The shock of unkempt hair, the Irish brogue, the misanthropic attitude: there's no mistaking Dylan Moran for anyone else. It was true in beloved British sitcom Black Books, when his on-screen alter ego abhorred mornings, ate coasters and claimed that his oven could cook anything (even belts). And it's definitely true of the comedian's acerbically hilarious live shows. Moran is no stranger to Australia, and last headed our way in 2019. Whether you've guffawed at his bleak wit live or you've always wanted to, you'll be able to see him on Saturday, May 8, too — thanks to a streamed version of his Brisbane show from his last visit. Expect the kind of deadpan gags, wine-soaked insights and blisteringly sharp one-liners that've kept him in the spotlight since 1996, when he became the youngest-ever winner of the Edinburgh Fringe's Perrier Award. Dr Cosmos once again features Moran's grumpily lyrical musings on love, politics, misery and the everyday absurdities of life, which you can watch for $18 from your couch. https://www.youtube.com/watch?v=FMfRpM5PJRw
Another Paul Schrader film, another lonely man thrust under a magnifying glass as he wrestles with the world, his place in it and his sense of morality. The acclaimed filmmaker has filled the screen with such characters and stories for more than half a century — intense tales of men who would not take it anymore — as evidenced in his screenplays for Martin Scorsese's brilliant Taxi Driver and Bringing Out the Dead, and also in his own directorial efforts such as Light Sleeper and First Reformed. You can't accuse Schrader of always making the same movie, however, as much as his work repeatedly bets on the same ideas. Instead, his films feel like cards from the same deck. Each time he deals one out, it becomes part of its own hand, as gambling drama The Card Counter demonstrates with potency, smarts and a gripping search for salvation. The film's title refers to William 'Tell' Tillich (Oscar Isaac, Dune), who didn't ever plan to spend his days in casinos and his nights in motels. But during an eight-year stint in military prison, he taught himself a new skill that he's been capitalising upon after his release. His gambit: winning modest scores from small-scale casinos. If he doesn't take the house, the house won't discipline his card-counting prowess. The money keeps him moving, but each gambling den could be the same for all that Tell cares. His motel-room routine, which involves removing all artwork from the walls, making the bed with his own linen, and covering every other surface and item with carefully tied cloth — making each space as identical as it can be, and resemble incarceration — lingers between fierce self-discipline and a stifled cry for help. Assistance arrives in two forms, not that Tell is looking or particularly receptive to having other people in his life. The regimented status quo he's carved out so meticulously is first punctured by fellow gambler-turned-agent La Linda (Tiffany Haddish, Like a Boss), who backs other punters and believes they should team up to profit big on the poker circuit. That'd bring Tell more visibility than he'd like, but it'd also increase his pay days, which would come in handy for his second new acquaintance. In Atlantic City, he meets the college-aged Cirk (Tye Sheridan, Voyagers), who has proposes a quest for revenge. Tell shares a grim past with Cirk's dad, and the twentysomething wants to punish the retired major-turned-security expert (William Dafoe, The Lighthouse) that he holds responsible — which Tell is eager to discourage. Isaac doesn't ask his reflection if it's looking in his direction. And, given that The Card Counter joins a filmography overflowing with exceptional performances — including Scenes From a Marriage already this year — it won't define his career as Taxi Driver did for a young Robert De Niro. Still, it's the highest compliment to mention the two in the same breath. At every moment, this blistering film is anchored by Isaac's phenomenal portrayal, which is quiet, slippery and weighty all at once. As conveyed with a calculating glare that's as slick as his brushed-back hair, here is a man who dons a calm facade to mask the storm brewing inside, revels in routine to avoid facing change, and anaesthetises his pain and past deeds with the repetition he's made his daily existence. Here is a man desperate to paper over his inner rot with time spent amid meaningless gloss, preferring to feel empty than to feel anything else, until he has an innocent to try to save and a clear-cut way to rally against the soulless world. In Isaac's case, here is a man surrounded by other impressive actors, too. Haddish is in career-best form, regardless of her comedy successes, and cleverly builds that confident, sharp-talking experience into La Linda's persuasive attitude. Sheridan is tasked with the most blatantly written character of the film's core trio, although that doesn't make Cirk any less riveting or pivotal. Across six decades now, Schrader has probed how America holds up, or doesn't, by using his protagonists as one-man case studies; however, due to Sheridan's single-minded, gun-ho and determined part, The Card Counter sports two examples of how the nation's decay is currently manifesting and spreading — and across two generations as well. Perhaps its plainest to see Schrader's commitment to the same themes — masculinity that's expected to brood stoically, a society that values ease over substance, a world with an ends-justify-the-means mentality, and the trauma, guilt and pursuit of redemption that all three inspire — as a filmmaker taking snapshots of the passing years. The notions he's so profoundly fascinated with are timeless, sadly, so each of his features steeps them within the US as it then exists. In The Card Counter, that also involves scrutinising American military might, the country's self-proclaimed status as the globe's leader and the horrific atrocities undertaken in its name. Indeed, the movie's most potent sequences take Tell back to his time as a guard in the Abu Ghraib prison complex following the 2003 invasion of Iraq. History has established why that's such a haunting choice, and why so much torment lingers deep in Isaac's eyes. When Schrader's now three-time cinematographer Alexander Dynan (Dog Eat Dog, First Reformed) isn't shooting those flashbacks like several layers of feverish nightmares — captured with an ultra-wide lens, warped like a carnival mirror and staged like a relentless onslaught, they're a masterclass in hellishness — The Card Counter takes ample time to peer patiently and intently. It surveys its leading man, eating up his hypnotic fastidiousness. It stalks through the faux casino glitz and lets it tarnish its own veneer, as one of the best gambling films ever made, 1974's California Split, also did. It sees not just lonely men, but sparse spaces, hollow dreams and vacuous ideals. In one short slip into a softer mode, it lets Isaac and Haddish's chemistry — and the sensuous joy of vibrant colours and lights — pose an alternative, too. Going all in on the power and passion of Schrader's lifelong cinematic obsessions and convictions, The Card Counter is another of the writer/director's aces — hands down.
The words bubble and Bondi partnered up years ago and now enjoy word association royalty status, a factor that the local haunt (and aptly named) Neighbourhood is taking full advantage of with its lounge room feel. A few blocks back from the beach and almost worth its own Bondi Hipsters meme, this place was packed last Sunday. Ah, well it was — until you hit the back. Think cafe-esque frontage, a cocktail bar that looks decked out with pieces from a shipwreck, and that garage your dad turned into a den. As much I honestly enjoyed being away from the hordes in the front section, you do feel a little forgotten by the waitstaff (I overheard one customer ask the owner if there was table service), and the sparse decor reads: we spent the budget on the front. The menu is a marriage of Sydney's two favourites fusions — Americano and Asian — so it kind of ticks all boxes. Or it comes off as confused. It's a little hard to orientate a meal with words like ponzu and tempeh flying around alongside mac and cheese ($12), a whole load of jaffles and no staff guidance. Maybe we aren't ready for fusion fusion dinners? So we opted for a few snacks and saved all our attention for the cocktail list. Scofflaw ($17) has a way of catching my eye during a menu skim, so the barman poured some Bulleit Rye, bianco vermouth, lemon juice and real pomegranate grenadine into his tins and we were away. Generally this list is geared towards simple twists — often involving something sweet and American— on lesser-known classics, such as the cutely named Poste-Haste ($17): a riff on the Airmail using smoked honey or an old-fashioned pimped out with buttered popcorn and salted caramel ($17). The smokey wallop of spice in the Neighbourhood Bloody Mary impressed across the board, but next time I will definitely be taking the suggested mescal option (as a substitute to vodka) just to stand up to that flavour hit. Next up: snacks. Okay, I will admit it: The BBQ wings were delicious, with a sticky sauce of beef stock, Coca-Cola, maple syrup and secret herb selection — this is the kind of dude food I can get behind. It's a shame the Big Momma's Southern Style Coleslaw ($8) didn't come out at the same time, though. We ended up with a generous serving of slaw and not a whole lot to do with it. Alternatively, the Eddie's BBQ Margarita ($17) practically drunk itself; shaken with fresh lime agave syrup and grilled pineapple and well balanced with a habanero salt rim over ice. But if you're not a fan of hot, you should probably heed their disclaimer: "That means spicy!" We wrapped up the night with an old rye classic, the Rattlesnake ($18) and kicked off to sample more of Bondi. This is definitely not a bad spot. Sure, the service is casual and almost naive, but that ultimately makes sense within the space and there is little doubt that Neighbourhood will be absolutely pumping this summer. So next time your throat is dry and sunstroke has you seeking shelter, grab a Neighbourhood Bloody Mary on Curlewis Street.
When it was revealed that Watchmen was returning — with the comic book series getting the HBO treatment a decade after the movie of the same name — it felt like obvious news. Caped crusaders are big business on screens both small and silver, and every old superhero becomes new again at some point. But no one could've predicted just how this nine-part series would turn out, how timely it'd feel and how it'd take on an identity of its own. Set 34 years after the events of Alan Moore, Dave Gibbons and John Higgins' graphic novels, there's a reason that it has been scooping up all the awards for the past year. This version of Watchmen is still set in the same alternate reality; however, under showrunner Damon Lindelof (Lost, The Leftovers), it turns its focus to racially motivated violence and vigilantism. It's brought to the screen with a top-notch cast (including Regina King, Jeremy Irons, Don Johnson, Hong Chau and Yahya Abdul-Mateen II) and a bucket load of murky complexity.
An antihero in a spiral of self-destruction? Here we go again. In The Gambler, Jim Bennett (Mark Wahlberg) descends into a dangerous gambling addiction from privileged heights, risking more than most people dream of. He comes from a rich family and has a plum associate professor job teaching literature. He also has two big debts to the type of people you don’t want to owe money to, is thinking about taking on a third and walks around scowling beneath his sunglasses. A good guy with good vibrations Jim is not, as his put-upon mother (Jessica Lange) would confirm. He isn’t anything special either, as he admits in rants on genius to his students — including star pupil Amy (Brie Larson) — about his failed novelist career. His story has been seen before, quite literally given that the film remakes the 1974 movie of the same name. And yet, there’s something fascinating about Jim, The Gambler, the drifting and grifting, and the overall mood of just not giving a damn. Perhaps it is seeing Wahlberg as a different type of character, relying on looks and glances rather than muscle and weapons. He’s more than a step away from the well-intentioned heroes he usually plays. He is also paired well with The Wire’s Michael Kenneth Williams and John Goodman, both standouts as two of the formidable loan sharks trying to collect their cash. It isn’t a coincidence that Marky Mark does his best work with conflicted protagonists caught in dubious situations; think Boogie Nights and the more recent Pain & Gain. He may not show the depths of compulsion others have managed, but he convinces as someone given every advantage and opportunity to make the right choice, yet constantly, selfishly and damagingly, opting otherwise. Also effective is Rupert Wyatt’s direction, a clear change of pace from making Rise of the Planet of the Apes. The script, by The Departed’s William Monahan, relies on the gimmick of time, giving Jim seven days to settle up or get killed, but Wyatt’s ‘70s-influenced look and feel — favouring patient pacing, wide spaces and lingering moments — helps patch over a story that’s often more than a bit too convenient. The Gambler isn’t without its troubles, almost unforgivingly furnishing Larson and Lange with little to do, their talents wasted on their slight roles. The film also hits the audience over the head with its blunt themes and a few silly twists, not to mention heavy-handed music cues. Pulp’s Common People as Larson’s supposedly normal Amy walks along campus? A choral rendition of Radiohead’s Creep as Wahlberg’s Jim ponders his actions? We get it. There’s a reason that antihero stories just keep on coming, feeding viewer interest in complicated folks in tricky situations. The Gambler may not sell everything about its scenario, but it embraces its grating character and its familiar circumstances with style and assurance. Like Jim, the film goes all in, never playing it safe or hedging its bets. There are worse things to take a punt on.
Tonight, tonight, there's only Steven Spielberg's lavish and dynamic version of West Side Story tonight — not to detract from or forget the 1961 movie of the same name. Six decades ago, an all-singing, all-dancing, New York City-set, gang war-focused spin on Romeo and Juliet leapt from stage to screen, becoming one of cinema's all-time classic musicals; however, remaking that hit is a task that Spielberg dazzlingly proves up to. It's his first sashay into the genre, despite making his initial amateur feature just three years after the original West Side Story debuted. It's also his first film since 2018's obnoxiously awful Ready Player One, which doubled as a how-to guide to crafting one of the worst, flimsiest and most bloated pieces of soulless pop-culture worship possible. But with this swooning, socially aware story of star-crossed lovers, Spielberg pirouettes back from his atrocious last flick by embracing something he clearly adores, and being unafraid to give it rhythmic swirls and thematic twirls. Shakespeare's own tale of tempestuous romance still looms large over West Side Story, as it always has — in fair NYC and its rubble-strewn titular neighbourhood where it lays its 1950s-era scene. The Jets and the Sharks aren't quite two households both alike in dignity, though. Led by the swaggering and dogged Riff (Mike Faist, a Tony-nominee for the Broadway production of Dear Evan Hansen), the Jets are young, scrappy, angry and full of resentment for anyone they fear is encroaching on their terrain (anyone who isn't white especially). Meanwhile, with boxer Bernardo (David Alvarez, a Tony-winner for Billy Elliot) at the helm, the Sharks have tried to establish new lives outside of their native Puerto Rico through study, jobs and their own businesses. Both gangs refuse to coexist peacefully in the only part of New York where either feels at home — even with the threat of gentrification looming large in every torn-down building, signs for shiny new amenities such as Lincoln Centre popping up around the place and, when either local cops Officer Krupke (Brian d'Arcy James, Hawkeye) or Lieutenant Schrank (Corey Stoll, The Many Saints of Newark) interrupt their feuding, after they're overtly warned as well. But it's a night at a dance, and the love-at-first-sight connection that blooms between Riff's best friend Tony (Ansel Elgort, The Goldfinch) and Bernardo's younger sister María (feature debutant Rachel Zegler), that sparks a showdown. This rumble will decide westside supremacy once and for all, the two sides agree. The OG West Side Story was many things: gifted with a glorious cast, including Rita Moreno in her Academy Award-winning role as Bernardo's girlfriend Anita, plus future Twin Peaks co-stars Russ Tamblyn and Richard Beymer as Riff and Tony; unashamedly showy, like it had just snapped its fingers and flung itself off the stage; and punchy with its editing, embracing the move from the boards to the frame. It still often resembled a filmed musical rather than a film more than it should've, however. Spielberg's reimagining, which boasts a script by his Munich and Lincoln scribe Tony Kushner, tweaks plenty while also always remaining West Side Story — and, via his regular cinematographer Janusz Kaminski (The Post) and a whirl of leaping and plunging camerawork, it looks as exuberant as the vibrant choreography that the New York City Ballet's Justin Peck splashes across the screen, nodding to Jerome Robbins' work for the original movie lovingly but never slavishly. From the famous first whistle that's always opened the tale, West Side Story feels like it's dancing through the narrative instead of merely telling it. The savvy realisation that gang struts and brawls suit balletic movements — a notion from when the idea first hit the stage — pairs marvellously with the peppier visuals, too. Spielberg's fluid and kinetic stylistic approach springs from the same source as many of his other touches, with the director aiming not just to finally make a musical, bring the playfulness of his action scenes to the genre, or to give a work he loves his own stamp, but to ground the story in notions that are pressingly relevant today. Viewers here see more of the west side, get a bigger sense of the place, tap into its energy, and glean a more grounded view of the poverty, racism, factionalism and violence that's always sat at West Side Story's core. Switching some of the film's Leonard Bernstein-composed, Stephen Sondheim-penned songs between characters and locations makes this a more thoughtful and textured movie as well. See: the on-the-street version of earworm 'America' led by Hamilton veteran Ariana DeBose as the new Anita, and transforming 'Somewhere' into a community-focused ballad sung by the returning Moreno as a new figure. Both are magnificent. Still, as delightful as almost everything about Spielberg's film is — its inspired changes and passionate tribute to the first feature alike — it has an Ansel Elgort problem. He's a bland island in a sea of spectacle, and the lack of chemistry between him and the radiant Zegler would be a killer if examining the place, time and struggles that give rise to Tony and María's love didn't take precedence over the romance itself. Make it a 1950s NYC R+J, but about why its tragedy unfolds: that's another of Spielberg and Kushner's clever choices. And, while it takes a lifetime of unfortunate moves to strand the Jets and Sharks in their bloody turf war, thankfully one bad casting decision can't taint everything that glimmers about their latest big-screen outing. Indeed, enough praise can't be slung Faist, Zegler, Alvarez or DeBose's way, in what deserves to be a movie star-making effort for all four. Faist's turn as Riff is sinewy, smooth and vulnerable all at once — the film is electric every time he's on-screen — and Zegler's woozy and hopeful performance as a woman in the throes of first love is equally revelatory. Bringing EGOT-recipient and all-round entertainment icon Moreno back is touching, as well as exactly the right kind of nostalgic; looking both backwards and forwards is another of this sublime achievement of a feature's many successes, after all.
Pop quiz: what's 78% nitrogen, 21% oxygen, became breathable 2.4 billion years ago and is the focus of an upcoming exhibition at Brisbane's Gallery of Modern Art? If you guessed 'air', you'd be right. Over a delightfully lengthy five-month tenure — from Saturday, November 26 until Sunday, April 23 — Air will be transforming the ground floor of GOMA into an interactive exploration of the "cultural, ecological and political layers" of the air we breathe. It's not easy to make physical art from something invisible. Still, the collection works of Ron Mueck (the staggering In Bed), Jonathan Jones (the feathered and multifaceted Untitled (giran)) and Anthony McCall (the beaming Crossing), plus new (and floating) commissions from Tomás Saraceno and Jemima Wyman alongside a monumental chalk cliffscape by Tacita Dean and dozens of other prominent artists will do so. [caption id="attachment_878453" align="aligncenter" width="1920"] Anthony McCall's 'The Crossing'[/caption] The exhibit has been organised around five key themes, each focusing on details we can take for granted: atmosphere (the space between us and the cosmos), burn (the mortality and vulnerability of clean air), shared (the collective need of humans, plants and animals for the element), invisible (an exploration of the unseen) and change (the nature of our vulnerable, ever-evolving world). What's certain is you're set to leave this cultural outing with a more concrete understanding of the ethereal and vital element. 'Air' will be open daily at GOMA from Saturday, November 26 till Sunday, April 23, 2023. Entry to last session is 4pm. Head to the website to secure your ticket. Top image: Ed Mumford
If Bad Neighbours 2 was a party instead of a film, it'd be the kind that everyone has been to at least once. You know the type: a fiesta focused not only on reliving past glories, but trying to outdo them. Going bigger mightn't always be better, yet plenty of fun — both expected and not so — can be had along the way. That's the end result here. While never the complete riot it wants to be, this comedy sequel frequently proves as hilarious as its predecessor, and has more than a few surprises up its sleeve. The film picks up two years after 2014's Bad Neighbours. After surviving life next to a fraternity, Mac (Seth Rogen) and Kelly Radner (Rose Byrne) just want to sell their house, move somewhere quiet and hang out with their growing family. While they're embracing adult life, former frat leader Teddy (Zac Efron) is remembering the wild antics of his college heyday a little too fondly. Enter Shelby (Chloë Grace Moretz), Beth (Kiersey Clemons) and Nora (Beanie Feldstein), three freshmen eager to make the most of university life, but who don't like the "super rapey" vibe of keggers, or the rule that sororities aren't allowed to throw their own parties. It's not hard to guess where the movie is going, particularly if you've seen its predecessor. Shelby and her pals move in next door to Mac and Kelly, recruit Teddy as their mentor, and start a fresh round of neighbourly fighting for the right to party. Slapstick and gross-out gags remain in the mix, as does Efron's shirtless torso. Once again, director Nicholas Stoller tries to craft a culture-clash comedy that contemplates age and maturity, and for the most part he hits the mark. Admittedly, it may seem as though Bad Neighbours 2 is simply trying to disguise its plot rehash by switching sexes. But there's more going on here — and we don't just mean nods to Minions, Magic Mike and Jackass. In these post-Broad City times, the idea that girls can be as irresponsible and reckless as guys isn't revolutionary. Yet the fact that the film is willing to acknowledge this – not to mention exploring issues such as consent, sexism and privilege – is certainly worth celebrating. Accordingly, if the struggles of growing older added insight and sweetness to the first film's rampant raucousness, interrogating notions of gender, orientation, identity and equality achieves the same feat in the second instalment. Not every joke lands, and for every scene or line that manages to amusingly rework previous material, just as many seem like a stretch. But even when laughs aren't flowing, the movie is always pushing a refreshing, timely and much-needed perspective. Perhaps that's why Bad Neighbours 2 proves both more interesting and slightly less entertaining overall. The message feels new and vital, even if not a lot else does. And while a sense of familiarity certainly assists returning cast members Rogen, Efron and the scene-stealing Byrne, newcomers Moretz, Clemons and Feldstein are rarely asked to do more than embody the film's impressive, progressive attitude.
The Sydney Opera House will transform into a salsa-dancing Manhattan neighbourhood for five nights this January. Part of Sydney Festival, In The Heights is a quadruple Tony Award-winning musical by Lin-Manuel Miranda (Hamilton, Moana), which made its Sydney debut at Hayes Theatre last year. At the centre of the action is Usnavi, a bodega owner drowning in debt and dreaming about moving to the Dominican Republic. But he's not the only one yearning for change — a family is also desperate to send their daughter to a prestigious university and a woman longs to have a roof over her head. Watch their stories unravel, punctuated by plenty of salsa dancing soundtracked by a live Latino band. To celebrate the launch of the musical at the House, the Northern Foyer will host a fairy light-lit, flag-decked pop-up known as the Fiesta Bar, where you're invited to dance the night away, while sipping on margaritas and feasting on tacos and empanadas. The pop-up bar is, however, only accessible to those who have tickets to the musical. Images: Grant Leslie.
You'd be hard pressed to find a Jewish Sydneysider that doesn't have time for this Bondi kosher butcher. Don't be fooled by its modest shopfront; Eilat is a tidy little business down on O'Brien Street that's been serving up worthy produce conforming with kashrut dietary law for over 31 years. They also deliver to most surrounding suburbs and offer cooked specials if your mother-in-law's popping over for a last-minute surprise visit. One of Sydney's best butchers.
James Bond might famously prefer his martinis shaken, not stirred, but No Time to Die doesn't quite take that advice. While the enterprising spy hasn't changed his drink order, the latest film he's in — the 25th official feature in the franchise across six decades, and the fifth and last that'll star Daniel Craig — gives its regular ingredients both a mix and a jiggle. The action is dazzlingly choreographed, a menacing criminal has an evil scheme and the world is in peril, naturally. Still, there's more weight in Craig's performance, more emotion all round, and a greater willingness to contemplate the stakes and repercussions that come with Bond's globe-trotting, bed-hopping, villain-dispensing existence. There's also an eagerness to shake up parts of the character and Bond template that rarely get a nudge. Together, even following a 19-month pandemic delay, it all makes for a satisfying blockbuster cocktail. For Craig, the actor who first gave Bond a 21st-century flavour back in 2006's Casino Royale (something Pierce Brosnan couldn't manage in 2002's Die Another Day), No Time to Die also provides a fulfilling swansong. That wasn't assured; as much as he's made the tuxedo, gadgets and espionage intrigue his own, the Knives Out and Logan Lucky actor's tenure has charted a seesawing trajectory. His first stint in the role was stellar and franchise-redefining, but 2008's Quantum of Solace made it look like a one-off. Then Skyfall triumphed spectacularly in 2012, before Spectre proved all too standard in 2015. Ups and downs have long been part of this franchise, depending on who's in the suit, who's behind the lens, the era and how far the tone skews towards comedy — but at its best, Craig's run has felt like it's building new levels rather than traipsing through the same old framework. In No Time to Die, Bond does need to look backwards, though — to loves lost, choices made and lingering enemies. Before Billie Eilish's theme song echoes over eye-catching opening credits, the film fills its first scenes with the past, starting with returning psychiatrist Madeleine Swan's (Léa Seydoux, Kursk) links to new mask-wearing villain Lyutsifer Safin (Rami Malek, The Little Things). There's patience and visual poetry to these early minutes amid Norway's snowy climes, even while littered with violence. No Time to Die is a lengthy yet never slow feature, and Bond first-timer Cary Joji Fukunaga doesn't begin with the pace he means to continue; however, the director behind True Detective's stunning first season establishes a sense of meticulousness, an eye for detail and an inclination to let moments last — and a striking look — that serves him exceptionally moving forward. Back in post-Spectre times, Bond and Swan enjoy an Italian holiday that's cut short by bomb blasts, bridge shootouts and other attempts on 007's life — and Fukunaga is quickly two for two in the action camp. No Time to Die segues commandingly from slow-building and foreboding to fast, frenetic and breathtaking in its two big opening sequences, setting itself a high bar. At this point, the narrative hasn't even properly kicked into gear yet. That happens five years later, when Bond is alone and retired in Jamaica (in a nice nod to where author Ian Fleming wrote his Bond stories). His old CIA pal Felix Leiter (Jeffrey Wright, Westworld) comes knocking, new politically appointed offsider Logan Ash (Billy Magnussen, The Many Saints of Newark) in tow, asking for the now ex-MI6 agent's help to foil the latest nefarious plan — involving a DNA-targeting virus fuelled by nanobots, of course — that's been hatched by terrorist organisation Spectre. No Time to Die has plenty of time for other magnificent action scenes, albeit fewer than might be expected; a lengthy list of characters, both new and recognisable; and the type of beats that allow Bond ruminate over his accumulated baggage, even when a few routine inclusions also pepper the script. Spectre, the film, gave 007 enough woes from the past — and actually making him grapple with it all, rather than merely throw fists, explode watches and unleash machine-gun fire from his Aston Martin's headlights as though he doesn't have a history, gives this follow-up palpable heft and resonance. In Craig's hands, Bond has become a person first and a suave action figure second. The character still falls into the second category, unsurprisingly, because that's still the gig. But in this iteration, the franchise has evolved past the kind of flicks that gave rise to Austin Powers, Johnny English and their fellow parodies — welcomely so. Indeed, the best sequence in the film takes a stock-standard Bond setup, gives it a firm update and offers Craig's Knives Out co-star Ana de Armas a killer introduction. There are no bikinis involved as per past series instalments, or double-entendre names. Instead, this team-up between Bond and fledgling CIA operative Paloma takes them to a Spectre party in Havana, lets her steal every second with devastating high kicks, fabulous timing and witty dialogue, and shows the fingerprints of Fleabag's Phoebe Waller-Bridge — one of No Time to Die's four co-screenwriters. Paloma definitely isn't a stereotypical 60s–90s-style Bond girl, either, and neither are Swan, Moneypenny (the returning Naomie Harris, The Third Day) and replacement 007 Nomi (Captain Marvel standout Lashana Lynch). Everyone is human here, not just Bond himself. In a cast anchored by Craig and his blend of gravitas, pathos, sensitivity, duty and calm, there's barely a weak link. As M and Q, Ralph Fiennes (The Dig) and Ben Whishaw (Little Joe) only pop up briefly, but leave an imprint. Malek isn't a Bond baddie for the ages, yet he makes a chilly demeanour go a long way and easily one-ups Christoph Waltz (Alita: Battle Angel). So much of what makes No Time to Die such a thrill stems from Fukunaga's perceptive choices, however — with ample help from Hans Zimmer's (Wonder Woman 1984) urgent and pulsating score, plus Linus Sandgren's (an Oscar-winner for La La Land) gorgeous globe-hopping cinematography and penchant for long takes (and one particular and glorious upside-down shot). Franchise familiarity bubbles away in the film's veins, expectedly, but Fukunaga knows what to shake, stir, change and challenge, and what makes a moving, ambitious and entertaining farewell.
When is a Ridley Scott-directed, Joaquin Phoenix-starring trip to the past more than just a historical drama? Always, at least so far. Twice now, the filmmaker and actor have teamed up to explore Europe centuries ago, initially with Gladiator and now 23 years later with Napoleon — and where the Rome-set first was an action film as well, the second fancies its chances as a sometimes comedy. This biopic of the eponymous French military star-turned-emperor can be funny. In the lead, Phoenix (Beau Is Afraid) repeatedly boasts the line delivery, facial expressions and physical presence of someone actively courting laughs. When he declares "destiny has brought me this lamb chop!", all three coalesce. Scott (House of Gucci) not only lets the humour land, but fashions this muskets-and-cannons epic as a satire of men with authority and dominance, their egos, and the fact that ruling a country and defeating other nations doesn't cancel out their pettiness and insecurities. As it's off with Marie Antoinette's (Catherine Walker, My Sailor, My Love) head, it's in with Napoleon's revolutionary stirrings in Scott and screenwriter David Scarpa's take (with the scribe returning to cut the powerful down to size after the director's All the Money in the World, just as Walker apes another famous figure after playing Anna Wintour in House of Gucci). Also in: Napoleon's tinkering with facts, which'll later see its namesake and his troops fire at the pyramids. Devotion to historical accuracy isn't the movie's aim. Like The Castle of blasts from the French past, it's more interested in the vibe of the thing — said 'thing' being how Napoleon Bonaparte, later Napoleon I, follows his yearning for glory and adoration above all else. Scott stitches together a selection of his own recurrent obsessions, too, such as Phoenix sulking, savaging the quest for command and influence, Gallic days of yore as seen in his debut The Duellists and the unrelated The Last Duel, and unfettered ambition's consequences as per The Martian and Prometheus, then tops it with the requisite bicorn hat. My my, in Waterloo Napoleon will eventually surrender in this 158-minute flick — which is the short version; a four-hour director's cut is on its way to Apple TV+ once the film's cinema release is done — but he has considerable battles on three fronts to wage first. The movie's 18th- and 19th-century military frays span everywhere from Toloun to Austerlitz and Borodino. The tussling that his sizeable sense of importance sparks is as inescapable as his shadow. And attempting to repair his fragility through his romance with Joséphine de Beauharnais (Vanessa Kirby, Mission: Impossible — Dead Reckoning Part One) and desperation for a son is a conflict-filled affair again and again. When those encounters are sexual, they're filled with short, sweaty thrusts and Basic Instinct moments, as well as clashes of wills and desires. In this tumultuous marriage, food fights also feature. So hops Napoleon from vignette to vignette, war to war, one end of the continent to the other, rise to fall, Napoleonic politics to tabloid fodder, and constant conquests to multiple exiles. So jumps Napoleon from Corsican soldier to Paul Barras (Tahar Rahim, Extrapolations)-backed force, Robespierre's (Sam Troughton, The Lazarus Project) demise to the Bonaparte brothers' coup (House of the Dragon's Matthew Needham plays Lucien), capitalising upon anti-royalist feelings to donning a crown, and triumph to capitulation. With detours for dramatic flair — and comic — here and there, the broad biographical strokes are covered, plus minutiae that paints Scott's chosen picture (including Transatlantic's Sam Crane as Jacques-Louis David painting the famed The Coronation of Napoleon picture). Bringing Wikipedia to life, petulant scowling, ample buffoonery, pining for Joséphine, sumptuous cinematography by Dariusz Wolski (continuing his Scott run since Prometheus), gorgeous production design from Arthur Max (a Scott regular since GI Jane): that's the mix. Scott slips in an early scene that sums up his approach fittingly, popping up while Napoleon is in Egypt. After a mummy is presented to the general standing upright in its propped-up sarcophagus, he hops up on a stool to stare closely at its desiccated form, expecting to divine more about it just by peering in his specific manner. Napoleon isn't shy about dehydrating its titular figure's pomp, or about its guiding force's angle. No one asks "are you not entertained?", but anticipating both Napoleon and Scott thinking that of their onlookers is easy. Seesawing between impressively staged epic spectacle and marital and regal farce, Napoleon is indeed entertaining — "you think you're so great because you have boats!" is another instantly memorable piece of dialogue, as uttered thusly — and also sprawling, grandly handsome, frequently not all-conquering enough and as on the surface as an exploded horses's insides. As more than ABBA has immortalised, plus Succession's reference to Napoleon's severed collector's-item penis as well, Scott's subject is better-known than he ever craved, let alone could've dreamed. Depicting him as a little bit of everything in this character study is apt, then, with so much information about him existing that a definite take feels elusive. Perhaps that's why Napoleon isn't short on cinema stints but has hardly proven a mainstay, even if Louis Lumière first brought him to celluloid with 1897's Entrevue de Napoléon et du Pape and 1927's silent Napoléon has been revered for almost a century. Stanley Kubrick's iteration didn't eventuate, but is now being revived by Steven Spielberg. Charlie Chaplin's attempted project became The Great Dictator instead. The Bill & Ted's Excellent Adventure version might be the take of record for many until now; Phoenix acts here like he's definitely seen it. Napoleon's ever-committed lead is compelling to watch, but the film is best when he's part of a duo. Although the emperor ultimately divorced Joséphine when she didn't deliver him the heir that he demanded, his famous lovesickness — as letters document — makes it plain that he felt that way, too. Kirby is magnetic, as the role calls for, yet also pragmatic. Her Joséphine sees him as no one else does except the movie itself, and he is spellbound in her presence. The double-act setup also works when Napoleon is paired one-on-one with friends or foes, such as Austria's Francis I (Miles Jupp, The Full Monty) and England's Duke of Wellington (Funny Woman's Rupert Everett, also sneering and having a ball). This is a picture about a man clamouring not just for a legacy but for company, after all, and Scott never forgets it.
We Steal Secrets is the story of Wikileaks, and from the outset it fast becomes apparent how little you know of an organisation dedicated to transparency and the sharing of information. Directed by Alex Gibney (Enron: The Smartest Guys in the Room), the documentary mirrors the real-world by focusing on two key individuals: Wikileaks' Australian founder Julian Assange and Bradley Manning, the US soldier whose disclosure of classified documents thrust Assange onto the world stage. The stories of the two men are told with surprising sensitivity, particularly in the case of Manning, who — on account of his ongoing incarceration — is represented exclusively by typed words on a screen. Sent over the course of his deployment in Iraq, the catalogue of Manning's brief online exchanges with various hackers reveals an extraordinarily lonely soul unable to reconcile serious questions about both his own identity and what he perceived to be the ongoing cover-up of atrocities by the US Government. "I want people to see the truth," he wrote, just before leaking hundreds of thousands of classified documents to Assange. "It affects everyone on earth." The altruistic tone of Manning's narrative seems entirely genuine, particularly when set against the supposedly similar motivations driving Assange. The now infamous 'hacktivist' refused to be interviewed for the film unless he was paid $1 million; however, his willingness to jump in front of cameras over the preceding years provided Gibney with more than enough material with which to paint a fascinating portrait of the Wikileaks founder. Coupled with interviews from the organisation's supporters, employees, detractors and pursuers, Assange emerges as a largely paranoid narcissist, championing free speech whilst doing everything he can to ensure no one speaks freely about him. And yet, as is pointed out during the film, Assange's paranoia isn't necessarily always unjustified. The rhetoric (and hypocrisy) of the US Government's condemnation of him is at best fascinating and at worst quite concerning. Both the New York Times and the Guardian collaborated on the publication of the leaked documents, yet neither of those organisations' editors have been indicted or even publicly criticised. In all, We Steal Secrets achieves a fine balance in its depiction of two men whose lives became inextricably linked and, thereafter, changed almost certainly for the worse. Assange sits seeking political asylum within a small room inside the Ecuadorian Embassy in London, and Manning's trial has only now just begun in the United States. In attempting to justify his impending leak, Manning ultimately wrote: "I...care?" This documentary will compel you to do the same, though where you'll fall in your opinion will depend on who you choose to believe. https://youtube.com/watch?v=SdezJrNaL70
Budding designers need to have this store on their radar. Located in Redfern, this upholstery store specialises in fabrics from local and international designers, including end-of-roll and end-of-season specials. Owner Bev MacInnes channels expertise from a career as an interior architect to source unique and unusual textiles for professional designers and amateur home-crafters alike. The store also offers made-to-order services including bespoke bedheads, cushions, curtains, lampshades and upholstered furniture.
The man who helped Amsterdam maintain its nightlife will travel to Sydney in November, as one of the major guest speakers at this year's Electronic Music Conference. As the Night Mayor of Amsterdam, for the past few years Mirik Milan has built connections between business owners, residents and various government entities, creating a safe and prosperous environment under which the city's after dark culture could thrive. Huh. Must be nice. With its world famous lockout laws, the City of Sydney has obviously taken a slightly different approach to its citizen's nocturnal activities — something we're sure Milan will touch on in his opening keynote address. "We believe Milan's knowledge and experience will be invaluable in our own city's pursuit of a vibrant and safe nightlife," said EMC programmer Eric Flanagan. "Amsterdam has shown us and the rest of the world that it is possible to achieve this." Although Night Mayor isn't actually an official government position — rather, Milan is the head of an advisory NGO — that hasn't stopped the former club promoter from having a significant impact on policy. In the past few years he's helped clarify Amsterdam's drug laws, introduced 'soft enforcement' services to try and deescalate potentially dangerous situations, and pushed hard for 24-hour licences in certain nightclubs which, since their introduction, have led to a significant reduction in street noise. He's been so successful that several other cities around Europe, including Zurich and Paris, have introduced Night Mayors of their own. Now in its fifth year, the Electronic Music Festival will run from November 28 until December 2 at the Ivy complex in Sydney, and will feature panels, workshops and masterclasses including Milan, Alison Wonderland, Martin Phillips (Bionic League), Nic HP (Majestic Casual) and Raj Chaudhuri (Boiler Room) amongst many others. Then, on Wednesday November 30, EMCPlay takes over four Sydney venues with over 65 artists, a heaving electronic lineup programmed by Dave Ruby Howe.
Don't let the three-kilometre return hike to Pieries Peak fool you. It may not be long but it is steep. The challenging trail starts at Youngville campground and launches straight into action, climbing through rocky ridges, snow grass and rainforest. Once you reach the top, kick back and enjoy views across Hunter Valley and Lake Saint Clair. The peak gets pretty cold in winter so check the forecast and make sure it's not arctic up there before you commit. In general, the region's weather is unpredictable, so come prepared for all scenarios. Image: Susan Davis, Department of Planning, Industry and Environment
The NSW Government loves a high line — or it at least loves to propose one. For the second time in as many years, Premier Dominic Perrottet and his government have announced plans to convert a section of Sydney into sweeping public spaces reminiscent of the famous New York High Line — this time earmarking the North Shore for the development site. The Lavender Bay high line would convert 3.3 kilometres of disused rail corridor along the Milsons Point foreshore to an elevated public park. The revamped area would connect landmarks like the Sydney Harbour Bridge with existing parklands like Ball's Head Reserve and the Lavender Bay Parklands, and would boast panoramic views of Sydney Harbour and the city's skyline. "Sydney is home to the world's most beautiful harbour, but for many years much of the foreshore has been left underutilised or inaccessible to the public," Perrottet said in a statement. "The Lavender Bay high line project will unlock another part of our city that has been hidden away for more than a century, transforming it into a beautiful public space and no doubt a tourism drawcard." Also included in the proposal would be a 300-square-metre expansion of Wendy's Secret Garden (one of Concrete Playground's top Sydney date spots). The picturesque green space was saved by local campaigners in 2015 when the North Sydney Council and NSW Government agreed on a 30-year renewable lease. Now, the harbourside oasis will be given a revamp and expansion if the proposal goes ahead. [caption id="attachment_722294" align="alignnone" width="1920"] Wendy's Secret Garden[/caption] The announcement comes seven months after the government cited the Cahill Expressway as a future site for an NYC-style high line as part of the Circular Quay Renewal project. As part of the 2022–23 budget, the NSW Government committed $216 million to the planning process for harbourside renewal, which included a proposal to transform the elevated inner-city road into public space. No date has been announced for commencement on the Lavander Bay high line, with Perrottet and the government providing the caveat that they will only commit to the project if re-elected later this year. Head to the NSW Government website for more information on the proposed Lavender Bay high line project.
Something completely new is set to join Australia's skyline: a Skystand overlooking the Brisbane Cricket Ground, aka the Gabba. Located atop 20-storey development Silk One in Woolloongabba's Trafalgar Street, it's exactly what it sounds like: a rooftop terrace that peers over the stadium, allowing residents to see whatever might be happening on the ground — namely Brisbane Lions AFL matches during winter and cricket games over summer. A handful of concerts also take place at the Gabba, with Adele playing there in 2017 and Taylor Swift slated for later in 2018. The idea is that people who live one of the complex's 178 apartments (or people who are friends with people who live in the apartments) will get access to these events without really leaving home, all while hanging out on a sky-high timber deck, underneath a pergola, with a big screen TV and a dining and barbecue area at their fingertips. The rooftop will also include a gym, pool, spa and sun lounges, in case whatever's on in the stadium doesn't pique your interest. Of course, an obvious question has to be asked: how much will you really be able to see from 20 levels up? Sure, there'll be a television on hand so that you can watch all of the ins and outs of the game in detail, and you'll save yourself the cost of a ticket. But the Gabba is more likely to provide a glossy backdrop as you hang out in the Skystand, rather than letting you actually enjoy the game or concert. Still, we're guessing the sound of the crowd, or whoever is on stage crooning, will echo up that far. Given that the area around the Gabba is currently filled with both new high-rises and construction sites in the process of erecting new high-rises, it wouldn't be surprising if other buildings follow suit. That said, the folks behind Silk One say their Skystand has been "strategically designed to maximise the birds-eye views of the Gabba stadium". Silk One in Woolloongabba and its Skystand are slated for completion in mid-2020.
Sydney Festival is back in 2024 from Friday, January 5–Sunday, January 28 with a massive lineup, so clear your diaries because summer is going to be very, very busy. The huge citywide fest's program will feature over 1000 artists and a huge lineup of events that includes 26 world premieres, 29 Australian exclusives and 43 free activities. If you're looking to get your dose of art, theatre and live music without breaking the bank, we've rounded up eight of the festival's best events that you can nab tickets to for less than $50. There's blockbuster art series, giant overwater installations and a free moonlight symphony to discover.
No one might've thought of Joel and Ethan Coen as yin and yang if they hadn't started making movies separately. Since 2018's The Ballad of Buster Scruggs, their latest feature together as sibling filmmakers, the elder of the Coen brothers went with Shakespearean intensity by directing 2021's The Tragedy of Macbeth on his lonesome — while Ethan now opts for goofy, loose and hilariously sidesplitting silliness with Drive-Away Dolls. The pair aren't done collaborating, with a horror flick reportedly in the works next. But their break from being an Oscar-winning team has gifted audiences two treats in completely different fashions. For the younger brother, he's swapped in his wife Tricia Cooke, editor of The Big Lebowski, O Brother, Where Art Thou? and The Man Who Wasn't There, on a picture that couldn't slide more smoothly onto his resume alongside the madcap antics that the Coens combined are known for. Indeed, spying shades of the first of those two features that Cooke spliced in Drive-Away Dolls, plus Raising Arizona, Fargo and Burn After Reading as well, is both easy and delightful. As a duo, the Coen brothers haven't ever followed two women through lesbian bars, makeout parties and plenty of horniness between the sheets, though, amid wall dildos and other nods to intimate appendages, even if plenty about the Ethan-directed, Cooke-edited Drive-Away Dolls — which both Ethan and Cooke co-wrote — is classic Coens. There's the road-trip angle, conspiracy mayhem, blundering criminals in hot pursuit of Jamie (Margaret Qualley, Poor Things) and Marian (Geraldine Viswanathan, Cat Person), dumb men (those crooks again) in cars and just quirky characters all round. There's the anarchic chases, witty yet philosophical banter and highly sought-after briefcase at the centre of the plot, too. And, there's the fact that this is a comedic caper, its love of slapstick and that a wealth of well-known faces pop up as the zany antics snowball. The Joel-and-Ethan team hasn't made a film as sapphic as this, either, however, or one that's a 90s-set nod to, riff on, and parody of 60s- and 70s-era sexploitation raucousness. Cooke, who identifies as queer, helps Drive-Away Dolls draw upon what she knows in its watering holes and three-decades-back timing; the movie was also originally conceived pre-Y2K, when it would've been a contemporary piece if it had made it to fruition. Centring on its paired queer ladies, there's a lived-in vibe among its gleeful chaos, then. Giving the film authenticity and having a freewheeling blast by going in any which way that it can — and swinging from sweet to eagerly cheesy at times (including in its editing) — aren't mutually exclusive for a moment. One of the best surprises of Drive-Away Dolls is how constantly surprising it is and entertainingly spontaneous it feels, no matter how many familiar Coenesque beats and bits viewers can pick out as the romp rolls on for 84 engaging minutes. Among the elbows in past Coen fare's direction is Sanctuary and Stars at Noon's Qualley as the self-assured and keenly talkative Jamie, who could be a relative of George Clooney (Ticket to Paradise) as O Brother, Where Art Thou?'s Ulysses Everett McGill (off-screen, of course, Qualley is her Maid co-star Andie MacDowell's daughter). But she's rarely in tight spot even when she is; letting anything pierce her good time isn't her vibe. Marian and then Jamie's police-officer girlfriend Sukie (Beanie Feldstein, American Crime Story) calling while she's in the throes of lust with someone else doesn't pierce her bubble. The subsequent end of that relationship barely does, in fact, other than sparking her desire for a new backdrop. Contrastingly, Marian always feels like everything is wrong — almost to Inside Llewyn Davis levels — whether she's being asked out by a colleague, annoyed by the word "anyhoo", keeping resolutely single years after her last breakup or deciding that ditching Philadelphia to visit an aunt in Tallahassee is her only option for change. Jamie doesn't just declare that she's tagging along when Marian hits the highway to Florida; she's the reason that the picture has the title it does (which was originally Drive-Away Dykes). If a car requires transporting from one place to the next, customers can put their hands up for discounted — or even free — vehicle hire to get it from A to B via a drive-away deal, which is handy for Jamie and Marian's finances. But after a visit to Curlie (Bill Camp, The Burial) for their temporary automobile, goons Arliss (Joey Slotnick, Plane) and Flint (CJ Wilson, The Blacklist) become their two-steps-behind shadows, working for an insistent fellow crim (Colman Domingo, The Color Purple). They're after a briefcase that's introduced in the movie's opening scene, where it's in the hands of a collector (Pedro Pascal, The Last of Us). Simply attempting to hightail it out of town, Jamie and Marian have no idea what they've inadvertently gotten mixed up in. This is Ethan's debut solo fictional feature without his sibling co-helming. That said, it's his and Cooke's second successive project where Ethan is credited as the director, Cooke edits, but it's clearly a joint effort (the first: 2022 documentary Jerry Lee Lewis: Trouble in Mind). This Coen brother knows how to make all kinds of double acts work, then — and, in this one, Drive-Away Dolls' guiding forces weave no shortage of hookups into the journey. A chihuahua named Alice B Toklas, Henry James novels, cameos by Matt Damon (Oppenheimer) and Miley Cyrus (Black Mirror), a game cast in lead and supporting parts, a wild goose chase, general giddiness, a heap of spice, bars and hotel rooms after bars and hotel rooms, artist Cynthia Plaster Caster: they're all along for this ride. There's ample daffy detours in the narrative, but zero stalling in this riotous affair. With chemistry to burn between them, Qualley and Viswanathan are as pivotal to Drive-Away Dolls as its main behind-the-scenes talents. The film was always going to need a duo who made viewers crave every second in their company regardless of what the script throws their way, including whether Jamie is splashing around her exhibitionist sex-positivity or Marian is yearning for a life less ordinary — and it found them. There's a particular depth to Australian Miracle Workers, The Broken Hearts Gallery and Blockers star Viswanathan's portrayal, despite plunging too deep never being one of Coen and Cooke's aims. Marian wants something beyond the rut that she's long been stuck in. She can't stop being herself, aka the movie's straight man, to get it. She's hardly welcoming of the mania that she's thrust into. Relatable also isn't what Drive-Away Dolls is chiefly going for, but it finds it as well and drives away with it.
Size matters. So too, does timing. It's safe to say that in the wake of the sprawling Avengers: Infinity War, Ant-Man and The Wasp is precisely the kind of modest, self-contained movie the team at Marvel needed to make. Set shortly before The Avengers' dust-up with Thanos, the film acknowledges its place in the Marvel Cinematic Universe yet cleverly distances itself from intergalactic conflict by instead focusing on three very intimate human stories. The first concerns Scott Lang, aka Ant-Man, played again by the seemingly ageless Paul Rudd. Thanks to his exploits in Captain America: Civil War, he now finds himself subject to house arrest and attempts to while away his two-year sentence by both establishing a security consultancy company and creatively entertaining his young daughter. The second picks up with Lang's two (now former) partners: Hope van Dyne aka The Wasp (Evangeline Lily) and her father Dr. Hank Pym (Michael Douglas) as they attempt to rescue Hope's long-lost mother from the mind-boggling Quantum Realm. The third follows a pair of villains: superhuman Ghost (Hannah John-Kamen) and black marketeer Sonny Burch (Walton Goggins), each of whom seeks to steal Pym's quantum tech for themselves. That's the sum of it. There are no aliens here, no space ships or wormholes. There aren't even many lives at stake. Instead, Ant-Man and The Wasp mostly concerns itself with the preservation and/or restoration of fading relationships. The small-scale (no pun intended) storytelling proves a welcome reprieve from the MCU's growing complexity, while the filmmakers also smartly retain the innovative action and laugh out loud comedy from their character's first big screen outing. The danger for this franchise was always going to be the Honey I Shrunk The Superhero dynamic getting old. Thankfully, the creative minds behind Ant-Man and The Wasp continue to deliver the unexpected in almost every major sequence, tinkering with the size of everything from cars to buildings to Pez dispensers. As Lang, Rudd very much holds court again, his disarming awkwardness acting as the perfect foil for the more stern performances of Lily and Douglas. Not every joke lands, and a few of the one-liners seem crowbarred in, but the tone remains impressively consistent throughout, almost to the point of feeling like a straight-up comedy (thanks in no small way to another scene-stealing turn from Michael Pena). Goggins, too, is as reliable as ever as the Southern Gentleman rogue, while John-Kamen's Ghost offers the film its necessary dramatic streak without ever descending into two-dimensional villainy. Later appearances by some other big names (whose identity we'll preserve for the sake of surprise) lend additional gravitas to an already impressive cast, and even Stan Lee's inevitable cameo brings a laugh instead of the usual eye roll. Unsurprisingly, Ant-Man and The Wasp also addresses the shocking finale to Infinity War, although it does so in a neatly inconclusive way, allowing for much speculation and very little certainty. In all, it's a well calculated step by Marvel and a timely reminder that superhero movies can tell compelling human stories without resorting to world-ending CGI chaos. https://www.youtube.com/watch?v=8_rTIAOohas
Defiance Gallery has been delivering an ever-changing roster of premium local and global artwork to Newtown for over two decades. While its reputation is built around being one of the leading sculpture galleries in the city (and country), the space is not limited to this form. The gallery showcases work from newcomers to internationally-acclaimed artists also covering paintings and works on paper. Exhibitions vary in length but usually last three to four weeks making Defiance Gallery are haunt for art-lovers.
Last time North Carolina-raised producer Porter Robinson came for a visit he was performing a DJ set. This time around, we're getting the whole live set. Robinson was responsible for one of the biggest club anthems of last year: ‘Lionhearted’, a euphoric, all-encompassing sonic experience that will make you happily giddy. Unsurprisingly, Robinson’s 2014 debut album Worlds, runs in a similar vein, and has continued to break the internet with ‘Sad Machine’ and ‘Sea of Voices’ — both tunes that have received millions of Soundcloud plays. Robinson will be joined by local goalkickers Wave Racer and Cosmo’s Midnight. If you’re looking for a gig to dance your socks off to, you’ve found it.
Next time a Sydney staycation or holiday is on the cards, you can forget all about the pesky task of finding a decent pet-sitter. Instead, that fur-kid of yours is allowed along for the ride — if you opt for a stay in one of The Old Clare Hotel's newly pet-friendly suites. Having scored a complete revamp back in 2015, the heritage-listed Chippendale lodgings has now broadened its clientele to include those of the four-legged variety. As of Monday, January 13, two of the hotel's suites — the Kent and Abercrombie — are completely pet-friendly. On request, they come decked out with extras like handmade pet bowls crafted by Motion Ceramics, Fuzz-Yard plush toys and a miniature retro-style lounge for your pet's sleeping and relaxing. For guests on the go, there's a pet directory listing animal-friendly bars and eateries, and handy dog-walking and dog-sitting services available through the hotel. And your furry mate can even get in on the all-important room service action, with a complimentary menu of in-room pet dining options. They'll find treats like Yummi roo bites for cats and Savourlife beef-flavoured dog biscuits, and dry and wet food, all available 24/7. Up to two pets are allowed per room and while the the offering is aimed primarily at dogs and cats, the Old Clare is also open to other critters — get in touch to see if your pet gecko, guinea pig or bunny is welcome along. Having your four-legged friend along on your getaway does come at a bit of a price, with the extra room charge clocking in at $100 per pet. That's on top of your suite's best available rate, so if you've got your doggo in tow, expect to pay starting from around $300 per night total for a stay in the Kent room and around $370 for the Abercrombie. Find The Old Clare Hotel at 1 Kensington Street, Chippendale. To book your pet-friendly stay, contact the reservations team on reservations@theoldclarehotel.com.au or call (02) 8277 8277.
You're unlikely to get authentic home-cooked Italian food unless your mama or papa is from the homeland. The rest of us have to do with an Aussified version. So it's a great thing that Sydney is overwhelmed with Italian restaurants. Is there a need for another? Serial restaurateur Mauro Marcucci certainly thinks so, adding the newly opened Baccomatto Osteria in Surry Hills to his oeuvre. The man behind Mille Vini and Enopizzeria has fashioned a minimalistic place to find rustic food adjoining the traveler lodge-like Cambridge Hotel. Baccomatto, meaning "mad mouth" in Italian, isn't trying to be fancy pants fine dining, but a relaxed place to socialise. In doing so, with authentic regional dishes and sauces, it succeeds where other stuffier places fail, in good-natured service and a lack of omnipresent Buddha Bar ambient beats in the background. The entrees are pretty small, with fried zucchini flowers ($4.50 each), fried mozzarella balls with an anchovy centre ($4.50) and rice balls with a ragu surprise in the middle ($4). Tasty but light. The bad boys come out with the mains – a ragu-like bombolotti in slow cooked tomato sauce with a scattershot of locally sourced bacon ($28) is again a tad small but delicious. The chargrilled spatchcock ($26) is spread-eagled on the plate and tender, although it needs an accompanying side dish. Try the roast potato with rosemary ($7). The desserts by contrast are generous – a hazelnut freddo ($13) with cocoa and raspberry puree swirls, and the light sponge cake with a ricotta and dark chocolate belly are a bravado finish. Relaxed but stylish, simple and subtle yet intricate, this "mad mouth" talks sense.
Back for January 2019, Opera Australia's popular Opera in the Domain returns to for a wonderful night of opera under the stars — and it's absolutely free. Some of Australia's top vocal talent will have you whistling along to famous tunes you didn't even know you knew. Gather the crew (and your trusty picnic basket) and settle in for a night of some of opera's most famous and most beautiful moments. But don't worry if you don't actually own a picnic basket — a whole heap of the city's best food trucks will be there cooking up a storm and the garden bar will be slinging all sorts of summer drinks. As for the soundtrack, a parade of famous arias, duets and overtures is sure to delight all music fans, whether you are an opera aficionado or you don't know Bellini from a bellini. If nothing else, it's a perfect cheap date idea.
Snowtown. Everyone seems to have an opinion on whether or not this film should have been made and it usually ends with, 'Oh, I just don't think I could sit through it.' And rightly so. It is the horrific true story of the murders of twelve people over a seven year period in the outer housing commission suburbs of Adelaide. It is not easy viewing, certainly not The Hangover 2. Australian cinema has historically done bleak quite well though. Our stories are often dark, sparsely dialogued tales of the interior and for whatever reason (PhD anyone?) we know how to frame these fables. And Snowtown is no exception. For a whole bunch of feature film first timers (director, producers, screenplay writer, local actors plucked from malls), Snowtown is a beautifully lit and cold, blue hued film about the horrors elicit in circumstance. Told from the viewpoint of young, Jamie Vlassakis, a sixteen year old boy who becomes involved in the murders through the charismatic charm and the three meat and veg stability of ringleader, John Bunting, Snowtown is not a gore fest reveling in the details of the bodies in the barrels. Rather, the film explores the way in which silence was an occupying force in Jamie's life and that of the community surrounding the hideous events. At times, it is extremely hard to believe just how forcefully silence set up camp but the power of the film ultimately stems from the fact that this happened, this is how people reacted, this is what they did, it is our history. Be prepared for a couple of scenes that will probably go down on par with the roo shooting scene in Wake in Fright. They are not gratuitous but serve to illustrate the power that John Bunting yielded in the absence of a masculine force in Jamie's life. No empathy is ever sought from the audience but perhaps an understanding of the way in which circumstance permeates every decision we make. https://youtube.com/watch?v=sJY6X8utM8A
Are you ready to get back on the school bus? The We and the I is a 2012 American dramedy directed by Michel Gondry, the idiosyncratic French filmmaker responsible for Eternal Sunshine of the Spotless Mind. In this fictional film, Gondry recruits a handful of talented kids from the Bronx, the infamous Fort Apache neighbourhood and fashions a script around them. These Bronx high-schoolers play out real stories on a fictitious bus line, the BX66, and as the bus shudders through real South Bronx neighborhoods old friendships shatter, flirtations begin, secrets spill over and bullies jeer. There's anger, there's profanity, and there's tenderness — all presented without teen-movie romanticism or moral judgment. The We and the I perfectly captures the freewheeling, hormonal chaos of being in high school, not to mention the joy of profanity, and the conflict between the desire to be oneself and the need to fit in. Go see it; there might be somebody in this jumbly group that you recognise. The We and the I is a Sydney exclusive for the Golden Age Cinema & Bar.
Editors fictional and real may disagree — The French Dispatch of the Liberty, Kansas Evening Sun's Arthur Howitzer Jr (Bill Murray, On the Rocks) among them — but it's easy to use Wes Anderson's name as both an adjective and a verb. In a sentence that'd never get printed in his latest film's titular tome (and mightn't in The New Yorker, its inspiration, either), The French Dispatch is the most Wes Anderson movie Wes Anderson has ever Wes Andersoned. The immaculate symmetry that makes each frame a piece of art is present, naturally, as are gloriously offbeat performances. The equally dreamy and precise pastel- and jewel-hued colour palette, the who's who of a familiar cast list, the miniatures and animated interludes and split screens, the knack for physical comedy, and the mix of high artifice, heartfelt nostalgia and dripping whimsy, too. The writer/director knows what he loves, and also what he loves to splash across his films, and it's all accounted for in his tenth release. In The French Dispatch, he also adores stories that say as much about their authors as the world, the places that gift them to the masses, and the space needed to let creativity and insight breathe. He loves celebrating all of this, and heartily, using his usual bag of tricks. It's disingenuous to say that Anderson just wheels out the same flourishes in any movie he helms, though, despite each one — from The Royal Tenenbaums onwards, especially — looking like part of a set. As he's spent his career showing but conveys with extra gusto here, Anderson adores the craftsmanship of filmmaking. He likes pictures that look as if someone has doted on them and fashioned them with their hands, and is just as infatuated with the emotional possibilities that spring from such loving and meticulous work. Indeed, each of his features expresses that pivotal personality detail so clearly that it may as well be cross-stitched into the centre of the frame using Anderson's hair. It's still accurate to call The French Dispatch an ode to magazines, their heyday and their rockstar writers; the film draws four of its five chapters from its eponymous publication, even badging them with page numbers. But this is also a tribute to everything Anderson holds The New Yorker to stand for, and holds dear — to everything he's obsessed over, internalised and absorbed into the signature filmmaking style that's given such an exuberant workout once again. One scene, in the first of its three longer segments, crystallises this so magnificently that it's among the best things Anderson has ever put on-screen. It involves two versions of murderer-turned-artist Moses Rosenthaler, both sharing the boxed-in frame. The young (Tony Revolori, The Grand Budapest Hotel) greets the old (Benicio Del Toro, No Sudden Move), the pair swapping places and handing over lanyards, and it feels as if Anderson is doing the same with his long-held passions. Before Moses' instalment, entitled The Concrete Masterpiece, the picture's bookending story steps into Howitzer's offices in the fictional French town of Ennui-sur-Blasé. Since 1925, he's called it home, as well as the base for a sophisticated literary periodical that started as a travel insert in his father's paper back in Kansas. Because Anderson loves melancholy, too, news of Howitzer's death begins the film courtesy of an obituary. What follows via travelogue The Cycling Reporter, the aforementioned incarcerated art lark, student revolution report Revisions to a Manifesto and police cuisine-turned-kidnapping story The Private Dining Room of the Police Commissioner is The French Dispatch's final issue turned into a movie — and an outlet for both Howitzer's and the director's abundant Francophilia. Watching travel correspondent Herbsaint Sazerac (Owen Wilson, Loki) wheel around Ennui — a place that isn't quite Paris, just as The French Dispatch isn't quite The New Yorker — comes complete with choirboy gangs rumbling seniors, rat-filled tunnels and bodies fished out of rivers. Anderson's love of quaint and quirky details initially shimmers before that, in Howitzer's workspace beneath his comical "no crying" sign, but doesn't stop gleaming for a second. It's there in Moses' success, as aided by his muse/prison guard Simone (Léa Seydoux, No Time to Die), fellow inmate/art dealer Cadazio (Adrien Brody, Succession), and journalist JKL Berensen (Tilda Swinton, Memoria), who relays the specifics. And, it's clear in the chronicle by political writer Lucinda Krementz (Frances McDormand, Nomadland) about a student uprising led by the suitably moody Zeffirelli (Timothée Chalamet, Dune) over accessing girls' dormitory rooms. Regardless of their amusingly monikered setting, there's nary a trace of boredom or indifference in any of these chapters, all of which ape real New Yorker stories and scribes. So too does Howitzer, as well as Roebuck Wright (Jeffrey Wright, No Time to Die), author of the film's third major segment. The French Dispatch layers in themes and ideas as potently and deeply as its visual gems, tortured genius myths and "the touching narcissism of the young" (as the movie itself describes it) all included; however, its Roebuck-focused thread is exquisitely intelligent and affecting. On a TV set, the journalist relays his attempt to write about Nescaffier (Steve Park, Warrior), chef to the local police commissaire (Mathieu Amalric, Sound of Metal), which was derailed by a hostage situation involving the latter's son — and his piece also becomes an outsider's lament. Whether going monochrome in homage to the French New Wave, pulling off a bravura late-film long shot, or finding roles for Elisabeth Moss (The Invisible Man), Saoirse Ronan (Ammonite), Edward Norton (Motherless Brooklyn) and Willem Dafoe (The Card Counter) — plus Jason Schwartzman (Fargo), who also nabs a story credit with the director, Roman Coppola (Isle of Dogs) and Hugo Guinness (The Grand Budapest Hotel) — Anderson does his utmost at every turn. While aided by sublime work by his eight-time cinematographer Robert D Yeoman, regular production designer Adam Stockhausen and frequent composer Alexandre Desplat, the result feels like slipping not only into Anderson's head but his heart, and more so than any other feature he's made. The French Dispatch is a treasure chest for Anderson, his devotees, and lovers of words, France and inventive cinema alike, although it holds zero chance of converting his naysayers. "Just try to make it sound like you wrote it that way on purpose," is Howitzer's wise advice to his writers, but there's no doubting that every minuscule choice made in this remarkable delight is utterly and marvellously intentional.
When Cleveland's opened way back in 2012, the hybrid shop was still a bit of novelty. And, in the case of this teeny space next to the Norfolk Hotel, the hybrid was coffee and a haircut. The joint venture by barista Harry Levy and professional hairdresser Patrick Casey meant you could visit for a Little Marionette coffee and brekkie or a haircut and beard trim — or both. But as more and more 'slash' venues opened across the city (hairdresser/bar, bar/record store, cafe/bike shop), something has become very clear: you have to be committed to doing both things well or it doesn't work. So it's of little surprise that when the original stepped away and hairstylist Kim took control of the scissors, the cafe side of things was wound down. Cleveland's Salon and Cafe is now Cleveland's Hair Atelier, and the focus is 100-percent on hair. Men, women and non-binary folk are all encouraged to pop in for a premium salon experience, be it for a tint, treatment or trim. Refreshments aren't completely off the cards — you'll score a complimentary coffee, tea, beer, wine or whisky on your visit. It's a variety befitting the late operating hours — it's open till 10pm some evenings.
We've all wondered what goes on behind closed doors. It's the whole reason that gossip magazines and reality TV exist, after all. But, there's a difference between reading about it or watching it on television, and actually walking into someone's hotel room and seeing it with your own eyes — and QT Gold Coast is currently letting people do the latter. At the first Hotelling program in what is hoped will become a regular event, audiences explore the building from the penthouse down to the tennis court; however they're privy to more than fancy '80s-style baths in the former and somewhere to play sports at the latter. They also meet the inhabitants, from a hostess living right at the top, to a visiting IT exec fighting with his wife, to an otherworldly presence channelling a rock star. Okay, okay, so they're actually actors that are playing a part in a site-specific performance piece put together by Bleached Arts, QT Gold Coast and City of Gold Coast, but they're replicating the weird, wonderful, over-the-top and ordinary things that go on the mini society that is a hotel (and a hotel on the Gold Coast in particular). First cab off the rank is Slavka, partying on the highest level of the place that just last week hosted the Thor: Ragnarok wrap party. She greets attendees warmly, gets them dancing, and then sends them on their merry way. With the event called Down The Rabbit Hole, that's mostly the direction everyone is then headed, with multiple stops. At one of them, the aforementioned Larry from Perth lets you into his room, where you'll overhear his phone conversation, help sing happy birthday to his son Morgan, and watch his reaction as his marriage almost falls apart. Also on the itinerary: a homage to rock-gods like Mick Jagger, Iggy Pop and Patti Smith, which will make you feel like you're in their rooms. Plus, there's some more adventurous fun on the agenda when you enter the domain of a Gold Coast-based sex counselling service, Rhythm Stick, that has chosen QT Gold Coast as a venue to solicit new clients. Or, do what absolutely everyone does when they're somewhere with plenty of high-rises: try to look into a neighbouring tower. Here, international surveillance artist Joao Montessori customises his signature artwork, In-Focus, to Gold Coast's hotel landscape, inviting you to stare in at a neighbouring block. Yep, it's a little bit like Rear Window. Over the course of the three-hour event, attendees go up and down between different rooms and peering into different lives in four groups — and no group has the same experience, or sees the exact same performances. Don't think the hallways are safe, though. There, you just might spy a Russian wrestling his bear-hat; a tall, twitchy and somewhat creepy Donnie Darko-esque rabbit, a pyjama-clad woman looking for her best bunny buddy (yep, rabbits are a thing), a go-go dancer who doesn't dance and a lost Kiwi. There's more, including several interactive components — but, at something like Hotelling, much of the fun is about experiencing it for yourself. And, about getting into the swing of things; everyone's a voyeur and a performer down deep, after all. Just a word of warning, though: you'll be in close quarters with many, many people in a whole lot of elevators. And, even if you've never had vertigo before, the experience of continually getting into a lift just might cause your first bout (we're speaking from experience). Hotelling takes place at QT Gold Coast from November 4 to 5. For more information, visit the event website and Facebook page. Images: Matt Marny. Slavka, Penthouse, performed by Nadia Sunde; Like A Rolling Stone, Room 706, performed by Kate Harman; The Crying Man, Room 306 performed by Todd MacDonald; In-Focus, Room 1915 performed by Hayden Jones with Steph Pokoj, Reuben Witsenhuysen, Marco Sinigaglia and Tammy Zarb; The Otherworld, Hallways.
Calling all Amy Poehler fans — the beautiful tropical fish, powerful musk ox and noble land mermaid of Netflix flicks is here. The Saturday Night Live and Parks and Recreation star has directed her first film, a comedy that'll hit the streaming platform in May. Here's hoping it'll earn all of the unusual compliments that Leslie Knope has showered upon Ann Perkins. Turning a vino lover's dream weekend getaway with the gang into a movie, Wine Country follows a group of friends who head to Napa to celebrate Rebecca (Rachel Dratch)'s 50th birthday. Poehler plays Abby, the organiser of the gang; Maya Rudolph co-stars as a worn out mother desperate for a break; and fellow Saturday Night Live on-screen alum Ana Gasteyer, plus ex-SNL writers Paula Pell and Emily Spivey, all round out the besties. Also featuring: Tina Fey (of course) and Jason Schwartzman. If you've had a Parks and Recreation-shaped hole in your life since the acclaimed sitcom ended, adored Sisters or just can't get enough of these funny ladies in general, prepare to chuckle and celebrate as the film shows just what happens when a boozy break, lifelong friends and facing a huge milestone all mix. The first trailer has just dropped, and it comes with plenty of laughs: https://www.youtube.com/watch?v=aW_0MO-XKog Wine Country releases on Netflix on Friday, May 10. Image: Colleen Hayes.
The Melbourne International Film Festival is back for 2022, and has been screening flicks across the Victorian capital's cinemas since Thursday, August 4 — but that's not the only way to get your MIFF fix this year. Here's another: MIFF Play, the festival's digital offshoot, which is also returning for another spin. That's fabulous news both for Melburnians and for movie buffs interstate — and an unsurprising move given that in 2020, when it first made the leap to streaming the fest in a big way, it enjoyed its biggest audience ever. In 2022, MIFF Play will be available from Thursday, August 11–Sunday, August 28, and will show 105 features and shorts. Among the 77 features, there's plenty of highlights — and, like at all good film fests, something for all tastes. Starting with the local picks, you can explore the history of Melbourne on film thanks to classics Noise and Love and Other Catastrophes, or check out new Aussie gems including First Nations anthology We Are Still Here, Back to Back Theatre's Shadow and Petrol from Strange Colours filmmaker Alena Lodkina. Or, Spanish horror-thriller Piggy spins a savage coming-of-age tale, Neptune Frost serves up an Afrofuturist musical and Give Me Pity! parodies 70s and 80s musical variety television. Hit the Road marks debut feature from Jafar Panahi's (x) son Panah Panahi, while meta Filipino action film tribute Leonor Will Never Die won Sundance's Special Jury Award for Innovative Spirit, and Indonesia's Yuni picked up the Platform Prize at the Toronto International Film Festival There's also Mass, starring Jason Isaacs (Streamline) and Ann Dowd (The Handmaid's Tale) and set in the aftermath of a school shooting; New Zealand gem Millie Lies Low, about a uni student who fakes going to New York for a big internship; and existential drama The Humans with Beanie Feldstein (Booksmart), Steven Yeun (Nope) and Amy Schumer (Only Murders in the Building). The list obviously goes on — kicking off with a one-night-only session of Funny Pages, as produced by Uncut Gems and Good Time's Benny and Josh Safdie. And, on the doco lineup, Citizen Ashe steps into tennis great Arthur Ashe's life, Jane by Charlotte sees Charlotte Gainsbourg focus on her mother Jane Birkin, Navalny follows Vladimir Putin's political rival as he investigates his own state-sponsored poisoning, and We Were Once Kids looks back at 1995 indie hit Kids. Price-wise, you'll pay as you watch — all from your couch.
At this point, Maybe Sammy not appearing on The World's 50 Best Bars' prestigious annual rankings would be a shock. The personality-packed retro cocktail lounge in Sydney's CBD has earned a spot on the coveted list six years in a row. However, while its previous rankings have earned it the laurel of the nation's best bar, that honour has this year been given to a different watering hole — Caretaker's Cottage in Melbourne. The Little Lonsdale Street bar ranked 21st on this year's list, moving up two spots from its 2023 position of 23rd place. It was also awarded the Michter's Art of Hospitality Award — a gong also previously won by Maybe Sammy — which recognises the bar with the most outstanding service in the world. [caption id="attachment_922565" align="alignnone" width="1920"] Caretaker's Cottage[/caption] Maybe Sammy dropped in the rankings this year from 15th to 26th position, breaking its five-year streak as not only Australia's best bar but also Australasia's. One other Australian bar, Byrdi, also earned a spot on the list, in 35th position, breaking into the top 50 for the first time after only making the 100-strong longlist last year, ranking 61st. The judging panel praised Caretaker's Cottage's owners, veteran bartenders Rob Libecans, Ryan Noreiks and Matt Stirling, for not only opening the bar but also working there too. "They don't shout the pedigree of Caretaker's Cottage to the world, preferring to call it a simple, local pub, and in vibe and design it's very much a neighbourhood joint," the judging notes said. [caption id="attachment_743915" align="alignnone" width="1920"] Maybe Sammy, Trent van der Jagt[/caption] The judging panel said Maybe Sammy "has remained [Sydney's] most talked-about bar since it opened in early 2019, lighting up a dreary stretch of street in Sydney's sandstone district, The Rocks," also spotlighting the bar's signature combination of "theatrics and attentive, fun service". Byrdi was praised for its hyper-local focus, with the judging panel noting that the La Trobe Street venue "might very well be the most Australian bar in existence". The judges also highlighted the bar's technical prowess: "There is foraging and fermenting and vacuum distilling – and the drinks are high-concept creations. As for the service, there is a loquaciousness here, a laid back, casual sensibility that, despite all the hard work, experience and knowledge, is determined to show their guests a good time." [caption id="attachment_921792" align="alignnone" width="1920"] Byrdi, Haydn Cattach[/caption] The bar crowned the world's best, announced at a ceremony in Madrid on Tuesday, October 22, was Mexico City's Handshake Speakeasy, with the judges hailing the subtle complexity of the menu: "At first glance, the drinks list is minimalist, but given that head bartender Eric Van Beek uses advanced culinary techniques in prep, each drink is more complex than meets the eye." To see the full list of this year's rankings, head to The World's 50 Best Bars website.
By turns brassy and classy, exotic and demotic, exquisite and coarse, malevolent and melancholy, the extraordinary phenomenon that is Smoke & Mirrors will return to the Seymour Centre for one final season. Presented by Lunar Hare Productions, described as "rock 'n' roll cabaret with a scorching live band," Smoke & Mirrors sold out at Sydney Festival, Adelaide Cabaret Festival and the Edinburgh Festival Fringe. It's a breathtaking vaudeville fantasy; a glorious melange of physical spectacle, pantomime characters and strobe lights. Supported by a four-piece band, the curious cast of characters includes a red-ruffed ringmaster, a twisted chanteuse, a sublime aerialist, a mesmerising magician and some giant, gambolling bunnies. It's a sexy jounce through Edwardian music halls; a theatrical knees-up to centuries past. It teases out the myriad yearnings and dangers of modern sexual relations through saucy songs and balancing acts, transforming them into an artful cabaret turn. Smoke & Mirrors is a lushly disturbing piece of theatre that was one of The Famous Spiegel Garden’s headline shows. Go see it at the Seymour Centre before it disappears in an exquisite puff of smoke.
Put down that after-work wine, and get your hands dirty at The Pottery Shed. Across three two-hour lessons, the experts at this Surry Hills workshop will teach you the foundations of pottery; throwing, trimming, glazing. It might not be the sexy Patrick Swayze and Demi Moore Ghost situation you're imagining, but it is surprisingly cathartic and a good way to switch off. The work is messy and tricky to master, but the hard slog will be worth it when you have a beautiful bowl or two to show off to your mates. Once you've nailed the basic techniques, you can return to The Pottery Shed and create more masterpieces at your own pace.
Jason Roberts, the renowned chef and author, is on a mission to put Bondi back together; what better way to do it than over a plate of (very) good food? In news that has us salivating and scrambling to clear our calendars, Roberts has taken over Mexican eatery, Calita, for a limited-time culinary event with views of the beach. Roberts isn't on this mission alone, with cake creator Elisa Pietranonio who has also contributed to carefully crafting a menu with the intention of connecting the community in an intimate communal dinner. On October 12 and 19, the pop-up dinners at Calita will feature communal tables, share platters and free-flowing wine and mezcal. The food is a showcase of fresh Mexican flavours made with the highest quality local and sustainable ingredients. One of the hero dishes features wild caught Australian lobster and avocado tostadas (scooped straight out of the shell with crisp tortilla chips). Then there's shared platters of barramundi espache and braised beef cheeks served with tortillas so you can make your own soft tacos. But make sure you save room for dessert. The chilli chocolate tarts and Pietranonio's deliciously balanced cinnamon rice horachata with pineapple are both pretty special. You'll be able to wash it down with wines from Geyer Wine Co and Gentle Folk, two sustainable wineries from South Australia, as well as Calita's signature cocktails and mezcal offering (because what's a true Mexican feast without margaritas and mezcal?). This collaboration intends to heal the still-open wounds of the pandemic and months of isolation. Milpa Collective co-founder Liber Osorio says, "After the pandemic, we noticed some negative impacts in the social interactions of people in general and in Bondi particularly. We think it's important to come together as neighbours and try to bring back some of this sense of community to our public spaces." It's not too late to get a seat at the table, with two sessions remaining, on October 12 and 19. Tickets are $149 pp, and bookings are essential, with limited space available.
Spandex leotards and feathered hair at the ready: it's time to get active, 80s-style. Longtime Sydney favourite Retrosweat is giving its throwback aerobics classes a summer twist, jumping out of the gym and into the pool with a special series of aqua aerobics sessions. Transporting its fluoro fun and energy to the Ashfield Aquatic Centre as part of Sydney Festival, Retrosplash! will deliver three days of workouts, throwback fashion and killer 80s tunes. Find your favourite set of retro swimmers and get your body moving to the likes of 'Let's Get Physical' and 'Club Tropicana'. If you're new to the concept, Retrosweat was founded by Shannon Dooley, who studied at the Fitness Institute Australia and also at NIDA (training under Baz Luhrmann's official choreographer John 'Cha Cha' O'Connell, among other teachers). The vibe really is all there in the name, combining bending, stretching and all the usual aerobics moves, and soundtracked by 80s tunes — aka a fitness-fuelled step back in time. The 40-minute aerobics workout is designed for people of all ages and fitness levels. There will be extra instructors in attendance ensuring that everyone in the pool is being attended to. You can also expect colourful themed inflatables on-site, as well as a grassy section by the water in case you fancy a photo shoot in your outfit.
Bondi has the kind of natural wonder most places in the world can only dream of, so it's no wonder store owners are so environmentally aware. Located on the immaculate boutique-lined Gould Street, Bondi Wash is proudly peddling Australia's best botanical scents. Founded by local Belinda Everingham, Bondi Wash has shampoos, body washes and cleaning products all made with native fragrances. Since opening, the store has expanded beyond scents to cater to all corners of the beach house with natural dog wash, organic, ocean-friendly surface cleaners and a host of skincare products perfect for sensitive skin. Images: Josh White.
Leichhardt's quiet Norton Street is now home to a small bar and restaurant heroing Aussie ingredients thanks to The Little Guy owner Dynn Smulewicz and its longtime bartender Daniel McBride. They've joined forces to bring a much needed new player to the suburb. And, after opening its doors just last month, Golden Gully is already looking to be a hit with locals. "The demographics have changed pretty rapidly over the last few years [in Leichhardt]," says McBride. "There are a lot of young people — including our friends — in the area, so we feel a neighbourhood small bar has its place now." At first glance, the bar has bit of a Little Guy vibe — the two-storey terrace is squeezed into a commercial strip, the narrow ground level has a long bar to one side and the large bi-fold window overlooking the street is lined with stools. But, as McBride assured us, the Gully is no Little Guy 2.0. "The Gully is really 'Australiana' with a focus on all-Aussie products and a full service vegetarian kitchen upstairs," says McBride. The two-storey, 100-seat venue is decked out with tropical green walls and brass accents throughout. Downstairs, you'll find a sleek timber bar and aged leather-backed booths, while the upstairs restaurant is clean and simple, with a pitched roof and exposed beams. The bar runs on a 'something for everyone' mentality, and the team takes this mantra seriously with a rather extensive drinks list to choose from. "We don't want to alienate anyone and we're trying to communicate that through all of the menus," says McBride. "We had to have a big Aussie shiraz for mum, for example." Apart from shiraz, the bar also pours more than a few drops for natural wine lovers, including a few pét-nat and biodynamic numbers. Regions span Adelaide Hills, McLaren Vale, Hunter Valley, Orange, Yarra Valley, Margaret River and Tumbarumba, to name just a few. There's also a long list of Australian-made gins, vodkas and whiskies, and a seven-strong cocktail list using those same Aussie spirits. On it, you'll find the Norton St Sour ($19) — made with Sydney's Mobius Distilling Company vodka, Adelaide Hills' Italian bitters, lemon and aquafaba — and the Aussie Negroni ($19), a concoction of Poor Toms Gin, sweet vermouth and Applewood Okar (a South Australian take on Italian amaro). [caption id="attachment_707936" align="alignnone" width="1920"] Trent van der Jagt.[/caption] The Gully is also just as much a restaurant as it is a bar. In the kitchen is Emma Evans, who hails from Woolloomooloo's plant-based eatery Alibi. She's creating an elevated vegetarian menu and is "a real boss lady", according to McBride. "Dynn and I are both vegetarian and we hate when people forsake flavour in vegetarian or vegan food," says McBride. "Emma is really good at playing with flavours and creating food that you wouldn't even notice is vego." Evans is turning out European share plates using all-Australian ingredients. Favourite menu items include the almond-based ricotta gnocchi with crispy oyster mushrooms and wattleseed in a wild mushroom broth ($24); tea and pepperberry-smoked potatoes with chives and parsley aioli ($11); and roasted pumpkin wedges, dusted with a native dukkah spice mixture and doused in herb cucumber yoghurt ($19). [caption id="attachment_707934" align="alignnone" width="1920"] Trent van der Jagt[/caption] "Australia is very internationally inspired, and now you can get European-style wines and American-style gin and whisky, but all produced in Australia," says McBride. "The same goes for produce. If you want a burrata on the menu, it doesn't make sense to import it from Italy when there's a Marrickville factory that makes it." And they do have that burrata ($17) on the menu, too, topped with balsamic, a side of sliced figs and served with sourdough. "We tried to make the venue be as comfortable as possible, so people can get stuck in — we're not trying to just turn over tables," says McBride. "You can eat at the bar or go upstairs and smash a bottle of wine without getting any food. There are no set rules." Find Golden Gully at 153 Norton Street, Leichhardt from 4pm–midnight, Wednesday–Friday; midday–midnight, Saturday; and 4–11pm, Sunday. Images: Trent van der Jagt.
Sydney's museum scene is undergoing a significant shake-up. First, the New South Wales Government announced that it's moving the Powerhouse Museum to Parramatta. Now, it has revealed that Australian Museum will take a 12-month hiatus. The popular William Street site will close from Monday, August 19, with a $57.5 million makeover on the cards. The revamp is part of the facility's huge renovation, called Project Discover, which'll add a new touring hall as well as new education spaces. When it's complete, the museum will boast 1500 square metres in exhibition space across two levels — meaning that it can play host to a massive major showcase across the entire multi-floor space, or house two exhibitions at the same time. With Tutankhamun: Treasures of the Golden Pharaoh due to open in February 2021, Australian Museum will certainly make good use of the extra facilities. Heading to Australia for the first time, it'll feature more than 150 objects from the ancient boy king's tomb as part of the world's largest Tutankhamun exhibition outside of Egypt. Included in that tally are 60 objects that have never before left their homeland. As well as an increase in exhibition space, Australian Museum will also gain new education facilities, a new museum shop and a second cafe — plus an expanded Members' Lounge, cloaking and new amenities. Its current community and school outreach programs will continue during the temporary shutdown. With the museum's public spaces closing until around August 2020, its usual August exhibition will find another home for this year. Fans of the annual Australian Geographic Nature Photographer of the Year will find it at the Powerhouse Museum from Friday, August 16, and it'll be free to attend with a general admission ticket to the museum. The Australian Museum will close on Monday, August 19, re-opening approximately 12 months later. For further details, visit the Project Discover website.
Over the past few months, Sydney has scored quite a few new sky-facing spaces, including the foliage-heavy Manly Greenhouse, Erskineville's pink frilly umbrella-dotted Slims Rooftop and Erskineville's art deco Imperial Up. Now, Westfield Sydney is getting in on the game, with the announcement that it will open not one, but two new venues on its level seven rooftop. From April, inner-city workers and shoppers will be able to slip upstairs to feast on Middle Eastern and Cantonese fare, while soaking up panoramic views. The first of the two is Babylon, a Middle Eastern-inspired venue with a whopping 800 capacity. Among its spaces are a 216-seat restaurant, two expansive bars, an outdoor terrace and private dining areas. The kitchen will be fuelled by fire, with many dishes cooked over wood and charcoal, on the rotisserie and in a huge Turkish grill will pump out charry Adana-style kebabs, cabbage kebabs, and a 72-hour slow-cooked wagyu trip-tip with smoked eggplant puree and mushroom. The bar will also stock over 200 whiskies and 300 bottles of wine. [caption id="attachment_711258" align="alignnone" width="1920"] The dim sum at Duck & Rice. Shot by Steven Woodburn.[/caption] Then, at the end of April, a 400-seat contemporary Cantonese restaurant will open on the rooftop. Duck & Rice will specialise in dishes from regional China — think lots of dim sum, spicy noodles and Cantonese roast duck pancakes. You'll be able to dine — and drink G&Ts on tap — in the 1930s-inspired space or outside in the outdoor lantern room. The Mantle Group Hospitality (MGH), has leased the rooftop and owns both Babylon and Duck & Rice. Having been busy in Brisbane for nearly 40 years, it moved into Sydney in May 2018 with the opening of The Squire's Landing at the Overseas Passenger Terminal in The Rocks. Babylon will open mid-April and Duck & Rice will open late April at level seven of Westfield Sydney, corner Pitt Street Mall and Market Street, Sydney.
There's the parade, yes. But before that, nearly a month of cultural and celebratory events of all stripes makes up the festival of Sydney Mardi Gras, and there's something for everybody, even Straighty McStraight-Straight. Who relates absolutely and 100 percent to the social expectations of their gender and sexuality? Nobody, probably. And that's something to love, savour and take away from this most iconic of Sydney events. This year, there's a fair day, art you can dance to, an intergalactic gay wizard and some steamy literary readings, among all the parties between February 20 and March 8. With gay marriage rights firmly on the agenda again this year, 2015's Mardi Gras will definitely be one that's remembered. Check out our picks of the ten best events of the festival here.
The Rocks is a historic Sydney precinct, home to some of the best bars, oldest heritage buildings, cutest boutique shopfronts and now, a recently-refreshed weekend activity. You might be familiar with it: The Rocks Markets, a local cornerstone that brings together artisanal goods and their makers onto a bustling street for wanderers to delight in en masse. If you've ever been part of that crowd or aspire to be soon, you'll be excited to hear that the market has recently had a facelift and is coming back strong to invite your patronage and delight your senses. Head on down to the harbourside spot for the opening weekend on Saturday, April 15 and Sunday, April 16 — or any Saturday and Sunday after that. What to expect? You can look forward to fruit-topped baked pastries; fresh, cheesy woodfired pizza; European bites aplenty — like paella, pastel de nata (from Tuga Pastries, pictured above) and lokma — and desserts galore. There's something for everyone on the drinks front; think coffee, juice, kombucha, lemonade and everything in between. Beyond the flavour, you can peruse the works of local artists and photographers, inject style to your life with eclectic homewares and shop around for a standout new 'fit for the coming season. Should you need a break from browsing, find a spot on the supplied picnic rugs in the shade of the Harbour Bridge and soak up the rotating roster of live music (all up-and-coming local artists, of course). And for something enriching, head to one of the ever-changing 'how to' workshops, which will have you learning from market stallholders in interactive sessions. The launch weekend includes sessions with Leather Trading Co, Emilio Frank Design, Jonima Flowers and Store Tresor. And as if you weren't spoiled for choice already, Sunday visitors will also see free yoga classes available in Dawes Point Park at 9.30am. The Rocks Markets relaunch on the weekend of Saturday, April 15 and Sunday, April 16. Then, will run every Saturday and Sunday from 10am to 5pm. For more information on the vendors, visit the website.
UPDATE, April 21, 2023: Elvis is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. 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. Elvis also does what Luhrmann often does; he's never adapted a fairy tale (no, Moulin Rouge!'s green fairy doesn't count), but he adores larger-than-life stories that seem more than real. Like style, like narrative, clearly, and Presley's leap to the most famous man in the world and, sadly, to exploited, caught in a punishing trap, addicted, and then dead at just 42, has that touch to it here. Yes, that remains true even though this will always be a tragic story. That said, amid the visual flourishes that help cement the vibe — the filmmaker's usual circling images, split-screens, match cuts, frenzy of colour and visible lavishness, aided by cinematographer Mandy Walker (Mulan), plus editors Jonathan Redmond (The Great Gatsby) and Matt Villa (Peter Rabbit 2: The Runaway) — there's an earthiness to Elvis. In fact, the ability to make everything both hyperreal and natural is one of the reasons the feature's live performance scenes have such a spark. There isn't a second of Elvis that doesn't play like a Luhrmann film, of course; crucially, it's always an Elvis movie, too. There's that balance at work, even if viewers won't walk away knowing much more about the man behind the myth-sized superstardom — feeling more, however, happens fast, frenetically and often. Most choices that could've been jarring, such as the musical anachronisms, have depth to them. Luhrmann connects Presley's songs and influence with music since and now in several ways. This is a film about influences in two directions, smartly — because noting that Big Mama Thornton (first-timer Shonka Dukureh) was the first to record 'Hound Dog', that artists like BB King (Kelvin Harrison Jr, Cyrano) shaped Presley, and that his musical roots trace back to gospel churches and revival tents, needed to be inescapable in an Elvis biopic circa 2022. Also inescapable thanks to its Gold Coast shoot: spotting almost every Australian actor around Butler and Hanks, including David Wenham (The Furnace) and Kodi Smit-McPhee (The Power of the Dog) as carnival-circuit performers Hank Snow and Jimmie Rodgers Snow. Stranger Things' Dacre Montgomery plays director Steve Binder, who helmed Presley's 68 Comeback Special — the recreation of which is spellbinding. But Butler is always Elvis' force of nature. His physicality in the part, including as Presley ages, is stunning. The soulfulness baked into his portrayal is as well, and moving. That he acts circles around the prosthetics-laden Hanks, who ensures that the self-serving, one-note Parker is easily the film's villain, might sound fanciful in any other movie. But this is Elvis, and seeing Butler play Elvis is one for the money. Doing just that helped make Kurt Russell a star back in 1979, a mere two years after Presley's death, and that taking-care-of-business lightning bolt should strike again thanks to this exhilarating spectacle.
What do Mick Jagger, Rod Stewart and Justin Bieber have in common? Apart from a propensity for unappealing hairdos, that is? They've all made a rest stop at Jonah's a mandatory part of their Australian touring schedule. Some might say it's the jaw-dropping, panoramic Pacific views. Others would point to the luxurious Relais & Chateaux Ocean Retreat rooms. Others still are likely to suggest the favoured mode of arrival: a spectacular 20-minute seaplane ride from Sydney Harbour. But the locals know the truth. After all, they've been flocking to Jonah's since 1928, when it was no more than a roadhouse. Back then, luxury accommodation and an array of Good Food hat-worthy culinary creations weren't on offer. One chef however, had a very special secret: an unbeatable recipe for panna cotta. It wasn't long before locals were arriving in droves to try it out — for a second, third or twentieth time. Eighty-four years later, it is back on the menu for Priceless Sydney, and it's still a favourite — in these five-star days it's served with chargrilled quince, mandarin sorbet and pink pepper tuile. Local business Palm Beach Collection has even collaborated with Jonah's on a hand-poured, eco-friendly candle featuring the lush aromas of the Northern Beaches' most famous dessert. The big news is that both products are currently being given away via MasterCard's Priceless Sydney program. Any MasterCard cardholder who orders two or more courses at Jonah's will receive not only a complimentary signature dessert but also a free Palm Beach Collection candle. All you have to do is pay with your MasterCard card and mention the Priceless Sydney offer.
Giant food art installations and a pair of cooking demonstrations from beloved celebrity chefs are coming to Chatswood as part of a new two-week food event. Between Friday, September 16 and Friday, September 30, the Chatswood Food Trail will take over Westfield Chatswood with a range of activations. Headlining the event will be two free celebrity food demonstrations from Dan Hong and Adam Liaw. Beloved MasterChef alumni and SBS presenter Adam Liaw will be appearing from 6pm on Wednesday, September 28, while Dan Hong of Mr. Wong, Ms G's and MuMu will be running his demonstration from 6pm on Thursday, September 29. Other cooking demonstrations for both adults and kids will be on the program between Monday, September 26–Friday, September 30. Throughout the two weeks, fantastical, larger-than-life art installations resembling bubble tea, noodles, eggs and other food and drink items will also be popping up at the centre. Visitors can collect a Chatswood Food Trail Passport and visit all six of the installations to go into the draw to win a $1000 Westfield gift card. Plus, retailers around the centre will be offering special offers throughout the festivities. Check out the full schedule at the Westfield website.
Founded as a way to promote happiness and health, this five-kilometre-long run involves splashes of colour to distract you from the fact that you're, you know, exercising. All participants are asked to wear white t-shirts and embrace the colour pigment that's blasted at them at various points during the race. This is sweaty exercise disguised as straight-up fun. With a party at the beginning, a party at the end, and four colour zones to dance your way through — the fun never stops, and neither do your legs. The Color Run now takes place in more than 35 countries worldwide, attracting six million runners across the globe. This year it'll run its Sydney race on Sunday, October 7 at Cathy Freeman Park in Sydney Olympic Park, kicking off at 8.30am.
Everyone loves Caroll Spinney, but no one realises it. For more than four decades, he has brightened up the television screens of children around the globe, and mirrored their crankier side as well. Sometimes he's inside a giant yellow suit. Sometimes he's crouched behind a trash can. Either way, he's surrounded by sunny days sweeping the crowds away, whether bird, grouch or man. I Am Big Bird: The Caroll Spinney Story helps redress his lack of fame in his own right, telling the tale of the person behind the puppets. A boyhood fascination with the puppetry (and a lucky break at an early show gone wrong) guided him towards none other than The Muppets' Jim Henson — and the rest, as they say, is history. Climbing inside a feathered costume, he made one of the world's most iconic creations. Channelling his inner grump, he fashioned another. Of course, both Big Bird and Oscar the Grouch are as famous as fictional characters can get, their traits and tendencies easily recognisable. Less apparent is the importance of Spinney in not just giving them form, but giving them personality. An array of talking heads, including many Sesame Street veterans, explain how the roles reflect both sides of his temperament. Indeed, as the documentary's title suggest, Spinney really is Big Bird, and his green furry friend as well. So unfurls 90 minutes of adoration for the otherwise unsung performer, as pieced together by directors Dave LaMattina and Chad N. Walker as a tribute from the outset. Given the nostalgia and affection likely to be felt by everyone who watches the film, there's never any doubt that positivity reigns supreme in this admiring and infectious effort. In case you weren't already feeling the loving mood, the sentimental score helps nudge you in that direction. There's nothing particularly subtle about the way this ode to a creative talent is put together, but it's all done with the best of intentions. The film is full of engaging memories and interesting insights too; whether peeking behind the scenes of the show, revisiting Sesame Street's trip to China, or revealing the mechanics behind the Big Bird suit — and the physical toll it takes on Spinney, who's still performing even though he's in his eighties. The man himself shares his recollections, his professional highs interwoven with the rollercoaster that was his personal life in his younger years. And yet, there's another person looming large over the piece, glimpsed in archival clips, who almost steals the show. It's impossible to explain the importance of Spinney without touching upon Henson, and expecting waterworks to follow. The intimacy of Spinney's chats about his time with his mentor gets to the heart of what makes I Am Big Bird: The Caroll Spinney Story an endearing documentary, even if it is put together in a standard fashion. Who wouldn't want to spend time with the men behind the figures that defined so many childhoods?
Rockpool Bar & Grill in Sydney isn't known for changing things up. In fact, many diners come here because they know exactly what they are getting every time they visit — and that's usually one of Sydney's best steaks. But right now, the chefs have been given permission to really experiment with Rockpool's food offering through its new series of degustation dinners. Every Friday and Saturday night until Saturday, July 20, you can book in for Rockpool's nine-course spread that's exclusively served in its semi-private dining rooms. These aren't available to walk-ins, and there's a highly limited number of seats up for grabs each week. If you manage to get a spot, you'll be treated to a selection of mostly meat and seafood dishes that have been dreamt up by Executive Chef Santiago Aristizabal. You can expect bites like its prawn and carrot crepe with saffron and curry leaves, paspaley pearl with green gazpacho and smoked bullhorn pepper oil, rare Cape Grim fillet and bone marrow on toast and Davidson plum doughnuts topped with smoked vanilla ice cream. The nine-course degustation comes in at $195 per person, with several wine-pairing options available starting from $85 — something we highly recommend for those wanting to really treat themselves. Those dining a la carte can also try something new by ordering one of its luxe new tableside dishes. The NSW rock lobster thermidor is carted over on a trolley and drizzled in flames right before your eyes. And the 1-kilo, pancetta-wrapped $350 chateaubriand steak (for four to five people) is also finished and carved up tableside. It's decadent and expensive, but Rockpool is a legendary restaurant in Sydney that's known for sourcing only the best quality produce. It costs to try food this good. But if you can afford it, it is a real treat.
