If your morning caffeine hit is always over too soon, get an extension at Mr Black's second annual Grindhouse pop-up. Taking over Three Williams in Redfern this weekend, the event is an a paean to glorious, glorious coffee. Not a single item on the menu will escape coffee-cation, from the whizz-bang drinks list to the brew-infused snacks. Specialising in their celebrated cold drip liqueur, the Mr Black crew will be delivering their twist on a bunch of signature cocktails, including a Bentley's cold-drip negroni, a cold-brew martini from Melbourne's Bad Frankie, and Rockpool's Ryeball (Mr Black coffee liqueur, rye whisky, Campari, chocolate bitters). Plus, numerous classics will be revamped for coffee crazies — think gin + tonic + coffee, and a spiced ice coffee (Mr Black, Sailor Jerry's rum, milk, agave syrup). Meanwhile, Young Henrys has been working on a special, super-smooth coffee-beer. The Three Williams chefs will be whipping up a menu to keep up to speed with the beverages. Co-owner Toby Laccarino said, "We love Mr Black and jumped at the chance to turn our venue into a coffee cocktail pop-up with their crew. Our team has designed a menu pairing the food with the delicious drinks, which will, of course, feature our famous coffee roasted beef brisket sliders." Grindhouse is taking over Three Williams on Friday 23 and Saturday 24 October, from 6pm to midnight both nights. Tickets are $37 (+bf) a pop, and that includes two cocktails and eats all night long.
Not too long ago, you’d be hard-pressed to find a good craft beer in Sydney. Now there are so many small breweries dotted all over the country producing amazing craft. Mid-October signals the return of Sydney Craft Beer Week, a celebration of these beers. It doesn’t matter if you’re a foodie, a beer geek or just a casual drinker. With over a hundred events across nine days, there’s something for everyone. Come meet the brewers, taste their products and have a good ol’ time. Check out our picks of the ten best events of Craft Beer Week.
Nobel Laureate Toni Morrison and director Peter Sellars offer a radical new take on Shakespeare's Othello. Making its Australian premiere as part of the Melbourne Festival before stopping in Sydney as a preview of the Sydney Festival, Desdemona tells the story of the titular wife of Othello, and in particular her relationship with Barbary, the African maid who raised her (played by award winning Malawi singer-songwriter Rokia Traore). The result is a production that challenges the notoriously antiquated depictions of race and gender found in the original play, and promises to leave Shakespeare buffs – and audiences in general – with plenty of food for thought.
A few years ago I invented a drinking game for people wanting to give up booze. It was very simple: you only drank when Johnny Depp played an American. Almost overnight, global alcohol consumption dropped to near-prohibition levels, even when many of Depp's non-American roles were actually inclined to drive people to drink. So far down the zany Tim Burton/Jack Sparrow character hole had Depp descended that the very notion of him playing a serious role again seemed as ludicrous as his daily jewellery selections. Then, from out of nowhere, came the chilling Black Mass trailer, and it was as if all might suddenly be right in the world again. To hell with the drinking game, we wanted to see Depp actually act and it looked like that might just be what was happening. Yes, he was still in some intense makeup (complete with vampiric blue eyes and slicked back white hair), and yes, there was a thick Boston accent at play, but at its core this looked like gritty, dramatic Depp back to his legitimate best. Thankfully, the trailer wasn't lying. Black Mass is the true story of Boston’s infamous crime lord James ‘Whitey’ Bulger (Depp) and his astounding protected status as a secret tier-one informant for the FBI. The more you learn about Bulger, the more remarkable his tale becomes. For one, his brother William (played by Benedict Cumberbatch) was the longest-ever serving senator from Boston, and Bulger's childhood friend John Connolly (Joel Edgerton) became a key figure in the FBI’s anti-mafia division. The short of it was that Connolly convinced Bulger to rat on his competition (primarily the Italians) in exchange for what amounted to a free run from police and the FBI regarding his own illegal operations. That arrangement saw Connolly rise in the ranks, but also allowed Bulger to transform from small-time hood to a national player in organised crime, and for years there seemed to be nothing anyone could do to stop him. The strength of Black Mass is in its cast, which — along with its leads — boasts the likes of Kevin Bacon, Dakota Johnson, Adam Scott, Corey Stoll and Peter Sarsgaard. There’s no weak link on the acting front, and even the bit parts turn in solid performances (Juno Temple’s brief appearance as a naive hooker the standout). Instead, it’s the story where the film is found lacking. For such a remarkable tale of corruption and secret allegiances, the focus on Bulger’s crimes feels wasted and misdirected, if only because the 'Boston gangster saga' has already been done many times over, and — it should be said — better (The Departed topping that list). Arguably the most intriguing dimension to the entire Bulger story is the Bulger dimension — the brothers, one a gangster and the other a powerful politician — yet it barely rates a mention, and Cumberbatch’s screen time is among the smallest in the film. How, in the modern era, one brother's affairs did not bring down the other’s raises compelling yet frustratingly unanswered questions that would have given the story a meatier emotional narrative and greater momentum. Still, take nothing away from the performances and please, raise a glass to the long overdue return of Johnny ‘Dramatic' Depp.
If you've been hankering to get on your bike, but Sydney traffic has been freaking you out, there's now no excuse. The 2015 Sydney Rides Festival has rolled up. For three magnificent, two-wheeling weeks, there are more reasons to ride than you can poke a spoke at — from pedal-stroke yoga sessions and bike-inspired film nights to lessons in how to cycle in style and roller racing competitions. On Saturday, October 10, head to St Peters' Sydney Park for Sydney Rides the Park. There'll be bicycle-dedicated markets, a BMX arena, a mountain boarding slope, a bike-powered juice lounge, food trucks and more. Then, on Tuesday, October 20, the chairman of Denmark's Cycling Embassy, Marianne Wienreich, will be speaking at Customs House about how we can "Copenhagenise" Sydney (i.e. turn it into a place where half of all commuters travel by bike). And the finale will be happening on Saturday, October 31. Dubbed Light the City, it's a nocturnal event that will transform Mrs Macquaries Road into a 2.5 kilometre, illuminated, car-free cycle route. Come dressed in your Halloween-inspired finest for a chance to win some serious prizes, including a $1,000 voucher at a local bike store. Check out the rest of the Sydney Rides Festival program at the Sydney Cycleways website.
Texas Chainsaw Massacre-style BBQ brisket, creepy costumes and freaky roaming performers will be haunting Centennial Park this Halloween night. A Moveable Feast is inviting a select number of Sydneysiders to gather in the moonlight for a high-end Halloween banquet, complete with drinking, fine dining and spooky live entertainment. And as for costumes? Think slasher movie chic. The exclusive monster bash will take place from 7pm to 11pm on October 31 amidst the shadows of Centennial Park's pine forest (or 'Sleepy Hollow' for the night). Getting in isn't easy though — a seat at the table will cost you $65, but you have to be invited first. That means schmoozing one of the 'Heads of Clan', each of whom are given 28 invitations to hand out as they see fit. You can apply to become a Head of Clan by emailing hello@amoveablefeastevents.com.au — but you'd best be quick about it. Assuming you manage to get your hands on an invitation, there are two different dinner options which can be pre-ordered online. The 'Epicurean Halloween Harvest' ($200 for two people) includes iberico jamon, petuna smoked ocean trout, Texas Chainsaw Massacre-style BBQ brisket and slow roasted Voodoo lamb shoulder, while the 'Vegetarian Thriller' ($170 for two people) features a thyme, cherry tomato and goats curd tart and a bleeding grilled aubergine stack. Both options also come with Children of the Corn on the cob, sweet pumpkin pie and pecan crunch, edible cotton candy art, and doughnuts by Glazed, among various other tasty treats both savoury and sweet. You can also pre-order booze, or purchase it from the bar on the night. The guest code is listed as scary glam, fashionably creepy or strangely wonderful, which should give you ample room to manoeuvre. That being said, we'd probably recommend wearing something in which you can comfortably bust out a few dance moves — since odds are they'll be blasting 'Thriller' at some point before the night is out.
Sydney's newest urban playground will host its first major shindig as part of the 2015 Sydney Architecture Festival. Opening to the public at the end of August, The Goods Line is a 500m pedestrian walkway that connects Central Station with Darling Harbour that has been touted as Sydney's answer to New York City's High Line. Now it's time to see if it's worthy of the comparison. Set to take place on Saturday, October 3, #TheGoods (actual name) will be a daylong activation within this year's Architecture Festival, and will see The Goods Line come to life with a wide range of free and ticketed events. Things begin at 8am with yoga and tai chi sessions on The Goods Green, followed by drawing and photography classes led by prominent Sydney architects and artists. The program also features a number of talks and panel discussions, culminating with a symposium on architectural innovation. Those of you with home renovation plans, meanwhile, can take advantage of a Meet an Architect session and nab 15 minutes of face time with a leading local architect. Other notable events throughout the day include a zine fair featuring independent publications from local students and creatives, a self-sustaining garden designed by engineers from the University of Sydney, and an after-dark showcase of architecturally themed short films at The Goods Line Amphitheatre on Mary Ann Street. There will also be a Pressed Juice pop-up to keep visitors refreshed, while some of Sydney's leading food trucks will fire up their engines in time for lunch.
This show is curated by Bev Shroot and Louise Thoeming, winners of the Dominik Mersch Gallery Curator Award, an inaugural prize developed to support emerging curators. In bringing their winning concept to life, Shroot and Thoeming will be presenting Outsiders, Imposters and Aliens, which will explore the idea of ‘otherness.’ The exhibition features seven artists whose work examines marginalised individuals and groups living in the shadow of the mainstream. Each artist will explore a different facet of alienation and detachment, dwelling on the difficult-to-draw line between insider and outsider.
In the guise of her character Jess, Drew Barrymore is crying when Miss You Already starts — and the audience likely will be when the film finishes. Tissues are necessary for what overwhelmingly and shamelessly qualifies as a weepie. Expect tears from a movie that knows how to wring them out of you. Expect to know that's exactly what it is trying to do, too. Barrymore's American in London is the more down-to-earth life-long BFF of outlandish Brit Milly (Toni Collette), their friendship as firm as it is frenetic. They've been there for each other since meeting in primary school, but when Miss You Already opens, Jess is in labour and yearning for her pal before talking viewers through their shared history. That colourful past takes a turn for the catastrophic when Milly is diagnosed with breast cancer, much to the distress of Jess; Milly's rock 'n' roll-roadie-turned-family-man husband, Kit (Dominic Cooper); and their two young children. At the same time, Jess is struggling with trying to get pregnant through fertility treatment with her partner Jago (Paddy Considine). As has constantly happened throughout their years of closeness, when it comes to life-changing drama, Milly's situation trumps her own. If the combination of gal pals, a potentially terminal condition and baby craziness hasn't already given it away — and it should've — Miss You Already is solidly aiming for sometimes gently funny, often waterworks-inducing chick flick territory. That the film stems from the real-life experiences of actress and writer Morwenna Banks (perhaps best known for TV's Saxondale and Skins) helps ensure that its sentiment and depiction of illness doesn't feel fake, even if it comes on thick and paints by the numbers. Indeed, director Catherine Hardwicke moves on from the teen-focused fare of Thirteen and the first Twilight film to offer up an account of the ups and downs of female friendship, with the latter prominent when trouble and tragedy strikes. Her approach is brightly shot to look like fondly Instagrammed memories, though it also barely lingers on anything but the obvious as it flits between Vine-like vignettes. Heartstrings are tugged across the usual moments — news both good and bad, hospital visits focused on life ending and beginning, a road trip to Yorkshire's Moors, and fights and fancy occasions among them — yet every new occurrence seems like the filmmaker is ticking off a checklist. With no hunks in sight here, what the film boasts instead is chemistry between the two leads. The plot points might be routine, but the bond the talented duo of Barrymore and Collette cultivate comes across as authentic. In fact, none of the cast puts a foot wrong, including a brief but well-played appearance by iconic actress Jacqueline Bisset as Milly's TV star mother. They're Miss You Already's most effective element, other than using all the life, death, love, loyalty and friendship pressure points to manipulate salty moisture into streaming from your eyes.
Sydney Craft Beer Week is a staple in our annual social calendar, and we can't think of any other way to start it off than with a huge opening gala. Some of the nation's most exciting brewers are bringing the best of their beers to the shindig. There, they will be joined by burgers, commemorative glasses and weird music. If it's anything like last year's party, it will be a night of good vibes and great company. This event is one of our top ten picks of Sydney Craft Beer Week. Check out the other nine.
If you want to make your friends and co-workers jealous (or be the coolest person in any given room), go to Beer Meat Axe. You'll be able to tell them you "had some Willie The Boatman and Young Henrys, some slow cooked meat, did some axe throwing. Just the usual Friday arvo stuff." You know you want to say that. This event is one of our top ten picks of Sydney Craft Beer Week. Check out the other nine.
With the rise of the mp3 and the gathering of the cloud, the concept of physically owning your music has gradually begun to disappear. Yet for many music lovers, the tactile nature of analogue media still holds a powerful nostalgia. How else do you explain last year's record-breaking vinyl sales? But while the record may have experienced a bit of a resurgence as of late, what about the humble audio cassette? Well, it turns out there may be a market for that too. Inspired by the success of Record Store Day, Cassette Store Day is a celebration of all things magnetic tape and plastic. Its third iteration is set for October 17 — and for the first time, the southern hemisphere is getting in on the action. Australian label Rice Is Nice and New Zealanders Arch Hill Recordings will join Germany’s Mansions & Millions, America’s Burger Records and original UK founders Suplex Cassettes, Kissability, and Sexbeat in organising the 2015 edition, an international party marked by a slew of events, sales and releases. Last year saw such big name artists as Karen O and There Might Be Giants drop tapes for the occasion, among more than 300 others. Of course, not everyone is so enamoured with these chunky slabs of plastic. Last year Tone Deaf penned an article titled ‘Why International Cassette Store Day is Stupid’, arguing that the event is simply nostalgia taken too far. And look, the killjoys may have a point. Although vinyl fans insist that records sound ‘warmer,’ it’s a lot harder to make that argument for the compact cassette. Still, anything that gets people supporting local music stores is okay by us. Besides, who doesn’t secretly want an actual mixtape from their crush? CASSETTE STORE DAY AUSTRALIAN RELEASES Courtney Barnett — Sometimes I Sit And Think And Sometimes I Just Sit Summer Flake — Time Rolls By EP Bloods — Work It Out Ocean Party — Light Weight Step-Panther — Strange But Nice Dollar Bar — Paddington Workers Club Dollar Bar — Hot Ones Red Riders — Drown In Colour Demos The Finks — Lucklaster Fraser A. Gorman — Slow Gum Ouch My Face — Bunyip Raindrop — Crowded Brain EP Rice Is Nice Records — Vol. 3 Mixtape (various artists) Ft. Blank Realm (unreleased), Black Zeros, Tired Lion, Lowtide, The Living Eyes, Pearls, Love of Diagrams, Day Ravies, Us The Band, Zeahorse, White Dog, Weak Boys Wonrowe Vision — Triple Cassette Mortification — Scrolls Of The Megaloth Double Cassette Barrow-man — Dog Tales Betty & Oswald — King Of Bohemia Tutu and the Bodyrockets — The Ballad of Bonnie Bigfish Hills Hoist / Piqué — Cool Change / Kitty Image: Dollar Photo Club.
Last time North Carolina-raised producer Porter Robinson came for a visit he was performing a DJ set. This time around, we're getting the whole live set. Robinson was responsible for one of the biggest club anthems of last year: ‘Lionhearted’, a euphoric, all-encompassing sonic experience that will make you happily giddy. Unsurprisingly, Robinson’s 2014 debut album Worlds, runs in a similar vein, and has continued to break the internet with ‘Sad Machine’ and ‘Sea of Voices’ — both tunes that have received millions of Soundcloud plays. Robinson will be joined by local goalkickers Wave Racer and Cosmo’s Midnight. If you’re looking for a gig to dance your socks off to, you’ve found it.
North London’s latest incarnation of alternative rock and roll is about to roll into town, and we’re certainly happy to have them. They've just released their debut album, My Love Is Cool, in June this year, with producer Mike Crossey (Arctic Monkeys, Foals, Black Keys) at the grungy helm. Haven't heard 'em yet? Single ‘Moaning Lisa Smiles’ is particularly dark and seductive, and ‘Giant Peach’ has us positively hooked on Ellie Rowsell’s vocals. We have a feeling that out of all the newcomers coming to Splendour this year, Wolf Alice are going to be one of those gigs you’ll kick yourself in years to come for missing out. So don’t.
What could be more timely than a musical about gender transitioning, after those photos of Caitlyn Jenner placed trans issues on the pop culture radar? The only catch is the transgender protagonist of Triassic Parq is a T-Rex. The director of the musical comedy's Australian premiere, Jay James-Moody, describes the show as “Rocky Horror meets Jurassic Park”. Pertinent questions of identity and community are explored by an ensemble of existential dinosaurs. Note: the ‘dinos’ still look very human, so don’t expect massive puppets or prostheses and you won't be disappointed. Triassic Parq premiered off-Broadway in 2012 to some acclaim, yet the Seymour Centre's Reginald Season (for Aussie independents) is the first chance to see the “raunchy, yet poignant” musical at home. For musical theatre tragics, it's a must, and for the rest, it's an opportunity to see a funny, self-effacing, contemporary musical.
Whether you're after beer, tea, clothing or plants, you can find a local in the inner west to meet your needs. To celebrate the slew of creative and culinary talent that gives the area its special vibrancy, COMMUNE, Newtown's legendary co-working space, is hosting a 'locally made' makers' market on June 21. We can't tell you exactly where yet, as the location is top secret until the day. (To make sure you find out, hit up COMMUNE's Facebook page). But we can tell you that a mighty list of locals is planning on turning up. These include Young Henrys Brewery, Food Rascal smoked briskets and spit roast, Chai Walla with fresh chai and coffee, The Vegan Teahouse, O!momo, Kaleido, JP Finsbury Bespoke Joiners, Rising Sun Plants, Hennah By Hannah, Lemunkytoto and Vilify Apparel. Once sun has set on the market, the party will kick on at Newtown's Union Hotel.
Immersive theatre experts Mongrel Mouth are returning to The Rocks in June. Last year, they took you deep into The Age of Entitlement. This time, they’re going to lock you inside a 166-year-old mansion in The Rocks, where nine ex-psych patients, drugged with narcissism, will be let loose. Obsessed with selfies and power struggles, let still seeking love, they flounder and flail in a world without meaning. You’ll have eight rooms and two levels to explore. And you’ll be free to wander at will, getting as close to the action as your fear — or sense of humour — can handle. "This show submerges the audience into a world of pure madness, where nonsense in the new normal," says Mongrel Mouth and Like Me director Duncan Maurice. "It is inspired by French dramatic master Jacques Lecoq’s Bouffon, which features a performance style based on clownish mockery and the absolute ridiculous. This style of comedy gives us hope, as laughter might be the only we have left to save our sanity.” Read our interview with director Duncan Maurice about previous production The Age of Entitlement.
Winter has come around again and brought along the sniffles, blue fingers and obscene heating bills. It's not all bad though; there's hot soup, knitted scarves and Winter Garden Sydney. This is your chance to see how our Canadian friends spend the chilliest months. There's a lot to do. Challenge your friends to see who can be more aerodynamic in their puffy winter coats and get down the inflatable slide first. For those not scared of bumps and bruises, grab a pair of skates and get out on the ice. If you're feeling a little tired after such rigorous exercise, recharge with some gourmet food and gluhwein at the Winter Garden Lounge. As for your wintery chocolate needs, they will be catered for by the Lindt Chocolate Cafe pop-up. Rug up like a fluffy marshmallow and come down to St Mary's Cathedral to enjoy a white winter. Image: Winter Garden, Australia
After a three-year gestation period, 24 Frames Per Second is finally here. Carriageworks has commissioned artists, dancers, choreographers and filmmakers from across the globe to create 24 artworks at the intersection of dance, film and art. The multidisciplinary installations will invite you to explore a broad range of subjects, from pack mentality to longevity. You might find yourself in a field of broken glass and reflecting light or viewing a film about walking the fine line between sanity and madness. Ever thought about how dance is used to enter altered states within a spiritual context? How about the heightened state of conscious at mass demonstrations? This is just a few of the interesting pieces to see at the exhibition. There won't just be installations; a series of public programs and artist's talks will be happening over the duration. Get yourself down to Carriageworks and use those well-oiled brain cogs.
Early risers, yoga fiends and peaceful art lovers, this one's for you. Celebrating the MoMA exhibition Yoko Ono: One Woman Show, 1960–1971 and the 50th anniversary of Ono’s 1964 New York performance of Morning Piece, the MCA is presenting Yoko Ono Morning Peace 2015, the Sydney's instalment of a global event that salutes the sun on June 21. Reconnect with the early morning with a free giant art-making Mandala workshop on the lawn, outdoor drawing classes on the sculpture terrace, yoga workshops on the rooftop terrace and front lawn with lululemon athletica (June 21 also marks the United Nations’ inaugural World’s Yoga Day). The MCA will be open early from 9am, including the Light Show exhibition and the MCA Cafe, which will be putting on a special New York-themed breakfast menu (cronuts, mimosas, bagels, Belvedere Bloody Marys). So what are we actually celebrating this early in the morning? It's been 50 years since Ono's Morning Piece was first performed in Tokyo in 1964. The work saw audiences gather at sunrise to meet Ono, who sold artworks with attached pieces of paper on glass, picking out a particular period of morning (e.g., “February 3, 1987 after sunrise,”). Ono would encourage each 'owner' to look through the glass to the sky, with the knowledge they possessed a 'future morning'. Pretty lovely stuff. Galleries around the world are uniting to present this event. If you can't make it to the MCA, you're encouraged to host your own Morning Peace event, according to the following instructions “On the solstice at sunrise / celebrate mornings of / past, future, and now./ Listen to the world./ Touch each other / when the sun comes up.” (Yoko Ono, spring 2015).
Battle of Waterloo, directed by Sarah Goodes for the Sydney Theatre Company, is the impressive debut of writer Kylie Coolwell. With a great cast and skilfully constructed dialogue, this is a vibrant story of the struggles of an Indigenous family and a celebration of the tight-knit community of Sydney’s Waterloo. When Ray (Luke Carroll) returns home after three years in prison, he is full of promises for his friends and family about turning his life around. But this is just another distraction for Cassie (Shari Sebbens), his partner, who is agonisingly close to finishing a course in fashion design and is already juggling a number of problems at home, not least of which is her sister Sissy (Shareena Clanton), who is addicted to drugs and spinning rapidly out of control. Despite Ray’s determination to "dream up a world [he and Cassie] never had until now", the dream gets harder and further away, and old habits begin to creep in. The play is set in Waterloo’s James Cook and Joseph Banks Towers, and designer Renee Mulder captures both the intimate setting of Auntie Mavis’s flat and a sense of the broader community, with balconies and a grass strip the backdrop to the simply furnished kitchen and bedrooms. Coolwell has a deft and humorous touch with the larger group scenes, choosing just the right moment for each character to chime in. The ensemble is fantastic, particularly in numbers; the house is a hive when the family comes together, discussions becoming arguments before somebody recognises a classic playing on the radio, which sparks off a dance. All of the actors deliver such physically grounded performances that the noise and energy they generate is beautiful and infectious. Apparently one of Coolwell’s major influences while writing the play was Tennessee Williams and it shows. The air is thick with dialogue that is frank, cutting and funny, a cacophony of voices teasing and posturing, denying and verifying certain parts of a story. It is matriarch Auntie Mavis (Roxanne McDonald) who usually has the last word, though, her disapproval cutting through the ruckus as she sits at the table playing cards. The second half isn’t quite the equal of the first. As dreams become, or surrender to, reality, the play begins to tread a much more familiar path. That said, by this stage, the characters have been so solidly established that where they wind up continues to matter a great deal. Battle of Waterloo is full of life and love, both in its performances and its writing, and is well worth a look.
90 years ago, an artist by the name of Jimmy Bancks came up with a character by the name of Ginger Meggs. And, like that, an Aussie legend was born. But unlike other icons we've lost along the way, Ginger lives on, in the forever-land of cartoons. These days, he's parented by young, Perth-based artist Jason Chatfield. To celebrate Ginger reaching such a distinguished age, the Museum of Sydney is hosting a dedicated exhibition. Through original strips by Bancks, Chatfield and Ginger's three other dads, Ron Vivian, Lloyd Piper and James Kemsley, the show tracks the character's evolution through nine decades, beginning with the billy carts, wireless radios and cricket matches that shaped his '30s world to his 'real-life' appearances at major events like the opening of the Harbour Bridge and the launch of the Space Age. There's also a bunch of vintage memorabilia on display, including Little Golden Books, dolls, clothing and Ginger-themed paintings by Martin Sharp. “With his vivid red hair, larrikin boy charms and never-ending ability to get himself into and out of trouble, Ginger Meggs is a mischievous character whose everyday escapades echo the experiences of millions of Australian children," says Anna Cossu, Sydney Living Museums curator. "[He is] still published in over 120 newspapers across Australia and around the world."
Future Process at Artereal Gallery is all about reconciling traditional craft with new technologies. Curators Ryan McGennisken and Michael Staniak share an interest in reclaiming the relevance of painting and sculpture. Reflecting on the ‘de-skilling’ phenomenon that developed out of Postmodernism, they have selected artists who are part of a ‘re-skilling’ trend in contemporary art. Although there are subtle similarities between them, each artist in this group show has a unique approach to image production. Featured are Nyah Isabel Cornish, Portland Francis, Nicholas Ives, Ryan McGennisken and Dean Thompson.
Everyone loves Caroll Spinney, but no one realises it. For more than four decades, he has brightened up the television screens of children around the globe, and mirrored their crankier side as well. Sometimes he's inside a giant yellow suit. Sometimes he's crouched behind a trash can. Either way, he's surrounded by sunny days sweeping the crowds away, whether bird, grouch or man. I Am Big Bird: The Caroll Spinney Story helps redress his lack of fame in his own right, telling the tale of the person behind the puppets. A boyhood fascination with the puppetry (and a lucky break at an early show gone wrong) guided him towards none other than The Muppets' Jim Henson — and the rest, as they say, is history. Climbing inside a feathered costume, he made one of the world's most iconic creations. Channelling his inner grump, he fashioned another. Of course, both Big Bird and Oscar the Grouch are as famous as fictional characters can get, their traits and tendencies easily recognisable. Less apparent is the importance of Spinney in not just giving them form, but giving them personality. An array of talking heads, including many Sesame Street veterans, explain how the roles reflect both sides of his temperament. Indeed, as the documentary's title suggest, Spinney really is Big Bird, and his green furry friend as well. So unfurls 90 minutes of adoration for the otherwise unsung performer, as pieced together by directors Dave LaMattina and Chad N. Walker as a tribute from the outset. Given the nostalgia and affection likely to be felt by everyone who watches the film, there's never any doubt that positivity reigns supreme in this admiring and infectious effort. In case you weren't already feeling the loving mood, the sentimental score helps nudge you in that direction. There's nothing particularly subtle about the way this ode to a creative talent is put together, but it's all done with the best of intentions. The film is full of engaging memories and interesting insights too; whether peeking behind the scenes of the show, revisiting Sesame Street's trip to China, or revealing the mechanics behind the Big Bird suit — and the physical toll it takes on Spinney, who's still performing even though he's in his eighties. The man himself shares his recollections, his professional highs interwoven with the rollercoaster that was his personal life in his younger years. And yet, there's another person looming large over the piece, glimpsed in archival clips, who almost steals the show. It's impossible to explain the importance of Spinney without touching upon Henson, and expecting waterworks to follow. The intimacy of Spinney's chats about his time with his mentor gets to the heart of what makes I Am Big Bird: The Caroll Spinney Story an endearing documentary, even if it is put together in a standard fashion. Who wouldn't want to spend time with the men behind the figures that defined so many childhoods?
Evenings out in the city don't get any more indulgent than this. On Thursday, March 3, seven of Merivale's hatted chefs will gather at est. to cook up the feast to conquer all feasts as part of March into Merivale 2016. Dubbed All Pleasure, No Guilt, the night will see you linger over five luxuriant courses, while sipping on Dom Pérignon champagne. Each dish served will be a unique creation, designed especially for this event and available nowhere else. And the Dom Pérignon will come in three coveted varieties: Vintage 2006, P2 Vintage 1998 and Vintage rosé 2004. If there was ever an event to dig out your finest black tie for, this is it. You'll be seated at a long table and your every need, desire and whim will be catered to by white-gloved silver service.
If a critic's role is to truly explore their chosen field, not only examining the obvious and popular but also unearthing the new and unknown, then consider Jonathan Gold the king of Los Angeles cuisine. Sure he knows all the regular haunts, but he's more interested in the venues less visited. He sees the city as a hotbed of tastes and textures, with the eclectic eateries off the beaten path more vibrant and varied than their well-known, well-heeled counterparts. Indeed, Gold's penchant for smaller, harder to find establishments that reflect their respective communities is what has endeared him to LA restaurateurs and readers alike, while also catapulting him to broader fame and recognition. He freely admits that he became a food writer completely by accident, and yet he's been plying his trade for more than two decades. In 2007, he became the first and only food critic to win the Pulitzer Prize. City of Gold tells his tale, though Laura Gabbert's documentary doesn't just take the standard biographical route. There are no shortage of friends, or thankful chefs and owners, willing to sing his praises — and Gold himself doesn't shy away from sharing his own upbeat anecdotes. But the movie's real focus mirrors its subject's true quest. As his humble beginnings – munching his way along the 15-mile Pico Boulevard from downtown LA to Santa Monica – demonstrate, the Los Angeles Times scribe is more concerned with the experience than the ingredients. Gabbert's skill is in doing the same, honing in on Gold's travels around town in his trusty Dodge truck more than she does the minutiae of the menus he consumes. Accordingly, City of Gold ambles along with a relaxed air, lurching from one topic to another while its images roam around the city. Thankfully, even when delving into his childhood, background as a music writer and notorious reputation for procrastination, the film doesn't suffer from its sprawling approach and casual attitude. Insights into the history of LA, the art of criticism and the advent of online consumer review sites also earn a mention, but never do they distract from the feature's main thread. Instead, they flesh out the 96-minute look at a guy uncovering the flavours of his hometown with a commitment to authenticity — and not just because it's his job, but because it's his passion. His enthusiasm, though delivered in his particularly unflashy fashion, proves infectious, with the film sharing that same tone of celebration. That adoration doesn't just extend to its portrayal of Gold, but to the places he champions, with his negative opinions glaringly absent. As Gold reads his own reviews of gastronomic gems, it's easy to believe that his is a life of devouring only the tastiest culinary creations. Basically, if you think being a food critic sounds like the perfect job, this documentary will do very little to change your mind.
In the opening moments of Nasty Baby, we're introduced to Freddy, played by director Sebastian Silva. Freddy is a Brooklyn-based performance artist whose latest work involves him rolling around on the floor, screaming and gurgling like a newborn child. Sounds deep, huh? Among those working on the project with him are his boyfriend Mo (Tunde Adebimpe) and their mutual friend Polly (Kristen Wiig), who is also trying to convince Mo to help her conceive a child. Freddy and Polly, in particular, are revoltingly self-absorbed – older but no wiser that the characters in outwardly similar New York narratives such as Girls and Frances Ha. But there's an important difference between Silva and his would-be contemporaries. While storytellers like Lena Dunham and Noah Baumbach purport to shine a critical eye on their characters, at the end of the day they tend to pull their punches since they want their characters to be likable – at least to a degree. Silva, on the other hand, shows no such mixed emotions. From the get go it seems clear he views these people with disdain, their privilege and self-importance born of a poisonous hipster culture that indie film increasingly tends to celebrate. That disdain is really crystallised in the film's shocking final act, which we'll do our best to talk about without spoiling. Put vaguely, after an hour of relatively low-stakes drama, Silva pulls the rug out with a vicious narrative turn, leaving both his characters and his audience struggling to find their feet. It's jarring and unpleasant and viscerally effective, but most importantly it speaks to Silva's broader thematic point. People this self-centred aren't just annoying. They're dangerous. The film's three leads are all appropriately understated, with Wiig in particular showing strong dramatic chops in her most interesting film role to date. The other big highlight is Reg E. Cathy, best known for his work in various HBO shows and Netflix's House of Cards. Here he plays Bishop, a mentally unstable old man who lives on Freddy's block, who Freddy regularly antagonises, and whose actual problems throw those of Silva's protagonists into sharp relief. Nasty Baby will no doubt prove divisive. The best films usually do. But love it or hate it, recognise it for what it is: timely social satire of the most scathing and cynical kind. https://www.youtube.com/watch?v=__uqpDQ9ARs
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
Do you sometimes lack confidence, or luck? Do you feel like you try more than you succeed? Do you seesaw between hoping things will go well and avoiding anything that could turn out badly? Of course you do — and so does Charlie Brown. For 65 years, the main character in Charles M. Schulz's Peanuts comic strip has captured the routine struggles of everyday life, acting as everyone's cartoon surrogate through life's eternal ups and downs. His troubles often involve kicking a football and flying a kite, but they're the kind of average antics anyone can relate to. That's one of the reasons why Peanuts has remained a comic strip favourite — and why a new big-screen outing has been eagerly anticipated. The makers of Snoopy and Charlie Brown: The Peanuts Movie know this, and they've acted accordingly. Their film might bring this ordinary boy, his beagle and their buddies into the 21st century, but it doesn't stray far from all the things that have made Peanuts such a cherished property for decades. Story-wise, that means a raft of scenarios fans will instantly recognise, and even the most casual of Peanuts readers or viewers probably will as well. Charlie Brown doesn't just tussle with his preferred outdoor activities, but with getting the attention of the Little Red-Haired Girl. His pals all continue to hang around, including his little sister Sally, best buddy Linus, the opinionated Lucy and tomboy Peppermint Patty. Back at home, mischievous pooch Snoopy dreams up a novel involving his World War I pilot alter ego, his girlfriend and his nemesis. If you're buzzing with not only nostalgia, but déjà vu, that's understandable. With Schulz's son Craig and grandson Bryan among the film's writers, The Peanuts Movie was always going to tread gently in its predecessors' footsteps. In what amounts to a series of interlinked vignettes, the film tells fond and familiar tales about beloved characters, with a tone of adoration more important than offering up any surprises. Indeed, consider the first Peanuts flick in 35 years a best-of compilation or a greatest hits package. The affectionate tribute that results comes complete with gorgeous 3D CGI animation that mimics pen strokes, a score that's appropriately jaunty, and the smart use of children instead of famous actors as voice talent. And while the movie's episodic nature means that some segments soar above others, when they do, they're something special. Charlie Brown's attempts to read War and Peace and his reaction when his classmates brand him a genius aren't just earnest and endearing — they're easily the film's highlights. Director Steve Martino (Ice Age: Continental Drift) might not be able to sustain the Peanuts magic for 88 minutes, but he certainly whips up a couple of memorable chapters. Of course, adapting comic strips into movies is a tricky task, even with ample material to call upon. Gags that work so well over four illustrations don't always translate to the cinema, particularly when pieced together and stretched out to feature film length. Accordingly, The Peanuts Movie is as slight and patchy as it is sweet, charming and amusing. When it all comes together though, it fittingly serves up another lesson about taking the good with the bad.
If you resolved to spend the New Year getting a handle on today's topical issues, we've got just the event to get things started. Directed by TEDxSydney's Remo Giuffre and curated by Jess Miller, General Thinking on The Streets of Barangaroo will see the precinct's Wulugul Pop-Up welcome 12 months of free talks, debates and panel discussions on some of the globe's most pressing social concerns. Australia's best and brightest minds are set to challenge audiences with monthly sessions that both engage and entertain. Each month, expect to question your assumptions on life's bigger things, and even let out a cheeky chuckle or two. And with the program covering everything from hard-hitting political debates to the latest tech gadgets and the science of love, General Thinking on The Streets of Barangaroo offers up solid brain food for everyone. Pull up a deck chair by the water and enjoy some good ol' fashioned debate under the stars, outdoor-cinema style. The next event in the series, entitled 'Australia, I love you but...' brings local and international voices to the stage to unpack our country's skewed, debated and highly polarised sense of nationalism — essentially, what we dearly love about Australia, and what's making us a little disappointed. Confirmed speakers include emerging independent choreographer Amrita Hepi, a celebrated performance artist descending from the Ngapuhi tribe in Northern New Zealand and the Bundjulung people in northern New South Wales, and Australian Poetry Slam 2014 finalist Troy Wong. Importantly, this one's paired with gelato from RivaReno, so could potentially be the best date option Sydney's offered up in an age. Then in February, just in time for Valentine's Day, it's a speed dating event 'Love on The Streets of Barangaroo'. This time, you'll be delving into the psychology of modern dating with a professional love doctor (expect a few handy tips on how to make a good first impression, Tinder fans). And after all this deep deliberation, you'll be able to feast on some scrumptious offerings from the likes of Gin & It, Belle’s Hot Chicken, Mamak and Edition Coffee Roasters. Arrive at 6.30pm for a 7pm start and switch your brain on. But get on it ASAP, as tickets are limited and going fast. For more information on other events in the General Thinking on The Streets of Barangaroo series, visit the website. Image: Rob Mulally.
Nestled in the heart of Paddington, Five Ways is home to many an artisan vendor. So what better way to spend your Saturday than feasting on the best baked goods, sweets and art of the neighbourhood at The Royal Paddington Artisan Market? Grab a complimentary coffee to sip as you peruse the goods. Locals like artisan sourdough bakers Sonoma, doughnut wizards Woah Nelly, and cupcakesmith Elisa Pie among others will be setting up shop at the markets and selling their delicious, delicious wares. The Lust List will be doing free illustrations and Flow Athletic will also be leading free yoga sessions, the perfect Sunday session for de-stressing. It's not really a market without some music to accompany your roaming. Citizens of the World and Alice Quiddington will be providing the soundtrack to your lazy Saturday afternoon. And if the shopping makes you a little too hungry and you're insatiable even after The Royal's breakfast canapés (did we hear mini scones and bacon and egg sliders?), head up to the second floor for a special market menu, sparkling wine and that stunning view of the suburb and beyond. Image: Royal Hotel.
Drawing on acknowledged events, this new show at the Art Gallery of NSW will shine a light on groups of people who have been excluded from mainstream debates and media coverage. The works featured will focus on political repression, cultural displacement, ethnic cleansing and massacres. Reeling in events unfolding on the peripheries of society, When Silence Falls is an exercise in cultural democracy and inclusivity. Curated by Cara Pinchbeck, the exhibition presents work from contemporary Aboriginal artists alongside international artists. These artists include Vernon Ah Kee, Tony Albert, Daniel Boyd, Fiona Hall, Ben Quilty, Hossein Valamamesh, Doris Salcedo, Paddy Bedford, William Kentridge, Rusty Peters, Pedro Reyes, Doris Salcedo, Timmy Timms, Kara Walker and Judy Watson. When Silence Falls also features a major new acquisition, Judy Watson's picnic with the natives – the gulf (2015). This addition to the gallery's contemporary collection suggests the location of massacre sites across the artist's Waanyi country in the Gulf of Carpentaria. Pinpointing these locations, her work identifies the random and widespread nature of colonial violence against indigenous Australians. In the midst of a desensitising digital age, this exhibition offers an opportunity to quietly contemplate significant events taking place across the world. Pinchbeck has drawn together a group of artists committed to communicating troubling issues, re-examining the past and imagining the future.
Ask a comedy fan what they'd do if they could make any of their dreams come true, and they might well wish for a new movie with a Monty Python pedigree. Perhaps Terry Jones, who helmed Holy Grail, Life of Brian and The Meaning of Life could write and direct. Perhaps he could recruit the rest of the Python alum — aka Michael Palin, Terry Gilliam, John Cleese and Eric Idle — to voice some aliens? Perhaps Simon Pegg could star, and the film could ponder the very topic of being able to fulfil one's desires with just the wave of a hand? Absolutely Anything delivers all that — and offers up Robin Williams' last movie role, albeit as a talking dog — yet it's hardly a feature that anyone might hope for. Alas, it's an effort that does little more than bring in some beloved talent, play with a fantastical concept and let silliness ensue. The result? Ample silence where audiences can only assume Jones intended to inspire laughter. An unhappy schoolteacher by day and aspiring writer by night, Neil Clarke (Pegg) is the recipient of the extraordinary ability that gives the movie its moniker. What he doesn't know is that he's merely part of a test, with a council of extraterrestrials using him to decide whether humanity should be saved or annihilated. Rather than carry out great acts of good or evil, he takes the largely selfish, mostly harmless approach. Helping his best pal (Sanjeev Bhaskar) with his love life, giving his pet pooch (Williams) the gift of speech, and increasing his manhood comprise his early demands. Yes, Neil messes about his new skill, the intergalactic beings observe and comment from above, and that's all there really is to Absolutely Anything. A love interest pops up in the form of his neighbour, Catherine (Kate Beckinsale), complete with an obsessed American ex (Rob Riggle) in tow, but all either do is add to the parade of over-the-top, immature antics. Neil is supposed to learn that there's more to life than wish fulfillment, but Jones clearly hasn't heeded the same lesson. Instead, he's caught up in making anything he can happen on screen, mainly through unconvincing CGI, and with little care for coherence. Jones and co-writer Gavin Scott (Small Soldiers) beef up the script with more than a few jokes that could've been ripped from the pages of The Hitchhiker's Guide to the Galaxy – which gives an indication of how not-so-fresh they feel. Indeed, the screenplay for Absolutely Anything has been floating around for 20 years, and Douglas Adams apparently perused it before his death in 2001. Sadly, a long-gestating project results in a final product that squanders any potential it might've once had, including its main cast, both seen and heard, and the involvement of the likes of Eddie Izzard and Joanna Lumley. In fact, a song could do better than Absolutely Anything's clumsy, contrived and hardly comic contemplation of how someone would cope if they had all the power in the world — and did, when The Flaming Lips sang about it in their 2006 single, ' The Yeah Yeah Yeah Song'.
The super-adorable Finders Keepers Markets have been home to Sydney's most creative and quirky designers for more than six years. The independent hip-fest is returning to their home at Eveleigh's Australian Technology Park for three days this December — just in time for Christmas. The biannual, designer-centric, come-one-come-all mini-festival has managed to bridge the gap between local market and exclusive exhibition, creating a space for independent designers to engage with the wider community. You'll be able to nab some marvellous treats difficult to find anywhere else. From bespoke leather goods to bespoke stationery, upcycled journals to upcycled bicycle parts, every stall will be a unique shopping experience that combines innovative design with grassroots feel-goodery. As usual, there will be live music, a cafe, a bar and thousands of other Sydneysiders celebrating independent art and design. Plus, it's probably the only place you can knock off all your Christmas shopping with a glass of wine in hand while downing a pork crackling gua bao from Mr. Bao. Finders Keepers will run over three days, from Friday, December 11 to Sunday, December 13. It will be open from 6 - 10pm on the Friday, 10am - 6pm on the Saturday, and 10am - 4pm on the Sunday. For more information and a full list of designers, visit their website.
Real keen to get your Sydney Festival on? If you buy in bulk, the festival folks will give you a bit of a discount. Just book three or more events at the same time, and they'll give you 10-15 per cent off the total price. Multipack discounts apply to all events, but have limited availability — so grab them while you can. For all the ins and outs, visit their website. Check out more of the best Sydney Festival events under $50 here.
Foam ain’t just for music festivals and kids' parties. Artist Rosie Deacon will be staging a celebration of this wondrously fluffy substance at firstdraft this month. Her installation, featuring 700 kilograms of “Fun Foam”, will be a spectacle to behold. Deacon works with craft materials that are often derided and unappreciated within the world of contemporary art. She constructs fantastical sculptures, performances and installations from discount store goodies: synthetic eyelashes, glittery stickers, acrylic paint and clay. In addition to this exhibition, you can see Elena Papanikolakis’s visual exploration into “tripping” as woven together through memory and imagination and As If Light Could Be Translated from collective Art Proper, which will be an astrological investigation into constellations, space and the science of stars.
If you've been to Chippendale of late, you'd know that Kensington Street has undergone a revolution. The street's distinctive, heritage-listed workers' cottages have enjoyed an industrial glam-up and are now home to a spiffing design precinct. We're talking boutique shops, small bars and specialised eateries. To celebrate this transformation, a free food, art and design shindig is in the works. Happening on Sunday, November 1, from 11am and hosted by Fenella Kernebone (Art Nation, In Design and triple j), the event will centre around a monumental, 50-metre long installation of assorted sculptures, created by a variety of local artists. They'll all be for sale. While you're contemplating your purchase, sample some authentic Asian street food from one of the vendors in Kopi-Tiam Spice Alley and keep your ears out for live music. The event coincides with Sydney Open, so get there between 10am and 2pm to chat to architects Tim Greer and Paul Davies, who'll be discussing Kensington Street's multi-layered, rum-fuelled colonial past. Image by Bodhi Liggett.
Taking the forests of Sweden as inspiration, Absolut has created a brand new beverage for your summery nights: Absolut Botanik. To celebrate, the renowned vodka brand is taking over Centennial Park's The Residence this spring with an event series dubbed Botanik House. And they're bringing with them all the ingredients needed for the ultimate backyard shindig: jacuzzis, mix sessions, themed rooms and an outdoor dance party. For free. The party swings into action on Thursday, October 22, with a set from Sydney-based hip hopping DJs Lazer Gunne Funke. On Friday, October 30, from 6pm, Marc Javin and Slow Blow will be electrifying the decks with their high-energy mixes, while Saturday night will see the combined forces of Nad, Stu Turner, Bozzo and Kato. Then, on Sunday arvo, it's an acoustic session from 2.30pm with Duan and Only. The weekend following, catch Stolen Records on Friday 6, The Housing Corp on Saturday and One Day on Sunday. Absolut Botanik is a lightly sparkling pre-mix, combining single source Absolut vodka with botanical flavours. It's available in berry lime, berry pear and berry apple flavours.
The Winery Fashion Markets are a bit like having several incredibly stylish friends who allow you to raid their wardrobes (which are enviably full of international and Australian designer labels) behind a Surry Hills wine bar. The Winery has taken to transforming the laneway behind their bar into that marketplace once a month. Some of Sydney's leading fashion identities — bloggers, stylists and fashion publicists — will be selling their own pre-loved clothes. Confirmed for the August 28 iteration are Shannon Thomas (Désordre), Edwina Robinson (Aje), Sylvia Jeffreys (the Today show), Violeta Tentomas (West 14th) and Bonél PR. Plus, prettying up the surrounds are flowers by Think Flowers Company, and Botanica will be serving up fresh cold-pressed juices.
It starts and ends with the recognisable sounds of 'Holiday Road', and fills the time in-between with repeated refrains. It follows a formula established 32 years ago, and touches upon the same characters. The film in question is Vacation, the fifth and latest in the series. That it trades upon nostalgia is a given. That it doesn’t do a good job of doing so sadly is as well. Indeed, Rusty Griswold (Ed Helms) similarly relies upon his ill-thought-out fondness for things and times gone by to spark the feature’s story. Though he’s devoted to his wife, Debbie (Christina Applegate), and kids, James (Skyler Gisondo) and Kevin (Steele Stebbins), he can sense they’re not as excited as he is about their upcoming holiday. To facilitate some big-time family bonding, he changes their plans, hiring a mini-van and plotting a course across the country to theme park Walley World. Rusty is also driven by another reason: the trip to come, and the destination, mirrors the memorable jaunt he had with his parents (Chevy Chase and Beverly D'Angelo) and sister (now played by Leslie Mann) three decades earlier. That writing-directing duo John Francis Daley and Jonathan M. Goldstein shoehorn in a discussion about the pointlessness of rehashing past territory prior to the Griswold’s escape doesn’t really justify the episodic mess to come. Using a tongue-in-cheek exchange of dialogue to signify the script’s recognition of the weakness in trying to relive former glories is one thing; making a genuine effort to avoid falling prey to the laziness that often comes with such do-overs is another, and one the feature shows no evidence of trying to achieve. So it is that Vacation cycles through incident after incident, and throws nonsensical gags — a ridiculous Albanian car and a repeated shout-out to Seal’s 'Kiss from a Rose' among them — into the mix. When brief appearances by bit-players, such as Keegan-Michael Key, Nick Kroll and It's Always Sunny in Philadelphia's Charlie Day and Kaitlin Olson, command more attention and interest than the leads and narrative, you know that everything is far from ideal. Playing up his attractive appearance, Chris Hemsworth becomes the movie’s star player simply by proving the most committed. Though his character, Stone Crandall, the weatherman husband to Rusty’s sister, is largely saddled with mentioning faucets, his dedicated delivery makes the absurdity amusingly stick. There could be a message in the fact that the folks the Griswolds cross paths with along the way to their ideal getaway make more of an imprint, and the film certainly tries to push the theme of appreciating what you’ve got; however, overthinking the material gives the movie too much credit. Mostly, it remains content to strand the usually enjoyable Helms and Applegate in embarrassing situations and have them utter crude jokes. Vacation also remains content with looking like a sleek but messy holiday video. Actually, that's exactly what the feature delivers: a clumsy compilation that's supposed to capture better days. That you'll be pleased every time 'Holiday Road' pops up — because it means that this cinematic road trip is making its way towards its destination — makes the most telling statement.
Do you need a winter hangover cure? You’re in luck, ‘cause the Festival of the Winds is here to nurse the headache at Bondi Beach on Sunday, September 13. Colourful cartoon characters, giant animals and flowers, fighter kites, box kites, delta kites and more will appear at the festival, which kicks off at 11am on what we hope will be a sunny spring day. Internationally renowned kite flyers (yes, they exist) will be showing off some pretty spectacular flying skills with their handmade creations. So dust off that kite you packed away at age ten, or join in on one of the kite-making workshops on offer throughout the day. There'll be activities throughout the day both children and the nostalgic can enjoy. Image: Dollar Photo Club.
Keen on journeying around the globe through film? Then prepare to make the Arab world your next stop. At the Arab Film Festival Australia, you can speed around the streets of West Bank and venture across the Arabian Desert, thanks to its small but vibrant program. The Australian premiere of Lebanese effort Ghadi ranks among the festival's highlights, in a heartwarming exploration of the realities of families with special needs children. Cairo Time changes the mood in a collection of six characters and three stories across the Egyptian capital, while In the Sands of Babylon contemplates Iraq after the Gulf War. In its twelfth year, the community-based and -driven film festival not only showcases the best in contemporary Arab cinema to Australian audiences, but provides a unique opportunity for cross-cultural exchange. The movies featured attempt to address the frequent misrepresentation of the Arab culture — all while offering entertaining, engaging and thought-provoking viewing experiences, of course.
Taking over the Red Rattler on Friday, August 14, multimedia performance art show Transductions is a convergence of some of the "nerve centres of energy arts". The finale of the Energies in the Arts conference taking place at the MCA and UNSW Art & Design, it brings together Berlin-based UK artist Martin Howse and local performers Pia van Gelder and Peter Blamey, in a creative investigation of the misuse of technology and its connections to the earth and the human psyche. At the artistic vortex of 'psychogeophysics', Howse's work receives and extracts hidden information from the earth and fungal matter through DIY circuits and chemical reactions. "Synaesthetic manipulator of micro-currents" Van Gelder opens up custom-built and common devices to perform in new ways, while Blamey reinterprets everyday technologies through mystical hacking and earth circuits. In layperson's terms, that all translates to a lot of spooky visuals, eerie experimental soundscapes, and a bridging of the divisions between the organic and the digital. Get your tickets on the door. Open to all the curious.
Raise the roof with a pack of tracksuit-wearing grannies when Indeedy Musical Bingo moonwalks into Sydney in a couple of weeks' time. Part dance party, part game show, this kitsch-tastic musical phenomenon will make its Australian debut at The Forresters in Surry Hills on Thursday, October 15. Expect singing, dancing and ridiculous prizes ranging from vintage records to inflatable bananas. Created by Jess Indeedy and her husband Charles 'DJ Helix' Brockbank, Indeedy Musical Bingo is more or less what it sounds like: bingo, but with songs instead of numbers. Eagle eared players cross songs off their list as they hear them, in a high stakes contest to claim whatever ridiculous prizes happen to be on offer. Game themes may include dance anthems, hip hop, yacht rock, motown or just about anything else. Indeedy hosts, and will be joined on stage by a team of dancing old ladies known collectively as The Granny Pack. It may all sound ridiculous (and we suspect it probably is), but Indeedy Musical Bingo has been popular in London and New York for a while now, in venues such as Shoreditch House, Shop & Do, Soho House New York and The Bell House Brooklyn. Their Sydney shenanigans will kick off at 8pm on October 15 and should wrap up just before midnight – depending on how people are keen to keep dancing.
If Melbourne Spring Fashion Week has left you in a dizzy headspin of colours and fabrics and prints and jackets cut so perfectly your body simply aches for them — or if, y’know, you just like some fancy new clothes now and then — you might have already heard that the annual Big Fashion Sale is coming up pretty soon. The name pretty much says it all. This thing is big. You’ll find lush items from past collections, samples and one-offs from over 30 cult Australian brands, both well-known and emerging, including Karla Spetic, LP33.3, Elke Kramer, Gary Bigeni, Verner, Uniform, Benah, Celeste Tesoriero and many more. This latest instalment will also feature international designers Alexander Wang, Kenzo, Marni, Christopher Kane, Helmut Lang, Mary Katantzou, Opening Ceremony, Erdem, Stella McCartney, ALC, Elizabeth & James and Lanvin. With discounts of up to 80% off, this is one way of upping your street cred with designer threads that’ll leave your bank balance sitting pretty too. Prices this low tend to inspire a certain level of ruthlessness in all of us, though, so practise that grabbing reflex in advance. This is every man and lady for themselves. Opening hours are: Thursday, October 15 — 8am - 7pm Friday, October 16 — 10am - 6pm Saturday, October 17 — 10am - 6pm Sunday, October 18 — 10am - 5pm
If you can find a better date than free comedy in an art gallery, we'd love to hear about it. The Art Gallery of New South Wales is about to become a sort of pop-up comedy club, featuring some of Australia's best comedians every Wednesday of September — for free. In conjunction with the Archibald Prize exhibition and as part of the Sydney Fringe Festival program, Late Night Laughs is the Gallery's September comedy series. Stand-ups and caricaturists aplenty will hit the gallery for Art After Hours, putting their spin on the people we love and love to paint. First up on September 2, Paul McDermott and Paul Livingston (of Good News Week and legendary Doug Anthony Allstars fame) team up as Cocky and Pompous. Joined by acclaimed maestro Stu ‘Errol’ Hunter on keys, Cocky and Pompus invite you to an intimate concert of comedic tomfoolery in honour of only themselves. Then on September 9, sardonic comedian, art documentary maker and Please Like Me favourite Hannah Gadsby brings her quick-witted comedy to the Gallery fresh from her shows at Darwin Festival. New Zealand export we'll always claim as our own, Cal Wilson will join the Gallery on September 16, a perennial Spicks and Specks, Good News Week and Thank God You're Here favourite. And finally, on September 23, multi-award-winning comedian Ronny Chieng will finish up the month with his celebrated absurdist comedy — a rare, free show we're certain will be pretty damn packed. Each comedy show will be happening at the Gallery from 6.30pm every Wednesday from September 2 and is 100 percent, completely, ridiculously free. LATE NIGHT LAUGHS - ART AFTER HOURS: September 2 — Cocky & Pompous September 9 — Hannah Gadsby September 16 — Cal Wilson September 23 — Ronny Chieng While you're there, why not check out the Archibald Prize?
Dance meets the world game in a new show presented by Performance Space, Blacktown Arts centre and Mobile States. SDS1 is the latest solo work from former soccer player Ahilan Ratnamohan, one very much inspired by his experiences on the pitch. Running for just four nights from Wednesday, September 2, to Sunday, September 6, the piece will draw on the physical, theatrical and psychological elements of the game, focusing on the parallels between sport and dance — the discipline, the focus, the athleticism — in order to delve into the psyche of the player/performer. The two disciplines might not seem like natural bedfellows at first, but then again, let's face it: no one who's ever watched the World Cup could deny that there's a heavy element of theatre at play. Since 2012, Ratnamohan has been developing his working methodology in Antwerp, Belgium, but prior to that he honed his craft with some of Australia's premiere physical performance ensembles, including Urban Theatre Projects, Branch Nebula, Legs on the Wall, PACT, Powerhouse Youth Theatre, Theatre Kantanka, Martin del Amo and Campbelltown Arts Centre. SDS1 plays at Blacktown Arts Centre from September 2–6. To book your tickets, visit the Performance Space website.
Ready to say hello to those first few beams of spring sunshine? The Artbank team sure are. They are busy preparing their annual Social Club, which will be a veritable feast of art, food, music and performance rolled into one open-invite event. As our local leader in art lending, Artbank is a government-supported organisation designed to equip the general public with cutting-edge contemporary art. And on August 29, over 3,000 artworks will be on display at the Waterloo headquarters. It’s a perfect opportunity to wander around and check out the latest exhibition, Visible Storage, while imagining how its works might look hanging in your own home. DJ Fleetwood Crack will be spinning tunes into the late afternoon, and there will be a host of performances happening across the venue. Food comes courtesy of Eat Art Truck, and a new Market Place will feature stalls from five of Artbank’s creative friends. This art party will be a multi-sensory treat, dishing up a chilled Saturday session with a smattering of cultural stimulation, from noon through to 4pm.
Journey back to the golden age of French cinema at the inaugural edition of the Alliance Francaise Classic Film Festival. Held over four days at Event Cinemas in George Street and Hayden Orpheum in Cremorne, this fledgling festival will showcase half a dozen iconic titles from the oeuvre of legendary screen actress Catherine Deneuve, whose poise and versatility have made her a staple of France's film industry for more than 50 years. Working chronologically, the program begins with a pair of 1960s musicals in the form of The Umbrellas of Cherbourg and The Young Girls of Rochefort, the latter of which will open the festival on Thursday, September 3. Also from this period comes Luis Bunuel's sexually provocative Belle de Jour and Jean-Pierre Melville's A Cop. Jumping forward a few decades, historical epic Indochina earned Deneuve a Best Actress nomination at the 1992 Academy Awards, while 2010's ensemble comedy Potiche shows how talented she remains even after all this time.
After seasons in London, New York and Brazil, two one-act plays from smart playwright Jane Bodie will make their Darlo debut in September. And you can see them both in one evening, on one ticket. The first, Ride, begins when two naked, hungover strangers wake up with next to no recollection of how they met — let alone ended up in bed together. They then set about working out what happened — or didn't. The second, Fourplay, is a warm, funny, honest tale about four city slickers discovering love, friendship and closeness in places you wouldn't expect. Director Anthony Skuse, who was last at the Eternity Playhouse with Constellations, will be making a return, to direct a cast featuring Emma Palmer (Constellations, War Horse) and Tom O’Sullivan (Wonderland, Cat on a Hot Tin Roof) in Ride, and Gabrielle Scawthorn (The Young Tycoons, Stop Kiss) and Aaron Glenane (Orphans, Deadline Gallipoli). “Jane has a wonderful ear for language, rhythm and cadence,” Skuse said. “Fourplay and Ride were written independently of each other, but they complement each other beautifully. Both plays are concerned with how we negotiate our relationships and how we use language to conceal desires or needs as much as reveal them.”
