Two Australian music legends. Decades of collaboration. One long-awaited album. One huge tour. That's the maths behind the Australian leg of Nick Cave and Warren Ellis' Carnage tour, which Cave first announced was in the works back in early February via his The Red Hand Files email list. Now, after already locking in dates in Hanging Rock — which have sold out, unsurprisingly — the duo have unveiled their full 2022 Aussie tour schedule. Yes, this is some news to come sail your ships around — with 15 gigs slated in five states and one territory, all from mid-November through to mid-December. The tour will kick off with a two-night stop in Adelaide, before heading to those Macedon Ranges gigs, then to Canberra, Melbourne, Perth, Brisbane, the Gold Coast, Tamworth and Newcastle. And, to cap things off, Cave and Ellis will hit up the Sydney Opera House's newly revamped Concert Hall for a two-gig big finale. [caption id="attachment_845539" align="alignnone" width="1920"] Palma Sabina[/caption] The pair are doing the rounds to support the 2021 album that shares the tour's name, which actually marks Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and the Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Cave and Ellis are heading home after an American Carnage tour, and following Cave's subsequent tour with the Bad Seeds in Europe. "I can't begin to tell you how happy Warren and I are to be finally returning to Australia to perform. The wait has been way too long. See you all soon for the Carnage experience!," said Cave, announcing the news. [caption id="attachment_845538" align="alignnone" width="1920"] Laurine Payet[/caption] It's already been a big year for fans of Cave and Ellis, thanks to film This Much I Know to Be True, as directed by Chopper, The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly filmmaker Andrew Dominik. It explores Cave and Ellis' creative relationship, largely through watching them at work in stunning live scenes. Dominik also made 2016 Cave doco One More Time with Feeling, and his latest flick is available to stream now. [caption id="attachment_845537" align="alignnone" width="1920"] Laurine Payet[/caption] NICK CAVE AND WARREN ELLIS 'AUSTRALIAN CARNAGE' 2022 TOUR: Tuesday, November 22—Wednesday, November 23: Festival Theatre, Adelaide Friday, November 25—Saturday, November 26: Hanging Rock, Macedon Ranges — SOLD OUT Monday, November 28–Tuesday, November 29: Canberra Theatre, Canberra Friday, December 2: Palais Theatre, Melbourne Monday, December 5—Tuesday, December 6: Riverside Theatre, Perth Friday, December 9: Brisbane Convention and Exhibition Centre Great Hall, Brisbane Saturday, December 10: Gold Coast Convention Exhibition Centre, Gold Coast Monday, December 12: Tamworth Regional Entertainment and Conference Centre, Tamworth Wednesday, December 14: Civic Theatre, Newcastle Friday, December 16—Saturday, December 17: Sydney Opera House, Sydney Nick Cave and Warren Ellis' Australian Carnage tour will head around the country in November and December 2022. Tickets go on sale at 10am local time in each city on Friday, July 29 — for more information, head to Nick Cave's website. Top image: Megan Cullen.
Caroline's back. She may not have all the parts she started with, but she's just had a dust-up with cancer, so that's to be expected. Returning to her home in Sunset Strip, a prime holiday locale for countless summers now, Caroline finds things slightly worse than she left them. The lake has dried up, as have the vacationers. On the upside, her pathologically optimistic sister Phoebe's still around to remind her that every closing door is just an opportunity in disguise… or something. Suzie Miller's latest work is set where all the best family narratives unfold – on the knife edge between farce and disaster. Promising love, family dysfunction and the secret to training a goldfish, Sunset Strip is a potent reminder of why we choose not to throttle those related to us by blood. Because we need other inmates to help us run the asylum, generally.
UPDATE, January 5, 2021: Martha: A Picture Story is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. Is Martha Cooper the Bill Cunningham of the street art world? That's a big call, we know, but as Martha: A Picture Story shows, it's accurate. What he did for New York street style — immortalising it with obsessive devotion and sharing it with the world — she did for graffiti. And she's still doing so, there and around the world. That dedication has made an impact. Street art was considered a scourge when the Maryland-born Cooper moved to the Big Apple to chase her shutterbug dreams, but, as she traversed the five boroughs taking pics for the New York Post in the 70s, she was drawn to NY's colourful, creative murals. And so she filled reels of film with images, got to know the scene's major players and chased tag-covered trains all over town. As Martha: A Picture Story also documents, her efforts helped shape the medium. Before Banksy became a graffiti phenomenon, Cooper's was the name on every artist's lips. Thanks to her 1984 book Subway Art, co-authored with fellow photographer Henry Chalfant, Cooper gave street art a how-to guide. It initially sold poorly, but made its way through the scene via black-and-white photocopies that were passed around and coloured-in by hand by aspiring taggers. Now, 35 years later, she's considered a rock star due to the seminal text. Brazil's Os Gemeos (twin brothers Gustavo and Otavio Pandolfo) are famous in their own right, but they buzz with excitement when they mention Subway Art. As seen in this Selina Miles-helmed documentary, Cooper's recent book signings — where fans flock for her signature — paint a similar picture. Making her full-length debut, Australian director Miles has found the holy grail of factual filmmaking: a subject with a lengthy and captivating history, in a field with broad appeal, who hasn't been given their due by the wider world. As an overview of Martha: A Picture Story, that's too cynical, though; nothing about this film, its exploration of Cooper's career and influence, and its loving showcase of her photos is anything but authentic. Cooper herself invites genuine fascination and wonder. Her no-nonsense attitude and her evident enthusiasm are contagious, and Miles willingly catches that disease. This is a crowd-pleasing doco, winning the audience award at this year's Sydney Film Festival — but it inspires wide smiles and warm feelings solely because Cooper's pics are so exceptional, her passion so palpable and her impact so immense. Indeed, if a documentary about the now-septuagenarian didn't cause this reaction, it wouldn't be doing its job. Cooper's entrance into the film couldn't underscore the above point better. It's 2018, she's in Germany, and she's eager to snap photos of the 1UP crew in action. Carrying her gear on her back, she follows them into the night as they tag their way around an unnamed city — including in subway stations and by sneaking into train yards. Shot on the ground in a suitably shaky style, these sections of Martha: A Picture Story feel vivid and alive. Clearly, that's how doing her job makes Cooper feel, too. As the film begins to step through the photojournalist's past in a more traditional then-to-now format, these opening scenes mirror events that come later in the doco but occurred earlier, when Cooper did the same in NY with its street art bigwigs of four decades ago. Threading together its absorbing chronicle, Martha: A Picture Story keeps finding riveting details to fill its frames, such as Cooper's early quest to work for National Geographic, her globe-trotting efforts to try to make that a reality and her book on Japanese tattooing. The photographer's tale is also intertwined with both gender and class politics, which gives it added significance — she was the first female intern at Nat Geo, she notes, and she's well aware that she has spent years giving visibility to art, neighbourhoods and people that many would rather overlook. It's an informative and engaging delight to hear Cooper reflect on her experiences, and to listen to her friends, relatives, colleagues and admirers relay their parts of the story. But, in a doco like this, the old adage about a picture being worth a thousand words was always going to ring true. Martha: A Picture Story features home-video footage and personal photographs collected over the years, taking viewers through the various stages of Cooper's existence. When it lets the photographer's own snaps take centre stage, however, it makes the case for her greatness one image at a time. Whether she's documenting graffiti on both a broad and intimate scale, focusing on NY children and their makeshift toys, or turning her lens towards the reality of the Baltimore streets, where she grew up, she trades in candid portraits of life, art and personal expression. And, as only the very best pics do, they beam their glory and importance for everyone to witness. https://www.youtube.com/watch?v=IOMUHQEYsBQ
Over the past decade, perhaps the greatest collective strength of the 18 (yes, 18) movies in the so-called Marvel Cinematic Universe has been their relative independence. From the very first Iron Man through to the most recent Black Panther, each film has (mostly) achieved an impressive balance of telling its own, distinct story while also servicing the ultimate end-game. Each new entry had enough in-jokes and easter eggs to satisfy the super-fans, but never so many that a newcomer couldn't enjoy the experience from an entirely cold start. The same cannot be said for Avengers: Infinity War, but then again, for directors Anthony and Joe Russo, that was never the intention. This isn't just the 19th film in the MCU, it's the culmination of the entire franchise; a sprawling, non-stop action movie purpose built, this time, for the fans. It's relentless, entertaining and more than a touch surprising. Unfortunately it's also starved of substance and likely to leave many feeling shortchanged. Ultimately, it all comes down to scale. Perhaps for the first time, this cinematic universe is truly universal in its scope. It moves from one galaxy to the next with bewildering speed, including planets so ancient and remote many of the characters have either never heard of them or dismissed their existence as the stuff of legend. And of those characters, where to even begin? In January of this year Chris Hemsworth, who plays Thor, casually dropped mention of an extraordinary 76 separate Marvel characters set to appear in Infinity War. Even if he was being slightly hyperbolic (one quickly loses count, so the number might actually be bang on), his comments nonetheless captures the magnitude of this gargantuan blockbuster. But like the pop culture references in the recent Ready Player One, many of these inclusions offer little substance beyond an excitable Pavlovian response triggered by recognition ("Heeey, it's Black Widow! Ooo it's…whatshisface!"). Even with the film's indulgent 156-minute run time, the decision to pack so many characters into a single film inherently means Infinity War must choose between cameo and character, with the former largely winning out. That means that many of the incredible cast members are saddled with just a handful of lines each, with perhaps the fewest coming from Chadwick Boseman's Black Panther (despite the fact that a significant section of the film taking place in his kingdom of Wakanda). Again though, the Russos have knowingly committed to the 'as read' nature of this film, opting instead to devote the lion's share of screen time and dialogue to the only real newcomer: the villain, Thanos (Josh Brolin). Thanos first appeared during the end credits of the original Avengers movie back in 2012. Since then he's been a constant (if fleeting) reference point for the coming storm that is Infinity War. He is nothing if not formidable – a softly-spoken juggernaut whose vision for a harmonious universe involves the mass genocide of precisely half its inhabitants. To achieve that he requires the fabled 'infinity stones', several of which are unfortunately located on earth in the hands (or foreheads) of various Avengers. He is a worthy antagonist for such an enormous project, and what really separates him from all the other Marvel villains is his capability; an indomitable strength that renders void the efforts of every other hero he encounters. Teamwork has always been the name of the game in the MCU, but even the combined efforts of the entire super-powered lineup seems destined to fall short. Of course Infinity War is actually just part one of two films, with the second instalment scheduled to drop in May 2019. Its ending, hence, leaves a lot to be resolved, and it's difficult not to assume much of that will centre upon some extensive Dr. Strange time reversal. There's a serious chance the series could be veering toward shark-jumping territory, so fingers crossed the Marvel boffins have something far grander and more unexpected planned. Until then, brush up on your backstories and strap in for one helluva ride. https://www.youtube.com/watch?v=QwievZ1Tx-8
Is the type of film festival that dedicates an afternoon and evening to a killer clown your type of film festival? If so, you should be excited about Monster Fest's return. In just a few short years, the Terrifier movies have become horror must-sees if you can't get enough of slashers splashing about gore aplenty. With the latest flick in the franchise on the way, Monster Fest is screening all three Terrifier titles, old and new — so, giving audiences an extended date with Art the Clown — as a key part of its 2024 program. The Australian premiere of Terrifier 3 will follow the OG Terrifier and first sequel Terrifier 2 on Saturday, October 5 in Sydney. The festival kicks off on Friday, October 4, running until Sunday, October 6 at Event Cinemas Burwood. While getting creeped out by cinema's most-sadistic clown is a big Monster Fest 2024 drawcard, it's The Rule of Jenny Pen from Coming Home in the Dark filmmaker James Ashcroft that's the event's opening-night pick. At the other end of the festival, horror-comedy Frankie Freako by Psycho Goreman's Steven Kostanski is in the closing slot. Both pictures embrace puppets, the first with help from John Lithgow (Killers of the Flower Moon) and the second featuring a dancing goblin. Other highlights include the latest Hellboy movie, Hellboy: The Crooked Man, which heads back to the 1950s; Azrael, as led by Australian actor Samara Weaving (Scream VI), and telling of a woman's attempt to escape from mute zealots; New Zealand body-horror film Grafted; and documentary Generation Terror, which focuses on the horror genre from the late-90s to mid-00s.
UPDATE: FEBRUARY 14, 2019 — With the evening show selling out, the Opera House has added a second matinee performance on the same day. It starts at 3pm and tickets are on sale now. You've danced the night away to 'Good Luck', 'Do Your Thing' and 'Romeo'. Every time you hear it, you can't get 'Where's Your Head At' out of of your head — or the monkeys from the song's music video. But when it comes to electronic music duo Basement Jaxx, we're guessing there's one thing you haven't done. If you've never seen the British act play live with an orchestra, here's your chance. On Sunday, April 14, Basement Jaxx Vs The Metropolitan Orchestra will take over the Sydney Opera House Concert Hall for a night of reimagined bangers. Expect all of the group's floor-filling hits, but expect them to sound rather different. And, as well as sharing the stage with Sydney's The Metropolitan Orchestra, Basement Jaxx will also have singers Vula and Sharlene Hector pumping out vocals.
Ease into your weekend with a few hours of leisurely wandering around the oh-so-chic streets of Paddington. Start in Five Ways and slowly wend your way towards The Intersection, perhaps indulging in a little bit of shopping along the way (or, window shopping, if the credit card needs a bit of a break). Perk yourself up with a coffee from local favourite, Jackie's Cafe, before going for a walk down Oxford Street to see the jacarandas in full, glorious bloom. Finish off with lunch at Morris, a delightful eatery from the folks at Scout's Honour. Expect sandwiches, salads and bowls, all full to the brim with ingredients your nutritionist would approve of (think fresh veggies, seeds, and lean meats).
Bondi has no shortage of surf schools. The challenge is figuring out which ones are any good. Let's Go Surfing is the only licensed surf school on the beach, with more than 20 years experience behind them. Co-owner Brenda Miley has been surfing for as long as she can stand, and has assembled a killer team of local, national and international surf instructors to take you out on the water. They offers classes for beginners as well as private lessons for those looking to take their surfing to the next level. A two-hour group course costs $99, with prices scaling up from there. If you're really committed, their six-week early morning course costs $279, and should offer you experience in a variety of different conditions. They also have their own shop where you can purchase your own board, wetsuit and surfing accessories. Image: Dollar Photo Club.
Olympus Has Fallen is what the studio is calling 'an action movie' and what the Secret Service will likely call 'a comedy'. It's one of two films coming out this year (the other being Roland Emmerich's White House Down) that revolve around 1600 Pennsylvania being overrun by terrorists, and both feel very much like land-based versions of Air Force One feat. 'the hero character' from In The Line Of Fire. Olympus Has Fallen was directed by Antoine Fuqua (Training Day) whose last film, End of Watch, was a gritty cop drama featuring tense action and crackling dialogue. In Olympus Has Fallen, that action's been dialled up to 11, whilst the dialogue's been dialled back to 'dumb'. The film's first act serves up a truly terrifying and confronting assault on the US capital, albeit one with a fairly tasteless allusion to the collapse of the World Trade Center via a crumbling Washington Monument. The body count fast becomes countless as bombs, rockets and bullets tear shreds through man, metal and even a courageous mutt. Fuqua has certainly proven himself a director prepared to pull no punches in the pursuit of realistic violence, but here he seemed more intent to simply destroy everything the budget permitted. All the same, the first half hour pumps along with enough adrenaline (and even a hint of plausibility to the assault) to sufficiently draw you in. The problem is, there are still loads of problems. For one, it's unbearably patriotic throughout, including multiple shots of US flags tragically dropped or heroically raised. Then there the barely drawn out characters who are given nothing to work with and are often introduced alongside subtitles bearing their official government role, imputing a bizarre pseudo-documentary feel to the film every time it happens. Beyond that, the military's pig-headed incompetence is terrifically frustrating, the Secret Service's constant breaches of protocol are baffling and the multiple news reports referring to the White House as — I kid you not — 'The Whitehouse', defy belief. Despite then what he's got to work with in terms of the script, Gerard Butler actually makes for quite an impressive action hero, the elements of which we first saw in 300. He's mercifully spared the traditional 'post-kill' one-liners and even manages to throw a few new tough guy lines into the mix. The same, though, can't be said for Aaron Eckhart as the entirely 'meh' President, Morgan Freeman as the bland Speaker of the House or Rick Yune as the expressionless terrorist leader. All deliver such nothing dialogue, you wonder whether this film might've worked better as an action version of The Artist. Then, however, audiences would have missed out on perhaps the single worst piece of writing for the year, in which a double agent explains his enormous act of treason via the phenomenal catch-all: "Globalisation and f*cking Wall Street!" To be fair, though, that shocker comes in response to the President's equally bad question: "So...what's the going rate for a soul these days?" Bottom line, Olympus Has Fallen is a fair-to-decent action movie let down by everything that happens in between. If you're looking for some mindless fun and a whole lot of skull-stabbing, then this is the perfect film for you. Just be prepared for a whole lot of head shaking, too.
This summer, the Sydney Opera House is paying homage to a beloved figure of its past with The Harbour, a four-week outdoor pop-up restaurant inspired by the original seafood diner that operated in the same location from the late 80s to the early 90s. Returning for its second year in 2024, the Sydney Opera House fish and chip shop will take over the Northern Boardwalk, serving up a classic Australian seafood spread paired with some flashy additions from Tuesday, January 9, until Saturday, February 3. Head down Tuesday–Saturday between 11.30am–8.30pm for a leisurely lunch or date night with a difference and tuck into executive chef Lee Thompson's menu of sustainably sourced fresh seafood, crisp-fried fish, crunchy golden chips and other takeaway classics like potato scallops, all backdropped by one of the very best views in Sydney. Or, level up with fresh oysters, fish burgers and a prawn cocktail. As well as the unbeatable surrounds, The Harbour will feature nostalgic chequered tablecloths, picnic tables and a photo wall featuring historic snaps of the original restaurant. There's also a picnic-ready takeaway menu, perfect for when you want to find your own spot in the Royal Botanic Garden. [caption id="attachment_916357" align="alignnone" width="1920"] Grant Angus[/caption] Images: Kitti Gould
Have something to say? Make your word heard during this two-day zine-making masterclass. Under the guidance of experienced zine-maker Vanessa Berry, you can cut, paste, and scribble your way to your own, unique, handmade zine. Whether you are simply intrigued by the underground world of zines or seeking to satisfy your creative itch, this intensive tutorial may just be the perfect opportunity for you. Materials are included in the workshop fee, but feel free to come armed with your own things and inspiration from home as well.
It goes without saying that the return of Sydney's performing arts scene is great news for creatives — but it's probably less good news for those of us who might not know where to start. Sample a bit of everything this month at Sydney Fringe Sideshow, a nine-day festival of over 100 events taking place across venues in and around The Rocks. There'll be performances every night from Friday, February 25 until Sunday, March 6, leaving you plenty of opportunities to explore local comedy, theatre, music, dance, art and more as you lose yourself exploring the hidden pockets of the historic precinct. If you're in need of a laugh, check out 7 Comedians for $29 at The Terraces, where you can catch a diverse (and fast-moving) lineup of comedians each performing a 10–15-minute set. This show — which this year features the likes of FBi Radio host Harry Jun (pictured below), Alex Jae and Steph Broadbridge — has been a Sydney Fringe Sideshow sell-out for the past seven years, so be sure to book tickets ASAP to snag your spot. If you are looking for something a little more on the fringe, then The Lounge Room Confabulators is the show for you. Step into a makeshift home to experience a storytelling show created and performed by Stuart Bowden and Wil Greenway for this award-winning show that has played to full houses at festivals in Melbourne, Adelaide, Perth, Edinburgh and Oslo. For those wanting to get lost in some beautiful music, make sure to check out Prinnie Stevens: Lady Sings The Blues. The celebrated Australian singer will showcase her velvety vocals in a show that explores the pain and beauty of women in song, via music originally performed by a range of greats from Billie Holiday and Etta James to Sade and Beyoncé. This one-night-only show promises an unforgettable performance in a sultry speakeasy-style setting at the Observer Hotel. For more info on Sydney Fringe Sideshow, see the full list of shows and to book tickets, head to the Sydney Fringe Sideshow website.
When Toy Story hit cinema screens back in 1995, the Oscar-winning movie made history as the first entirely computer-generated feature-length film. The huge Pixar hit also made audiences everywhere fall hard for a bunch of loveable playthings, because you're never too old to find a friend wherever you need it. It's completely okay if you're feeling a little wistful and teary just thinking about it. Nine years after the last Toy Story movie, the animation studio is counting on that very sentiment — and that viewers everywhere just aren't ready to farewell these animated pals. While 2010's Toy Story 3 was pitched as the final flick in the series, this film franchise could reach to infinity and beyond. For now, it's just unveiling its next chapter. Releasing on the big screen in June, Toy Story 4 sees the return of Woody, Buzz Lightyear and the gang (and the return of Tom Hanks, Tim Allen and company as voice talent). Given that Andy, the protagonist from the original three flicks, has given away all of this toys, the group are now the proud property of Bonnie — and a new adventure awaits, as does a new homemade buddy called Forky (Tony Hale). Keegan-Michael Key, Jordan Peele, Christina Hendricks and none other than Keanu Reeves also join the voice cast — the latter playing a daredevil character called Duke Kaboom, and likely saying "whoa!" more than once. Check out the full trailer below, and prepare to get mighty nostalgic: https://www.youtube.com/watch?v=wmiIUN-7qhE Toy Story 4 releases in Australian cinemas on June 20, 2019.
If you're a science-fiction fan — and a lover of 2008's Cloverfield and its 2016 follow-up 10 Cloverfield Lane, specifically — then you might want to cancel your plans for tonight. With barely a few hours notice, Netflix is now streaming the third film in the franchise. Yes, today. No, that's not a typo. Previously called God Particle, it's now going by the name The Cloverfield Paradox, and it's now available worldwide (yes, even on Australian Netflix) via the streaming platform the moment the New England Patriots and the Philadelphia Eagles walk off the field. Haven't even heard of the flick, even though it stars Black Mirror's' Gugu Mbatha-Raw, The IT Crowd's Chris O'Dowd, Inglourious Basterds' Daniel Brühl, Selma's David Oyelowo, Crouching Tiger, Hidden Dragon's Zhang Ziyi and Aussie actress Elizabeth Debicki? That's okay — the first trailer for the movie only aired during the game, bearing the words "only on Netflix tonight" at the end. The news that it'd be available via Netflix rather than in cinemas is a recent development, too. Initially, it was set to release in theatres last year, before being moved to February 1 this year and then later this year. In fact, up until a few minutes ago, we still had the film in our review schedule for April. https://www.youtube.com/watch?v=8brYvhEg5Aw&feature=youtu.be In taking on a star-filled, decent-budget movie that was originally made to be viewed in cinemas, then releasing it for all the world to see with very little warning, Netflix is in uncharted territory. If this was another sci-fi saga, we'd say they're boldly going where no one has gone before. It's great news for film buffs eager to watch something when and where they want — and not be at the mercy of different release dates around the world — but it's also indicative of a new trend. Paramount, the studio originally behind The Cloverfield Paradox, did something similar with fellow sci-fi title Annihilation, the latest effort from Ex Machina's Alex Garland. As The Hollywood Reporter noted in December last year, it decided to find another avenue for the film after worrying it was "too intellectual" and "too complicated" for viewers. If you think that sounds a little patronising, you're not alone. The Atlantic ran through some of the worries behind the strategy, but, in short, it could be a sign of not-so-great things to come. At a time when cinemas are filled with endless Star Wars instalments and multiple superhero cinematic universes — not that there's anything wrong with that, either — movies like The Cloverfield Paradox and Annihilation are becoming increasingly rare. Not just sci-fi flicks, but anything that doesn't fit into an existing franchise, remake/reimagine/reboot a recognisable property or star The Rock (or, sometimes, all of the above). And while they're frequently the films that do extremely well at the box office, audiences do want to see other things too. We don't just want our cinematic candy — bright, loud, comfortable and familiar — but fare that's are different, intriguing, unusual and unexpected as well. Of course, the Cloverfield franchise has a history of surprise reveals, keeping things close to its chest and doing things differently. The first film, a found-footage monster effort, gave very little away before the movie hit cinemas. The second, which focused on Mary Elizabeth Winstead in a bunker with a possibly hostile John Goodman, only released its first trailer and confirmed that the movie even existed a month before it was released. Netflix's plan of attack with The Cloverfield Paradox makes that seem positively slow. But, when you're settling down to watch the flick from today onwards, here's hoping that you'll still be able to see movies like this on the big screen in the future. The Cloverfield Paradox is now streaming on Netflix here.
This winter, you won't be chasing the sun and soaking in a European summer. But, thanks to eased domestic border restrictions and the trans-Tasman bubble, you can spend the chilliest part of the year surrounded by snow. Of course, whether you're planning to ski, snowboard or just build a snowman, you'll need to rug up — and whatever is currently in your wardrobe mightn't do. Each year — except 2020, for obvious reasons — Aldi hosts a big sale on snow gear, offering good quality gear at almost ridiculously low price points. It's back in 2021, so mark Saturday, May 22 in your diary. That's when you can head to your nearest Aldi supermarket to pick up everything from snow jackets and boots to face masks and beanies. Available at stores across the nation, and made to withstand extreme weather conditions, 2021's range of gear includes six different varieties of snow jackets, which start at $39.99 for something light and go up to $119.99 for windproof and waterproof numbers; four types of snow pants, including one style with adjustable leg and waist cuffs for $99.99; and ski fleece sets, featuring a hoodie and a pair of pants, for $19.99. Boots for both kids and adults start at $19.99, helmets will cost you between $19.99–$24.99, and you'll be spending between $4.99–$34.99 for masks, beanies, neck warmers, cabin socks, gloves and balaclavas. Kids clothing is part of the deal, too, if you'll be travelling with younger skiers — ranging from $19.99–$34.99. Once you're all kitted out, you're certain to stay toasty if you're making the trip to Perisher Valley, Thredbo, Falls Creek, Hotham or anywhere else local where snowy peaks are a feature. If you're hopping across the ditch instead, you'll find plenty of items to stop you getting frosty up at New Zealand's ski fields.
UPDATE, June 28, 2022: RRR is available to stream via Netflix. The letters in RRR's title are short for Rise Roar Revolt. They could also stand for riveting, rollicking and relentless. They link in with the Indian action movie's three main forces, too — writer/director SS Rajamouli (Baahubali: The Beginning), plus stars NT Rama Rao Jr (Aravinda Sametha Veera Raghava) and Ram Charan (Vinaya Vidheya Rama) — and could describe the sound of some of its standout moments. What noise echoes when a motorcycle is used in a bridge-jumping rescue plot, as aided by a horse and the Indian flag, amid a crashing train? Or when a truck full of wild animals is driven into a decadent British colonialist shindig and its caged menagerie unleashed? What racket resounds when a motorbike figures again, this time tossed around by hand (yes, really) to knock out those imperialists, and then an arrow is kicked through a tree into someone's head? Or, when the movie's two leads fight, shoot, leap over walls and get acrobatic, all while one is sat on the other's shoulders? RRR isn't subtle. Instead, it's big, bright, boisterous, boldly energetic, and brazenly unapologetic about how OTT and hyperactive it is. The 187-minute Tollywood action epic — complete with huge musical numbers, of course — is also a vastly captivating pleasure to watch. Narrative-wise, it follows the impact of the British Raj (aka England's rule over the subcontinent between 1858–1947), especially upon two men. In the 1920s, Bheem (Jr NTR, as Rao is known) is determined to rescue young fellow villager Malli (first-timer Twinkle Sharma), after she's forcibly taken by Governor Scott Buxton (Ray Stevenson, Vikings) and his wife Catherine (Alison Doody, Beaver Falls) for no reason but they're powerful and they can. Officer Raju (Charan) is tasked by the crown with making sure Bheem doesn't succeed in rescuing the girl, and also keeping India's population in their place because their oppressors couldn't be more prejudiced. There's more to both men's stories because there's so much more to RRR's story; to fill the movie's lengthy running time, Rajamouli hasn't skimped on plot. Indeed, there's such a wealth of things going on that the film is at once a kidnapping melodrama, a staunch missive against colonialism, a political drama, a rom-com and a culture-clash comedy — involving Bheem's affection for the sole kindly Brit, Jenny (Olivia Morris, Hotel Portofino) — and a war movie. It's a buddy comedy as well, starting when Bheem and Raja join forces for that aforementioned bridge rescue, yet don't realise they're on opposite sides in the battle over Malli. It's also as spectacular an action flick as has graced cinema screens, and as gleefully overblown. Plus, it's an infectiously mesmerising musical. One dazzling dance-off centrepiece doubles as a rebuff against British rule, racism and classism, in fact, and it's also nothing short of phenomenal to look at, too. Spectacle is emphatically the word for RRR — not quite from its scene-setting opening, where Malli is ripped from her family, but from the second that Raju shows how well he can handle himself. That involves taking on a hefty horde of protesters single-handedly with just a stick as a weapon, because extravagance and excess is baked into every second of the feature. Super-sized is another term that clearly fits, because little holds back even for a second. And a third word, if the film bumped up its moniker to the next letter in the alphabet? That'd be sincere. An enormous reason that everything that's larger than life about RRR — which is absolutely everything — works, even when it's also often silly and cheesy, is because it's so earnest about how determined it is to entertain. You don't use that amount of slow-motion shots if you don't know you're being corny at times, unashamedly so. If the whole friends-but-enemies dynamic between Bheem and Raja sounds like The Departed and Infernal Affairs, that's just part of RRR's exuberant melange of influences — just like genres. Its protagonists Komaram Bheem and Alluri Sitarama Raju are actually ripped from reality, with each revolutionaries, although their tales didn't ever intertwine. (No, nothing IRL in history has ever resembled this). The Harder They Fall did the same thing, fictionalising the past to make a statement and craft barnstorming cinema, but in America, in the Old West and with Black characters. Imagine the same idea given the Michael Bay treatment in India and that's almost the wavelength that RRR runs on. Imagine the right kind of Bayhem, though — Pain and Gain, for instance — or just think of his penchant for shamelessly go-for-broke action scenes and ignore everything he usually stuffs around them. When a filmmaker is helming an action onslaught, just as when they're overseeing musical scenes, choreography is always key. That's another crucial factor in making RRR so engaging. Rajamouli's staging of both, and the way that the frays and song-and-dance numbers alike are shot by cinematographer KK Senthil Kumar (Vijetha) and edited by A Sreekar Prasad (Good Luck Sakhi), is a visual wonder. On one side, the Fast and Furious movies would be envious. On the other, Lin-Manuel Miranda might be. Again, RRR is often chaotically ridiculous, but it's also so well-made — so audaciously as well — that it's exhilarating. The films of John Woo come to mind at times, as do The Raid and The Raid: Redemption, but RRR is also its own beast. It's also easy to predict that Telugu-language cinema stars Jr NTR and Charan could get their moment in Hollywood; if Vin Diesel doesn't come calling, perhaps Quentin Tarantino will when he hops behind the camera next. Jr NTR and Charan are megawatt movie stars, one playing an everyman who becomes a hero, the other the picture of dutiful and skilled authority — and deep-seated conflict — who does the same. They're dynamite together amid the rampant maximalism, the stunts and the CGI-heavy special effects. Yes, that means that RRR is also a bromance. The film's central pair live their lives one anti-colonialist tussle at a time, though. Their characters are also posed as superheroes, never with the term ever mentioned, but in just how super-adept they are. Of course, the usual sprawling caped-crusader franchises typically don't feel this overstimulated, ardent, often-absurd and engagingly alive.
It's safe to say that Australia's COVID-19 vaccination rollout hasn't been all smooth sailing. Nor has it come without its (unfair) share of highly divided opinions. But, we can all agree that getting back to a world where we're all able to do the things we love would be very nice, indeed. For many, the arts industry is one of the biggest things we've sorely been missing in the last 18 months, and it's also one of the sectors that has been hit the hardest by the pandemic. This was the catalyst for the Melbourne Symphony Orchestra's compelling new ad campaign aimed at overcoming vaccine hesitancy in Australia. The Performance of a Lifetime was created with the help of a diverse cast of local artists and arts organisations in order to encourage audiences to get on board and get vaccinated when they're eligible. Its message? The sooner people play their part and get their jab — aka the performance of a lifetime — the sooner we can all get back to doing what we love. Best of all, it ditches any alarmist chat in favour of clear, straightforward messaging and a hopeful outlook. Musical comedy trio Tripod, who appeared in the ad, summarised the sentiment nicely in a media statement: "The sooner everyone mucks in and gets the jab, the sooner the arts community can get back to what we do best — providing a focal point for communities to gather, so we can all share our joy at being alive on this big, stupid planet." The two-minute-long ad features a rollcall of other familiar faces from Melbourne's music, theatre, dance and performance communities, including iconic entertainer Rhonda Burchmore OAM, composer and soprano Deborah Cheetham AO, and actress Virginia Gay. You'll also spy appearances from members of the Melbourne Symphony Orchestra, Melbourne Theatre Company, The Australian Ballet and national Indigenous opera company Short Black Opera. As comedian and songwriter Tim Minchin said in a statement, "Get vaccinated Aussies…as soon as you possibly can. Let's show this fucking bug the door." You can check out the full 'Performance of a Lifetime' ad video here on YouTube.
As attempts to combat COVID-19 ramp up around the globe, venues and organisations everywhere are temporarily shutting down. New York's Metropolitan Opera is one of them; however, it's not letting its fans spend their self-isolating days without their beloved artform, announcing nightly live-streamed opera performances from its collection. From Monday, March 16 US time (Tuesday, March 17, Down Under), the NY institution is streaming a different opera each evening. Called Nightly Met Opera Streams, the program kicked off with high-profile shows such as Bizet's Carmen, Puccini's La Boheme, Verdi's Il Trovatore and La Traviata, Donizetti's La Fille du Régiment and Lucia di Lammermoor, and Tchaikovsky's Eugene Onegin — streaming each for 23 hours from 7.30pm New York time each night. Other highlights included, Nico Muhly's Marnie, Verdi's Aida and Borodin's Prince Igor. On Monday, May 4, Mozart's Le Nozze di Figaro is streaming, followed by Thomas's Hamlet on May 5, Saariaho's L'Amour de Loin on May 6 and Strauss's Capriccio, plus a double bill on Sunday, May 10 featuring Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci. And, if you missed Puccini's celebrated La Boheme, you can catch it again on Friday, May 8. https://youtu.be/afhAqMeeQJk Even better — Nightly Met Opera Streams is free, so you can enjoy world-class opera recorded live (and streamed in HD) without either paying a cent or leaving your couch. Nightly Met Opera Streams commence on Tuesday, March 17, Australian and New Zealand time, with a new show live-streamed every day and available for 23 hours afterwards. For further details, visit the Met Opera website. Top image: Bengt Nyman via Wikimedia Commons. Updated May 5.
In a normal year, Sydney's annual Italian Film Festival gives cinephiles a chance to venture to Europe from the comfort of their cinema seats. In 2020, it's doing the same — but for everyone desperate to soak in some scenic sights well beyond their own four walls, that mission feels especially resonant. Cue an impressive array of films that'll whisk you off to the other side of the planet, as screening at Palace Norton Street, Palace Verona, Chauvel Cinemas and Palace Central from Tuesday, September 29–Sunday, October 18. With Bad Tales, viewers will head to a southern suburb of Rome during a tense summer. Via psychological drama Feel Your Memories, a trip to 90s-era Naples is in order. And thanks to the latest live-action version of Pinocchio — IFF's opening night film, and the latest feature by Gomorrah and Dogman's Matteo Garrone — seeing the country through the eyes of a sentient wooden puppet is also on the agenda. The festival's other highlights include Martin Eden, which nabbed The Old Guard's Luca Marinelli the Best Actor prize at the 2019 Venice Film Festival; crime drama The Traitor, which won big at Italy's version of the Oscars this year; and a 20th anniversary screening of Giuseppe Tornatore's romantic tragedy Malèna, starring Monica Bellucci. Or, you can opt for a rom-com with 7 Hours to Win Your Heart, jump into a holiday comedy via I Hate Summer and get immersed in a legal drama with Ordinary Justice. https://www.youtube.com/watch?v=66f3BFtAmZA The 2020 Italian Film Festival screens at Palace Norton Street, Palace Verona, Chauvel Cinemas and Palace Central from Tuesday, September 29–Sunday, October 18.
When Bong Joon-ho makes a new movie, the world takes notice. It has never paid quite as much attention as it has to Parasite, though. Since premiering at the 2019 Cannes Film Festival, the twisty Korean thriller has picked up the Palme d'Or, the Sydney Film Festival Prize, a Golden Globe, plenty more awards and nominations, rave reviews and an enormous cult following. And rightly so. It's best movie of the past year — a call we don't make lightly. It seems that no one can get enough of this dark and devious film, its class war between rich and struggling families, and the scathing mayhem that follows. Case in point: more than six months after the film first released in Australian cinemas, it's still showing on big screens around the country. And in the near future, Parasite will be flickering across small screens, too — not just via DVD or streaming, but adapted into a new limited TV series for HBO. As revealed by The Hollywood Reporter, the US network is set to join forces with Bong to turn Parasite into a television show, winning the rights over Netflix. Bong will adapt and executive produce alongside Adam McKay — the director of Anchorman: The Legend of Ron Burgundy, its sequel and a heap of other Will Ferrell-starring comedies, who then made the jump to more political and topical fare with The Big Short, Vice and TV's Golden Globe-winning Succession. The final deal on HBO's iteration of Parasite hasn't been done as yet, so there's no word on whether it'll be an English-language remake or a Korean-language follow-up to the film. Casting and timing haven't been revealed either. Parasite marks the second of Bong's stellar flicks to earn a small-screen version, with an American TV show-based Snowpiercer due to hit screens this year — although Bong himself isn't involved with that adaptation. Need a reminder of Parasite's greatness? Check out the film's trailer below or go see it in cinemas. https://www.youtube.com/watch?v=SEUXfv87Wpk Via The Hollywood Reporter.
Shortstop is celebrating its birthday in the best possible way: by giving away a boatload of free doughnuts. Saturday, September 8 marks four tasty years since the coffee and doughnut specialists started slinging rings of dough and cups of joe from its first store in Melbourne. And to mark the anniversary, the bakers will whip up a special limited-edition birthday cake doughnut (topped with sprinkles, naturally), which they'll be giving away free with every transaction at its Barangaroo outpost. There will only be 1000 available, though, so best get there in the morning — because once they're gone, you won't see them again until birthday number five.
Melbourne native Fractures has been pretty busy in the last few months. He debuted at Splendour in the Grass, his October tour schedule was totally sold out, he just announced he's heading overseas next year, and now he's spending this month holed up in Sydney and Melbourne for two very intimate evenings. Up until only a few years ago Paddington Uniting Church was reserved strictly for church and community related events. Now it's a hot spot for those looking to bliss out to ambient electronic pop. The contemporary music program has allowed a new kind of visitor to embrace the space with its exciting music programs and inclusions such as The Future Sound of Yoga. And now, Fractures. He'll also be hitting up his hometown, of course. The Hallowed Ground tour continues at the Shadow Electric bandroom in the conspicuous nunnery turned arts space that is the Abbotsford Convent.
Could this be the most colourful museum in the world? In the 35 years since its inception, the Mardi Gras has been the site of not only liberation and artistic extravaganza but also fiery controversy. This year, there's a push to establish a Mardi Gras Museum, starting off with a temporary exhibition of Sydney's queer history. Take a wander through the spectacular events and extraordinary lives that have contributed to making Sydney's proudest parade what it is today. Read the rest of our ten best things to do at Sydney Mardi Gras.
Lurking behind every 18th birthday, beyond the alcohol legally drunk and nightclubs gleefully danced through, is an unspoken truth: life only gets more chaotic from here. That realisation doesn't usually spring during the celebrations, toasts and happy speeches of the big day itself — or necessarily within weeks, months or even a few years afterwards, either — however, it's inescapable nonetheless. In To Chiara, it blazes brightly for the movie's eponymous teenager (Swamy Rotolo). It shatters her sense of normality, too. But she isn't the one hitting the milestone that every adolescent yearns for. Instead, the party that helps start this Italian drama is actually for the 15-year-old's elder sister Giulia (Grecia Rotolo), with the pair's friends and relatives alike marking the occasion as countless other families have: with dinner, festivities and delighted emotions. As captured with a raw, fluid and naturalistic style like everything that both precedes it and follows, Giulia's birthday is a portrait of exuberance — until, for Chiara, it isn't. She plays up a garden-variety case of sibling rivalry, including during a performative dance contest. She revels in still being her doting dad Claudio's (Claudio Rotolo) favourite. And she thinks nothing of sneaking outside to have a smoke, only slightly worrying if her father will find out. But it's there, cigarette in hand, that Chiara watches her uncles get into a verbal scuffle outside. Then, in the aftermath, she spies her doting dad rushing off to deal with the fallout. Also, later that evening, perturbed by the feeling that something isn't quite right, it's Chiara who witnesses the family car explode outside their home, and spots Claudio fleeing under the cloak of darkness. The newest neo-realist film by Italian American writer/director Jonas Carpignano, To Chiara is also his third set in the Calabrian region, in the small coastal town of Gioia Tauro. It's the latest entry in a series that explores the area's mix of residents, segueing from refugees from North Africa in 2015's Mediterranea to the Romani community in 2017's A Ciambra, and now to the 'Ndrangheta. Call the latter the mafia, call them an organised crime syndicate, call them just part of living Southern Italy — whichever you pick, Chiara has always just considered them her loved ones without knowing it. Learning how her dad pays the bills and why he's now a fugitive, gleaning that her mother (Carmela Fumo) must be aware, trying to uncover where Giulia stands, attempting to cope with everything she thought she knew crumbling in an instant: that's what this gripping and moving film has in store for its young, headstrong, understandably destabilised protagonist from here. From the moment that Chiara begins to make her big discovery — piecing together the details stubbornly, despite being warned that her questions won't have welcome answers — it's easy to recognise why such a tale fascinates Carpignano. It's the story that sits in the shadows of other gangster flicks and shows, because so many are also about the bonds of blood; in decades gone by, it could've been Mary Corleone facing the same situation in The Godfather franchise or Meadow Soprano doing the same in The Sopranos. To Chiara also unfurls the ultimate tale of innocence lost, forever fracturing the bubble of an idyll that Chiara has spent her life inhabiting without ever realising, and causing her to now see the parent she has always adored in a completely different light. Nothing signals leaving childhood behind, no matter your age, more than having the entire foundation for your existence shift, after all. As gleams fiercely in its phenomenal lead's eyes, nothing is more devastating, either. Working with cinematographer Tim Curtin, as he did in A Ciambra — actors from which also pop up here, too, when Chiara starts expressing her shock via destructive outlets — Carpignano rarely ventures far from his protagonist. While film doesn't merely play out in close-ups, it'd be something else entirely without the deep and intimate gaze it holds with the teen, and the way it lets audiences stare into her soul as a result. Sometimes gliding, sometimes jittery, the handheld camerawork matches Chiara's inner state. Whether she's demanding answers from Giulia or following secrets into hidden spaces, every visual touch is aligned with her energy and her emotions, in fact. The score by Dan Romer (Dear Evan Hansen) and Benh Zeitlin (Carpignano's Mediterranea, and also his own Beasts of the Southern Wild) vibrates on the same wavelength as well, but To Chiara is always a movie about perception — and how it observes its titular figure, and also mirrors how she discerns the world around her, is oh-so-crucial to the feature's stunning impact. And, from its heady early moments to its poignant ending, this is indeed a stunning film. It's also a picture anchored by a remarkable lead performance — a jewel among a glimmering cast, all nonprofessional actors, as Carpignano has drawn upon for this entire trio of movies. As their names make plain, the talents behind To Chiara's main characters are all related, and all let that inherent comfort with each other calm and complicate their on-screen dynamic. Swamy Rotolo is nothing short of revelatory, though. Playing someone who once felt like she was sliding smoothly through the world, only to find that her fortunate status quo is slick not from luck, love or joy but the spoils of the criminal underworld, she's sincerely dogged and desperately uncertain at once. She sports the invincibility of youth, and also the pain when that facade fractures. That she often looks and feels like she could've stepped out of another female coming-of-age gem, Mustang, is the highest of compliments. Just as convincing: the slow-burning feature's delicate balancing act, with To Chiara careful not to judge or champion anyone's choices, or the path that's led some Gioia Tauro locals to the 'Ndrangheta, or to make its namesake a hero or a victim. Weighing up the two sides of the equation — the privilege and prejudices that Chiara didn't openly know she had and their sources, plus the stakes, costs and future ramifications of living a life tainted by crime — is the movie's central figure's task, which she navigates through emotional outbursts, tense glimpses inside her town's underbelly, on-the-ground forays into her father's reality and legally mandated foster-care arrangements alike. Accordingly and fittingly, when another 18th birthday party rolls around to bookend the deserving Cannes Film Festival 2021 Best European Film-winner, the idea that adulthood is chaos takes on a different tone. To Chiara never shakes that notion or tries to dispel it, but instead grapples and lives with it, and makes for potent and resonant viewing in the process.
Something's afoot at the ol' Broadway corner pub — the Lansdowne is set to close after this weekend. But it's not what you think. The red flags went up yesterday with some sleuthing by theMusic.com.au, that planned gigs at the hotel have been moved to other Sydney venues for the month of February without explanation. But the hotel is only closing the bandroom, as stated by their Facebook page today. Making its mark as one of Sydney's key live venues since changing ownership in April 2014, the Lansdowne has experienced somewhat of a genuine revival over the last year. Revamped by new owners the Oscars Group (also the brains behind last year's Annandale Hotel renovation), the Lansowne has been home to free, well-programmed live music and cheap, cheap steak every week for a a good ten months. Brows started perspiring yesterday, as theMusic.com.au reported the imminent closure of the pub for a possible four months, with scheduled shows from the likes of The Laurels, Daily Meds and Grenadiers all moved and the pub's bookers told not to book any further live gigs. But the Lansdowne Hotel's not going anywhere. The pub's Facebook page issued this comment: "RELAX- WE'RE NOT CLOSING!!!! Despite many rumours, keep calm we are NOT in fact closing. While there are renovations only the bands will be off, our doors will remain open for you!!! And YES, there will continue to be live music after the renovations." The Hard-Ons and Born Lion will play the final February gig this Saturday night. If you're planning to head to the Grenadiers, The Laurels or Daily Meds shows, check their Facebook pages for new details. Image: Lansdowne Hotel.
You might remember One Day Sundays for its legendary monthly hip hop block parties, which took place around Sydney before the pandemic. After a few years' hiatus, the One Day Sundays crew is back to bring you an unforgettable shindig this long weekend. Partnering up with touring agency Niche, the collective is presenting Daybreak from 2–9pm on Saturday, April 23 — with the event taking you from day to night in the Ivy courtyard. Daybreak will showcase some of the country's most exciting musical talents. Don't miss the debut DJ set from western Sydney producer OPEN TILL L8, whose work you might recognise on Youngn Lipz and Kerser tracks. There will also be vocals from Sahxl and Pania, plus Babyface Mal. And, you'll be able to plenty of live beats from a lineup of Sydney's top DJs, who'll be playing rap, R&B, drill and afrobeats on the Ivy's world-class sound system. So, it's a two-for-one kind of event, letting you discover some rising talent in the Australian hip hop scene while enjoying a much missed One Day party. Tickets are on sale now, but are selling out fast — so get in quick.
If you're in Western Sydney, you can head to Circa Espresso for one day only on Saturday, August 28 to get a taste of Tokyo Lamington. The cafe tucked away on Wentworth Street will have an array of some of the inner west bakery's most popular flavours, as well as a special one-off collaboration with Circa. The 'Love Cake' Lamington is a recreation of Circa Espresso's beloved Persian love cake in lamington form that sees vanilla sponge cake dipped in rose white chocolate and topped with coconut, rose petals, almond and pistachio. Tokyo Lamington's Min Chai and Eddie Stewart have been on a mission to make the humble lamington world famous. After selling lamingtons in Singapore and Tokyo, they brought the brand to its home country, launching a store in Newtown last year. While this meant inner west locals were suddenly flocking to try Tokyo Lamington's inventive takes on the Aussie dessert, these next-level treats have still been hard-to-reach for many Sydneysiders. Now with the city in lockdown and residents confined to their five-kilometre radius, Tokyo Lamington is taking steps to ensure a few more Sydney dessert fans can indulge their sweet tooth. While you're there you can pick up a coffee made with Circa's house coffee beans, or a selection from the cafe's lockdown takeaway menu. Lamingtons will be available from 8am.
Let's get this straight. Hamlet is, in fact, a princess who may or may not be gay. Her passion for Ophelia may or may not be physical — it could simply exemplify the pleasures and perils of girls' friendships. Hamlet may or may not be descending into madness — or just waxing depressed. Lacking parental permission to speak the truth — or cultural consent to acknowledge conflict — she must resort to covert looks and contrived conduct to express her turbulent feelings. The question of whether "to be or not to be" is not a gender specific question; acting with courage and conviction is crazily complicated when you're a privileged but essentially powerless teenager. The question is no longer whether “to be or not to be,” it is how “to be” when we must live with the consequences. Hamlet, Ophelia, Horatio, Rosencrantz and Guildenstern are adolescents coming to terms with the depressing realisation that society is just as corrupt, venal, mendacious and shallow as it was when Shakespeare wrote his great tragedies over four hundred years ago. They are disillusioned and given to existential self-interrogation, pondering cause and consequence, the blurred penumbra of moral ambiguity. Naomi Edwards' great accomplishment as director is to take this familiar milieu and reinvent it into a play that is compulsively watchable. The easy adage that the need for reflection conflicts with the impulse to act is illuminated with new meaning as Hamlet desperately tries to understand the adult world of pragmatism versus ethics. Hamlet sometimes seems less introspective about her failure to kill Claudius than about her failure to take her own life. It’s a funny, angry, moving performance from the versatile Sophie Ross that is as entertaining as it is thought-provoking. Rosencrantz and Guildenstern provide the much needed tomfoolery and dirty innuendo to lighten up the extremity of her angst. Hamlet's tragedy centres on her inability to reconcile rationalism and faith with politics and personal principles.
This winter Sydney will once again be transformed into a vibrant canvas for light, music, art and ideas during the 2011 Vivid Sydney festival. Approaching its third birthday, Vivid Sydney promises to be infused with more creativity and innovation than the city has ever seen before. The Fire Dance display in Campbells Cove is just the beginning of what Vivid Sydney has to offer. A playful show of flaming geysers will perform five times each night of the festival, the flames strong enough to spread a little warmth to viewers admiring from the harbour in the chilly winter air. You won't believe your eyes as the streets, skyscrapers and sidewalks become the stage for breathtaking light shows and installations after dark, illuminating every nook and cranny of the city from the sails of the Opera House to the walls of the iconic Customs House. This year, the festival is even infiltrating various storefronts, restaurants and bars throughout The Rocks that will have special Vivid window displays, menus and cocktails. To top it all up there's Vivid Live, an extraordinary lineup of eclectic bands and performances that will be on throughout the festival, all coordinated by Modular's Stephen Pavlovic. This lineup is bound to have something for everyone. Among the hit acts announced to perform are Bag Raiders, Architecture in Helsinki, the Yeah Yeah Yeahs, Wolfmother, The Avalances, Tame Impala and the Presets. And that's not even half. Vivid Sydney 2011 has the potential to break all boundaries of festivals across the globe, and the coming months of preparation will no doubt show the world why Sydney is unquestionably the creative hub of the Asia Pacific. Stay tuned. For Vivid Live pre-sales, click here.
Another year, another Archibald Prize forced to adapt to these pandemic-afflicted times. After the 2020 award was delayed due to COVID-19, this year's gong was handed out as normal — but now the Art Gallery of NSW exhibition that always follows has been impacted by Greater Sydney's current lockdown. So, the folks at AGNSW have released a virtual version of the popular showcase, which means both at-home Sydneysiders and folks around the rest of the country can view 2021's top portraits from their couch. The 360-degree experience lets you tour the exhibition at your own pace, and see its works as they appear within the gallery space. You can learn more about the pieces along the way as well, thanks to clickable hotspots that provide information about each artwork. Every year for the past century, the Archibald Prize has recognised exceptional works of portraiture by Australian artists. In 2021, from a field of 52 finalists, the coveted award has gone to Melbourne-based artist Peter Wegner for Portrait of Guy Warren at 100. A unanimous decision by this year's judges, Wegner's portrait of the centenarian and fellow artist obviously won the gong in a fitting year. "Guy Warren turned 100 in April — he was born the same year the Archibald Prize was first awarded in 1921," Wegner said. "This is not why I painted Guy, but the coincidence is nicely timed." Wegner's win came after an equal number of works from both male and female artists made the finalists list for the first time in Archibald history — all of which you can now scope out from home, alongside entries and winners for the Wynne and Sir John Sulman prizes, too. Across the three prizes, 2144 entries were received this year, which is the second-highest number ever after 2020. And, the three prizes received the highest-ever number of entries from Indigenous artists. If you don't agree with the judges, you can also cast your own vote for the People's Choice Award before 5pm on Sunday, August 29. [caption id="attachment_814784" align="aligncenter" width="1920"] Archibald Prize 2021. Peter Wegner, 'Portrait of Guy Warren at 100'. Oil on canvas, 120.5 x 151.5 cm. © the artist. Photo: AGNSW, Felicity Jenkins. Sitter: Guy Warren.[/caption] Top image: Archibald Prize 2021 finalist. Kirsty Neilson, 'Making noise'. Oil on linen, 50.1 x 60.1 cm, © the artist. Photo: AGNSW, Felicity Jenkins.
If you've already started planning which all-white outfit you'll be wearing to Sydney's Diner en Blanc, you may want to consider preparing two ensembles. Diner en Blanc has partnered with Marriott International and is throwing not one but two soirees this year. The inaugural Cocktails et Cuisine en Blanc — which doubles as a launch for Diner en Blanc and a chic cocktail party — will feature exquisite French fare, bespoke all-white cocktails, live music and all the decadence and debauchery you would expect. Held at the Sydney Harbour Marriott, there won't be any guessing game as to how to get to the Cocktails et Cuisine en Blanc event — plus you'll be able to leave your plastic chairs and BYO picnic at home for this one. On the night, you'll be treated to canape and cocktail packages to inspire your menu for the actual event. And to ensure you're served the best of the best, the gourmet food and custom cocktails have been handcrafted by the teams at five participating hotels (Westin, Sheraton, Pier One, Marriott and Four Points by Sheraton). Keep an eye out for the all-white desserts from renowned, Michelin Star-experienced chef Raphael Szurek. And, if you enjoy this night of unfettered opulence, you can relive it as the days get warmer — the Diner en Blanc-themed food and drink will be available from now until January 26, 2019. Marriott International is also offering special accommodation packages at the aforementioned participating hotels so, if you need, you also have somewhere nice and close to the city to stay. Cocktails et Cuisine en Blanc will be held at 6.30pm on Thursday, October 11 at the Sydney Harbour Marriott. Registration via Facebook is essential.
In Joel Edgerton's second film as director and sixth as a screenwriter, the actor-turned-filmmaker also takes a role in front of the camera, as the head therapist at a Christian facility. Sporting a trim moustache and a prim-and-proper look that'd make Ned Flanders proud, Boy Erased's Victor Sykes claims to be able to make teens pray the gay away and embrace heterosexuality. The counsellor expresses little sympathy for his charges. He may also have personal experience with his field of interest, but belittling the kids in his care — and forcing them to unearth family skeletons to apportion blame for their sexuality — is his technique. Sykes is the unmistakable villain of the piece, and rarely more than one-note. And yet, the film he's in thankfully doesn't share the same overall obviousness. Gay conversion should be condemned. It's a horrific and inhumane practice that's somehow still part of life in the US as well as Australia. Worlds away from his filmmaking debut The Gift, Edgerton may paint his character in the most glaring of terms (and do a fine enough job doing so), but Boy Erased itself is much more evenhanded. In the second movie about the subject this year after The Miseducation of Cameron Post, the film directs its quiet but palpable anger towards those humiliating and persecuting queer teenagers in a misguided attempt to turn them straight. For anyone that seeks such services, it offers empathy. In a story about a college kid sent away by his preacher father and dutiful mother, that distinction is important. Based on Garrard Conley's memoir, just with the names changed, Jared Eamons (Lucas Hedges) is the well-rounded son of Arkansas pastor Marshall (Russell Crowe) and his wife Nancy (Nicole Kidman). Soon, he's also an unhappy attendee at the Love In Action therapy centre. After a horrific incident at school forces him to come out, his Baptist parents — and his dad, specifically — deem conversion the only option. Just what Jared and his fellow participants (including singer Troye Sivan and filmmaker Xavier Dolan) endure will threaten both his sense of self and his relationships. Edgerton may write, direct and act in Boy Erased, but one of his biggest achievements stems from how he treats the film's main characters. This is a sensitive, earnest, sombre and understated movie that's shot in neutral tones, and wants to explore what motivates folks like the Eamons. Rather than judge them, it tries to understand these people who clearly love their son yet still send him to a conversion camp. With Jared, the film doesn't shy away from the impact of his experience, the conflict it causes or the difficulties of being a gay teen in general. He's hurt and uncertain, and also defiant and determined. He wants his parents' love, but not the emotional torture he's put through with their approval. Eventually, he also wants to stop self-censoring his identity to please others. Of course, these characters aren't just creations on a page, jumping from Conley's recollection to Edgerton's dramatic script. Edgerton's other big coup with Boy Erased is evident in the portrayals that he nurtures out of his core trio of actors. Crowe grapples with the intersection of Marshall's faith and being a good father, while Kidman helps convey the punishing patriarchal constraints of religion, with both playing their parts in a textured and thoughtful manner. And as he proved in Manchester by the Sea and Lady Bird as well, the supremely talented Hedges excels at internalised performances. Indeed, his work here encapsulates Boy Erased at its best. If Edgerton's own near-cartoonish part represents the movie at its most blatant and furious, then Hedges embodies the complex emotions that swell in almost every scene. https://www.youtube.com/watch?v=BBZQ5F5T51I
When Kitchen by Mike shut its doors in Rosebery back in 2015, it left a very large, canteen-shaped hole in our hearts. Our spirits were lifted again when head chef and nutrition guru Mike McEnearney opened No. 1 Bent Street in the city, and Mike's next venture was announced over a year ago. Now the time has come again for renewed jubilation, because Kitchen by Mike is back. At the airport. While you will need to drop a little coin on an international flight to experience Mike's take on healthy, fresh and generous grub, for those familiar with the experience of trying to eat anything that will stay down at 6am while waiting in a pretty dreary surrounding, the new addition to the dining options is an absolute blessing. Opening today — Tuesday, March 7 — near much-publicised new venue The Bistro by Wolfgang Puck, Kitchen by Mike will be a fresh local alternative to the fast food chains dwelling at Sydney Airport. True to form, the all-day menu at the airport canteen will change depending on the seasonal, local produce that's available. After breakfast — which includes granola and a bacon butty — there'll be a couple of meat and fish dishes, like Mike's crispy pork belly and a za'atar roast chicken with harissa. On top of that, there'll be a vast array of the incredible salads that have come to be the staple of McEnearney's trade. There'll also be a few local wines on the list, including unique house red and white from McClaren Vale and Mudgee, respectively. For those intrepid travellers on the fly, Mike will also be serving up carry-on lunches packed fresh to order, and a smaller sample of tasty beverage to whet your whistle. And, if you've forgotten to pick up a few souvenirs to take with you, Mike's retail range of jams, chutneys and sauces will be waiting to save you from that particular awkward moment. Although it's not the readily available canteen of its Rosebery days, Kitchen by Mike is most definitely back, just at the small price of, you know, an overseas holiday. Kitchen by Mike is now open at Sydney's T1 International Terminal between gats 10 and 24 daily from 6am to 10pm.
This October, the Southern Highlands will host a multi-sensory food, wine, music and art festival, set across the picturesque Centennial Vineyards. This is Horizontal Festival — a celebration of all that New South Wales has to offer. From Saturday, October 4 to Sunday, October 5, Horizontal Festival will take you on a journey where every space offers a new atmosphere, flavour and soundscape. Guests can wander through the Sparkling Bar, an elegant space of oysters, truffles and classical music. Then, at The Vineyard, you can experience a homegrown taste of the Italian countryside with lobster skewers, antipasto and upbeat music. For an expert-led beverage masterclass, head to The Rosé Room with blending workshops, sessions on cellaring and spirits, and of course, rosé. The Orchard offers cider tastings and vegan treats, while the cheese den spotlights the state's finest cheeses in sweet and savoury pairings. The Hops Garden & Concert Stage pairs craft beer with DJs, and the Barrel Room creates a provincial atmosphere with red wine and jazz. Finally, the Sweet Pairings space serves indulgent desserts matched with sweet wines. Horizontal Festival is a feast for the senses in ever sense, with Festival Creator and Founder Amanda Fry describing it as "a festival that puts the customer experience first". Alongside wine tastings and artisanal food, expect live music in every zone, captivating art installations and the chance to meet makers from across NSW. Tickets are $59 each, with the option of choosing between a vibrant daytime experience or an enchanting evening atmosphere. Day sessions run from 12-4pm, while evening sessions take place from 5.30-9pm. For more information and to purchase tickets, head to the Horizonal Festival website.
Three Blue Ducks' chef Darren Roberston has come together with Japanese Roku Gin to create an exclusive dining event to showcase the spirit of shun: A Taste of Bellingen. Having opened in July 2023, The Lodge in Bellingen has been celebrated for its new menu, which features bold flavours and fresh, seasonal produce. It's bringing its Asian-inspired menu to Three Blue Ducks' Rosebery location for two seatings: dinner on Friday, November 10, and lunch on Saturday, November 11, hosted by celebrated Three Blue Ducks chef Darren Roberston. Robertson crafted the luxe Asian-inspired menu with Japanese flavours inspired by the botanicals used in Roku Gin. He will host the exclusive dining event and guide diners through the four courses to symbolise the four seasons — each served with a special Roku gin cocktail. Some of the dishes on the menu include oysters with ginger and cherry blossom, salt and pepper squid, grilled asparagus with spanner crab mayo and gyokuro togarashi, barramundi with fragrant dashi, sencha furikake and sea greens and for dessert, diners will get to enjoy a yuzu tart with soft meringue and creme fraiche. The time-honoured Japanese tradition of shun (pronounced "shoon") encourages us to enjoy produce at its most ripe. The Japanese spirit Roku Gin exemplifies shun, crafted using a selection of six Japanese botanicals (roku actually means six in Japanese). Each botanical is carefully harvested at the peak of its season, ensuring the gin captures the essence of shun in every sip and savour. The six botanicals are sakura flower, sakura leaf, sencha tea, gyokuro tea, sanshō pepper and yuzu. Roku is the premium Japanese craft gin from the House of Suntory. A Taste of Bellingen menu is available from Friday, November 10 (dinner only) until Saturday, November 11 (lunch only). Tickets are extremely limited. They cost $120 (plus booking fee) per person and are now available to book on the Three Blue Ducks website. Images: Rob Palmer (images of Darren Robertson), Jude Cohen
There's no shortage of ways to send your love to your nearest and dearest, though sometimes an emoji, a surprise bunch of flowers or even a hardy succulent just doesn't cut it. Similarly, showering those close to you in sweet treats is far from difficult — but Australia's new chocolate company wants to provide another option. Combining taste, style and heartfelt messages, Good Measure Co is offering up the country's newest personalised artisan chocolate delivery service, not only ferrying their cocoa-based delicacies around the nation in attractive packaging, but letting you write your own tender missive to go along with them. You pick what goes inside and on the outside, choosing from gourmet dark and milk chocs in blueberry, milk and honey, dark raspberry, chocolate noir and signature salted caramel flavours — or Champagne truffles — plus four styles of box and whatever nice words you can dream up. Those eager to tailor their choccie selection for their special someone can expect to pay $50 for a box of 12, and $75 for 24. Boxes with a range of pre-written statements are also available for the same price, ranging from "chocolate for my favourite" to "it's time to celebrate". And, the cost includes free delivery, arriving the same day in Sydney for orders placed before 11am, and the next day if ordered afterwards. The company was created by Pete and Hannah Craggs, who "wanted to reimagine the humble chocolate box, and create a new way to share the joy of chocolate with friends and family in a simple and easy way," Pete explains. Continues Hannah, "we've tapped into the same sense of occasion and excitement you'd get from giving and receiving flowers, but with high quality, gourmet chocolate instead." For more information, visit Good Measure Co's website.
Kings Cross has had a tough year. The tragic death of Thomas Kelly following a vicious assault had people wondering: is there anything good about the Cross? Sydneysiders (and indeed Australians) know the area as being home to the infamous drag of mafia-owned strip clubs, seedy bars and nightclubs. However, the Drink 'n' Dine Group, known for glamming up rundown pubs, are opening Santa Barbara, a venue they hope will restore some credibility to Kings Cross. And the boys have placed their new diner in an ideal location to engage a revitilisation of the areas nasty stigmas. You'll find yourself directly beneath the infamous Coke sign when taking a visit to Santa Barbara. Fresh from opening a Jamaican-inspired eatery, Queenies, Santa Barbara will be Drink 'n' Dine's sixth opening in recent years. Co-owner Jaime Wirth caught up with Concrete Playground before the venues official launch that Santa Barbara would be a bar serving tropical classics and dishing up "US-Asian BBQ", which will include American food infused with Chinese takeaway, Tex-Mex and Hawaiian roadhouse concepts. "I went on a research trip for 10 days in Los Angeles and New York with our designer Michael Delany-Korabelnikova, where we were hanging out 24/7 checking out heaps of good bars and non-stop eating," said Wirth. "The name of the bar changed about five times but we came back to the first idea we had: Santa Barbara." Wirth said the concept of Santa Barbara was nothing that's being done in Sydney. There's bings ($5.50) which are similar to Chinese pancakes, Char Sui ribs with salsa verde, cucumber and jalapeno finger salad ($18), one hand burgers ($10-$12) and the impressive dragon dog which has smoked and deep-fried octopus, complete with tentacles. Wirth said every dish on the menu, crafted by Drink 'n' Dine executive chef Jamie Thomas, could be eaten without cutlery. "It's definitely got the 'bar with great food vibe' which I love. It means people can come to have a drink and have dishes that you can eat with one hand," he said. And the drinks? Wirth described the menu as taking on classics with a holiday resort theme, with touches of Mexican and Asian flavours. Cocktails start at $15, including the Santa Colada with rum, coconut puree, pineapple and Amaretto, as well as the Largerita with tequila, beer, agave and a paprika salt rim. As you walk up the stairs a huge mechanical bear greets visitors with 'Santa Barbara' emblazoned in neon lighting. At the bar, there are quirky knick-knacks which Wirth says have been collected on eBay and also on a spending spree in China. There are also lit up pictures of various dishes behind the bar, similar to a Chinese takeaway. Santa Barbara is Drink 'n' Dine's biggest and boldest project to date, Wirth said. "Kings Cross is a bit of a hot topic at the moment. It's new territory for us as we're opening more of a bar that serves really good food," said Wirth. "When we opened The Norfolk, people told us that nobody wanted to go there and now it's pumping. We're hoping something like that can happen for us in Santa Barbara. We're trying to make it so people can go there on a Tuesday night, instead of just at 3am on a Saturday when they're trashed," he said. Good luck to you boys, we're rooting for you. And here's to your mini-revolution of the Cross' dining and drinking scene. Santa Barbara opens on 30 November. Mon - Thu 12pm - 2am, Fri 12pm – 3am, Sat – Sun 4pm – 3am; Lot 1 82-94 Darlinghurst Road, Potts Point 2011.
Sometimes getting through the day without spilling coffee all over yourself or throwing a major tantrum at work is a real challenge. Let's face it, adulting is tough — what with the bills, the responsibility, the expectations. No wonder you sometimes want to get off the grown-up roundabout. When it all gets too much and the kid in you wants to bust out and forget about your worries for a while, we've got you covered. With the help of our pals at American Express, we've put together a list of the best places to head to shake off the shackles and do as young you would do — except this time with your grown-up American Express® Card paying your way. Whether it's slamming down bowling pins and beers, hitting up old-school arcade games or belting out karaoke, you're guaranteed to forget about the 'real' world for a while. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Australians have almost spent 12 months now navigating different levels of COVID-19 restrictions, with the rules tightening and easing state by state depending on case numbers in each area. Accordingly, the announcement of more changes has become a regular occurrence — but when that news involves being able to have bigger parties and hit the dance floor, it's always welcome. Today, Wednesday, February 24, Premier Gladys Berejiklian announced that New South Wales' current coronavirus restrictions will relax again at 12.01am on Friday, February 26. With the rules for restaurants, bars, cafes and eateries last easing a fortnight ago, this time around the NSW Government is focusing on at-home gatherings. Just in time to shape your weekend plans, you'll be able to have 50 people over to your house at once, instead of the current maximum of 30. The rules around dancing are also changing, but only in one specific setting: weddings. So, Sydneysiders can't start making shapes at their favourite bar or nightclub just yet; however, if you know someone that's getting hitched in the immediate future, you can join a group of 30 people in total on the dance floor at the reception. In other changes, 50 people can now attend gym classes at the same time, but the one person per four-square-metres rule is still in effect. And, if singing is on your agenda, choirs and congregations can get vocal with 30 people at once. Also, cinemas can go back up to 100-percent capacity. Premier Berejiklian also revealed that, come Wednesday, March 17, standing up while you drink indoors at a pub or bar will be back "if everything goes well" between now and then. She flagged that wedding capacities — currently limited at 300 people — may also increase, but didn't give that change a set date. While restrictions continue to ease, the Premier noted that NSW residents still "have to be as vigilant as ever. We have to make sure we do not become complacent, that we stick to the COVID restrictions and rules to make sure that all of us stay protected". The latest announcement comes as NSW recorded no new locally acquired COVID-19 cases in the 24 hours to 8pm on Tuesday, February 23, marking 38 consecutive days where that's been the case. As always, NSW residents are asked to continue to get tested immediately if you experience even the mildest of COVID-19 symptoms. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Thirty years, hundreds of films and thousands of minutes spent staring at the silver screen: that's what the Alliance Française French Film Festival is celebrating in 2019. Three decades since first launching in Australia, the event is marking its mammoth milestone with a particularly huge festival. And like all of the best big birthday bashes, the fest has assembled quite the on-screen guest list. When AFFFF starts touring the country from March 5 — kicking off in Sydney before heading to heading to Melbourne, Canberra, Perth, Brisbane, Hobart, Adelaide, Avoca Beach, Parramatta and Byron Bay — it'll not only screen 54 movies across a six-week period, but also showcase a heap of French acting greats. Think Juliette Binoche, Audrey Tautou, Isabelle Adjani, Vincent Cassel, Catherine Deneuve, Charlotte Gainsbourg and Mathieu Amalric, plus Vanessa Paradis and her daughter Lily-Rose Depp. The list goes on (obviously). With acclaimed French directors Claire Denis and Jacques Audiard each making their English-language filmmaking debuts over the last 12 months, this year's AFFFF also boasts a bit of Hollywood star power. Robert Pattinson and André Benjamin (aka André 3000) join the aforementioned Binoche in Denis' stellar dystopian space effort High Life, while Joaquin Phoenix, John C. Reilly and Jake Gyllenhaal star in Audiard's western, The Sisters Brothers. Both titles have been gathering praise on the international festival circuit since late last year, and will hit Aussie screens for the first time at AFFFF. https://www.youtube.com/watch?v=AtOwfo1ypOw From opening film The Trouble with You to closing night's Kiss & Tell — both comedies — the full lineup boasts plenty of other features to get excited about. Intimate drama A Faithful Man steps into the complications of romance, with Louis Garrel both in front of and behind the camera; César award-nominee Amanda follows a twentysomething forced to bond with his niece; and doco fans can get a fashion fix with both Celebration: Yves Saint Laurent and Jean-Paul Gaultier: Freak & Chic. Elsewhere, famed director François Ozon returns with By the Grace of God, which comes our way after premiering in Berlin in February, and Olivier Assayas is back with his thoughtful latest offering, Non-Fiction. While the trio of The World Is Yours, Knife + Heart and Sorry Angel have already played on Australian screens, specifically in Melbourne last year, they're also worth looking out for — the crime caper, campy slasher and queer romance all made our best of MIFF list for a good reason. Finally, if you're keen on both old and new French talents, they're both in the spotlight in a considerable way. The former comes courtesy of a restored screening of Alain Resnais' classic 1961 effort Last Year at Marienbad, and a dedicated program strand highlights the latter, including emerging filmmakers such as Coralie Fargeat (Revenge), Cécila Rouaud (Family Photo) and Dominique Rocher (The Night Eats the World). The Alliance Française French Film Festival tours Australia from March 5, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 5 to April 10; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 6 to April 10; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema andCamelot Outdoor Cinema from March 13 to April 10; and Brisbane's Palace Barracks and Palace James Street from March 14 to April 14. For more information and to buy tickets, visit the AFFFF website.
Inspire packed halls to erupt with laughter, travel around picturesque locales while eating meals with Steve Coogan, and imitate everyone from Tom Jones to Michael Caine. Yes, there's much that Rob Brydon can do. He can also hold his own on every British panel show ever made, play a traffic warden in Lock, Stock and Two Smoking Barrels and make his voice sound like it's echoing from a box. But not even this multi-talented Welsh comedian can keep Swimming with Men afloat. Brydon's latest big-screen outing wants to bob along the surface of the offbeat sports comedy pool. It wants to paddle around casually, making viewers happy without making too big a splash. Alas, this by-the-numbers comedy sinks quickly, as you might expect given its premise: The Full Monty, just with synchronised swimming. The mix of curiosity, amusement and puzzlement that synchronised swimming sometimes sparks ("really, this is actually a sport?") is Eric Scott's (Brydon) starting position. To be fair, he's similarly bewildered by much of his routine life. The closer that his local councillor wife Heather (Jane Horrocks) seems to get to her colleague Lewis (Nathaniel Parker), the more blustered Eric becomes, and the more his son Billy (Spike White) revels in the uncomfortable situation. Gin doesn't cure his despair, however a dip in the local pool just might. In the beginning, Eric only notices the amateur synchronised swimming squad because they have the wrong number of members, and naturally he's an accountant. And yet it's not all that long until he's joining their ranks. The difference between formulaic comedy done well and formulaic comedy done badly is often a matter of mood and energy. With Swimming with Men reaching cinema screens at the same time as the also straightforward Fighting with My Family, that couldn't be more evident. The pair have their commonalities and their contrasts. Both are based on documentaries — 2010's Men Who Swim, about an all-male Swedish team, in this case — and both tell standard underdog tales. Each focuses on a vastly dissimilar sport, and has its own target market in mind. But the flat, dull feeling that Swimming with Men evokes is all a matter of tone and spirit; specifically, it doesn't have much of either. Instead, the film presents a forced feel-good vibe, a strong desire to swim in Calendar Girls and Brassed Off's slipstream, and very little to make it stand out. Skimming along the surface of its male malaise theme, it also boasts a rote group of hardly fit and heavily discontent blokes surrounding Brydon: Rupert Graves plays the slick one, Adeel Akhtar is the cynic, Jim Carter is sensitive, Daniel Mays is both hot-headed and stressed, and Thomas Turgoose is the token troubled youth. No one is at their best, and while treading water is an essential part of donning speedos and doing eggbeater kicks, the cast does so both literally and figuratively. Screenwriter Aschlin Ditta doesn't give anyone much choice, saddling them with easy, lazy humour and zero trace of character development. Also wading half-heartedly is director Oliver Parker. Trading the teen-centric St. Trinian's flicks for the silliness of Johnny English Reborn, and then for the middle-aged antics of Dad's Army and Swimming with Men, he's happy to take the dullest, most obvious route through the movie. It's the filmmaking equivalent of slowly paddling laps rather than busting out any acrobatic moves — and while you can swim freestyle leisurely with a smile, it's always going to remain the same old stroke. When the film reaches its big climax, a synchronised swimming contest, it almost seems like Parker realises how little excitement he has put on the screen. Rather than relishing the performance, appreciating this odd bunch of unlikely men banding together and doing their best, or eagerly celebrating their achievement, he keeps jumping to shots of the watching crowd. They might be enthused, but after such a bland affair, it's difficult to share their sentiments. https://www.youtube.com/watch?v=3pzvyIZdXTY
Imagine if the SBW Stables Theatre in Kings Cross were not the SBW Stables Theatre. Imagine if you climbed those creaky stairs and in place of one of Sydney's premiere performance spaces was just another of the area's utilitarian, asbestos-laced, '50s-era studio flats whose occupants are too unsettled to wholly furnish. Imagine if this flat, in this exact spot, held a story — of a young woman and her encounters with love, loss and cricket. It's a slightly magic flat. Thick grass grows in place of some of the floorboards, and, on a few fuzzy mornings, a typically Cross-ian neon sign drops down to inform us, "This is not her place". Ellen (Belinda Bromilow), a Melburnian whose two years in Sydney have yet to bring friends or any sense of belonging, has taken to finding comfort in sauvignon blanc and the beds of strangers. They're all played by Nathan Lovejoy (an FBi Awards best performer nominee for Way to Heaven): Brian, an overeager Stanmore sharehouser; Tom, a pushy Woollahra work contact; Adam, whom she has accidentally brought back to her own place and ought to remember from somewhere. At the same time, her father (Tony Llewellyn-Jones) has emerged as a surprise house guest, and she regresses to childlike vulnerability and desire to please as they follow the summer's Ashes cricket matches — on the radio, as per their tradition. Some say there are five stages to grieving. There also happen to be five tests that make up the Ashes. It's one of the most beautiful and yielding of this play's devices. The result is moving but graced with plenty of gentle humour — This Year's Ashes is proudly a romantic comedy, and it uses that generally derided genre's conventions to question as well as entertain. The new work is inspired by playwright Jane Bodie's own experiences struggling with a relocation back to Sydney, and the honesty embedded in it shines through. The shine is dulled somewhat by moments of melodrama, which do not work in the play's favour and are amplified by lighting, sound and directing cues that try too hard to tell you how to feel (much like a mainstream romantic comedy would, come to think of it). It may be why the scenes between father and daughter don't quite knock you for six. There's also that niggling reason why we don't often see modern romantic comedies on stage: the genre is built on fantasy (true love will rescue you, conquer all, etc, etc), and art, we often think, is for seeking out truth. That's not to say you can't go fossicking with such a tool and still unpick nuggets of trueness, but this outing could have come back with a heftier haul.
The actors have it: in The Whale, Brendan Fraser (No Sudden Move), Hong Chau (The Menu) and Sadie Sink (Stranger Things) are each masterful, and each in their own way. For viewers unaware that this drama about a reclusive 600-pound English professor stems from the stage going in, it won't take long to realise — for multiple reasons, the film's performances chief among them. As penned by Samuel D Hunter (also a writer on TV's Baskets) from his award-winning semi-autobiographical play, The Whale's script is talky and blunt. The movie is confined to its protagonist Charlie's home, and is as claustrophobic as it's meant to be as a result. But it's that key acting trio, with the portrayals they splash through a flick that's a complicated sea of feelings and ideas, that helps The Whale swim when it swims. Yes, the Brenaissance is upon us, showering Fraser in accolades including his first-ever Oscar nod; however, fellow Academy Award-nominee Chau and rising star Sink are equally as powerful. Is it really the Brenaissance if Fraser hasn't ever been too far from our screens for too long? When he was recently stellar in 2021's No Sudden Move, albeit in a supporting part? Given that it's been decades since he's had the space and the feature to serve up this kind of lead effort, the answer remains yes. Slip his The Whale performance in beside standout 2002 thriller The Quiet American — although the latter didn't place The Mummy action star and Encino Man comedic force beneath considerable prosthetics. Fraser doesn't let his appearance here do all the work, though. Filmmaker Darren Aronofsky, who hones in on the stressed and tested as he has so frequently before (see: Requiem for a Dream, Black Swan, The Wrestler and mother!), doesn't allow it to, either. At the core of the pair's collaboration is a portrayal that overflows with vulnerability and grief alongside optimism for humanity, and acutely fuses Charlie's emotional and physical states. The character self-mockingly jokes that his internal organs are buried deep, but nothing conceals Fraser's sensitivity. It's with a lone black square that The Whale initially explains Charlie's relationship with the world: on online calls with his students, he's represented by a void of a tile. He claims that his webcam is broken, but he's actively hiding — from his pupils' reactions and from facing his sorrow. Other than these digital lectures, visits from his friend and nurse Liz (Chau) to check on his wellbeing and deliver food, and daily pizza drops from a driver instructed to leave the slices outside, Charlie has withdrawn from everything beyond his first-floor apartment when the film begins. That said, The Whale isn't a portrait of a man who is sad and has shut himself off because he is overweight. Rather, it's an exploration of someone who has an eating disorder because he is heartbroken by a tragedy, relying upon food compulsively to cope, and to process his doubts and regrets over his decisions and their ramifications. Friedrich Nietzsche's aphorism "what does not kill me makes me stronger" is flipped here: after the death of his partner Alan, who he left his ex-wife Mary (Samantha Morton, She Said) and now-teenage daughter Ellie (Sink) to be with, Charlie is using the sustenance we all need for strength and survival as his escape route. His sense of self has been slain by his loss, and so has his willingness to go on. It isn't just to ramp up tension or establish that obesity can spark high blood pressure and heart attacks that The Whale has its central figure doubling over with chest pains while he's masturbating early in the feature. With the film's narrative unfurling day by day, the incident sets a ticking clock, but most importantly it sees Charlie refuse to go to hospital. When she arrives, Liz insists, but he still won't agree. In this specific character study, he's that steadfast — and, even as he tries to reconnect with the bitter Ellie and spouts hope for humankind's ability to care, he's that intensely unhappy without Alan. Indeed, if it wasn't for missionary Thomas (Ty Simpkins, Avengers: Endgame), who conveniently comes a-knocking for the New Life church spouting a message about the end of times, Charlie wouldn't make it to The Whale's second act. Instead of asking the soul-searching young man to phone an ambulance, he makes a request that seems inexplicable while he's struggling for breath: to read aloud from an essay about Moby-Dick. The film gains its title from and shares its sense of search with Herman Melville's famous novel, as Charlie battles the behemoth that is his own complicated, constantly contrasting and conflicted feelings. The link isn't subtle. Again, The Whale isn't usually subtle. For another case in point, hear: Rob Simonsen's (Ghostbusters: Afterlife) emotion-shouting score. But Fraser always conveys Charlie's pain like it's pumping through the actor's own veins, and proves devastatingly and movingly effective at balancing bright-eyed charm with piercing melancholy. While The Whale both demands and deploys Fraser's best — in tender moments, in dialogue-heavy exchanges and in his physical performance alike — it leaves ample room for Chau and Sink to make an imprint. Aronofsky may task his regular cinematographer Matthew Libatique (also a Don't Worry Darling alum) with boxing in Fraser via the constricting Academy ratio, often offering very little visible space around him, but Chau's distressed pal and Sink's cruel daughter remain pivotal to this story. What does it mean to want contentment and safety for a loved one who seeks the opposite for himself? To bear the hurt of someone else's choices? To have either your daily existence or your identity, or both, forged by another's decisions? In Chau's direct, kindhearted but quietly anguished turn, and in Sink's openly, flippantly brutal reactions as Ellie, The Whale compassionately plunges into these questions. It should come as little surprise that Aronofsky's eighth film is at its finest when it lets Fraser, Chau and Sink verbally bounce off of each other — when it's unpacking the feelings boiling in Charlie's grimly lit, amber-hued flat, and examining how every life's ups and downs ebb and flow into others. Finding insights in clashing people, attitudes and concepts is The Whale's approach in general, including in its use of darkness and light; handling of religion and salvation; survey of Charlie's internal and external suffering; and attempts to wade into stress- and binge-eating, consumption as a coping mechanism, and body-shaming responses to any departure from societal standards of beauty. Charlie himself chases meaning in the same type of chaos and contradictions, pinning his hopes as his days wane on a last-minute reunion with Ellie. In that fiery confrontation, as in every single one at the heart of The Whale, nothing is easy.
Consider yourself reminded – Valentine's Day is just around the corner. But don't fear if you've forgotten to organise a fancy table for you and your SO, bestie or group of pals – with A Table to End Hunger you can secure that last minute booking, while also supporting an important cause. A Table to End Hunger has already made reservations at 140 of Australia's best restaurants, which come inclusive with a dinner and drinks package to ensure your night goes off without a hitch. All you have to do is place the winning bid on any one of the many high-flying restaurants, and you'll get the spot. Plus, your winning bid will also help end world hunger by 2030, as 100% of the proceeds go straight to The Hunger Project. And going one step further, if the winning bid is paid with an eligible American Express Card, Amex will donate an additional 15% of the bid value. No matter what part of the country you live in, there are loads of participating restaurants in your state. Feel like some Spanish tapas overlooking Melbourne CBD? Place a bid on Bomba. Or, if stylish Italian is more your game, stake your claim on Double Bay's Matteo. If you're in Brisbane, snag a table at newcomer Little Big House. There's pretty much every type of atmosphere, cuisine and location you could need, so head over to the A Table to End Hunger auction page and spread the love this Valentine's Day. Online bidding is happening right now and will close on Sunday February 11, 2018 at 9pm AEDT. Terms and conditions apply. Image: Nikki To.
2015's Creed was the best kind of surprise. What seemed destined to be a sad resurrection of a franchise already long past its prime turned out to be a benchmark moment for sports movies, combining heart-pumping pugilism with the same kind of tender romance that underscored and grounded the original Rocky. As Adonis 'Donnie' Creed, Michael B. Jordan delivered a fearless performance laden with vulnerability and irresistible charisma, while Sylvester Stallone's reserved turn reminded audiences that beneath his tough guy exterior remains a fine and gifted actor possessed of a deep emotional range. Those same qualities and performances are again present in Creed II, although the story itself unfortunately fails to match the power and drive of its predecessor. The setup is certainly juicy enough. Viktor Drago, son of Ivan – the man who killed Creed's father Apollo in the ring during Rocky IV – arrives in Philadelphia with his father and challenges the newly-crowned heavyweight champion of the world to a fight. It's a chance to "rewrite history" as Donnie tells his mother. But Rocky's heart is filled with dread, with his sense of guilt over Apollo's death a constant companion. Refusing to train Donnie, he and his protege part ways until a tragedy of sorts brings them back together and it's time for another classic training montage. Outside of the ring, Tessa Thompson gives Creed II some much-needed personal drama as Donnie's girlfriend Bianca, delivering another passionate performance imbued with a great deal of heart despite being disappointingly relegated to a more secondary role this time around. Directed by Steven Caple Jr. taking over from Black Panther's Ryan Coogler, Creed II is clearly at its strongest in the ring, where its glorious combination of POV camerawork and sumptuous sound design contributes to an almost uncomfortably visceral, bone-crunching experience. Slow-motion is used more sparingly than is usual in boxing films, reserved here for the truly devastating body blows and upper-cuts. You really feel the hits in this movie, especially those delivered to the ribs where the accompanying snap will have you hugging yourself tightly for comfort. The writing, however, is notably weaker, due perhaps to Coogler's absence (save for an executive producer credit). The screenplay, co-written by Stallone, still has its moments, but lacks the nuance and restraint that helped make Creed into something special. There are too many lines that sound like they were ripped straight from fortune cookies ("It may not seem like it now, but this is more than just a fight"), while the periodic narration from the TV and ringside commentators that added so much authenticity to the original is downright abysmal in the sequel. Countering this, thankfully, are the fine repeat performances from Stallone, Jordan and Thompson, whose chemistry and closeness continue to sizzle on screen. The joy of seeing Dolph Lundgren return as Drago, too, is a highlight, but one that's sadly short lived as he's given little more to do than scowl and grizzle from his first scene to his last. Similarly, the most interesting character in Creed II is also its least explored. Viktor Drago is an irresistible combination of brute physical force and deep-seeded emotional turmoil, neatly packaged inside the 6-foot-4 mountain of muscle that is Romanian boxer and fitness model Florian Munteanu. Abandoned by his mother, weaponised by his father and ignored by his country until a string of victories bring him into the light, Viktor's most compelling fight is the one that's unseen. As he and his father are welcomed back into Russian high society, the young Drago finds no satisfaction in his celebrity, acutely aware of the fair-weather nature of the fans and disgusted by his father's seemingly instant compliance with those who rejected him (including Viktor's mother). Yet Munteanu finds himself forced to play a caricature – although he manages to sneak in moments of emotional subtlety where he can. Indeed, why they fight is at the heart of both fighters' story in Creed II. Driven by reasons that at first seem clear, both Viktor and Donnie soon find ambiguity and doubt needling their way into their respective psyches. By the time the big finale arrives, they remind you of soldiers on a battlefield, bloodied and beaten, yet ultimately more like brothers than enemies – men sent to destroy one another at the behest of those safe behind the lines. As much a father/son story as it is a boxing one, Creed II's tale of family and redemption ultimately doesn't match the quality of the original. Even so, it's a compelling sequel, and worthy of your time. https://www.youtube.com/watch?v=l-eB1AwpCXI
Last time you went to Sydney's Luna Park, you might've screamed to the high heavens while riding a rollercoaster or let out a gasp on the sky-high ferris wheel. Well, this time you'll be screaming for an entirely different reason. Over five fright-filled nights, Luna Park will host the ultimate hair-raising Halloween extravaganza with Halloscream returning for the sixth year. And, as always, it's sure to be a screaming success. During Halloscream 6: The Rise of the Cursed Carnival, the park will transform into a spooky scare-fair with horror-themed mazes, haunted houses and blood-curdling rides. There's a Goosebumps-themed slime slide for children of the 90s that are desperate to live out their childhood horror fantasies. You'll also find the frightening Ward 13 maze — beware of the insane nurse on a killing spree — and a terrifying Toyshop of Terrors maze where you'll meet a boy who was put back together using mechanical toy parts after a serious injury — we're imagining part-Edward Scissorhands, part-Pinocchio. Should you need to calm your nerves with a bite to eat, there'll be a throng of Halloween-themed eateries slinging all kinds of scary fare like a 'meatball mummy with spaghetti' and 'sundaes of the dead'. Costumes aren't required but we recommend getting into the spooky spirit with your best Halloween number — even mouse ears count (duh). But if you forget, head to Boris the Decayed and his team of dead makeup artists to get a makeover by a corpse — it'll only set you back $10. There's a best dressed competition, with the winner receiving a trip for two to the 2019 Melbourne Supanova Comic Con — just share a pic on Instagram with #Halloscream. Halloscream 6: The Rise of the Cursed Carnival kicks off on Friday, October 26 from 7pm till late. The carnival will run until Saturday, November 3. Tickets start at $59.95 per person and include entry, unlimited rides and access to all Halloscream attractions. Grab some friends and head along for a screaming good time. For more information and to book tickets, visit the Luna Park website.
The Sydney Comedy Festival began in 2005, and since then it has grown big enough, not necessarily to give Melbourne a run for it's money, but to provide Sydney with the much needed laughs it so rightly deserves. Now firmly established, the festival is attracting some of the best international acts as well as inspiring local talent to have a go at getting up on stage and make fools of themselves for the sake of hilarity. The festival aims to celebrate local talent and to foster a healthy home-grown comedy base, with programs such as Fresh and One Minute Comedy Wonders helping to develop emerging performers. And with shows all over the place, from bigger venues like The Enmore Theatre and The Factory Theatre, to smaller ones like Newtown bar Corridor, there's a heap of different stuff to pick and choose from this year. 2011's full program includes British acts Stephen K. Amos and Danny Bhoy, who are thankfully regulars to Australia and completely worth seeing. Other hilarious international acts include Gina Yashere, Nina Conti and Jason Byrne, who may or may not put you in a cardboard box and yell at you. There's also a host of local talent, including Lawrence Leung and Triple J's Cloud Girls. Also on the bill are one-off events like That One Story and I Heart Impromance, which look set to plump out what has become a very welcome addition to Sydney's festival calendar. https://youtube.com/watch?v=CJQU22Ttpwc
A debaucherous long-table feast that'd even impress the Queen of Hearts is taking over Sydney Town Hall this winter. Fittingly called The Queen's Feast, the event will see a meal by some of the city's top chefs paired with live music, art, performance and an 'unexpected surprise or two' — all set to the theme of a twisted, dark last supper. Dessert royalty Anna Polyviou, MasterChef Australia's Sarah Tiong, Claire Van Vuuren from Bloodwood and Bart Jr's George Woodyard are preparing the four-course meal, which'll be served up alongside wine by Hunter Valley's Lisa McGuigan. The exact nature of the performance, art and music is still under wraps for now, but you can expect it to be big, bold and breathtaking. Heaps Gay Creator and Sydney Mardi Gras Creative Director Kat Dopper is looking after the whole shebang, while DJ duo Stereogamous, who describe themselves as 'the gayest band since The Village People', is overseeing the tunes. You can pick from two sittings (1–4pm and 7–10pm), and donning a twisted, dark fancy dress outfit — think black, lace and lots of leather — is encouraged.
Summer's around the corner and so is the 12th Annual Bondi Film Festival this Saturday, November 24 at the Bondi Pavillion. The festival has announced its panel of judges, which is jam packed with talented directors and performers, including Noni Hazlehurst, Christiaan Van Vuuren, Jessica Tovey, Kristy Best, Dr. Ruth Harley and Andrew McFarlane. The festival screens 100% Australian content and has attracted over 3,000 entries over the past 12 years. The festival has reached cult status amongst indie filmmakers and fans as it shines the spotlight on local and up-and-coming creatives. Fourteen festival finalists will go head to head for a prize pool valued at over $10,000 including a return flight to North America. Doors open for the matinee session at 2pm and screenings begins at 3pm. Concrete Playground has five double passes to give away to the matinee session of the Bondi Short Film Festival. To go in the running, just subscribe to Concrete Playground (if you haven't already) then email hello@concreteplayground.com.au
