, live music at Di Nuovo, a sausage sizzle at bams & ted and plenty of lounge areas scattered up and down the street for sitting and drinking and soaking up the atmosphere. The whole day has a decidedly carnivale feel with a circus extravanganza at Poepke (with an incredible 70% off sale), tarot readings at Tigerlily, fairy floss at Lucette and free evil eye charms for those who spend over $300 at Pierre Winter Fine Jewels. And if you are lucky you might catch a glimpse of Mr. Darcy, the resident Russian Blue at Pierre Winter. And you will know him by the pearls he wears.
Any Questions for Ben is much better than it sounds, and it sounds pretty good. Ben (Josh Lawson) returns to his old school to speak at a careers night, smugly sure that his success as a “strategic brands consultant” will be well-received by scores of students. After all, at 27, he’s already ticked all the obvious boxes: he’s got money, mates, a sweet pad in Melbourne, and sex on tap with Melbourne’s leggiest models. Still, there’s nothing like seeing his high school crush Alex (Rachel Taylor), now a United Nations lawyer, talk about international aid work to suddenly make rebranding vodka and selling billboards seem kinda meaningless. Even worse, the high school students are conspicuously under-awed by Ben. None of them ask him how they, too, can achieve success in advertising. Ben starts to fret that he’s all style, no substance – what exactly is a “strategic brands consultant” anyway? He free-falls into a quarter-life crisis. This film, the third full-length feature from Frontline’s Rob Sitch and rookie Australian production company Working Dog, is not without its flaws. Many of the romantic scenes misfire due to a total lack of fizz between Lawson and Taylor (possibly, while we’re being shallow, due to the hideous shoes worn by Taylor in a crucial romantic scene). It’s a love letter to Melbourne that occasionally feels like it was commissioned by the Victorian Tourism Board, and quite frankly, Ben’s life never seems all that bad. Skiing in New Zealand, dating Russian tennis stars, and short-term stints in high-paying jobs? Oh Ben, stop moaning and enjoy the clichéd ride. It’s saved, however, by the strong supporting cast and the fact that it never claims to be anything other than shallow — after all, that’s what the storyline’s all about. Ben’s dawn of realisation is well drawn, and although the film could be shorter, it’s funny, irreverent, and may make you question: well, what’s your own definition of success? Perhaps the opening card, quoting Ernest Hemingway's warning not to confuse motion with action, sums Ben’s journey and this film up best.
On the hunt for a new look or want to touch up your tresses? Located on Jaques Avenue just a few hundred metres from the ocean, Chop Shop is one of the very best barbershops in Bondi. And we're not just saying that because you can get a drink with your new 'do (although that certainly doesn't hinder the situation). Since opening in Bondi in 2008, owner Dan Dixon and his team of talented stylists have been committed to using 'professional only' products, and have built up quite a customer base as a result. Men's cuts start at $39 and include a full shampoo and a beverage, while a women's shampoo, cut and blow-dry starts at $92, and comes with your choice of tea, espresso or a cheeky glass of wine. Making small talk with your hairdresser is a hell of a lot easier when you're juuuust that little bit tipsy.
SXSW Sydney is back for 2024 in a big way — and even if you're only planning to hit up its Screen Festival across Monday, October 14–Sunday, October 20, a stacked program awaits. When the event kicks off for this year, it's doing so with a movie that bowed at its Austin counterpart, heads back to the 90s, sports a Saturday Night Live alum behind the lens and boasts plenty of well-known faces on-screen, including the Harbour City event's music keynote speaker for 2024. The film: A24's Y2K, the directorial debut of Kyle Mooney (No Hard Feelings), with Rachel Zegler (The Hunger Games: The Ballad of Songbirds & Snakes), Julian Dennison (Uproar), Jaeden Martell (Arcadian) and The Kid LAROI starring. The storyline: it's New Year's Eve in 1999, a heap of folks are at a high-school party and the Y2K bug strikes. The fest's small-screen highlights span debuting and returning fare, as well as a new show that's the latest version of a popular hit that just keeps being remade. Plum, which stars Brendan Cowell (The Twelve) as a footballer who learns that his concussions have led to a brain disorder, and also features Asher Keddie (Fake) and Jemaine Clement (Time Bandits), is premiering at SXSW Sydney before airing on ABC. Apple TV+ delight Shrinking with Jason Segel (Winning Time: The Rise of the Lakers Dynasty) and Harrison Ford (Indiana Jones and the Dial of Destiny) is showing a sneak peek of its second season, and the new Australian take on The Office joins the program via a panel discussion featuring lead Felicity Ward (Time Bandits) with executive producers and writers Jackie van Beek (Nude Tuesday) and Julie De Fina (Aftertaste). Back on movies, Matt Damon (The Instigators)- and Ben Affleck (The Flash)-produced sports drama Unstoppable will enjoy its Australian premiere. Telling Anthony Robles' true tale, it stars Jharrel Jerome (I'm a Virgo) as the wrestler born with one leg — plus Bobby Cannavale (MaXXXine), Michael Peña (A Million Miles Away), Don Cheadle (Fight Night) and Jennifer Lopez (Atlas). Also on the film list: the world premiere of the Chicago-set Pools, which features Odessa A'zion (Ghosts) as a college sophomore at summer school; Messy, another summer-set flick, this time featuring Alexi Wasser (Poker Face), Ione Skye (Beef) Adam Goldberg (The Exorcism); First Nations coming-of-age tale Jazzy, with Lily Gladstone (Fancy Dance) as a star and executive producer; and They're Here, a documentary about UFO fanatics. Or, from acclaimed Japanese filmmaker Kiyoshi Kurosawa (Before We Vanish) comes both Cloud and Serpent's Path — the first of which is Japan's submission for 2025's Best International Feature Film category at the Oscars, with the second remaking the director's own 1998 revenge film in French. There's also headliners Saturday Night, Smile 2, Nightbitch, The Front Room and Pavements — and everything from cults, cat-loving animation and Christmas carnage thanks to Azrael, Ghost Cat Anzu and Carnage for Christmas. Movie buffs can also look forward to Ilana Glazer (The Afterparty)-led mom-com Babes; the maximum-security prison-set Sing Sing with Colman Domingo (Drive-Away Dolls); and Inside, which features Guy Pearce (The Clearing), Cosmo Jarvis (Shōgun) and Toby Wallace (The Bikeriders). Documentary Omar and Cedric: If This Ever Gets Weird spends time with At the Drive-In and The Mars Volta's Omar Rodriguez-Lopez and Cedric Bixler-Zavala; Teaches of Peaches goes on tour with its namesake; the Lucy Lawless (My Life Is Murder)-directed doco Never Look Away is about CNN camerawoman Margaret Moth; Peter Dinklage (Unfrosted) and Juliette Lewis (Yellowjackets) lead western-thriller The Thicket; and Aussie doco Like My Brother is about four aspiring AFLW players from the Tiwi Islands. The list goes on, with The Most Australian Band Ever! about the Hard-Ons, That Sugar Film and 2040 filmmaker Damon Gameau's Future Council, and Slice of Life: The American Dream. In Former Pizza Huts from Barbecue and We Don't Deserve Dogs' Matthew Salleh and Rose Tucker also screening.
"Sometimes I think the only way to be truthful is to say nothing at all," says Thuso Lekwape's Johnny, reflecting on an evening spent with Charlotte's (Contessa Treffone) parents. The sentiment may not completely sum up Darlinghurst Theatre Company's latest production, but there is a sense that the play says an awful lot without conveying much of anything. The Mystery of Love and Sex, written by Bathsheba Doran, centres around Charlotte and Johnny, two American college students who have been friends for an age. Their relationship is easy, comfortable, solid — a bond that romance would only confuse. Charlotte's parents (Deborah Galanos and Nicholas Papademetriou) can't get their heads around this and try to nudge the pair into something more clear-cut. But Charlotte's in love with a girl from college. And Johnny has slept with a number of men he can't stand. Both are confused and as things get more complicated, the friendship starts to fray. The cast, directed by Anthony Skuse, are engaging, but the script seems to have a set-'em-up-knock-'em-down approach to the issues it explores. It tries to juggle questions about how friendship changes as we age, friendship versus marriage and how we come to terms with our sexual identities, but ends up flitting between them without ever stopping to pinpoint exactly what it's getting at. Except for an intimate scene shared by Charlotte and her mother, the second half quickly descends into an unsatisfying fairy tale. That said, Galanos' Lucinda is fantastic, pulling off a transition from quietly crumbling nicotine addict to a revolutionary for the hedonist cause within the space of the intermission. Lekwape's Johnny is understated, but he ages very convincingly over the course of the play. Papademetriou's Howard is amusingly and frustratingly paternal throughout, despite the script affording him very little development and Truffone manages a fine line with Charlotte, whose self-righteous streak might have been grating in other hands. Emma Vine's set runs pleasant interference on the naturalism of the text — a giant upside down tree sits menacingly to the side in the dusky pre-show light, while the majority of the action takes place on a large white wedge, its wonkiness geometrically jazzing up a few of the talkier scenes. "Weird is good," says Lucinda, attempting to comfort her daughter during the play. "Weird is life." The Mystery of Love and Sex, while performed capably, needs a few more doses of weirdness before it can be mistaken for the real thing.
We've teamed up with Motel Molly to offer an exclusive rate via Concrete Playground Trips. Sign up for free to get 10–20% off room rates. Book now from AUD $313. Set your OOO and escape to Motel Molly in Mollymook, where you can spend your days soaking in the sunshine by the pool, on the beach or at a golf course between excursions to nearby wineries and top-notch restaurants. Here are a few of the features that make it worthy addition to our collection of Stays of the Week. The converted motel brings retro coastal vibes with Moroccan-inspired decor, Mediterranean tiling and pastel pops of colour. Choose from seven different room types — the Oceanside Garden Suite has an outdoor patio and is only a two-minute walk to Mollymook Beach, while the Spa Suite boasts an in-room sunken bath. There are also one, two and three-bedroom apartments with a kitchenette available for bigger groups and families. Each room comes with luxe Le Labo toiletries, a bluetooth speaker and smart TV with complimentary Netflix access. There are surfboards and bicycles available to rent, as well as free onsite parking. After a dip in the pool, you're welcome to cook up a feast on the communal barbecue and enjoy a meal al fresco in the outdoor cabana. If you can tear yourself away from the facilities, you'll find that the boutique hotel is conveniently located only a block from Mollymook Beach and within walking distance to Mollymook Golf Club. Local towns Ulladulla, Narrawallee and Milton are a five-minute drive away, while epicurean experiences at the likes of Rick Stein at Bannisters, Hayden's Pies, GWYLO or Cupitt's Estate are also close by. If you're after a boutique stay that offers charm, style and carefully considered detail, get booking now.
The newly redeveloped Museum of Contemporary Art Australia (MCA) is launching a nocturnal program ARTBAR. Held on the last Friday of every month, ARTBAR aims to overhaul your experience of the art institution with an artist-curated evening of art, music, performance and, most importantly, booze. First cab off the rank is Sydney-based artist Justene Williams, whose work, Crutch Dance (2011) is currently showing as part of the Volume One: MCA Collection exhibition on level one. Her performance videos are notably outrageous, and as such her curated night is sure to be an eclectic evening of irrational and bizarre sights and sounds. The Jurassic Lounge program at the Australian Museum has proved to be a highly successful get-cool-young-kids-in-the-door model and, although ticketed, at least the regular door entry was only $15 and included one free drink, ARTBAR is $20. I am all for experiential extra-curricular museum programs, and especially those of the late night variety (yay for the MCA finally staying open late on Thursdays!), but it seems a little pricey for a program that so far (as of this writing) hasn’t released any act or content details. All rants aside, I am sure ARTBAR will prove to be a mystery-filled journey into the creative worlds of our artists. We wait with bated breath. Update: Since the writing of this article, the MCA has released the evening's list of DJs (Charlie Chux, Perfect Snatch, Touch Sensitive, Tyson Koh), as well as promises of performance art, karaoke, hot shaves for the itchy-faced, and the plausible suggestion that watching the first night of the Vivid lightshow from their balcony might be a nice thing. Still from Crutch Dance by Justene Williams.
When SXSW Sydney first started revealing details of its 2025 lineup, it promised more free programming on this year's bill. If you're keen to head along to the event's third year — after making its Harbour City debut in 2023, then returning in 2024 — without spending a cent, you'll want to make a date with Tumbalong Park, then. Again, the spot is playing host to the fest's budget-friendly activities, including everything from live music to movies, as well as DJ sets, talks, fashion showcases, pop-ups and more. Free sessions have always been a component of SXSW Sydney, but adding more was never not going to be a welcome move. Accordingly, after outlining that there'd be a significant expansion of its free programming, the festival has upped its Tumbalong Park lineup to 85-plus hours of events. At SXSW Sydney Unlocked, as the hub has been dubbed, there'll be more than 200 options to engage in the fest between Monday, October 13–Sunday, October 19. This part of the lineup runs every day, but will feature extended hours from Thursday–Sunday. Weekday lunch breaks are a particular focus, spanning programming from 12–1.30pm Monday–Friday, as are happy-hour sessions from 4.30pm Tuesday–Friday. So, SXSW Sydney clearly wants the city to join in whenever suits everyone's daily schedules — and via everything from guest appearances to surprise hosts, too. Highlights include the return of FOMA: Fabrics of Modern Australia on the runway; gigs by Indonesian hip hop stars Tenxi, Filipino folk-pop singer Angela Ken, J-Pop boy band Psychic Fever and Chinese Tencent singer Tia Ray; and Blak to the Future: A Celebration of First Nations Creatives' celebration of Indigenous filmmaking. Or, hit up twilight gigs in the Seymour Centre courtyard, get line-dancing lessons and see a range of country talent — Max Jackson, The Washboard Union, Lewis Love and Big Wheels — at Tumbalong Honky Tonk, and explore the Australian Space Agency's space-themed hub. There's also Small Fry Rock for families, with Grinspoon's Phil Jamieson and Little Birdy's Katy Steele taking to the stage. The Rubens are set to celebrate ten years of 'Hoops', while K-pop is also getting a moment. On the Saturday, if you fancy attending the Games Showcase and Innovation Expo without bothering your wallet, that's also on the agenda. Images: Jess Gleeson, Paul McMillan and Ben Gibson.
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's an annual celebration of everyone's favourite pink flora in Sydney's west. Between Saturday, August 19–Sunday, August 27, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland for 2023. Across the nine days, you'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by viewing the eye-catching blooms in the leadup to spring. Tis the season, after all. Taking in the spectacular scenery isn't the only thing you'll be doing. There'll be a Japanese food village serving up an array of bites inspired by the country's culinary culture. Also on offer: a nine-hole mini-golf course, traditional Japanese musical performances, origami workshops, flower-arranging demonstrations and DJs spinning Japanese city pop tunes. Each day, you can choose between three different sessions depending on when you want to explore the festival. Tickets are free for Cumberland City Council residents — or else entry will set you back $15.30 for an adult, $6.65 for kids aged between five and 16, or $41.85 for a family. Children under five are also free if you want to take your little ones. Images: Destination NSW.
The team at Sydney Harbour Kayaks is running a special series of after-dark kayaking tours ($155) for Sydney Solstice. Your tour of the harbour will paddle off at sunset — perfect for a pic or two — then, as the stars come out, you'll cruise past naval warships and the impressive 1874-built James Craig ship. You'll take in the sights of Glebe Island Bridge and the Anzac Bridge, before stopping for snacks and drinks. The tour starts and ends at Darling Harbour, which means you can pop over to the ice rink or food market at Darling Harbour Winter Festival when you're done. Two birds, one stone.
If you're looking to blow off some steam after a chaotic couple of years (and that's putting it mildly), you'll soon have a brand-new outlet for unleashing that pent-up frustration. Popular Viking-themed axe-throwing venue Maniax is opening the doors to its second Sydney outpost, this time in Marrickville — and this one's going to be even heftier. In fact, Maniax's new joint will be its largest yet — not only in Sydney, but across its seven sites Australia-wide. The company is going big in 2022, and not just here, with five other new hatchet-hurling spots set to pop up around the country before the year is out. For now, though, the focus is all on Marrickville. For Sydneysiders keen to get chucking in fresh surroundings, the new venue will launch sometime in April, and will become the brand's flagship site. Perched behind a large roller door on Jabez Street, it'll cater to 350 punters at full capacity, including for casual throws – if there's anything casual about chucking bladed weapons — and for events such as pre-wedding shindigs, birthday parties and date nights. Decor-wise, the new digs will be playing up the theme; think: leather banquettes, an antique mercury mirror, a huge antler chandelier and chalet-style fireplace. Oh, and a throne. Horns, shields, runes and helmets will all feature, plus ropes, furs and hides. And axes, naturally, with Alex Zabotto-Bentley and the AZB Creative team on interior-design duties. An on-site kitchen will be serving a menu of pizza and grazing platters, as well as slow-cooked meats and burgers — and banquets for pre-booked groups of eight or more. Also, since launching axes at targets can be thirsty work, the Maniax bar will be pouring a range of Viking-themed cocktails and craft brews to match. As with its siblings, the venue is designed to be enjoyed by axe-throwing junkies and total novices alike, manned by highly trained staff who'll happily coach you in the art of hurling weapons. Throwing is open to anyone over the age of 13. There are various sessions to choose from, depending on your skill level — ranging from the speedy one-hour Quick Chuck through to those aforementioned date-night packages featuring coaching for two. Annual memberships are also available. And once you've got a few throws under your belt, who knows? You might even be tempted to flex your newfound skills by joining the Maniax Axe-Throwing League. Find Maniax at 9–11 Jabez Street, Marrickville, from some time in April. For more information and bookings, head over to Maniax's website.
Ayam Goreng 99 has been an eastern suburbs mainstay since opening way back in 1998. Its 20-year career of serving authentic Indonesian eats to Kingsford locals has continuously centred around the fried chicken — which happens to be the English translation of ayam goreng. The marinated chook is served with a signature sambel terasi sauce, which combines spicy chilli and prawn paste. It's cooked in a wok for several hours to achieve a true depth of flavour that diners cannot get enough of. To accompany your fried chook, order plates of nasi goreng, fried egg noodles and stir-fried greens. Be sure to make tracks before December 16, as the restaurant will close down for one month over the holiday period. It will re-open on January 16, 2020. You'll find Ayam Goring 99 in our list of the best fried chicken in Sydney. Check out the full list here. Appears in: The Best Fried Chicken in Sydney for 2023
The DC Extended Universe is dead. With Aquaman and the Lost Kingdom, the comic book-to-screen franchise hardly swims out with a memorable farewell, hasn't washed up on a high and shouldn't have many tearful over its demise. More movies based on the company's superheroes are still on the way. They'll be badged the DC Universe instead, and start largely afresh; 2025's Superman: Legacy will be the first, with Pearl's David Corenswet as the eponymous figure, as directed by new DC Studios co-chairman and co-CEO James Gunn (The Suicide Squad). Aquaman and the Lost Kingdom ends up the 15-feature decade-long current regime about as expected, however: soggily, unable to make the most of its star, and stuck treading water between what it really wants to be and box-ticking saga formula. Led by Jason Momoa (Fast X) — not Adrian Grenier (Clickbait), as Entourage once put out into the world — the first Aquaman knew that it was goofy, playful fun. Its main man, plus filmmaker James Wan (Malignant), didn't splash around self-importance or sink into seriousness in giving DC Comics' aquatic hero his debut self-titled paddle across the silver screen (after Momoa played the same part in Batman v Superman: Dawn of Justice and Justice League). Rather, they made an underwater space opera that was as giddily irreverent as that sounded — and, while it ebbed and flowed between colouring by numbers and getting winningly silly, the latter usually won out. Alas, exuberance loses the same battle in Aquaman and the Lost Kingdom. In a film that sets sail upon a plodding plot and garish CGI, and can't make an octopus spy and Nicole Kidman (Faraway Downs) riding a robot shark entertaining, any sense of spirit is jettisoned overboard. Having spent its existence playing catch-up with the Marvel Cinematic Universe, the DCEU does exactly that for a final time here. It isn't subtle about it; see: calling Aquaman's imprisoned half-brother Orm (Patrick Wilson, Insidious: The Red Door) Loki and ripping off one of the most-famous throwaway MCU moments there is. As with 2023's fellow Ant-Man and the Wasp: Quantumania, there's also such a large debt owed to Star Wars that elements seem to be lifted wholesale from a galaxy far, far away (and from a competing company, although it was still terrible when Disney was plagiarising itself). Just try not to laugh at Jabba the Hutt as a sea creature, as voiced by Martin Short (Only Murders in the Building), introduced reclining in a familiar pose and, of course, surrounded by a school of amphibious ladies. Not intentionally by any means, it's Aquaman and the Lost Kingdom funniest moment. 2018's initial Aquaman used past intergalactic flicks as a diving-off point, too, including Jupiter Ascending, but with its own personality — no trace of which bobs up this time around. Wan helms again, switching to workman-like mode. While he's co-credited on the story with returning screenwriter David Leslie Johnson-McGoldrick (Orphan: First Kill), Momoa and Thomas Pa'a Sibbett (The Last Manhunt), there's little but being dragged out with the prevailing tide and tonal chaos on show. Worse: ideas from abandoned spinoff The Trench, which was first floated as a horror effort about a villainous Atlantean kingdom but later revealed to be a secret Black Manta (Yahya Abdul-Mateen II, Ambulance) movie, get clunkily flushed in. While this should be Saw, Insidious and The Conjuring alum Wan's wheelhouse, Aquaman and the Lost Kingdom feels like the narrative equivalent of pouring the dregs of whatever's in Arthur Curry's liquor cabinet into one tankard. Now king of Atlantis as well as a father to Arthur Jr — the water-controlling Mera has become his wife, too, but that doesn't mean that Amber Heard (The Stand) says more than 50 words — the half-human, half-Atlantean best-known as Aquaman has another tussle with pirate David Kane to face. Bumped up to chief baddie, Black Manta is aided by dark magic manifested in the black trident, as found by a marine biologist (Randall Park, Totally Killer) who's endeavouring to prove that Atlantis exists. Aquaman and the Lost Kingdom's evil threat is also climate change, as exacerbated by its nefarious enemy on his vengeance mission after the events of the first movie. With the human and undersea realms alike beginning to boil, only Aquaman teaming up with Orm will give the planet a chance to survive. Pairing Momoa and Wilson odd-couple comedy-style like they're Hobbs and Shaw would've been one of Aquaman and the Lost Kingdom's best moves if the material was up to it. Their escapade amid the foliage on a volcanic South Pacific island — where the film wants to be a tropical creature feature, and also a Journey to the Centre of the Earth- and Jumanji-esque jaunt — is certainly the most promising visually. But here as across the entire flick, relying upon Momoa's charm to do the heavy lifting appears to be the number-one approach. In some pictures with some stars, that can work. Rom-com Anyone But You manages it thanks to Sydney Sweeney (Reality) and Glen Powell (Top Gun: Maverick), for instance. In Aquaman, Momoa had a mischievous ball and was a delight to watch. What everyone involved in Aquaman and the Lost Kingdom hasn't factored in is that this version of Arthur has swapped underdog roguishness for the overblown kind. Momoa remains visibly enthusiastic as the wettest of the DCEU's world-saving cohort, but Aquaman's cockiness is laid on as thickly as a kelp forest. Although there's no doubting that the movie's star can handle the part, it's a less-engaging, more one-note turn than his last jump into this ocean, and sells him short. Momoa commits, though, with the kind of gusto that Aquaman and the Lost Kingdom lacks virtually everywhere else. What happens when a film that clearly wants to be as ridiculous as it can be, or as dark, clashes with staying within the genre's routine lane? This shipwreck, which ends the franchise it's in and the saga's busiest year — after Shazam! Fury of the Gods, The Flash and Blue Beetle — with one of its worst entries. At least it didn't have to worry about setting up sequels or connecting to other DCEU fare, aka a welcome lifeboat.
As it turns out, not even an electrical fire can keep Nomad down. Al and Rebecca Yazbek's acclaimed Surry Hills Mediterranean diner suffered extensive damage after a fire broke out in the restaurant's ceiling in early September, but the show's far from over. While the Foster Street restaurant site undergoes a hefty rebuild and some much-needed repair work, Nomad will keep chugging along, albeit in a slightly different format, when it pops up around the corner at 85 Commonwealth Street for a three-month residency. This new space was previously home to modern Thai institution Longrain and most recently the much-hyped Orana in Residence pop-up, so it's safe to say Nomad is joining some pretty good company. [caption id="attachment_738741" align="alignnone" width="1920"] Orana in Residence by Nikki To[/caption] Nomad Up The Road — as the pop-up is called — will take the form of a sophisticated 140 seater, decked out with much of the original restaurant's artwork and furniture. It'll have front-row seating along the open kitchen, as well as roomy, group-friendly tables, and a private dining area for 24. Chef Jacqui Challinor will continue to head things up in the kitchen, but without Nomad's famed woodfired oven you can expect a few changes to the food. On the menu, long-standing favourites like the kingfish ceviche, duck mortadella and that creamy cannellini bean hummus will join a slew of new inventions. And, who knows, maybe some of the new Commonwealth Street hits will win permanent menu residency once the original restaurant's back up and running again. Set to open its doors on Friday, November 1, Nomad Up The Road will be dishing up lunch and dinner from Monday to Saturday, as well as a new weekly edition of Saturday's ever-popular bottomless rosé sessions. Nomad's Foster Street space will open with a suite of upgrades early in 2020. Find Nomad Up The Road at 85 Commonwealth Street, Surry Hills, from November 1. The OG Foster Street restaurant is slated to reopen in early 2020.
Stay tuned. More info on its way.
When Michael Crichton put pen to paper and conjured up a modern-day dinosaur-filled amusement park, he couldn't have known exactly what he'd done. The author easily imagined the story making its way to the big screen, because the Jurassic Park novel started out as a screenplay. He could've also perceived that a whole film franchise could follow, and that folks would be quoting the movies for decades. And yet, we're guessing that he didn't predict the latest development: a recreation of the Jurassic World movies, which started with fourth flick in the series back in 2015, made completely out of Lego. Jurassic World by Brickman first popped up in Melbourne in 2021, and now Sydneysiders will be able to wander through it, too — and peer at more than 50 dinosaurs, props and scenes from the Jurassic World movies that have all been fashioned out of the popular plastic bricks in the process. That'll all be on display at the Australian Museum from Saturday, March 5–Sunday, May 29, as part of the exhibition's tour of the country. More than six million Lego blocks have been used in the exhibition, to create the four-metre-tall park gates, the lab where the dinosaurs are genetically engineered, those instantly recognisable jeeps, a petting zoo, a heap of creatures and more. Welcome to... your Lego Jurassic World fantasy, basically. Lego dinosaurs are obviously the main attraction and, yes, this event is going big. There'll be a life-sized brachiosaurus that weighs more than two tonnes, a huge tyrannosaurus rex, two life-sized velociraptors (Blue and Delta), and everything from a stegosaurus to a triceratops, too. Just for Sydney, there'll also be a new 400-kilogram baryonyx that spans 4.8-metres in length. Plus, you'll see some prehistoric creatures in the baby dinosaur enclosure, encounter more on the loose and learn how to track them over the exhibition's recreation of Isla Nublar (while using your imagination a whole heap, obviously). If it all sounds rather sizeable, that's because Jurassic World by Brickman is the largest Lego exhibition in Australia. And, Lego aficionados will also be able to get building while they're there, with 2.5 million bricks to play with. Obviously, this'll be a family-friendly affair, so expect to have plenty of small dinosaur fans for company.
The fact that we are already mid-way through November is a cold slap in the face — 2022 has simply flown by. The sole relief? Christmas is almost here, and the city is starting to come alive with celebrations. The Entertainment Quarter is joining the festive list with its Ultimate Christmas Market, a one-day-only event on Sunday, December 4. As a one-off market, there's no point in dilly-dallying about whether to attend — you'll miss out on all the food and festive goodies. Plus, imagine being delightfully smug when you tick everything off your list in the one day. With over 130 stalls — selling everything from wrapping paper, wreaths, decorations and trees, to puddings and cakes aplenty — you're well and truly sorted. [caption id="attachment_879004" align="aligncenter" width="1920"] Anna Kucera[/caption] There's a dedicated kid's precinct, too — so you can divide and conquer. Team one can keep them entertained with rides and activities (sand art, hair braiding, face painting, Mr Claus himself and more await), while team two can browse the aisles for a gift that'll make the early start on Christmas day worth it. The EQ Ultimate Christmas Market will hit the Entertainment Quarter from 10am to 4pm on Sunday, December 4. For more information, check out the website.
Sebastián Lelio's A Fantastic Woman has been unexpectedly popular with the pundits, which is great for two reasons. For starters, it's always encouraging when foreign language films are financially successful. But what's even better is that the film offers a sensitive, uplifting portrayal of a transgender protagonist. After taking home a deluge of awards, there's no doubt that A Fantastic Woman is a serious contender to win Best Foreign Language Film at this year's Academy Awards. Frankly, it's just a shame it wasn't nominated for Best Picture The story follows Marina Vidal, played by trans actress Daniela Vega. We meet her partner Orlando, played by Francisco Reyes, on the evening of her birthday, and get a glimpse into their tender, hopeful relationship before it all comes crumbling down. Orlando, who is a fair bit older than Marina, wakes up feeling sick – and although she rushes him to the hospital, it's all too late. The bulk of the film takes place in the aftermath of Orlando's death, as Marina is forced to deal with his family as they tear strips off her from all angles. It can't be overstated how wonderful it is to see transgender representation on the big screen (no offence Eddie Redmayne, but this is how it should be). Vega's performance as Marina feels authentic, in no small part because it is authentic. Every movement, every delivery is subtle, considered and real. To convey the character's mental state, Lelio oscillates between realism and magical realism, maintaining an elegant balance that ensures neither style feels heavy or overdone. And all the while, his leading lady is mesmerising in every scene. One of the most heartwarming elements of this film is the relationship between Marina and Orlando. It's sweet, romantic, sexy, like a healthy relationship should be. It's neither fraught nor kept secret – and while the depiction of it shouldn't feel remarkable, it absolutely does. A Fantastic Woman does great work capturing a spectrum of light and shade, love and grief, without relying on excessive violence or grim stereotypes that are so common in cinema about marginalised groups. That's not to say that this film doesn't contain disturbing scenes. Marina experiences more than her share of abuse and menacing microaggressions, enough to set your teeth on edge. And yet she's never portrayed as a helpless victim. Leilo's narrative realism and restraint, coupled with Vega's captivating performance, are proof that you don't need to use shock and awe tactics to have an impact. https://www.youtube.com/watch?v=PJHex4ZitgA
If you're someone who loves indulging in a few G&Ts on a summer evening but doesn't love waking up to dehydrated, hungover skin, we've got you covered. Beloved Aussie brands Four Pillars Gin and Go-To Skincare are bringing back their extremely limited-edition Go-To Gin — a spirit that sent fans of Go-To founder ZFB (that's Zoë Foster-Blake for the uninitiated) into a frenzy on its release last spring. When we say frenzy we mean it — the inaugural batch of My New Go-To Gin sold out in just five hours. This year you've got some time to gather yourself — the second release drops on Thursday, November 17. Ready for cocktail mixing and shaking, flavours in this coveted drop include native Aussie peach, lemon myrtle, pink peppercorns and ruby grapefruit. The familiar peachy pink Go-To label means you could probably add it to your bathroom counter's line-up and nobody would notice anything out of the ordinary. And if you sip a few too many the night before another event (hello, festive season) you're in luck: Every bottle comes with a Go-To 'Transformazing' sheet mask to soak your skin in much-needed moisture. Four Pillars co-founder and distiller Cam Mckenzie said in a statement he was aware gin and skin are an "unlikely duo". "But after a G&T or two (or three) with the Go-To team we realised there was a lot we had in common. We're both champions of using best-in-class ingredients, we're both sticklers for quality and, speaking personally, we both have a thing for Sunday night face masking." To celebrate the launch, the skincare brand is taking over the gin garden at the recently revamped Four Pillars Distillery in Healesville for a series of cocktail workshops and skincare tutorials on November 18–20. Melbourne readers (or fans willing to travel) can find out more about that here. If last year is anything to go by, we imagine this gin is going to sell out pretty quickly, so sign up to the waitlist here — you'll also find a festive cocktail recipe. If you miss out, or peach isn't really your gin infusion of choice, you've got options however you choose to imbibe. Four Pillars has brought back its annual cult-favourites bloody shiraz gin and Christmas gin for your festive cocktail needs, or you can opt for a ready-to-pour bottled gin martini. The 2022 Four Pillars Go-To Gin will go on sale online on Thursday, November 17. Head to the Four Pillars website to sign up to the waitlist and to register for the launch weekend at Four Pillars' Victorian distillery.
Some film festivals take audiences to corners of the globe they won't visit in the multiplex, shine a spotlight on different cinematic voices, and showcase the wealth of talent working beyond the English-speaking realm. That's not the British Film Festival's remit. Here, you'll find recognisable names and faces aplenty as the best new movies Old Blighty has to offer embark on a tour of the antipodes. Taking place between late October and early November, this year's lineup includes Andrew Garfield and Claire Foy in opening night film Breathe, which marks the directorial debut of The Lord of the Rings star Andy Serkis, as well as Nicole Kidman and Elle Fanning in the eagerly anticipated How to Talk to Girls at Parties. The former tells a true tale of a couple striving to overcome a death sentence from polio, while the latter is a queer sci-fi rock-punk comedy based on a Neil Gaiman short story and directed by Hedwig and the Angry Inch's John Cameron Mitchell. Yep, this program might speak the same language as Australians, but it's serving up a variety of stories. If you're going to put one flick to put on your must-see list, make it The Death of Stalin. It's the latest from The Thick of It and Veep creator Armando Iannucci, and features everyone from Steve Buscemi to Jeffrey Tambor to Michael Palin. Other highlights include Fanning again in Mary Shelley, a biopic about the writer behind Frankenstein that's helmed by Wadjda director Haifaa Al-Mansour, as well as England is Mine, with Dunkirk's Jack Lowden playing none other than Morrissey. Elsewhere, Saoirse Ronan stars in On Chesil Beach, her latest Ian McEwan adaptation after coming to fame in Atonement, while true story 6 Days recreates the 1980 storming of the Iranian embassy in London with Mark Strong, Jamie Bell and Abbie Cornish. BFF also boasts docos about Manolo Blahnik and Eric Clapton, a biopic about AA Milne and the genesis of Winnie the Pooh, and one of the last films to feature the late John Hurt in That Good Night. Looking back as well as forward, a selection of Agatha Christie adaptations round out the lineup. Timed to coincide with the new version of Murder on the Orient Express, the program includes the 1974 take on the same tale, plus three other classics. The 2017 British Film Festival will screen at Sydney's Palace Norton Street and Palace Verona from October 24 to November 15, Melbourne's Palace Cinema Como, Palace Balwyn, Palace Brighton Bay and The Astor Theatre from October 26 to November 15, and Brisbane's Palace Barracks and Palace Centro from October 25 to November 15. For more information and to buy tickets, visit the festival website.
Spare a thought for the screenwriters of origin stories. Sure, at first glance, it might seem like they have it made: an enormous built-in audience, a clearly defined universe steeped in history, and pre-existing characters so beloved across multiple generations that all their quirks, mannerisms and catch-phrases are already fully fleshed-out. All the writers have to do is join up a few narrative dots and cue that memorable theme song. But what about tension? How do you place your heroes in deadly peril when the audience already knows they survive? How do you make a character's emotional growth even remotely interesting when the audience already knows who they become? And what possible story can you tell when the audience already knows how it ends? The solution is recalibration, shifting the audience experience from one of wonder and surprise to anticipation. Much like a movie based on real events, origin films focus not on what, but on how, why and when. Back in 1995 director Ron Howard masterfully applied that technique to create the tense final moments of Apollo 13. Now, with Solo: A Star Wars Story, he again shows how waiting for something to happen can be just as exhilarating as wondering if it will happen at all. This is a movie of firsts: the first time Han acquires his surname, the first time he sets foot on the Millennium Falcon, and the first time he encounters his lifelong friend and ally Chewbacca. It's entirely accessible for newcomers, and an even bigger treat for fans. Solo: A Star Wars Story is the second of the Star Wars Spin-offs, and like Rogue One takes place somewhere in between the timelines of the larger, better known chapters (in this case, after Revenge of the Sith but before A New Hope). It is an age of lawlessness, the opening tells us, and nowhere is that more prevalent than the distant planet of Corellia, where the long arm of the Empire is less feared than the gangs that lurk in its shadows. It's here that we meet the young Han (Alden Ehrenreich), a wannabe pilot forced to boost speeders and run errands for a slug-like criminal matriarch and her cronies. Han and his girlfriend Qi'ra (Emilia Clarke) have dreams of escaping to explore the universe. But when their plans fall apart, Han reluctantly joins the Empire to secure his way off planet, vowing to return as soon as humanly possible to liberate his great love. Fast forward a few years, though, and Han finds himself stumbling from one calamity to the next, convinced like all good scoundrels and conmen that his next score will be the big one – the one to set everything right. The beloved nature of the Han Solo character is largely down to actor Harrison Ford and screenwriter Lawrence Kasdan – the latter of whom wrote both The Empire Strikes Back and Return of the Jedi. The master scribe returns for Solo, delivering a story that's less galactic opera and more small-scale heist movie in the vein of an old school Western. Solo's swagger, the gun on his hip, and even the iconic outfit all fit perfectly with that space cowboy aesthetic, while Ehrenreich makes the wise call to embody the character rather than impersonate. He doesn't begin as Solo, but instead neatly and incrementally becomes him over the course of two action-packed hours. On the other end of the scale, Donald Glover's portrayal of the iconic charmer Lando Calrissian scarcely evolves from his first line to his last, yet is so note perfect that it scarcely matters. Clarke's contribution is equally nuanced, especially in the film's latter stages. The roster is rounded out by fun turns courtesy of Thandie Newton, Woody Harrelson and Paul Bettany as the assorted rogues Han encounters on his travels. Focussed, fun and faithful to the lore, Solo: A Star Wars Story comfortably shrugs off the production woes that seemed destined to leave it in ruins and instead delivers us a fine and worthy expansion of the wider Star Wars universe. Oh, and if you had any lingering doubts, let it be finally laid to rest: Han shot first. https://www.youtube.com/watch?v=jPEYpryMp2s
In King Richard, Will Smith does more acting than expected with his back to the on-screen action. He does more acting in general — while the Ali and Concussion star can be a transformative performer, here he feels like he's overtly playing a part rather than disappearing into a role — but the way his eponymous figure handles his daughters' matches instantly stands out. Richard Williams is a tennis parent who despises the usual tennis parent histrionics. At the time the film is set, in the early 90s, he has also coached Venus (Saniyya Sidney, Fences) and Serena (Demi Singleton, Godfather of Harlem) since they were four years old, and penned a 78-page plan mapping out their futures before they were born. He's dedicated his life to their success; however, he's so restless when they're volleying and backhanding that he can't bring himself to watch. These scenes in King Richard are among Smith's best. He's anxious yet determined, and lives the feeling like he's breathing it, in some of the movie's least blatantly showy and most quietly complex scenes as well. The Williams family patriarch has wisdom for all occasions, forged from a tough childhood in America's south, plus the hard work and hustle of turning Venus and Serena into budding champions, so he'd likely have something to say about the insights gleaned here: that you can tell oh-so-much about a person when they're under pressure but nobody's watching. If he was actively imparting this lesson to his daughters — five of them, not just the two that now have 30 Grand Slam singles titles between them — and they didn't glean it, he'd make them watch again. When they see Cinderella in the film, that's exactly what happens. But his courtside demeanour is teachable anyway, recognising how all the preparation and effort in the world will still see you tested over and over. King Richard mostly lobs around smaller moments, though — still life-defining for the aforementioned trio, matriarch Oracene (Aunjanue Ellis, Lovecraft Country) and the rest of the Williams brood, but before Venus and Serena became women's tennis superstars. It unpacks the effort put in to even get them a game, set or match and be taken seriously in a sport that's whiter than the lines marking out its courts, and the chances, sacrifices and wins of their formative years. From cracked Compton courts and homemade hype videos to seizing every hard-earned opportunity: that's the tale that King Richard tells. But, despite making a clear effort to pose this as a family portrait rather than a dad biopic, it still shares an approach with Joe Bell, director Reinaldo Marcus Green's prior film. It bears one man's name, celebrates him first and makes him the centre of someone else's exceptional story. In screenwriter Zach Baylin's debut script, Richard's aim is simple: get Venus and Serena to racquet-swinging glory by any means. His DIY tapes are bait for a professional coach, but attracting one is easier said than done for a working-class Black family without country club connections facing America's inbuilt racism and class clashes, and tennis' snobbery — even if Richard knows his daughters will reach their goals. A turning point comes when, after strolling into a practice match between Pete Sampras and John McEnroe, Richard convinces renowned coach Paul Cohen (Tony Goldwyn, Scandal) to watch his kids play and take on Venus for free. While she's swiftly impressing on the junior circuit, her dad becomes concerned about her psychological and emotional wellbeing, so he next works his persuasive act on Florida-based coach Rick Macci (Jon Bernthal, The Many Saints of Newark) — with a strict no-competition rule. One of the keys to King Richard, as witnessed in its namesake's decisions about his daughters that he unyieldingly makes alone, also proves an ace when he's looking away courtside. This is a movie about how Richard put Venus and Serena on their path to becoming two of the greatest sports women ever, but it's also about imperfections, struggles and contradictions in the pursuit of excellence. That said, it's an authorised account with the tennis legends and their sister Isha Price as executive producers, so it only dives as deep as that whole situation allows. When it focuses on difficult instances where the overbearing and stubborn Richard blazes ahead but Oracene, Venus and Serena call him out and demand their say, it's a better film, although that happens less often than it should. There's texture, weight and complication here, but also a crowd-pleasing smoothing of rough edges that undercuts the feature's power. The Williams sisters deserve multiple movies about their extraordinary achievements, obviously. Their careers stress that inherently. The standout scenes they're given here — including Serena's unhappiness when put second to her sister; today, she's the one that's considered the greatest of all time — also dynamically make the case for more of their tale to reach cinemas. While always in Smith's shadow, both Sidney and Singleton are phenomenal, but the film has been designed to be the former's show. With a hunched posture and pronounced Louisiana accent, Smith is an inescapable force surrounded by far more naturalistic portrayals, including from the terrific and grounded Ellis; however, he grows into a rhythm that matches the film's message. He calls upon the charm that's been a part of his game since his Fresh Prince days, too, and pushes because Richard had to to succeed "in the champion-raising business," as the character describes it. For all the sunny hues splashed around by cinematographer Robert Elswit (a veteran of Paul Thomas Anderson's Boogie Nights, Magnolia, Inherent Vice and more), King Richard doesn't opt for gloss with the clashes working against the Williams' dream. Although Venus's professional debut in 1994 at the age of 14 and her pivotal match against then-world number two Arantxa Sánchez Vicario provides the picture's climax, it's sparing with its tennis bouts, but the battles of race and class in Venus and Serena's way are in the draw from the get-go — discussed, and also made so visible that no line calls are needed. It took a flawed yet dogged king to navigate such relentless serves of engrained prejudice and disadvantage and ensure that the world received two queens, the film posits, and does so convincingly. King Richard is still an easy win, though, rather than an all-timer.
Saporium, the urban marketplace connected to Rosebery's Cannery food precinct, is expanding yet again. This time it's with a weekly market day, which, like the precinct itself, celebrates all things organic and quality produce. Each Saturday, some of Sydney's best market stalls will join forces, including fan-favourite venders from Mr Bao Buns and Brooklyn Boy Bagels to Wild Kombucha and Little Creek Cheese. The Saporium and Cannery tenants will of course also represent, with artisan butchers Kingsmore Meats manning the barbecue, while pizza connoisseurs Da Mario toss Neapolitan pizza from their new food truck — a Naples imported shipping container with three-tonne wood burning oven to boot. Other Saporium tenants will offer up tastings and one-off workshops, which we suspect will include special market offerings from their newest addition, The Red Spoon Co. Add live music into the mix and you've got your new Saturday go-to. The Saporium Market Day will be held every Saturday from 10am – 3pm, adjacent to The Cannery at 61 Mentmore Avenue Rosebery.
On the lookout for a dope new denim jacket? Or do you want to be rid of that weird-looking lamp taking up space in the living room? Then, by golly, you're in luck. The Garage Sale Trail works with local council partners Australia-wide to get as many trash-and-treasure troves happening on the same day as possible. More than 15,000 garages are expected to open their doors to bargain hunters, selling two million items, when the event returns for its ninth time across the weekend of October 20 and 21. Aside from the retro goodies up for grabs, the Trail is all about sustainability. Instead of ending up in landfill, unwanted clutter becomes a fantastic find. So get that tight pair of sunnies for peanuts and help the environment at the same time. The Garage Sale Trail began humbly in Bondi in 2010 and is growing bigger every year. There'll be a right slew of sales happening all around Sydney, so keep your eyes on the event website — or register online to make a quick buck from your old junk and hang out with the friendly folks in your hood.
"The best way to spread Christmas cheer is singing loud for all to hear," Buddy (Will Ferrell, The Boys) tells Jovie (Zooey Deschanel, Physical) in end-of-year staple Elf. The musical version of the hit festive flick takes that idea to heart. Debuting on Broadway in 2010, it brings the beloved movie to the stage with a swag of merry songs. Fourteen years later — and 21 years since cinemas first discovered Elf's seasonal fun — Elf: The Musical is finally making its Australian premiere. Sydney Opera House's Concert Hall is standing in for both the North Pole and New York City across Thursday, December 19–Sunday, December 29, 2024, as Buddy goes on a journey of self-discovery. If you've seen the film, as almost everyone has, you'll know the storyline already; however, unless you've caught Elf: The Musical overseas, including a West End season in 2015–16, you haven't seen it like this before. Buddy isn't an elf, but he was raised by them — and he doesn't realise that he isn't like Santa's other helpers until he grows up. Cue his trip to the Big Apple to discover who he is, and also who he wants to be, as first told in a movie directed by actor-turned-filmmaker Jon Favreau before he helmed Iron Man, The Jungle Book and the photorealistic version of The Lion King. The stage adaptation's Aussie debut comes courtesy of Sydney's most-famous venue and John Frost for Crossroads Live, with the pair serving up the ideal way to get jolly in the Harbour City this festive season (as well as a gift of an excuse to take a festive-season trip to the New South Wales capital if you reside elsewhere across Australia). Elf: The Musical boasts a book by Tony Award-winners Thomas Meehan (who also helped bring The Producers, Hairspray, Cry-Baby and Young Frankenstein from picture palaces to theatres) and Bob Martin (The Drowsy Chaperone), plus songs by Tony Award-nominees Matthew Sklar and Chad Beguelin (more film-to-stage veterans courtesy of The Wedding Singer). Starring Gareth Isaac (Grease the Musical) as Buddy, Simon Burke (Wicked) as Walter Hobbs, Brianna Bishop (Grease the Musical) as Jovie and Lara Mulcahy (MAMMA MIA!) as Santa, the Australian run is being staged as a concert production, in a presentation designed for Sydney Opera House's Concert Hall. Images: Daniel Boud. Updated Monday, December 16, 2024.
If there's ever a month in Sydney with no shortage of art, it's March. This is the month that's called Art Month. With that mind, these five wall-splashes, colour-dashes, veiled helmets, time capsules and ghost ships are just the tip of the iceberg.
Now in its fourth year, Sydney 's annual French Christmas market is a celebration of Gallic culture, food and artistry, offering a diverse blend of local and imported goods. This year's event will feature charming wooden chalets filled with artisan Christmas gifts, pop-up French wine bars — including a champagne and oyster bar — ooey-gooey raclette stations and twinkling festive lights. Best of all, entry is completely free. Taking over Haymarket's Belmore Park between December 13–22, visitors can enjoy freshly baked croissants, macarons and crepes while exploring stalls featuring French-themed homewares, clothing, and accessories. In addition to the food and shopping, Jolly Market offers a festive, family-friendly atmosphere with live music and cultural performances, making it a fun outing for all ages. Whether you're looking to indulge in French culinary delights or find a special gift, this yuletide fair provides a taste of France in the heart of Sydney.
North London’s latest incarnation of alternative rock and roll is about to roll into town, and we’re certainly happy to have them. They've just released their debut album, My Love Is Cool, in June this year, with producer Mike Crossey (Arctic Monkeys, Foals, Black Keys) at the grungy helm. Haven't heard 'em yet? Single ‘Moaning Lisa Smiles’ is particularly dark and seductive, and ‘Giant Peach’ has us positively hooked on Ellie Rowsell’s vocals. We have a feeling that out of all the newcomers coming to Splendour this year, Wolf Alice are going to be one of those gigs you’ll kick yourself in years to come for missing out. So don’t.
If the team behind the Insidious franchise could have their time again, we're betting they'd make a significant change. You don't need supernatural abilities to pick what they'd fix, with their decision to kill off Lin Shaye's parapsychologist Elise Rainier in the first movie something they clearly regret. In the second film, they brought her back via the spirit world, while the series' third and fourth instalments have gone down the prequel route. It's easy to understand why — as the plucky otherworldly expert tasked with helping ordinary folks battle literal demons, Shaye is the best thing the horror saga has going for it by far. Indeed, thanks to the veteran actress, the Insidious flicks deserve a little more credit than they generally get. After all, how many franchises can say they have a 74-year-old woman as their star? A genre veteran with everything from A Nightmare on Elm Street to Critters to the Ouija movies to her name, Shaye remains as committed to her role as Elise as ever, including this time around. That said, pushing a septuagenarian front and centre can't make up for the series' largely by-the-numbers construction, which grows increasingly apparent with each new chapter. It would take serious mystical abilities to breathe life into the formulaic effort that is Insidious: The Last Key, for example. Directed by Shaye's 2001 Maniacs co-star Adam Robitel, this derivative outing keeps its protagonist around by taking a tried-and-tested path: an origin story. Anchored in Elise's childhood, the movie could easily be subtitled "this time, it's personal". As an introductory segment explains, she was once a girl (Ava Kolker) with special abilities, living near a prison, with a stern executioner father (Josh Stewart) who didn't approve. In the modern-day storyline, Elise is called back to her former home by its current resident (Kirk Acevedo), who's having some paranormal troubles of his own. Set in New Mexico's Five Keys and featuring a ghoul by the name of KeyFace, Insidious: The Last Key is anything but subtle. The paranormal villain also has keys for fingers, and doors and locks are prominent throughout the film. Although he created the series and has penned every instalment to date, Australian actor and screenwriter Leigh Whannell appears to be going through the motions with the flimsy narrative, even when he tries to step into more thematically interesting territory. Part of the movie focuses on abuse and the cycles of violence it can create, but it's treated with the same clunkiness as the supposedly-comic romantic subplot that sees sidekick characters, played by Whannell and Angus Sampson, hitting on a couple of much younger women. Of course, depth isn't something the franchise has ever counted among its strengths. Nor, for that matter, is comedy. Other than Shaye's presence, it has always fared best as a genre exercise. When The Conjuring's James Wan was at the helm of the first two films, what the series lacked in smarts and story, it almost made up for with its well-executed bumps, jumps, shadowy images and unsettling atmosphere. Nodding affectionately to (and borrowing liberally from) iconic horror flicks has always been part of the package too, but Wan's handling of demonic spirits and haunted houses still struck a stylistic chord. Sadly, as this trying, generic effort demonstrates, Robitel doesn't have the same talents with aesthetics or with scares. https://www.youtube.com/watch?v=qV7tKm6JCCU
If Pitch Perfect 2 taught us anything, it's that bigger isn't always better. The so-so 2015 sequel didn't exactly make the original look like a one-hit wonder, but in trying to repeat the same beats (only louder), it couldn't find quite the same catchy refrain. Still, it's a toe-tapping triumph compared to the third instalment in the a cappella-focused franchise. Like mid 2000s-era Britney Spears, whose 'Toxic' the film trots out more than once, Pitch Perfect 3 is desperately trying to recapture some old magic with very little success. Britney's track is actually the best thing about the movie, which is why it keeps popping up. As the Barden Bellas sing, dance and channel their inner pop star, they're doing what they love — and it shows. Sadly, director Trish Sie (Step Up 5), returning screenwriter Kay Cannon and franchise newbie/co-writer Mike White (Brad's Status) insist on overcomplicating matters again and again. And so it is that our heroes find themselves belting out the tune on a boat that's suddenly besieged with action and explosions. If you're thinking that the franchise has completely run out of ideas, then you're right. The singing silliness starts when record producer Beca (Anna Kendrick), pals Chloe (Brittany Snow) and Aubrey (Anna Camp), outspoken Australian Fat Amy (Rebel Wilson) and the rest of the gang wrangle their way into a gig entertaining American troops — which then turns out to be a competition to support DJ Khaled at the finale of the tour. Unhappy in their adult lives now that college is but a distant memory, the experience sees the group back in their aca-element, hopping across Europe and riffing off against bands with actual instruments. Commentators John (John Michael Higgins) and Gail (Elizabeth Banks) tag along to make a documentary, while Fat Amy also has to deal with her estranged Aussie father (John Lithgow). While Britney gives Pitch Perfect 3 its high point, it heads in the opposite direction every time Lithgow opens his mouth. Like Quentin Tarantino in Django Unchained, it's another case of an American actor completely missing the mark when trying out an Australian accent — not that he seems to be trying that hard. The fact that it'll stick in your mind says just as much about the film around it, however, with the movie brightly shot and zippily paced but unable to rise above a bland screenplay. It doesn't help that the main cast seem barely interested, as they trot through the expected motions, jokes and character tics. At least they give the various jukebox-like musical numbers the requisite energy. Everything else in the film feels like exactly what it is: filler. The end product is a movie that, much like its characters, is happy just to relive past glories. Ironically, the film's message — about moving on and letting go of the past — is one that it seems incapable of taking on board. As a result, while Pitch Perfect 3 is packaged as the Bellas' last hurrah, no one will be surprised if we end up with a fourth instalment. If it forces the group onto a reality TV singing show — and, really, where else can they go? — then it really will be scraping the bottom of the barrel. https://www.youtube.com/watch?v=0rv_aNPMRv0
