Summer has had a blistering start, with the country yesterday clocking its hottest ever day on record. Australia's average maximum temperature soared to a whopping 40.9 degrees, barrelling past the previous record of 40.3 set back on January 7, 2013. But, things are looking much more bearable for December 25, as Christmas Day promises some balmy mid-20 conditions for Australia's barbecuing, beach-going and festive-feasting adventures. According to the Bureau of Meteorology, Melbourne's the big day is set to hit a maximum of 28 degrees, with partly cloudy skies and only a ten-percent chance of any rain. It'll not only be cracking beach weather, but a welcome change of pace, after this coming Friday's expected top of 43. It's also a jump above Melbourne's December average, which clocks in at 24.2 degrees. [caption id="attachment_651722" align="alignnone" width="1920"] St Kilda Beach by Josie Withers for Visit Victoria[/caption] Sydney is on track to enjoy similar conditions, with an overall maximum of 27 degrees and a 40-percent chance of showers on the cards for Christmas Day. However, if you're venturing west, you'll probably want to line up a swim (or air-conditioning) of some sort, as Penrith hits an expected top of 32 degrees. It comes after NSW Premier Gladys Berejiklian declared a seven-day State of Emergency on December 19, handing over executive powers to the RFS Commissioner, because of predicted worsening bushfire conditions. It's the second State of Emergency declared this fire season, too, which has been particularly devastating, with 768 homes lost and more than 2.7 million hectares burnt at last count. Those travelling over the festive period are being told to prepare for possible road closures, diversions and delays as a result. And before you head out of town, it's suggested you check Fires Near Me and heed any instructions and warnings. Further north in Brisbane, things are looking especially balmy with a sweaty forecast max of 33 degrees. It's just another in a long string of mid-30 days the city's been through this month, though Christmas Day is bucking the trend with a forecast 40-percent chance of rain. You might want to have a contingency plan for that outdoor barbie. [caption id="attachment_703464" align="alignnone" width="1920"] Bunya River Crossing[/caption] Perth's set to unwrap a sticky top of 36 degrees for Christmas, way beyond the average December maximum of 29.1. With zero chance of rain forecast, it'll likely be the hottest day locals will have had all week, rounding out a string of high-20s and low-30s. Darwin is in for a similarly steamy maximum of 35 degrees with the added bonus of potential thunderstorms — pretty much the exact conditions it'll see every day in the lead-up. Meanwhile, Adelaide folk will be ringing in Christmas Day with a festive top of 32 degrees and Canberra is wrapping up a week of low-40s and mid-30s with a partly cloudy 33. As usual, Tasmania's playing things a little cooler, with Hobart in for a partly cloudy, potentially drizzly maximum of 23 degrees.
Everyone has their Christmas viewing rituals, whether you watch your way through every Home Alone movie each year (yes, even the recent one), pop on It's a Wonderful Life with the family after a big lunch or prefer saying yippee ki-yay to Die Hard. Until recently, however, it's likely that watching Australian festive flicks wasn't high on your list, given this country of ours doesn't have all that much seasonal fare to its name. Back in 2020, streaming service Stan aimed to help change that with A Sunburnt Christmas, a festive caper about a criminal, some kids and end-of-year hijinks — aka Australia's answer to Home Alone and Bad Santa, in a way. In 2022, the platform is set to add another homegrown title to its catalogue sometime before Christmas hits, too. Given it stars Miranda Tapsell and Matt Okine, it looks worth a watch based on its cast alone. [caption id="attachment_700158" align="alignnone" width="1920"] Top End Wedding[/caption] Christmas Ransom stars Okine (The Other Guy) as every kid's second-favourite person during festive season: the owner of a toy store. Things aren't too merry for his character, however, when his shop is held up by thieves on Christmas Eve. And yes, as the name makes plain, he's held for ransom. These kinds of Christmas movies usually involve children, whether or not they turn them into Macaulay Culkin-level stars — so obviously a couple of kids get caught up in the heist. To save the day, they enlist the help of Tapsell (Top End Wedding), who plays a pregnant security officer. Announcing the film, Stan notes that it's inspired by Home Alone, Die Hard and Elf. If you've ever seen just one Christmas flick for even just a few minutes, you will have spotted plenty that's predictable about the setup. Alongside Tapsell and Okine, Christmas Ransom stars Ed Oxenbould (Wildlife), Genevieve Lemon (The Tourist), Bridie McKim (Bump), Evan Stanhope (Thor: Love and Thunder), Tahlia Sturzaker (Ascendant) and Chai Hansen (The Newsreader) — and boasts Adele Vuko (Wham Bam Thank You Ma'am) in the director's chair. Add it to your festive viewing alongside this year's other big Aussie Christmas film, if it also surfaces in time: the upcoming movie based on Paul Christmas classic 'How to Make Gravy'. Otherwise, this newcomer will join the likes of A Sunburnt Christmas; Bush Christmas, both the 1947 and 1983 versions; the animated Around the World with Dot; and recent-ish horror movies Red Christmas and Better Watch Out — the latter also featuring Oxenbould. Christmas Ransom will be available to stream via Stan sometime this festive season — we'll update you with an exact date when one is announced.
Sometimes you just want to get away from it all. Luckily, New Zealand's watery borders are home to around 600 islands that offer a unique blend of peace and tranquility, stunning scenery and adventure too. Make a beeline for one of the accessible island escapes below. Time your visit right to avoid the crowds and you might even manage to have an island practically all to yourself. Here are five islands where you'll find wildlife reserves for spotting kiwi in their natural habitat and island dark sky sanctuaries perfect for stargazing up into the universe. [caption id="attachment_986097" align="alignnone" width="2000"] Matt Crawford[/caption] Stewart Island/Rakiura Off the southern coast of South Island lies New Zealand's third largest island, Stewart Island/Rakiura. Over 85 percent of the island is designated National Park land and unspoiled nature with rare wildlife is what to expect down here. Despite its size, settlement on Stewart Island is sparse and the only place to stay is in Oban (also known as Halfmoon Bay) where you won't ever be too far from the island's pristine natural environment. Getting to the southernmost island of New Zealand is an adventure in and of itself, with ferries serving as one of the main ways to arrive. If the thought of travelling by boat makes you feel queasy, you can always fly in too. [caption id="attachment_986589" align="alignnone" width="1920"] Alistair Guthrie[/caption] Bay of Islands Just a three-hour drive or a 50-minute flight from Auckland is the Bay of Islands, a breathtaking destination where you'll discover sleepy towns that roll on to crystal-clear inlets, more than 144 undeveloped islands up for exploration as well as water activities and vineyards to fill your days. Roberton Island (Motuarohia) is a 20-minute boat ride from Paihia or Russell and is best known for its stunning blue water lagoons and snorkelling trail. The luxury Cook's Cove Retreat is one of five houses on the island that can be hired for overnight getaways. The eight-person resort is found in a peaceful private bay. From there you can bushwalk to historic Māori sites, explore underwater marine reserves, or set off via kayak from the private jetty. [caption id="attachment_986579" align="alignnone" width="1920"] Scott Venning[/caption] Great Barrier Island/Aotea Great Barrier Island (Aotea) is the fourth largest island in New Zealand. A 30-minute flight or four-hour boat ride from Auckland will bring you to the rugged wilderness where spectacular fishing, natural hot springs and first-class surfing spots await. Away from the light pollution of Auckland, the off-the-grid island is also one of four dark sky sanctuaries, and the only officially recognised island dark sky sanctuary in the world. [caption id="attachment_663062" align="alignnone" width="1920"] Miles Holden.[/caption] Waiheke Island An escape to New Zealand's Waiheke Island feels miles away from the bustle of central Auckland, though it's only a quick ferry ride from downtown. It's an island of varying landscape, with the turquoise-blue waters of the coast giving way to rolling green hills inland. This gives visitors endless options, too — from bushwalks and beaches to art galleries and, most notably, the plentiful wineries on offer. The whole island is easily explored by bus or bike, and trips from the vines of one winery to the next take only a traipse through the vineyard. Mudbrick is a standout, with stunning views back to Auckland city and top-shelf wines and dining options.You could spend a week here and still not hit all of the artisanal producers dotting the island. Join an art walking tour, try your hand at archery or distil your own bespoke gin, just to name a few things waiting for you on this wine island. Waiheke is the most densely populated island with over 8000 permanent residents. Kapiti Island This wildlife sanctuary off the Kapiti Coast is home to rare species such as the flightless takahē, white faced heron and kākā. You can visit the island for a self-guided day tour, or spend the night and enjoy local hospitality — while keeping an eye out for kiwi in their natural habitat. Kapiti is home to over 1200 little spotted kiwi, making it one of the most reliable opportunities to see them in the wild. There are three accommodation options including private glamping tents, native timber cabins and a Kiwi-style bach offering ocean views out across Waiorua Bay. Find your very own Aotearoa New Zealand here. Top image: Slipper Island Resort.
Cabramatta Moon Festival is back and celebrating its 25th anniversary this September. On Sunday, September 28, to help celebrate the mid-autumn festival, Cabramatta's Town Centre will transform into a cultural hub with mouth-watering food, local market stalls, rides, free kids activities and live entertainment. On the activities front, there'll be the favourite children's chopstick challenge, pho and mooncake eating competitions, as well as an awe-inspiring lantern parade. This year, there'll also be an Australian-first with the National Lion Dance Competition taking place across the weekend. Cabramatta is bringing together the country's top teams for a fierce and colourful showdown that helps to celebrate southeast Asian culture. You can get a first-hand glimpse at the competitors during their team greet on Friday, September 26, from 4pm–6pm at Pai Lau Gate/ Freedom Plaza. The competition will take place over both days of the weekend at Hughes Street Car Park, Cabramatta. Other events and performances include a performance by the Cambodian Living Arts & Culture, live music from Alicia Varas, Jason Tran and Michelle Sutton, as well as free face painting and balloon animals with Kozi &Pinky, so the kids in your life can make some wholesome memories. The Cabramatta Moon Festival is all about celebrating the community that's made it shine for a quarter of a century. The Cabramatta Moon Festival is family-friendly and free to enter. Festivities begin at 11am. For more information, visit the website.
Sydney's largest Halloween celebration, Halloscream, is back, and it's set to be even more terrifying than ever. This October, Luna Park will transform into a terrifying realm of nightmares with new scary attractions, spine-chilling live performances and unlimited rides. Punters have the choice of two ticket options: general admission and the VIP ticket. Both have unlimited access to Luna Park's rides, while VIP ticket holders have dedicated access to Round & Round and Red Light, Green Light from the highly anticipated Squid Game: The Experience. The ticket also includes food and a merchandise discount. Back again this year is The Carnival Breath, plunging guests into a sideshow from hell. Here, nightmare-inducing clowns and creepy performers lurk in the shadows, waiting for unsuspecting victims. Plus, a brand-new addition to this year's stacked lineup of scares is Crystal Ward, a terrifying maze set within the heritage-listed Crystal Palace. Wander through an abandoned hospital ward with secret experiments still unfolding behind locked doors, so make sure to hold on tight to your loved ones. Throughout the night, you'll also encounter roaming entertainers to keep you occupied. Of course, you can always take breaks from the spooktacular and get your heart racing in a different way on any of Luna Park's long-standing rides. Don't forget to grab a bite to eat, too, with Halloween-themed food and drinks to keep you satiated. Halloscream runs from Thursday, October 30 to November 1, with tickets now available on the Luna Park website. General admission tickets are $110, with VIP tickets available for $150.
Hollywood is giving video games to the film and TV treatment like it's collecting loot, with Borderlands the latest button-mashing favourite heading to cinemas. Cate Blanchett (The New Boy) as Lilith, Kevin Hart (Lift) as Roland, Jack Black (The Super Mario Bros Movie) voicing Claptrap, Eli Roth (Thanksgiving) writing and directing, treasure-hunting antics, seemingly trying to make the next Guardians of the Galaxy: that's all in store, as the just-dropped first trailer for the movie shows. Set for an August 2024 release, the Borderlands film isn't done with its familiar names and faces yet. Everything Everywhere All At Once Oscar-winner Jamie Lee Curtis also features, alongside everyone from Edgar Ramírez (Dr Death) and Ariana Greenblatt (Barbie) to Florian Munteanu (Creed III) and Gina Gershon (reteaming with Roth after Thanksgiving). And the tale they're telling? It focuses on bounty hunter Lilith's return to the chaotic Pandora, her home planet — and a "dumpster fire of a world", she notes — to find Atlas' (Ramírez) missing daughter. To do so, she needs assistance from mercenary Roland, demolitionist Tiny Tina (Greenblatt), the beefy Krieg (Munteanu) and scientist Tannis (Curtis) — and, from robot Claptrap, with Black lending his voice to another flick based on a hugely popular game after his stint as Bowser in 2023. In the colourful debut sneak peek, mayhem ensues as the movie's main crew navigate bandits and aliens, and have saving the universe as one of their aims. So, if you're new to all things Borderlands and this first glimpse at the film has you thinking of Guardians of the Galaxy, that's understandable. The vibe invites the comparison, right down to the use of a 70s hit: Electric Light Orchestra's 'Do Ya'. A film version of Borderlands has been in the works for almost a decade, with the game itself first arriving in 2009 and spawning three more so far in its main series — 2012's Borderlands 2, 2014's Borderlands: The Pre-Sequel and 2019's Borderlands 3 — plus a number of spinoffs. Shot in 2021 but finally hitting screens in 2024, the Borderlands flick comes after 2023 proved big for game adaptations thanks to The Super Mario Bros Movie, the TV take on The Last of Us and cinema's Five Nights at Freddy's. 2024 will also deliver a Fallout streaming series, plus the third Sonic the Hedgehog movie. The list of upcoming titles doesn't end there, either, including turning The Legend of Zelda into a live-action film. Check out the trailer for Borderlands below: Borderlands will release in cinemas releases in US cinemas on August 9 — we'll update you with a Down Under release date when one is confirmed. Images: courtesy of Lionsgate.
We know beach, barbies and blue skies make a perfect summer, but nowadays our favourite season isn’t complete without an hour or two at our city’s arguably most iconic attraction. For the third year running, the Sydney Opera House is transforming itself into a playground of sights, bites and goodies including The Summerhouse Tour to take you behind the scenes where the magic happens, as well as summer specials promotions to ensure you make the most of every mouthful. Running until the end of January from 5pm daily, the Summerhouse Tour (one hour, $45) is ideal if you’re new to the city or an Opera House old hat. Not only will you finish with a beer, wine or Bellini, taking in the sunset surrounded by the buzzing crowd, but you’ll explore scenes and settings us normal folk would usually never get to see. Led by an expert guide (with a few insider secrets to divulge), you’ll explore theatres, foyers and off-limit areas where more than 1,600 shows have wowed crowds over the House’s 58-year history. Book online and save 10% on your ticket, or if you can’t make the 5pm start, fear not: all other tours will be running as usual from 9am. The recently renovated Opera Bar will be decked out in a tropical theme and offering a juicy $20 prawn cocktail promo plus two drink specials. Nab yourself a young coconut (spiked, of course) or a deliciously cooling slushie, available in watermelon granite or frosty fruit flavours. The theatre bars themselves will be dressed up to suit the summer theme, with three seasonal cocktails at $15 each, including the fresh lemon and ginger, rum and lemonade Aloha; a Paradise Point of vodka, lemon juice, honey and ginger ale; and the Pink Bikini, combining tequila, grapefruit and lime juice. For something non-alcoholic, keep your eyes peeled for the Liana Raine popsicle cart serving on the Upper Concourse. Then — with sandpits, interactive performances, a Veuve Clicquot pop up and dedicated kids' areas — to name just a few attractions (more detail here), all that’s left is to enjoy summer like a true Sydneysider. For the full program, see the Summerhouse website.
Futurama is coming out of stasis, and a pandemic, vaccines, bitcoin, streaming and cancel culture all await. How will the Planet Express crew deal with all of the above, plus a massive disruption in the flow of time, when the Matt Groening-created show about life in the 31st century returns in July? As seen in the comeback season's initial teaser and now its just-dropped full trailer, they'll cope the same way they always have in this beloved animated sitcom: by knowing that anything and everything can and will happen. If a pizza delivery guy was to accidentally wander into a cryogenic chamber back in July 2013, get stuck frozen inside for ten years, then wake up in July 2023, plenty that he knows about the world will have changed — but Futurama would remain a constant. Back then, the series was still on-screen. Now, it's finally being defrosted after a decade off the air. Good news, everyone! — it's back, baby, after US streaming platform Hulu first announced plans to go back to the future in 2022. Futurama was renewed for a 20-episode run, with the first ten new instalments arriving from Monday, July 24 Down Under via Disney+. Say hello again to the 20th-century's Philip J Fry (voiced by Billy West), distant uncle to Planet Express cargo company Professor Hubert J Farnsworth (also voiced by West), plus the rest of the outfit's crew. Yes, that means more antics with one-eyed ship captain Turanga Leela (Katey Sagal); fellow employees Hermes Conrad (Phil LaMarr), Amy Wong (Lauren Tom) and Zoidberg (also West); and everyone from self-obsessed starship captain Zapp Brannigan (West again) and his amphibious 4th Lieutenant Kif Kroker (Maurice LaMarche) through to scheming corporation owner Mom (Tress MacNeille). And, yes, it Bender Bending Rodríguez will be causing chaos, with John DiMaggio also back with the cast. When the revival was first announced, that wasn't the case — but it wouldn't be Futurama without its constantly sauced robot exclaiming "bite my shiny metal ass!". You can put a beloved show into suspended animation, but someone is going to thaw it out one day — and more than once. Initially airing from 1999–2003, the futuristic series then returned from 2008–2013, before now being given another run. Hulu is calling this comeback season 11, even though Futurama spans a past seven seasons and four direct-to-DVD movies so far. As for what this return is about, other than satirising life in the year 3000 and beyond — and parts of life today — the streaming service is promising more about Fry and Leela's love story, what's in Nibbler's litter box, evil Robot Santa's secret history, and Kif and Amy's tadpoles. Check out the full new Futurama trailer below: Futurama season 11 will stream via Disney+ Down Under from Monday, July 24.
This editorial is sponsored by our partner, King Street Wharf. King Street Wharf is an often overlooked section of Sydney's waterfront when it comes to finding a place for lunch. We often forget that there are a string of restaurants lining the Darling Harbour foreshore offering thoroughly decent dining options. But King Street Wharf, tucked away between Barangaroo and Pyrmont, is now arguably one of the best places to find lunch in Sydney's CBD. Until June 13, the precinct — including I Thai, La Cita, Cargo Bar and Wharf Teppanyaki — will host a special lunchtime menu designed for time-poor office workers. The restaurants are offering special menus priced between $10 and $20, with many offering takeaway options, in the interests of providing Sydneysiders with good food and a waterfront view without needing a long, luxurious lunch break. Because there's nothing more spirit-crushing than spending your precious half-hour of freedom trapped in the depths of a CBD food court. Below, we present you with our pick of the best meals under $20 available at King Street Wharf. 1. Seafood Okonomiyaki from Wharf Teppanyaki Wharf Teppanyaki has a great array of $20 meal options, including a wagyu burger and wafu chicken piccata, but we’re quite fond of the seafood okonomiyaki. The meals are served with a choice of garlic fried rice, egg fried rice, seasonal salad, red and white miso soup and Teriyaki chat potatoes, so it’s also guaranteed to keep you full until dinner. 2. Duck Noodle Soup from I Thai A plastic take-away box full of pad thai or mee goreng is a lunchtime staple, and while I Thai have those things on offer as well, you can also find something extra special. For something rich and warm to keep the chills away as autumn rolls in, you can't go past their duck noodle soup. 3. Quesadillas from La Cita La Cita does quintessential Spanish and Latin American fare — you can even salsa dance there at night-time if you fancy. But at lunch, the best thing to do is take them up on their quesadilla special — a two-course meal of quesadillas with a choice of chicken thigh, rump steak or tandoori lamb, served with chips and salad. 4. Bento Box from Kobe Jones The Bento Box from Kobe Jones isn't like the regular dry rice topped with fish you get at sushi hole-in-the-walls. King Street Wharf's answer to Japanese cuisine offers a $20 bento box including one of the chef's signature entrees, a selection of beef, chicken or vegetarian pieces, red and white miso soup, steamed nishiki rice and a dessert of the day. 5. King Prawn and Fennel Risotto from Vessel Italian & Bar Vessel is a big sprawling space with both a restaurant, a bar and a cafe serving up quality Italian meals. For only $15 you can score a risotto of king prawn and fennel guaranteed to keep you full and warm for the rest of the afternoon.
The legends behind Hashtag Burgers have been all over the place this year — and they've just expanded out west. Following the massive hype around their masterful Burgapalooza festival and their adorable Pokemon-inspired burgers, Sydney's new-age burger heroes are taking their In-N-Out-inspired pop-up — which is currently set up at the CBD's Sir John Young Hotel — to Penrith. Smartly dubbed Down-N-Out West — not to be confused with the actual In-N-Out pop-ups that polarise Sydney every couple of months — the pop-up will open on Friday, October 21 on High Street in Penrith. As it's a homage to In-N-Out's classic combo of beef, bread and American cheese, the menu — created by former Mr. Crackles Head Chef Sebastien Cens — will follow suit with the existing pop-up. It's a simple one, but includes a few Aussie twists (namely a vego option, which we're quite happy about). American-inspired burger joints seem to be a reoccurring theme in Sydney's food scene, with the Shake Shack spin-off Jack's Newtown opening late last year. We just hope a Five Guys-inspired eatery is next on the list. The Penrith pop-up will be open 11.30am - 3pm and 5-9pm Tuesday to Thursday, 11.30am - 3pm and 5pm - late on Fridays, 12-3pm and 5pm - late on Saturdays, and 12-3pm and 5-9pm on Sundays.
For the first time in over two decades, the Grammy Awards will take place in March this year, after the music industry's night of nights was postponed due to a surge in COVID-19 cases in Los Angeles. The ceremony has been pushed back from its original date of Sunday, January 31, and will now be held on Sunday, March 14 Pacific Time. For Australian viewers looking to tune into the ceremony, the new date to mark in your calendar is Monday, March 15. In a joint statement regarding the postponement from Chair and Interim President/CEO of the Recording Academy Harvey Mason Jr, CBS executive Jack Sussman and show producer Ben Winston, the worsening COVID-19 situation in LA was cited as the reason for the postponement. "The deteriorating COVID situation in Los Angeles, with hospital services being overwhelmed, ICUs having reached capacity, and new guidance from state and local governments have all led us to conclude that postponing our show was the right thing to do," reads the statement. The announcement comes after a record 29,464 new COVID-19 cases in Los Angeles County were reported in a single day on Saturday, December 26. There are currently 7898 COVID patients currently hospitalised in Los Angeles County. Leading the 2021 list of Grammy nominees is Beyoncé with nine nominations for her song 'Black Parade' and her collaboration with rapper Megan thee Stallion 'Savage (Remix)'. Australians Tame Impala and Flume are nominated for awards in the Best Alternative Music Album and Best Dance Recording categories respectively. Flume previously took out the Best Dance/Electronic Album Award in 2017 for his album Skin, while Tame Impala have been nominated twice previously but have never won. You can find the full list of nominees via the Grammy Awards' website. https://www.youtube.com/watch?v=MCRiUi28UpA The 63rd Annual Grammy Awards have been postponed to Sunday, March 14, 2021 Pacific Time — which is Monday, March 15, 2021 in Australia. For further information, head to the Grammy Awards website. Top images: Grammy Awards, M.Johnson / Flume, Andy Fraser.
What seems like years ago, in a pre-COVID-19 time, the first stage of the Sydney's infamous light rail project opened to the public on Saturday, December 14, 2019. Now, the final piece of the puzzle — something I'm sure you're all well acquainted with at the moment — has been put into place, with trams on the final stretch taking passengers from today, Friday, April 3. To summarise the saga that was the CBD and South East Light Rail project: it was first announced back in 2012, construction began in 2015 and then faced legal stoushes, cost blowouts (to almost $3 billion) and delays galore, due to everything from awry overhead wires and a discovery of thousands of Indigenous artefacts. It was initially meant to be completed in early 2019, but that was pushed out to March 2020. It's not the first time trams have run through Sydney's CBD — just the first time in almost 60 years. The old tram tracks were ripped up back in 1961. The new L3 Kingsford Line runs from Circular Quay to Kingsford, via Kensington and Anzac Parade, while the L2 runs from Circular Quay to Randwick. Trams on both lines will continue operating from 5–1am daily, with services every 4–8 mins in the CBD and 8–12 mins in the south east from 7am–7pm, for the time being. Public transport is currently deemed an essential service by the NSW Government and you're allowed to catch it if you're leaving the house to shop for what you need — such as food and other essential supplies; for medical care or compassionate reasons; to exercise, in-line with the new two-person limit; and for work or education if you cannot work or learn remotely. If you're not leaving the house for an essential reason, you risk getting a $1000 on-the-spot fine, with maximum penalties of $11,000 and six months in jail. As many of are now working from home and cannot experience the new light rail, you can catch glimpses of it on this less-than-riveting live cam or watch some videos over on the Sydney Light Rail Facebook page. There's also this flashback to training of tram 'conductresses' back in 1942 from the Sydney Tramway Museum: https://www.facebook.com/518209841638929/videos/783812858707083/ Commuter services are now running on both the L3 Kingsford and L2 Randwick Lines, with more info available via the Transport for NSW website. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Petersham's Oxford Tavern is going full sour this spring — and not just with its beers. The Rise 'N Brine festival will return for a fourth iteration, taking over the pub for a jam-packed day of pickle-themed food, booze and even entertainment from 12pm on Saturday, November 19. To start off, the bar will offer a few pickle-flavoured brews, which have been whipped for the day by local craft breweries. Garage Project is serving up the Pickle Beer sour specifically for the occasion, while Grifter Brewing's C-Boogie Cucumber Kolsch will be on tap for the day. Other booze options include a pickle-y cocktail menu, which features a slushie version of the classic pickleback — aka a shot of Jameson chased with pickle juice. The pickleback will also be given the spotlight with a delicately curated shots menu created by The Oxford Tavern's Odd Culture sibling The Duke of Enmore. Not one to shy away from a pickleback, The Duke has pulled together a range of Jameson expressions and house pickle brines that can be mixed and matched to create your dream pickleback. The pickling doesn't stop there, either. The pub has also created a special menu of pickle-inspired eats to tuck into courtesy of Head Chef John Hockey. Pickle-brined chicken wings, loaded pickle fries, hot fried pickle sticks and a chocolate brownie topped with pickle cream will all grace the one-off Rise N' Brine menu. There's also a whole heap of pickle-based entertainment throughout the day. The main event is the pickle-eating competition, plus there'll be live bands and DJs including Papa Pilko and The Bin Rats.
Bartenders are the new rockstars — if their touring habits are anything to go by, anyway. In the past few years, more and more cocktail bars and their helmsmen have joined musicians for fly-in, fly-out visits to Australia — but instead of touring records, they're touring killer drinks lists. Last year saw Asia's best bar 28 Hongkong Street and hidden New York City jaunt Attaboy both do a quick stops in Melbourne and Sydney, while Mace popped up at Sydney's PS40 just the other week and PDT was in town a little while back too. And now another NYC bar is making its way to our shores for a cheeky cocktail pop-up. The Dead Rabbit Grocery and Grog will come to Australia for three nights only, spreading its shaking skills across the east coast with one night at Melbourne's Black Pearl, one night at Sydney's Baxter Inn and one night at The Gresham in Brisbane. Dead Rabbit will be sending their finest drink makers to work in collaboration with the host bars to create a one-night-only menu that will showcase their skills and signature drinks and food items (like their Scotch egg). Their cocktail menu is pretty extensive, but we're hoping they bring their Hong Kong Phooey with them — it blends rum with Aquavit, grapefruit, pistachio and avocado. Although we've had a few bars pass through our major cities by now, this one's pretty special as Dead Rabbit, which is permanently located in lower Manhattan, took out the top spot on last year's World's 50 Best Bars list. So if you can't get to the Lower East Side anytime soon, this is your next best option. Tickets are a little pricey at $40 (plus booking fee) — that includes a cocktail on arrival and one of Dead Rabbit's signature Scotch eggs. You'll then be able to purchase extra drinks on top of that.
With over 7000 stores to its name worldwide, Wendy's is one of the world's biggest and most recognisable burger chains. While a majority of its outposts are scattered across the United States, the chain also has over 1000 international locations in countries like New Zealand, Canada and the UK. Now, the American burger chain may be landing down under in the near future. Australian franchise consulting firm DC Strategy announced that it is working with the burger brand to help develop a strategy to bring its famous square hamburgers to Australia and open franchises throughout the country. "The Wendy's Company is looking for world-class, experienced franchise partners with strong operations experience and a proven track record for growing brands in Australia," a statement on DC Strategy's website says. [caption id="attachment_811853" align="alignnone" width="1920"] PRNewsfoto/The Wendy's Company[/caption] The consulting firm is now taking applications for individuals interested in becoming an Australian Wendy's franchisee. The first Wendy's was opened by Dave Thomas in Columbus, Ohio in 1969. It quickly grew due to the popularity of its burgers and iconic Frostys, growing to over 1000 restaurants in its first nine years of operations. Wendy's would join a new wave of American franchises that have recently arrived in Australia, including Taco Bell, Mark Wahlberg's Wahlburgers and Five Guys. [caption id="attachment_869874" align="alignnone" width="1920"] Sharon Hahn Darlin[/caption] DC Strategy is now taking applications for Wendy's franchisees in Australia. More to come.
If you're staring at that blank space on your bedroom wall and feeling uninspired, fret not. The Other Art Fair returns this December. The celebrated global event returns to Sydney for the eighteenth time from December 2–5. The fair will showcase a lively collection of emerging artists alongside wondrous art installations including a set of huge luminous bubbles in the stimulating surrounds of Barangaroo's The Cutaway. This iteration of the fair is actually 2021's second Sydney showing, after 2020s was delayed until March this year. The creative works of more than 110 carefully chosen artists, each selected by a prominent panel of art industry experts, will be up for sale. From the ornate to the inexpensive, The Other Art Fair offers thousands of artworks starting from as little as $100. Plus, the artists will be on-site, so you can chat with them and hear the stories behind your chosen piece. The vast four-day event is complemented by art activations, hand-poked tattooing, workshops and immersive performances, plus street food and DJ sets. This summer edition will play host to installations The Birds by Eness and Fever Originals, and Evanescent, an ethereal display of giant bubbles that previously popped up in Brisbane as part of Curiosity Brisbane. Make a party of it by attending on opening night ($35–40), or stop by for a general browse between Friday to Sunday — general entry tickets cost $20 online or $30 on the door. [caption id="attachment_804058" align="alignnone" width="1920"] Evanescent[/caption]
Hot Young Female Artist meets mysterious but alluring stranger. Said stranger-cum-muse sparks creative rush but causes upset between Nina (artist) and Sam (her boyfriend). “An electrifying new Australian play about passion, fidelity and the creative mind”. Flightfall is the first full-length play by new Australian playwright Emily Calder. It features a swathe of young acting talent - Augusta Miller, James Elliot, Ryan Corr and Alexandra Fisher - and is supported by a host of super production people. Hot Aussie talent at the Old Fitz with a beer and a laksa. Um, yes please. *Preview & Cheap Tuesday: General $17, Beer Laksa & Show (BLS) $25
Calling all whiskey connoisseurs: the whiskey brand of American country music singer-songwriter, musician and 11-time Grammy winner Chris Stapleton, Traveller Whiskey, is finally making its way out of the States and all the way down to Australia. For one month only from the end of February, the only place to taste it (for free) is at the Sydney CBD's own slice of the American South: Jolene's Sydney. This is no one night only tipple, Jolene's will transform into what may well be one of the biggest shouts of whiskey Sydney has ever seen — with one free tasting of Traveller for every patron nightly at 8pm between Tuesdays and Sundays. In addition to the whiskey round, Jolene's will be dishing out Traveller-inspired cocktails and food. Try the East Kentucky Sweet Tea made with Traveller Whiskey and blackberry (Kentucky's state fruit) liqueur, which is an ode to Stapleton's Kentucky roots as you snack on an all-American menu which features the likes of loaded tater tots topped with smoked brisket, liquid cheese and Traveller Whiskey-infused barbecue sauce. Whether you're a Stapleton fan or whiskey lover, you'll find something worth sipping or snacking on at Jolene's. One of Sydney's most popular country and Western music bars, there are even more Traveller-inspired events to enjoy alongside each free round. Don't miss live country music every Thursday, Friday and Saturday, as well as surprise offers and experiences for anyone who stops by. Australia's biggest round is taking place exclusively at Jolene's between Thursday, February 27 until Thursday, March 27. Visit Jolene's Sydney to get a taste of Traveller Whiskey.
If you know your Alessi’s from your Starck’s, then you must be attending Brisbane Indesign, and if you’re attending Brisbane Indesign, then surely you will be talking the talk and schmoozing the greats at the Brisbane Indesign after party. Held at the uber shmick Oh Hello!, design lovers will be getting together and letting their hair down after a big two days at Brisbane’s ultimate design event. Originally know as The Monastery Night Club, Fortitude Valley’s reining nightclub for the past 10 years, the venue has since been transformed into a creative hotspot. Designed by two of Brisbane’s most talented creative’s, interior designer Alexa Nice and artist/ founder/ owner of Australian street wear label Grand Scheme’s Jimmy Bligs, Oh Hello! has been fit out with milk crate seats, vintage cushions, wall projections, LED lanterns and hand painted walls. It’s not just the design aesthetic that draws in the people, but the amazing array of signature cocktails on offer served in old-fashioned jam jars. All in all, Oh Hello! is sure to be the perfect spot to knock back some killer cocktails, mingle with like-minded creatives and soak up some excellent aesthetics. Registered guests gain free entry, so make your way to Fortitude Valley at 7pm.
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
Seeing the restored print of the 1948 Powell & Pressburger classic The Red Shoes is like seeing it for the first time. And, if it really is your first time taking it in, how I envy you! Following two and a half years of restoration work propelled by Martin Scorcese, editor Thelma Schoonmaker and the team at the UCLA Film & Television Archive, The Red Shoes absolutely sings on screen. The colours dazzle as much as the actual story, which remains elegantly suspenseful and haunting. Based loosely on a Hans Christian Anderson fairytale, this is the story of the intersection of three very driven personalities: a dancer, a composer and a ballet director. It is not the happy tale of collaborative fulfilment however; it is the story of the passionate obsession behind creative ambitions and the ruthless choices demanded between art and life. It is also a glimpse into the netherworld of a ballet company at work, so realistic due in part to the casting of both actors and real dancers. The titular ballet — choreographed and performed by Robert Helpmann and Leonide Massine — is shown in one of the most stunning scenes ever marked upon film, each frame dripping into the next. At its center, naturally, are the red shoes that contain more magic and horror than Dorothy's. If you are the kind of film lover who is glancing longingly at your flat screen television as you read this review, thinking "I'll just wait for the blu-ray", I advise you to start this article over, up there at the first paragraph, and to pay attention this time. Of course a film as stunning as this will be wonderful any way you watch it but please, pirouette to the popcorn counter and see this masterpiece on the big screen while you can. * To begin this repertory run at the Chauvel with appropriate fanfare, Kevin Powell, son of co-director Michael Powell will introduce the film on opening night, Thursday March 18th at 6:30pm. https://youtube.com/watch?v=tSgar55BfPw
This September sees one historic Sydney hotel transformed into a multi-faceted gallery space, when it plays host to the next edition of contemporary art fair, Spring 1883. From Wednesday, September 11, to Saturday, September 14, 26 acclaimed art galleries from across Australia, New Zealand and the USA will descend on the Establishment Hotel to deliver an intimate art experience. Far from your average art fair, Spring 1883 will showcase an array of surprising installations and shows, incorporated throughout the hotel's rooms, penthouse suites and even its gymnasium. As you wander the site, you'll stumble upon a curation of various works from the likes of Sydney's Cement Fondu, Melbourne's John Street Studios, {Suite} and Mercy Pictures out of New Zealand and New York-based Dutton gallery. Brisbane's The Renshaws will make its Spring 1883 debut with a solo exhibition by Michael Georgetti, while Sydney's own artist-run space Fires will curate the Project Room: a group show by five Aussie artists taking over the Establishment's gym. Spring 1883 runs from Thursday and Saturday midday–7pm, and Friday midday–8pm. Image two: Fires, 'The Sundowner' (2019). Photo by Uri Auerbach
2018 is nearly upon us, so it's time for a revamp. Freshen up your aesthetic for the new year with bedding, kitchen and bathroom textiles from IN BED. The online store is hosting a Christmas pop-up from December 14 to 24, so you'll have ten whole days to snatch up some goods and manifest your dream life through décor. Homewares from Tara Burke, Anglepoise, Wingnut + Co and more will be available. If you fancy a drink, be it alcohol or coffee, IN BED will also be hosting a series of events during the pop up — including Christmas drinks on December 14 from 4pm to get thing started, and complimentary coffee on December 16, with gingerbread treats. The pop-up runs 10am to 4pm daily and will stay open until 7pm on Thursday, giving you plenty of time to pick up some linens and homeware for Christmas
ARIA-winning artist and bighearted Sydney legend Sarah Blasko will play an intimate gig at Giant Dwarf in Redfern on World Refugee Day, Friday 20 June. With all ticket sales going straight to the Refugee Council of Australia, Blasko's fundraiser is a direct response to the federal government's funding cuts to the RCOA, announced as an addition to the recent budget. After the release of her stunning fourth album I Awake to critical high-fivery in 2012, Blasko is breaking out of creative hibernation to play for a cause. "I'm emerging from what I'll affectionately call my 'fifth album writing cave' to play this special show at Giant Dwarf (the latest venture from the Chaser team) during Refugee Week. I'm an ambassador this year and The Refugee Council need financial support now more than ever to continue their positive work within refugee communities in Australia," said Blasko. "They are also an important force in lifting the veil on our country's treatment of asylum seekers. So, come watch me sing for the night and you'll be supporting them. I promise at least one new song and special guests." After a whopping 33 years of operating, the RCOA found more than half a million dollars of funding cut from their budget — after Immigration Minister Scott Morrison found his portfolio was funding the organisation. "It seems extraordinary that our organisation — which has been doing this work through thick and thin for 33 years — has been singled out for this treatment," Paul Power, chief executive of the RCOA told ABC radio. "This in many ways illustrates the state of the relationship between the non-government sector — particularly organisations working on asylum issues — and the government at the moment." This isn't the first time Blasko has used her fame for a good cause. Last year, the multi ARIA-winning artist teamed up with eBay to open a temporary online store in support of charity organisation Bowel Cancer Australia (after losing her mother to bowel cancer 14 years ago). All proceeds from her personally donated auctioned clothing, books, homewares, vinyl and bric-a-brac went directly to the organisation. Blasko will be joined onstage with some special yet-to-be-announced guests, alongside her solid session buddies. Tickets are available from Giant Dwarf's website. https://youtube.com/watch?v=IyzF4dRpqow
Australian travellers can't seem to get enough of Japan. And it's not hard to see why — whether it's for the incredible theme parks, spectacular winter experiences, or the fact that you can still have a truly great time without blowing your budget, there are a multitude of ways for any type of traveller to experience the Land of the Rising Sun. And whether you know the streets of Shibuya like the back of your hand or you're thinking about making your first trip to the region, if Japan is on your must-visit list in 2023 you'd be wise to check out the upcoming Japan Travel Fair. Taking place at Luna Park's Grand Ballroom from February 4–5 — and organised by Japan National Tourism Organization — the fair will host around 20 leading tourism exhibitors who'll help you plan your perfect Japan trip. You'll also get a taste of what's to come when you do touch down, with the free event also featuring a range of traditional Japanese performances and cultural workshops. Plus, you'll also have the chance to score return flights for two to Japan thanks to Japan Airlines and All Nippon Airways — all you need to do is complete a simple survey and you'll go into the draw. You can also try your chances in the Lucky Prize Draw and win a special prize from an exhibitor, one of 200 other prizes. Japan Travel Fair takes place at Luna Park's Grand Ballroom on Saturday, February 4 (10am–5pm) and Sunday, February 5 (10am–4pm). For more information, head to the website.
If you're looking to escape the heat this summer, you'll find plenty of relief waiting down a hidden staircase beneath boutique CBD hotel QT Sydney. On offer: compelling flicks, bespoke Four Pillars cocktails and sweet, sweet air-con, all at the new QT Cinema Club. Officially launching today, Tuesday, December 1, the site's subterranean 30s-era theatrette and accompanying speakeasy bar has been transformed into one of the coolest movie-watching destinations in town. And it's available for private bookings, hosting up to 28 people per session. Film-wise, QT Cinema Club will screen a broad-ranging program of classics, action films, romance flicks and horror, curated by Four Pillars own avid film buff and co-founder Matt Jones. There's a big retro vibe to the catalogue — and you can pick between enjoyable throwbacks such as Dirty Dancing and Lost in Translation, romance flicks like Before Sunrise and Strictly Ballroom, and the sci-fi joys of Blade Runner and Back to the Future. Among the 50-movie lineup, there's also action fare such as Mad Max and Reservoir Dogs, and horror films like The Shining and The Cabin in the Woods. To enjoy alongside your chosen flick, you'll find a lineup of specially crafted cocktails made with different varieties of Four Pillars gin, with each carefully matched to a specific movie genre. There are sips like The Last Action Cocktail, which is designed to celebrate the high-energy adventure flicks; Couple Seating, as inspired by romance; and Planet of the Grapes, as made with the distillery's famed Bloody Shiraz Gin. Of course, you can rest assured that these are some very high-end movie beverages, given that last month Four Pillars took out the title of World's Best Gin Producer for the second year running. QT Cinema Club guests have a choice of two plush cinematic packages, starting with the $79 per person 'Debut' option, which includes bottomless gin-salted popcorn, one Four Pillars cocktail, a movie screening and $25 QT Sydney room credit. More drinks and snacks are available to purchase once you're there, too. Alternatively, you can opt for the $149 per person 'Blockbuster' package, which will get you the same set-up — but with all five different Four Pillars cocktails — in addition to curated snacks from the hotel's Parlour Cucina and a Parlour Lane choc top. Find QT Cinema Club beneath QT Sydney, at 49 Market Street, Sydney. To book, visit the hotel's website.
It takes a truly talented band to reach the heights of international stardom without a drummer, but New Zealand eight-piece Fat Freddy’s Drop make it look a synch. They’ve been touring for well over 15 years now, their inimitable horn-based sound, bringing together a soul, dub, reggae fusion that sends audiences loco. Now, they’re bringing their brass, bass and organic melody and lyricism to Australia for a nationwide tour. Testament to Fat Freddy’s Drop success is their ability to remain independent and reassured that the crazy little thing they’ve got going on is worth it. They were first band to hit number one in New Zealand with an independently produced record, and said album, Based on a True Story, is still the highest selling album by a national artist in the country’s history. They’ve released three studio albums, two live albums and several singles, and even built a studio. As for their live performances, they’re infamous for their energy. From the music to the atmosphere, the reggae sounds hit hard, and the techno spin Fat Freddy’s Drop has taken lately keeps the rhythm dynamic.
You've probably started to notice all the bunny-shaped chocolates, decadent edible eggs and cute baskets popping up at your local supermarket. Yep, Easter is just around the corner. If you're a super fan of the choc-fuelled annual event, then gear up for a fun day out at the Sydney Family Show, which is taking over the entertainment Quarter for two whole weeks. Whether you're wanting to channel your inner kidult or you're looking for a way to entertain your actual kids, this fair has you covered. Running from Thursday, April 1 till Sunday, April 18, the Sydney Family Show will have everything from carnival games and showbags to thrilling rides, such as dodgem cars, spinning teacups and a giant slide. You'll also get to partake in the epic Easter Basket Scramble and dive into a huge ball pit. Then, check out the live entertainment shows, hang out with adorable animals at the on-site nursery, or, if you prefer scaly reptiles, hold a snake at the daily reptile show. There are also some one-day events happening such as bunny hopping competitions on Good Friday; the Variety Easter Family Fun Day on April 8 in partnership with the namesake children's charity; and a dog talent show on the fair's closing day. It's an affordable day of fun, too, with tickets priced at $7 for kids, $15 for adults and a reasonable $40 for a four-person family. Of course, there's a global pandemic to be mindful of, so pre-booking tickets is encouraged. You can also expect social distancing measures to be in place, plus numerous hand washing facilities and sanitising stations around the fair. Sydney Family Show is taking over the Entertainment Quarter from Thursday, April 1–Sunday, April 18. Opening times are 10am–5pm daily, except over the Easter long weekend (April 2–5) when it'll be open till 6pm. Pre-book your tickets here.
Insta-worthy eats and drinks are one thing, but a world-class food scene isn't built on the edible stuff alone. There's also a stack of gorgeous design work behind the most memorable hospitality venues and it's this very aspect that's celebrated at the annual Eat Drink Design Awards. As Australia and New Zealand's only hospitality design awards program, the Eat Drink Design Awards recognise hospo design gems across both countries, from restaurants, bars, and cafes, through to temporary spaces. While the 2017 award winners won't be chosen by the jury until November, the shortlist was revealed today and, as expected, it's packed full of all those cafes, bars, and restaurants your inner style nerd has been drooling over this past year or so. Local nominees for Best Bar Design include ACME&Co's Merivale project Charlie Parker's, George Livissianis' work on The Dolphin Hotel and SJB + TRD for The Buena. The CBD's Edition Roasters is among the projects shortlisted for Best Cafe Design, while the likes of Fred's, 12-Micron, Cairo Takeaway, Mode at the Four Seasons, Jade Temple and Long Chim are being considered for the Best Restaurant Design gong. Other categories being selected include Best Installation Design, Best Identity Design, and Best Retail Design. The winners will be announced on Tuesday, November 14 in Melbourne. For the full list of nominees, visit their website. Jump over to The Eat Drink Design Awards website to see the full lineup of nominees.
Boasting an outrageously talented cast of young actors, including River Phoenix, Jerry O’Connell, Wil Wheaton, Corey Feldman, Kiefer Sutherland and John Cusack, few films have captured the magic or intransigence of youth better than Rob Reiner’s nostalgic coming-of-age drama Stand By Me. Adapted from Stephen King’s autobiographical novella The Body, Stand By Me takes place in the summer of 1959 in a small, out of the way town in Oregon. With a full weekend at their disposal, four young boys embark on an adventure through the back roads of their community in search of a dead body rumoured to be hidden in the nearby swamp. It’s a sort of ‘road movie on foot’, complete with significant rites of passage, ridiculous childhood hijinks and, occasionally, some deeply tender moments. Richard Dreyfuss features as the film’s narrator, reminiscing from the perspective of one of the boys now in his middle age. “I never had any friends later on like the ones I had when I was 12,” he observes at one point. “Jesus, does anyone?” – and therein lies the heart of Stand By Me. Each of the four boys carries with him the shame of some social stigma, be it abusive parents, physical deformity or simple obesity, yet as a group they’re confident and unassailable, loved unconditionally by each other in a way not found back home or by the township. Filmed almost thirty years ago, Stand By Me remains a poignant, moving and uplifting testimony to the capacity for friendship and the joy of childhood adventure. The team behind the much-anticipated event Downtown Drive-In has announced Carriageworks in Sydney’s Eveleigh, just three kilometres from the Sydney CBD, as the location for its three-night season, which will run from November 29 to December 1, 2012. A seldom-used section of the 120-year-old heritage listed building will form the perfect backdrop for the Back Roads USA season of films. The films to be screened include On The Road, Planes, Trains and Automobiles, Raising Arizona, Stand By Me and Vanishing Point. Downtown Drive-In will also feature a custom menu with individual items designed by The Dip, Sydney’s favourite American-style diner, playfully paying tribute to the films and shared Americana settings and atmosphere. Major sponsor Audi will supply a range of luxury cars for the ultimate drive-in experience. The cars will also feature razor-sharp sound from audio partner Bang & Olufsen. Entry into Downtown Drive-In will cost $50 for vehicles of up to four people. Walk-in deck chair seating is also available near the screen, at $25 per person. For more information on the film schedule, drive-in experience and participating partners, visit www.downtowndrive.in
If you're a fan of true-crime stories, then you'll know a disturbing truth: that there's no shortage of real-life tragedies that films and series in the genre can draw upon. White House Farm's inspiration comes from the notorious killings known as the White House Farm murders, which took place outside an Essex village and saw five members of the Bamber-Caffell family lose their lives, and continued to garner headlines intermittently in the decades since as appeals were lodged and reviews took place. Across six episodes, the show not only heads back to August 6, 1985, but also follows the investigation into the case. Feeling tense is part of the package, even if you're already familiar with the details. Cast-wise, Snatch's Stephen Graham and Game of Thrones' Mark Addy play the detectives trying to get to the bottom of the traumatic and complex situation — and fellow GoT alum Alfie Allen also pops up.
Brisbane rock five-piece Waax have been steadily gaining a following over the past few years. This month, they're set to cross the border for a gig in Byron as part of NSW Government initiative Great Southern Nights. They'll be playing at The Northern, situated right in the centre of Byron Bay and just a few minutes' walk from its famous Main Beach. Not that you'll be thinking of the surf when Waax lets rip with their take on alternative post-punk. Likened in the past to acts such as Siouxsie and the Banshees and Yeah Yeah Yeahs, their debut album, Big Grief — incidentally recorded in Byron Bay — just fell short of a place in the Top 10 last year. You can catch them at the coastal pub on Saturday, November 7 at 6pm or 9.30pm. For the latest info on NSW border restrictions, head here. If travelling from Queensland or Victoria, check out Queensland Health and DHHS websites, respectively.
Maggie Gyllenhaal and Hugh Dancy head up a stellar cast in Tanya Wexler's offbeat comedy Hysteria, based on the true story of Dr. Mortimer Granville — the man who created the world's first vibrator, back in 1880. In a search to cure the baffling female medical condition of the day, 'hysteria', the young doctor (played by Dancy) and his new boss Dr. Dalrymple (Jonathon Pryce) create the 'feather duster', offering women intimate manual relief from their condition – and, by chance, generating a surprising increase in business. The film is a joyful and light-hearted take on the birth of the sex toy, likely to put a knowing smile on a few faces in the audience. Concrete Playground has ten double passes to give away. To be in the running to win a pair of tickets to Hysteria, make sure you're subscribed to Concrete Playground then email your name and postal address to hello@concreteplayground.com.au
If you're not in a position to invite vertical garden expert Patrick Blanc to turn your apartment into a World Record-breaking botanic wonder, why not try doing-it-yourself? Not quite sure where you might start? Over the next four months, Sydneysiders will have the chance to learn more about creating 'blooms with a view', 'supercharging' their soil and transforming their patio into a mini pesto factory. A series of community workshops, focused on maximising the organic and agricultural potential of matchbox-sized living spaces, are being run in various venues in Redfern, Glebe and Green Square. Forming part of the City of Sydney's Green Villages program, and supported by Environmental Grants, the workshops are entirely free of charge. The only catch is that numbers are limited, so online registration is essential.
Just when you thought you were all Harvest sideshow-ed out, along comes Beck and announces his only Australian gig outside of his frenetically anticipated headline one. The exceptionally talented and artistically scrupulous musician will play the Sydney State Theatre on Wednesday, 14 November. It will be the closest thing you will get to a sonic run-down of his almost 20-year career, and even though cramming two decades of musical innovation into one show is almost as unrealistic as attempting to write about it, it will be worth every cent of however much tickets end up being when they're released next Friday. Since releasing catchy, off-kilter anthem "Loser" back in 1994 Beck has proved his mastery of music via eight studio albums and many more boundary-pushing collaborative projects. His latest release is so good it's actually inaudible to human ears. What you probably can hear, however, is the sound of your bank account groaning under a heavy but very good-sounding weight. That you should ignore. https://youtube.com/watch?v=VkCg-3nxT8E
Vivid, Semi-Permanent, Head On. May is not the calendar's shrinking violet. On the contrary, May insists you get out and enjoy its insightful lens work, inspiring design and flashing, play-with-me light shows poste haste. Here are five ways to start.
In the world of stand-up, getting a gag off the ground and inspiring some true belly-aching laughter doesn't come easy. Even those at the top have to start somewhere. For those with the gift of the gab (both locally and abroad), Giant Dwarf is putting on Comedy(ish), a night for comedians to test the waters with some of their latest and (hopefully) greatest lines. Tom Ballard plays host the January 21 event, which features Scott Dooley, Michael Workman and Becky Lucas, among many others. It all goes down at Redfern's Giant Dwarf. Established by the boys from The Chaser, this space is no stranger to some pretty talented creative folk. Bringing never-before-seen material to eager ears, Comedy(ish) guarantees nothing but promises everything. Or, at the very least, a decent chuckle.
It's that time again: to wish that you're in Germany for the next month, or to do your best to pretend you are even while you're right here at home. That's the kind of response that Oktoberfest inspires, because we can't all always head over to Europe just for the annual brew-fuelled celebration. Sydneysiders can hit up The Bavarian's various locations around town between Friday, September 16–Sunday, October 9 instead, though. On the menu: parties, German-style beers, schnapps, giant pretzels, pork-heavy menus, Sunday sausage sizzles and, at some venues (York, Manly, Tuggerah, Wetherill, Macarthur, Castle Hill and Green Hills), Oompah bands providing a soundtrack. So, everything you could want and need to mark the occasion. The venues will sport all the Oktoberfest trimmings — greenery, ribbons and bright tables cloths included — and staff will be decked out in dirndls and lederhosen. Yes, you're encouraged to dress up as well. If you're most excited about the drinks, there'll be eight types of beers, plus tasting paddles to sample them all. Also, the final week of the fun — so, from Monday, October 3 onwards — has been dubbed Big Beer Week to ramp up the brews. Fancy living your best Oktoberfest life all year round afterwards? You can purchase one of The Bavarian's one-litre steins to take home with you and— for $40, which includes a beer that you'll drink onsite first. Food-wise, options start with the OktoberBoss set menu, which serves up a feast of pork knuckle, pork belly, sausages, schnitzels and sides (plus a schnapps on arrival) for groups of four-plus for $49 per person. If it's just you and one mate / your date, there's the Oktoberfest Mate set menu is for two-plus diners for the same price, spanning pretzels, pork belly, sausages, schnitzels and sides. Brews can be added to each menu for an extra $45 per person — and you can cap things off with an apple strudel for $7 a pop. Love pretzels? A special lineup of giant versions is on offer for the first few days of The Bavarian's Oktoberfest shenanigans, from Saturday, September 17–Friday, September 23 — including ones topped with bacon, filled with cheese and covered in sprinkles (no, not all at once). Or, there's a black forest doughnut pretzel. The word for that is yum. Snag fans can make a date with those sausage sizzles, which are available at Manly, Penrith and World Square on Sundays in October. There'll be six types of traditional bangers, served solo in a roll (from $10) or via a sausage wheel on a stick.
Before Batman squared off against Superman and the Avengers started fighting amongst themselves, another group of not-so-average folks brought their battles to the big screen. Since 2000, the X-Men franchise has charted the many clashes and intermittent truces of Professor Charles Xavier, his friend-turned-nemesis Magneto, and their respective groups of disagreeing mutants. Sixteen years later, they've graced nine films, including the original trilogy, two Wolverine spin-offs, two other excursions into the characters' backstories and this year's smash hit Deadpool. With such a sizeable history, of course their latest conflict seems familiar. But it also feels every inch its own. Indeed, there has always been a specific vibe to the X-Men movies: outcast-oriented dramas mixed with bombastic action, while always retaining a distinctive emotional core. Director Bryan Singer is at the helm of his fourth instalment, while writer Simon Kinberg is back for script number three. It should therefore come as no surprise that the '80s-set X-Men: Apocalypse once again charts outsiders looking to find their place in a makeshift mutant family. Ten years after the main events of X-Men: Days of Future Past, Professor X (James McAvoy) yet again locks horns with Magneto (Michael Fassbender), with the recently unearthed Apocalypse (Oscar Isaac) — an ancient, god-like being considered the first-ever mutant — the cause of their latest conflict. The former is intent on stopping the new threat, re-teaming with CIA agent Moira Mactaggert (Rose Byrne) and later shape-shifting mutant Mystique (Jennifer Lawrence). The latter, in the wake of his own personal tragedy, once again embraces his destructive streak and sides with the fresh force of global devastation. With teenage incarnations of Nightcrawler (Kodi Smit-McPhee), Jean Grey (Sophie Turner) and Cyclops (Tye Sheridan) also featured, X-Men: Apocalypse doesn't lack in subplots, characters or attempts to set up future sequels. Nor does it miss any opportunity to thrust a CGI-heavy fray to the fore, or to sprinkle in a few much-needed doses of humour – particularly when returning favourite Quicksilver (Evan Peters) is involved. Instead, the one thing absent is the added element the film so obviously strives for: a heightened sense of grandeur. Conveying the personal stakes motivating the main players may not be an easy feat in such a busy effort, yet it's something the movie achieves in a touching manner. Dialling up the gravity of the entire situation proves far less simple or successful. Sadly, the titular villain is the main culprit weighing the feature down. If X-Men: Apocalypse shines whenever the usual suspects share screen time, it lags when the newfound enemy starts making big speeches. In stark contrast to the actor's typical output, poor Oscar Isaac is barely allowed to make a mark, with his makeup and digitally altered voice sapping his natural charisma. Thankfully McAvoy and Fassbender continue their stellar form across their trio of prequel films, while Peters once again threatens to steal the show. When you're watching them, you're in vintage X-Men territory, even if the movie desperately wants to be something more.
Only one female filmmaker has ever been nominated for the Best Director Oscar twice. That woman: Jane Campion. The New Zealand talent won the coveted prize in 2022, for the phenomenal The Power of the Dog — and, while her exquisite revisionist western was the absolute best movie of 2021, it's not the only highlight on her resume. Campion's filmography is packed with must-sees, and see them you must — on the big screen at the Art Gallery of NSW at the 2023 Sydney Film Festival. The fest's retrospective for this year is Jane Campion: Her Way, a lineup that will step through the New Zealand director and screenwriter's career, and also feature Campion in-conversation with David Stratton. [caption id="attachment_847709" align="alignnone" width="1920"] Kirsty Griffin/Netflix[/caption] On the bill: The Power of the Dog, because watching it via streaming is nowhere near the best way to revel in its wonders; The Piano, the 1993 Oscar-winner that nabbed Campion her first Best Director nomination; In the Cut, a tremendous erotic thriller starring Meg Ryan; and Holy Smoke, with Kate Winslet starring opposite Harvey Keitel. There's also everything from 1986's Two Friends, 1989's Sweetie and 1990's An Angel at My Table through to 1996's Nicole Kidman-starring The Portrait of a Lady, 2009's Bright Star about poet John Keats and his romance with Fanny Brawne, and Campion's short films Peel, A Girl's Own Story, Passionless Moments, After Hours and The Water Diary. SFF runs from Wednesday, June 7–Sunday, June 18, with Campion chatting with Stratton on Saturday, June 10 following a showing of the new documentary Jane Campion, The Cinema Woman. Top image: Kirsty Griffin/Netflix.
"Black..." growls Will Arnett's gruff hero from deep within the movie's opening darkness. "All important movies start with a black screen. And music. Edgy, scary music that would make a parent or studio executive nervous. And logos. Really long and dramatic logos". On and on he goes, making cracks at a production house whose contribution to the film escapes him, having a dig at both Superman and DC comics, quoting Michael Jackson and bragging about his huge pecs and impressive "ninth ab". All, mind you, before the first frame of the movie has even been seen. This is The Lego Batman Movie, aka Captain Meta, where the self-referential humour comes thick and fast from the opening minute to the last. It's a film that gleefully acknowledges the nine Batman flicks that preceded it, including "that weird one in 1966" (notes the hero: "I have aged phenomenally"). And yet, for all the in-jokes and winks to camera, The Lego Batman Movie is, at least thematically, somehow more of a Batman movie than Joel Schumacher's Batman and Robin or Zack Snyder's Batman vs Superman, in that it faithfully explores its protagonist's single-most defining characteristic: his crippling isolation. Batman is a loner; a recluse; a vigilante misanthrope whose only joy (and, indeed, purpose) comes from battling criminals. So what would happen, then, if all the criminals were locked away and all of Gotham City were crime-free? Such was the premise at the opening of Christopher Nolan's The Dark Knight Rises, and here, too, it forms the basis of the entire story. It's hence rather a one-note narrative, but thankfully the (many) writers manage to extract enough out of it to fill an enjoyable hour and a half of screen time. Led by a terrific Will Arnett reprising his role from 2014's The Lego Movie, the cast of voice actors here is at once enormous and impressive. Alongside Arnett we find Zach Galifianakis as The Joker, Ralph Fiennes as Alfred, Michael Cera as Robin and Rosario Dawson as Barbara Gordon, the new Police Commissioner of Gotham City. There's also an extensive cameo list featuring the likes of Channing Tatum as Superman, Conan O'Brien as The Riddler, Zoe Kravitz as Cat Woman, Eddie Izzard as Voldemort and even Siri as Batman's computer. Of course, there's no getting around the fact that this film represents crass commercialism taken to an extraordinary extreme. How many studios would ever deign to include their corporate sponsor in the actual title of their movie (Daniel Craig stars in…Aston-Martin Bond)? As with its predecessor, The Lego Batman Movie is designed to, and succeeds in, showcasing Lego's extensive catalogue of movie and TV-based products, ranging from Harry Potter and Doctor Who through to Godzilla, King Kong and The Wizard of Oz. On the other hand, the film is a funny, clever and engaging piece of cinema that holds almost as much interest for adults as it will the film's target younger audience. Not as finessed or layered as The Lego Movie, this superhero spinoff is nonetheless an entertaining and refreshing take on the big screen's most brooding hero, and proves well worth the price of admission. https://www.youtube.com/watch?v=rGQUKzSDhrg
UPDATE, April 16, 2021: Crawl is available to stream via Netflix, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. Part creature feature and part disaster movie, Crawl is a gleeful ripper of a thriller. Not only unleashing a ferocious hurricane upon its father-daughter duo, but a congregation of snapping alligators as well, its premise is simple — what the film lacks in narrative surprises, however, it makes up for in suspense and tension. That's the holy grail of fear-inducing flicks. Regardless of the concept, if a movie can make the audience feel as if they're in the same space as the characters they're watching, enduring every bump and jump, and sharing their life-or-death terror, then it has done its job. By playing it straight, serious and scary, Crawl manages to exceed its Sharknado rip-off status to craft a highly effective battle between humans, animals and the elements. The film introduces aspiring swimming star Haley Keller (Kaya Scodelario) on a wet and windy day, although she initially misses the wild weather warnings while she's doing laps at training. A panicked call from her sister (Moryfydd Clark) doesn't rattle the no-nonsense young woman, and nor does the news that her divorced father Dave (Barry Pepper) isn't answering his phone. Still, thanks to a few unresolved daddy-daughter issues nagging at her conscience, Haley is quickly driving down the blustery highway, flagrantly ignoring police instructions and heading to their old family home. It's no spoiler to say that she discovers more than she bargained for down in their basement, with Haley soon trying to save the injured Dave, stay alive herself, fend off ravenous gators and stay ahead of rising flood waters. In telling this tale, writers Michael and Shawn Rasmussen (The Ward) haven't met a cliche they didn't love, an emotional beat they didn't want to hit, or a convenient twist of the narrative screws that they didn't want to turn. It can't be overstated just how much of Crawl, in a story sense, plays out exactly as expected. Plot developments and character decisions all stick to the usual formula, as does animal behaviour and storm surges (if you're a screenwriter, it's possible to control the very forces that your protagonists can't). But it's worth thanking the cinema gods that Alexandre Aja is sitting in the director's chair — and that he knows a thing or two about creature features and horror movies. While the French filmmaker has both hits and misses to his name (including Haute Tension, remakes of The Hills Have Eyes and Piranha, and the devilish Daniel Radcliffe flick Horns), here he masters the art of conveying an alligator's menace. Of course, it could be argued that much of Crawl's work is easy. Along with sharks, gators already rank among the most frightening beasts on the planet. Courtesy of their teeth, speed, size and power, just thinking about them gives plenty of people the shivers — so, on paper, all that an unsettling film need do is place the scaly critters front and centre. And yet, as too many Jaws wannabes have shown since Steven Spielberg's massive hit created the concept of the blockbuster as we know it, it's not enough just to throw a bunch of attacking animals at some clueless folks. As more comic takes have demonstrated in Sharknado, Snakes on a Plane and the Birdemic movies, it's not enough to write off the whole scenario as simple silliness either. There's an existential basis to the genre's underlying idea, unpacking how humanity truly copes when it's made to face nature. As a species, much of our sense of collective worth stems from our ability to shape and control our world, and yet we can't stop weather systems from morphing into destructive hurricanes, or hungry reptiles from doing what they're designed to do. Mainly lurking in the Kellers' dank, dark, rat-infested crawlspace, Crawl leans into the primal side of pitting people against the environment. Aja takes every chance to emphasise the scampering threats eager to gobble up Haley and Dave. With assistance from his regular cinematographer Maxime Alexandre, he ramps up the unease, deploying tried and tested filmmaking techniques such as low shots, quick cuts, point-of-view perspectives, dim lighting, and ample movement and shadow. A couple of gory kill sequences add to the mood, as does the movie's approach to its swirling winds and rushing water. Indeed, amid the rampant CGI, there's a sense of awe for the havoc that alligators and hurricanes can each wreak, which only heightens the stressful atmosphere. Unsurprisingly, fear and tension radiates through the film as a result — and through its key duo, too. Although Scodelario and Pepper are given about as much room for character development as their cold-blooded foes, they still bring a naturalistic air to their performances, portraying anxious everyday folks just fighting to survive by doing whatever it takes. No matter what's thrown at us, or how, or where, that's what making humanity grapple with our surroundings boils down to, after all. In fact, given the state of the planet, Crawl's central theme not only proves frightening and fuels an effective thriller, but also feels unnervingly prescient. https://www.youtube.com/watch?v=Q4WuVXo_XAM
An authentic Greek cafe and dessert bar is opening in Ramsgate, bringing filoxenia, the warmth of Greek hospitality, to the residents of Sydney's south. The Good Filo will channel Thessaloniki and the ancient city's millennia-old baking traditions in their handmade delicacies. Visitors will be able to purchase lunches, desserts and Greek pastries, from moussaka to tsoureki. A strong, black coffee is recommended on the side to wash it all down. Launching on Rocky Point Road on January 3, the store will be captained by Aki Daikos and head baker Kiriakos Metaxotos. The former might be familiar from Tella Balls, while the latter will produce all the cafe's delights by hand, following recipes that have caused generations of mouths to water. Expect paninis, pastries, moussaka, baklava, bougatsa (made from your choice of semolina custard, cheese or a minced meat filling between layers of filo pastry) and galaktoboureko (semolina custard wrapped in a sheet of golden filo). Other delicacies include peynerli, a type of thick-based, Greek pizza first enjoyed by Greeks who lived on the Black Sea, and the tsoureki, a stringy-textured pastry with a semi-soft crust which fills the store with intense, spiced aromas when baked. Other highlights stem from inventive food hybrids, such as the croissantaboureko, which combines croissants with galaktoboureko as its name suggests; and the tsourektabouriko, which is a tsoureki with a galaktoboureko centre, all in the shape of a doughnut. https://www.instagram.com/p/BdWJQ6FDkW_/?taken-by=thegoodfilo There's also daily-made fresh bread, and it pretty much goes without saying that you shouldn't leave without trying a Greek frappe. And keep an eye out for other experimental specials, such as the Greek monsieur. "There really isn't a place like it in Sydney, and it's always been my dream to bring my motherland to Sydney," says Daikos. The Good Filo will open on January 3 at 336-342 Rocky Point Road, Ramsgate. For more information, head to the cafe's website.
The history of cinema is haunted by oh-so-many movies about oh-so-many ghost-riddled abodes, and the often-troubled and bereaved folks dwelling within them. The first clever move The Night House makes is recognising it's floating into busy spectral waters, then ensuring its tension stems from its living, breathing protagonist as much as the frights and fears she's forced to face. The film's second stellar step: casting Rebecca Hall (Godzilla vs Kong) as that central figure. An always-welcome addition to anything she's in — see also: Professor Marston and the Wonder Women, Christine and Tales From the Loop in just the past few years — she plays her tormented part here with brooding sorrow, reluctant vulnerability and a sharp, smart edge. She knows that grappling with loss involves being jolted in many different directions, and being subjected to bumps and jumps of the emotional kind, and that it's never easy to surrender to. Indeed, many of The Night House's surprises come from Hall as Beth, a schoolteacher whose life has been turned upside down by her husband Owen's (Evan Jonigkeit, The Empty Man) unexpected suicide. Clearly normally a no-nonsense type whether she's guiding pupils, dealing with their parents or navigating her personal life, she probes and questions everything that comes her way. As a result, her reactions — including just to herself — are constantly complex, thorny and compelling. Since Owen's passing — using a gun she didn't know he had, and tainting a rowboat usually tethered to the lake house he built for them himself — Beth has cycled through the familiar stages of mourning. When she returns to work to her colleagues' astonishment, including her close friend Claire's (Sarah Goldberg, Barry), she's blunt with the oblivious mother of one of her students. At drinks, she also shocks her co-workers by discussing Owen's suicide note, admitting her home now seems different and obsessing over how much she really knew her husband. That last written missive ties back into one of Beth's past traumas, and her own dealings with the end that awaits us all. When she's alone at night, she's not sure that she can trust what she sees and hears, or tell whether she's awake or dreaming. Filling her time by sorting through Owen's things, she's also unsure what to make of the eerie sketches and books about the occult that sit among his possessions. And, she's thrown even further askew when she finds photos of brunette women that could be her doppelgängers; plans for a home just like hers, but mirrored; and a cascade of tidbits that cast her memories of her marriage into disarray. Also among The Night House's savvy moves: understanding that grief really does change everything. Not only has Beth's life lost one of its brightest lights, but everything Owen once illuminated now keeps being cloaked in shadows he's not there to extinguish. She can't ask him about what she's uncovering, or feeling, or what it's digging up inside. She can't rely upon him, either, or keep trusting what she thought she'd already learned about him during their marriage. And, as being touched by death tends to evoke, she's spiralling down an a well of existential malaise. All ghost and haunted house movies are about confronting mortality, as are a long list of horror staples — zombies, vampires, serial killers, monsters and the like — and The Night House has a strong sense of terror about the the fact that life doesn't extended forever. Director David Bruckner (The Ritual) and screenwriting duo Ben Collins and Luke Piotrowski (Super Dark Times) infuse their film with foreboding, with Beth's demons, and also with a heightened state of anxiety. Cultivating an unsettling atmosphere via creepy sights, just as unnerving sounds and music cues, and Hall's showcase performance, they fill 108 minutes with the unease that lingers in us all, but that we spend the majority of our days burying deep inside. That horror craftsmanship — the bristling, needling score by Ben Lovett (The Wolf of Snow Hollow); the exactingly timed sonic assaults that litter the sound design; the sinuous and disorienting cinematography by Elisha Christian (Max Richter's Sleep) — is expertly calibrated. The Night House is a movie made with horror style as well as smarts, and it's meticulously engineered to coax the desired response out of its audience. Looking for what's not there, and also what loiters when in spaces defined by their emptiness, is one of the movie's visual charms. Bruckner enjoys teasing, too, knowing that viewers will always want more time studying Hall's face and winding through Beth's labyrinthine home, and yet never falling too in love with one or the other. And, while there's never any guessing who the camera and the film adore, he populates The Night House with well-weighted portrayals all over. There are no cartoonish bit-parts and supporting performances, with Vondie Curtis-Hall (Harriet) bringing concern and sincerity as Beth's neighbour, Stacy Martin (Vox Lux) giving a source of mystery flesh and blood, and Goldberg as nuanced as Barry fans will recognise. So many of his choices are nicely judged; however, when it comes to The Night House's plot twists, Bruckner is less careful about becoming prey to indulgence. Even though they're grounded in relatable, palpable sentiments, stirrings and musings, some of the movie's developments feel muddled, and also threaten to undercut the fine-tuned work going on elsewhere. Some of the repeated nightmarish symbols get splashed across the screen one or two too many times as well, although a love of all things hellishness is next leading Bruckner, Collins and Piotrowski to remaking Hellraiser. Here, when The Night House ruminates over psychological, existential and atmospheric horrors, it's as gripping as Hall always is. When it's less focused on being haunted by absence, and by death, it's a sillier, less shrewd and involving movie. While set in a house by a lake, it never stoops to Keanu Reeves and Sandra Bullock sending each other love letters, thankfully — but it also steps back from being as bleak at the last minute as it needed to be.
When Bong Joon-ho's Parasite won Cannes Film Festival's Palme d'Or in 2019, it became the second movie in as many years to nab the coveted prize for exploring class and wealth inequality through a tale of family. The year prior, when Hirokazu Kore-eda's Shoplifters scored the same gong, it too examined the ties that bind, plus the societal circumstances that conspire against and complicate such bonds. Indeed, that's the Japanese filmmaker's favourite subject. In a career spanning over three decades, he keeps being drawn to people who are drawn together, sometimes by biology and sometimes because that's simply the hand that fate has played in shaping a makeshift brood. It's fitting, then, that Kore-eda's latest Broker — his second feature since that big win — stays true to his go-to topic while also starring Parasite's Song Kang-ho. This is Kore-eda's first South Korean film, following 2019's French and English The Truth, which was his first non-Japanese picture. This is vintage Kore-eda, in fact, and it's warm, wise, wonderful, canny and complex. No matter how his on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song, Emergency Declaration) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. It's on a rainy night that So-young farewells Woo-sung, placing him gently in the hatch packed with blankets and soundtracked by lullabies, and leaving a note to say that she'll be back to claim him. She's nervous and tentative, peering around to see if anyone is watching — astutely so, because two groups are waiting on her significant choice. The traffickers have their plan to enact, while detectives Su-jin (Doona Bae, The Silent Sea) and Lee (Lee Joo-young, Rose Mansion) are keen to catch them. Muddying matters for both: unlike what usually happens in this situation, So-young does genuinely return for her baby. So sparks a road trip with Sang-hyun, Dong-soo and football-loving seven-year-old Hae-jin (first-timer Seung-soo Im), a runaway orphan, to meet Woo-sung's prospective adoptive parents, all with the cops on their trail as part of a six-month investigation. Broker's plot is never straightforward, nor are the questions it incites — questions about what family truly means, what governments say it's supposed to and why a ragtag group of outsiders can find a greater sense of belonging together on the run than anywhere else. Without offering any simple justifications, answers or solutions, Kore-eda ensures that the factors that lead So-young to the baby box, and Sang-hyun and Dong-soo to the illicit adoption market, constantly demand the audience's attention. "This car is filled with liars," Dong-soo says mid-trip, but it's the why behind that statement that sits at Broker's core. Like in Shoplifters before it, Kore-eda queries the forces that've made his characters who they are, brought them to this juncture and meant that the choices they're making feel like the only ones they can. Here, that includes pondering expectations placed upon women whether or not they're mums, the baggage attached to motherhood, the alternatives to baby boxes, and the stark truth that bringing life into the world and having a family aren't the same things. If he'd decided that literature rather than cinema was his medium of choice, there's no doubting that Kore-eda would've made an excellent novelist. His plots are that layered, perceptive, generous, emotional and involving. Also, in his TV adaptation The Makanai: Cooking for the Maiko House, one of 2023's streaming delights, he showed that he's equally as skilled at bringing tales from the page to the screen. But filmmaking is clearly Kore-eda's calling — and he's such a masterful visual storyteller, not to mention an affectionate movie craftsman, that it's forever plain to see why. Enlisting the great South Korean cinematographer Hong Kyung-pyo, a veteran not just of the aforementioned Parasite but also Bong's Snowpiercer and Mother, Na Hong-jin's 2016 standout The Wailing and Lee Chang-dong's sublime Burning from 2018, he gives Broker an earthy, lived-in, clear-eyed and yet eternally hopeful look. Falling rain, cramped rooms, cosy car rides, sprawling countryside, everyday phone calls: this film, and Kore-eda and Hong, make each one stun and say, well, everything. Broker's score by Jung Jae-il (another Parasite alum, and also Squid Game's composer) — plus the movie's spectacular use of Amy Mann's 'Wise Up' on its soundtrack, nods to Paul Thomas Anderson's Magnolia and all — are just as impressively and attentively fashioned. Nothing quite makes a Kore-eda feature what it is like his way with casting, though, pairing his empathetic stories with actors who gracefully live and breathe the same trait under his gaze. Accordingly, Kore-eda and the always-exceptional Song are a match made in cinematic heaven; it's no wonder that the latter deservedly earned Cannes' 2022 Best Actor prize for his latest phenomenal performance as a complex patriarch-type. Kore-eda and Bae is just as sterling a duo, too, especially when it comes to conveying yearning within this already bittersweet tale. Every heartfelt portrayal in Broker gets its audience feeling, however, including the scene-stealing Lee as a woman facing impossible choices, and pivotal baby Park.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Sydney is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Sydney. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, play backgammon to a soundtrack of jazz, spook yourself on Halloween and channel your inner Beyoncé. Plus, we've got your future detours sorted for the next few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
If there's a great Mighty Morphin Power Rangers movie aching to be made, it's the one that Elizabeth Banks thinks she's in. Playing the villainous Rita Repulsa in the latest big-screen instalment of the franchise, she can barely contain her glee as she struts around the small Californian town of Angel Grove caressing faces, ripping out teeth, croaking lines about her love of gold and even devouring the shiny substance. If only the rest of the film enjoyed the same sense of fun. The '90s series didn't take much seriously – and how could it, when it featured overdubbed action footage from Japan's Super Sentai? Alas, the bulk of this reboot seems to have forgotten that. Admittedly, given that one of this new movie's first scenes involves a teenager chatting about pleasuring a bull, it initially seems that director Dean Israelite (Project Almanac) and screenwriter John Gatins (Kong: Skull Island) haven't ditched the goofiness entirely. Appearances can be deceiving, though. Just as a group of diverse high schoolers can turn out to be colour-coded superheroes, so too can a film that features a wise-cracking robot (voiced by Bill Hader), Krispy Kreme as the source of life on earth, and monsters fighting robot dinosaurs prove a bland addition to an all-too-familiar genre. Gritty origin stories — we've been there and done that over and over again. Adolescent angst, outcasts bonding in detention and kids learning that everything's better when they're part of a team — yep, we've seen that before too. That's what happens when troubled but charismatic quarterback Jason (Dacre Montgomery), "on the spectrum" nerd Billy (RJ Cyler), ostracised cheerleader Kimberly (Naomi Scott), show-off Zack (Ludi Lin) and perennial new girl Trini (Becky G.) cross paths at an abandoned mine, find glowing coins and acquire new superpowers. Thankfully, the former Ranger turned talking wall that is Zordon (Bryan Cranston) is on hand to fill them in on their mission to save the world from Rita, who has just been fished out of the ocean after 65 million years. Most of the movie is happy to watch the diverse new quintet hang out, talk about their problems, test out their skills and bond — because, if there's one thing that Hollywood loves more that zero to hero stories, it's setting the scene for future flicks. Even if it hadn't just been revealed that the producers have a six-film story arc ready and raring to go go, those intentions are evident from the outset. One day, making sure each movie is engaging on its own, rather than acting as filler for more to come, might become a priority again. Unfortunately, that's not the case here. Indeed, by the time the fighting rolls around, you could be forgiven for feeling like it's too little, too late. The final battle against Rita and her giant metallic minion Goldar offers a welcome albeit messily-shot burst of energy, as well as a glimpse of the type of tone the powers-that-be might want to adopt if five more flicks do come down the production line. It's just a shame you have to watch Power Rangers morph from The Breakfast Club to Chronicle to Fantastic Four to Transformers in order to get there. Still, at least it's better than 1995's Mighty Morphin Power Rangers: The Movie, which is only worth revisiting if you want to see the Rangers roam through Sydney.
Some actors possess voices that could narrate almost anything, and Willem Dafoe is one of them. Move over Morgan Freeman: when Dafoe speaks, his dulcet vocals echoing atop gorgeous imagery of the world's waterways as happens in River, being entranced by the sound is the only natural response. He's tasked with uttering quite the elegiac prose in this striking documentary, and he gives all that musing about tributaries and creeks — the planet's arteries, he calls them at one point — a particularly resonant and enthralling tone. Australian filmmaker Jennifer Peedom (Sherpa) knew he would, of course. She enlisted his talents on her last documentary, Mountain, as well. Both films pick one of the earth's crucial natural features, lens them in all their glory at multiple spots around the globe, and wax lyrical about their importance. Both make for quite the beguiling viewing experience. Thanks to writer Robert Macfarlane, Dafoe has been given much to opine in River — and what he's asked to say is obviously even more crucial than the fact that it's the Spider-Man: No Way Home, The Card Counter, The French Dispatch and Nightmare Alley star expressing it. The subject is right there in the title, but the film's aims are as big and broad as an ocean, covering the history of these snaking streams from the planet's creation up until today. "Humans have long loved rivers," Dafoe announces, which seems like a self-evident statement; however, not one to trade in generalisations without evidence, River then unpacks exactly what that means. It also uses that idea as a foundation, but paired with another, which Dafoe also gives voice to — this time as a question: "as we have learned to harness their power, have we also forgotten to revere them?". The answer is blatant, lapping away at the souls of everyone who lives in a river city and passes their central watercourse daily without giving it a second thought. Indeed, that plain-as-day response ripples with even more force to anyone who has been struck by the waterways' power when natural disasters strike, a fact that hits close to home after Australia's disastrously flooded summer across Queensland and New South Wales — timing that the movie isn't overtly trying to capitalise upon, given it first started doing the rounds of film festivals in 2021, and has had its March 2022 date with Aussie cinemas booked in for months. A documentary doesn't have to tell viewers something wholly new to evoke wonder, though. Conveying well-known truths in unforgettable and affecting ways has always been one of cinema's key skills, whether working in fact or fiction. River's sentiments won't come as a surprise, but it still feels like a fresh splash of water upon a parched face. Dafoe's narration and the film in general hone in on the importance of rivers to human civilisation since its very beginnings, starting with the unshakeable reality that rivers have made much in our evolution possible. Also just as pivotal: the devastation we've wrought in response since we learned to harness all that water for our own purposes, irrigate the land far and wide, and take an abundance of H2O for granted, which River doesn't ebb away from. The prose is flowery, but never overdone; its eager quest for potent poetry, or to be mentioned in the same breath as Terrence Malick's The Tree of Life, always feels attuned to the awe it holds for its eponymous streams. It's also on par with Dafoe, Peedom and Macfarlane's work back in 2017 on Mountain, which was similarly hypnotic — and became the highest-grossing non-IMAX Australian documentary ever made, a claim to fame it still holds today. This time joined by co-director/co-scribe and feature debutant Joseph Nizeti, River's veteran trio don't simply paddle into familiar waters like they've easily charted this course — or climbed this peak — before, however. They repeat much of what they did last time, including pairing dazzling sights with a score by the Australian Chamber Orchestra, but it's fitting that there's a keen flow to this film that makes it an especially majestic and moving watch. It's there in the pace of the cinematography, as lensed by a five-strong team that includes Sherpa and Mountain's Renan Ozturk. It's evident in the rhythms of the feature's editing, too, with The Babadook, Spear, Martha: A Picture Story and The Nightingale's Simon Njoo doing the honours. As fast as a cascading waterfall at times, and as patient as a barely babbling brook at others, River couldn't take the job of honouring its subject in as many ways as it can more seriously. Thanks to those arresting visuals — spectacular footage that demands to be seen on the biggest screen possible — and the accompanying score, River was always going to earn flowery terms slung its own way. The vision is that remarkable as it soars high and wide across 39 countries, and peers down with the utmost appreciation. The swirling orchestral music, which includes everything from Bach to Radiohead, adds amply to the journey as well (even if it does occasionally leave viewers yearning for sounds as natural the movie's sights). Here, a picture truly is worth a thousand of those Dafoe-uttered words, but the combination of both is something exceptionally special. It's interesting, then, that River is the achievement it is thanks to all of its moving parts coming together so fluidly, but its imagery is also always second to none. While the combination mesmerises, only the film's visuals could tell the same tale alone — and what a story they tell. There's a cohort of documentaries that have attempted the same observational feat without any sense of spoken narrative, an approach seen at its best in the Qatsi trilogy of Koyaanisqatsi, Powaqqatsi and Naqoyqatsi, also in Baraka and Samsara, and even in recent Oscar-nominee Ascension; River reaches the same immersive and insightful levels. What a joy it is to be the film that doesn't need Willem Dafoe's narration, but is all the better for it. Even better: what a joy it is to watch that movie. And, in just-as-fantastic news, Peedom sees River as the second part of a trilogy. Top image: Pete McBride.
Since popping up over the last decade, the term 'elevated horror' has always been unnecessary. Used to describe The Babadook, It Follows, The Witch, Get Out, Hereditary, Us, Midsommar and more, it pointlessly claims that such unsettling flicks have risen above their genre. Each of these movies is excellent. They all boast weight and depth, trade in metaphors with smarts and savvy, and have style to go with their creeps and thrills. But thinking that's new in horror — that pairing unease with topical woes or societal fears is as well — is as misguided as dubbing Michael Myers a hero. With a name that makes its #MeToo-era point plain, Men has been badged 'elevated', too, yet it also does what horror has at its best and worst cases for decades. That the world can be a nightmare for women at the hands of men isn't a fresh observation, and it's long been a scary movie go-to. Still, Men stresses that fact in an inescapably blunt but also unforgettable manner. The film's setting is an English manor, where Harper Marlowe (Jessie Buckley, The Lost Daughter) hopes for a solo stint of rest, relaxation and recuperation. Processing a tragedy, shattering memories of which haunt the movie as much as its protagonist, she's seeking an escape and a way to start anew. The initial hint that she won't find bliss comes swiftly and obviously, and with a sledgehammer's subtlety. Arriving at an idyllic-looking British countryside estate, Harper is greeted by an apple tree. She plucks one from the abundant branches, then takes a bite. Soon, she's told by her host Geoffrey (Rory Kinnear, Our Flag Means Death) that it's forbidden fruit. He also says he's joking — but in this garden, a woman will again shoulder a society's blame and burdens. As overt and blatant as this early exchange is, there's an intensely unnerving look and feel to Men from the outset. Returning to the big screen after excellent sci-fi TV series Devs, writer/director Alex Garland isn't a stranger to visually stunning, deeply disquieting films that ponder big ideas; see: the complex, eerie and sublime Ex Machina, plus the similarly intricate and intriguing Annihilation. Oscar Isaac doesn't turn up this time, let alone dance. Buckley and Kinnear do turn in mesmerising and magnificent powerhouse performances amid the perturbing mood and spectacular imagery. Gender expectations also get probed and challenged, as do genres. And, things get strange and insidious after Harper tries to lap up her bucolic surroundings. Those blood-red walls sported by Harper's atmospheric centuries-old home-away-from-home? That's another glaring warning. Also discomforting: the jump-scare glitch when she video chats with her best friend Riley (Gayle Rankin, GLOW), after being told by Geoffrey — who is polite but never direct, perfectly satirising both stiff-upper-lip Britishness and the fine line between being courteous and patronising — that reception isn't the best. And, when Harper ventures out of the house, she discovers scenic treasures alongside hardly hospitable locals. She's a woman plagued by troubles that don't begin as her own, and she's forced to devote everything she has to moving past them and surviving. That Harper is played with such instinctive and physical feeling with Buckley, who just keeps going from strength to strength thanks to Beast, Wild Rose, Chernobyl, I'm Thinking of Ending Things, Fargo and her Oscar-nominated efforts in The Lost Daughter, is one of Men's biggest assets. First, there's the naked man who follows Harper through the wilderness, after she wanders through a cavernous tunnel with ethereal acoustics that's a delight one moment and boarded up the next. Then, more and more townsfolk spark alarm. There's the cop who barely believes Harper's stalker story, dismissively so. There's the teen who asks curious questions, demands attention and gets abusive when he isn't indulged. Also, there's the vicar who enquires about Harper's woes, then apportions responsibility her way for her struggles with husband James (Paapa Essiedu, I May Destroy You), while also putting his hand on her knee. The town pub's patrons are wary of her encroachment on their turf, while Geoffrey keeps making his presence known in his civil but passive-aggressive fashion. And, these men — yes, they're all men — share something beyond an unpleasant, off-putting and entitled attitude. Kinnear is also fantastic in Men because he's all men (including in scenes that make it clear that Garland saw his exceptional efforts as Frankenstein's monster in Penny Dreadful). Toxic masculinity deserves to be torn down repeatedly, and nuance needn't be part of that dismantling. The misogyny women can face openly and daily, and the way that simply existing can bring threats in the most ordinary spaces, also demands calling out loudly and strongly. Men does this. It ponders its key idea in different ways, too, including within religion and marriage. It shows how views can fester from adolescence, and within social and supposedly comforting confines. It demonstrates that just being can be fraught with distress for women, taking that reality to surreal, violent and fleshy extremes that'd equally do David Lynch and David Cronenberg proud. Also, it toys with how women are victimised in horror cinema. Garland's take on the topic is vivid and chilling — and as evocative as his past releases, plus his stellar screenplays for 28 Days Later and Sunshine — but Men also dives about as deep as noting that its namesake can be the worst, everyone knows it, and movies and life prey upon it. Still, as a piece of immersive cinema, Men is entrancing. It might be too kind to think its thematic bludgeoning is completely on purpose, but feeling like you're trapped in the same hell as Harper — in the film's present day, and in her orange-hued, positively apocalyptic, just-as-disturbing memories — is by design. Garland's work is that meticulous and sensory, and adept at conjuring up gut- and heart-wrenching reactions. It has been since he started out as the author behind The Beach, in fact. Here, he's aided by the intricate splendour, leafy and shadowy alike, lensed by his now usual cinematographer Rob Hardy (Mission: Impossible — Fallout), as well as the ominousness echoing in the choral-heavy score by fellow regular collaborators Geoff Barrow and Ben Salisbury (Archive 81). That all elevates the movie, although not because it's a higher form of horror, which it isn't. Men is as glaringly direct, primal and surface-level as a bar pickup line, and says nothing new, but its visceral and unshakeable menace still digs in hard, fast, tight and piercingly.
