If you're looking to up your wine game and try some top-notch tipples in the process, Surry Hills' beloved eatery Nomad is helping you hone your sommelier skills with a series of wine dinners. Following a two-year hiatus, the series is returning this month and kicks off with a night led by McLaren Vale's Yangarra Estate on Tuesday, May 3. Patrons will be treated to a 2021 Yangarra Rosé on arrival. The night will then take you through a series of Roussanne, Grenache and Shiraz wines with guidance from Yangarra's Peter Fraser accompanied by a Nomad feast. Highlights from the menu include smoked mussels, burrata with fennel jam, date-glaze wagyu tongue and lamb neck pie. To conclude the night, a selection of cheeses will be brought out alongside a 2018 Yangarra Small Pot L'essai Straw wine. Tickets to the night don't come cheap, but for $195 you'll be treated to ten of Yangarra Estate's best wines and a four-course meal. Following the first edition of this wine dinner series, Nomad will be hosting Yarra Valley's Giant Steps and Adelaide Hill's Shaw + Smith wineries in the coming month. Top image: Nikki To
UPDATE, August 23, 2020: Eighth Grade is available to stream via Amazon Prime Video, Google Play, YouTube Movies and iTunes. For anyone who's ever been or known a 13-year-old girl, Eighth Grade can be a cringe-inducing experience at times. That's not a criticism, since the film's protagonist does plenty of cringing herself. In the movie's opening moments, Kayla Day (Elsie Fisher) records her latest YouTube video. Although the teen cheerfully dispenses advice about being yourself, she's still a portrait of awkwardness. In between uttering nervous filler words such as "um", "ah", "like" and "you know", Kayla tells her viewers that "being yourself can be hard. And, like, the hard part about being yourself is that it's not always easy". Her nuggets of wisdom couldn't be clumsier, just as her choice of self-help topic couldn't be more standard. But, as she trains her kohl-rimmed eyes on her webcam and desperately tries to convey an air of self-assurance, Kayla is never anything less than earnest and relatable. Attempting to beam the best version of yourself into the online void while secretly crumbling inside (and barely keeping it together on the outside, to be honest): for most, that's the modern human condition. Starting Eighth Grade with Kayla's gawky, well-meaning, confidence-boosting communique is a smart move on the part of writer-director Bo Burnham, who kicks off his debut movie by showing his audience a version of themselves. He's also playing with something that he knows — not being an adolescent girl, clearly, but rather a youthful YouTuber. Before the filmmaker was earning deserved acclaim for this perceptive and poignant coming-of-age tale (and performing stand-up, starring in a short-lived 2013 MTV sitcom and even popping up on Parks and Recreation before that), he was a 16-year-old uploading his own comic clips to the world. With Eighth Grade charting Kayla's final week before graduating from middle school to high school, Burnham keeps dabbling with scenarios and themes that are familiar to everyone — current and former teens included. Wanting to disappear into your chair out of sheer embarrassment? Tick. Being out of your element in a social situation, but putting yourself out there anyway? Tick again. Making a connection and feeling like you've finally been seen? The ticks just keep on coming. Going on a strained date, babbling at your crush, rolling your eyes at everything your parents say, and coining your own catchphrases are all covered too. And, because this is a thoroughly 21st-century flick, so is the omnipresence of screens and devices. Kayla hovers over her classmates' Instagram feeds, and tries to connect with her peers as they're glued to their phones. She also ignores her kindly dad (played by a pitch-perfect Josh Hamilton) in favour of her own handset, and covets the rush of dopamine that springs from likes, messages and digital attention. Teen movies might be as common as Kayla's cracked iPhone, but the best have always ranged beyond the obvious. In the likes of Heathers, Clueless, 10 Things I Hate About You and Love, Simon, to name just a few, the genre doesn't just explore the daily reality of an age group caught between childhood and maturity. It also speaks volumes about emotions and behaviour that can linger with us into adulthood, even if we don't want to admit it. While every frame of Burnham's film plunges deep into Kayla's existence, and that of adolescents circa 2018–19, the picture's insights about coping with life feel far more universal. Burnham realises that everyone has felt as anxious, uncertain and out of place as Kayla at some point. He also knows that, more often that we all might like, we still do. Matching the movie's style to its substance, every aspect of Eighth Grade plants viewers firmly in Kayla's shoes. Visually, the film zooms out from her post-it covered bedroom walls, treating her personal space like a hidden world. It tracks her hesitant footsteps through the school hallways as throngs of other awkward kids gaze her way, and approaches her jittery arrival at a popular girl's pool party like a horror flick. Sound-wise, music drowns out everything else whenever Kayla becomes lost in her own thoughts and feelings — when she's swooning over the hot guy in her grade, for example. Elsewhere, snippets of narration from her YouTube clips act like the inner monologue she wishes she had. As effective as every narrative beat, probing shot and well-deployed blast of Enya (yes, Enya) proves, Burnham's savviest move is also his most straightforward. Actually casting a teenager in a movie about a teenager is much more rare than it should be, and Eighth Grade wouldn't be the success it is without Golden Globe nominee Fisher as its star. Fourteen years old at the time of shooting back in 2017, she lives and breathes Kayla's reality, partly because she just lived through it off-screen. While the film isn't a documentary, her naturalistic performance makes it an astute and authentic slice of teenage life from start to finish. Fittingly, although Fisher has been acting since 2009 and has everything from TV series Medium to the Despicable Me movies to her name, Burnham found her via an online video. https://www.youtube.com/watch?v=ZoxKy3d7Wno
If you haven’t been down to The Tit yet, this place is the perfect combination of art and free-spirited fun. Unveiling a new array of bodily parts, GROT(TO) comprises the work of Ramesh Marion Nithiyendran, Beth Dillon, James Gatt and Mahny Names. This sprawling and circus-like exhibition aims to interrogate the connection between cleanliness and godliness, beauty and the grotesque. Using collage, ceramics and performance, each artist will dismantle the human form, scattering and rearranging the parts. Keeping things topped up, there will also be performances from satirical showgirl Betty Grumble and DJ Matt Format over the course of the month. This event is one of our top ten picks of Art Month. Check out the other nine here. Image: Betty Grumble, Aussie Pride, 2013.
What is it about burgers that makes them so damn irresistible? The sheen on the top of the bun? The drip of that special sauce? The cheese melting all over the patty? Whatever it is, it's got a real hold over Sydney — over the weekend, a crowd of 10,000 foodies flocked to burger festival Burgapalooza to eat the city's best buns. Ten vendors presented their most famous and Frankenstein-ish, creations — Ume Burger was there, Down N' Out was there, and vegan spot Soul Burger was there, too. But if you weren't there, all is not lost. For this week only, a handful of the Burgapalooza vendors will be slinging their limited-edition creations across town. We're talking Soul Burger's vegan burger with a 'beast' patty and sriracha, a loaded fried chicken monster from Down N' Out, Ume Burger's Japanese-style cheeseburger and a dry-aged beef bun from Superior Burger. They're available for delivery only through Menulog from now up until Sunday, September 30. If you start now, maybe you can fit them all in before the end of the week. Here's the list. BURGAPALOOZA BURGER MENU SOUL BURGER — Glebe, Newtown, Parramatta, Randwick Vegan Steven: sriracha aioli, pickles, vegan cheese, vegan 'beast' patty, veggie slaw and tomato relish. DOWN N' OUT — CBD and Top Ryde Ol' Bae: Ol' Bae fried chicken, swiss cheese, jalapeño mayo, buffalo pickles, oak lettuce on a toasted milk bun. Tofu Bae: Ol' Bae tofu, swiss cheese, jalapeño mayo, buffalo pickles, oak lettuce on a toasted milk bun. UME BURGER — Barangaroo and Darlinghurst Ume Cheeseburger: beef patty, smokehouse bacon, American cheese, rice vinegar pickles, lettuce, tomato, onion, and Ume special sauce. SUPERIOR BURGER — Abbotsbury Simple Pleasures: dry-aged beef, bacon butter, cheese, sexy sauce on a malted buttermilk bun.
While it seems like we’re talking about asylum seekers all the time in Australia, we don’t actually get to hear from them directly all that much. For sure, there are organisations like RISE (which both advocates for and is made up of refugees and asylum seekers) and many harrowing media interviews. But there's a life after detention, in which a show like Art is Our Voice is still an unusual thing: bringing together the art of refugees and asylum seekers in Australia in their own artistic words. And coffees. Where Alwy Fadhel went before him, artist Masoud Akhava Ghassabzadeh will be showing off the hidden artistic benefits of instant coffee. Given the material restrictions of a detention centre existence (i.e. no paint) coffee is often a pigment of choice both inside and, later, outside. Alongside Ghassabzadeh's caffeinated pigments, the show will also offer up the output of artists with more traditional media like painting, sculpture or photography. Opening night is May 14 from 6-8.30pm. The exhibition is open 10am-5pm, Monday to Friday. Image: That Old Man by Homa Nozari.
In your early twenties, having packet mie goreng and goon for dinner is kind of cute. You can get away with a more bohemian (see: slapdash) approach to life — unironed shirts, week-old bread and overdue library books — because you're young and free. But once you have a good job, steady income and a nice place to live, there's really no excuse. It's time to pull up your socks — washed with no holes, please — and become a fully fledged adult. To help you move from being a twenty-something slacker to a productive grown-up, we've partnered with Belvoir St Theatre to bring you five ways to be more adult. Belvoir has just launched a brand new way to see more theatre in a very grown-up, yet bank account-friendly way. You can now get a three-show theatre subscription and add more culture to your life, without having to commit a large chunk of change — or worrying about future FOMO and ditching the shows you select (come on guys, committing to three performances is easy, especially those of this calibre). We're here to help you make your debut as a real-life grown-up. But don't worry you won't run up an adult-sized debt in the process; everything on this list is less than $200. You're welcome. [caption id="attachment_649545" align="alignnone" width="1920"] Brett Boardman: Barbara and the Camp Dogs showing in April at Belvoir.[/caption] GET SOME CULTURE AND SUBSCRIBE TO THE THEATRE Theatre is an incredibly powerful art form. Not only does it teach us lessons about life and society, but it also generates public discourse and forces us to self reflect. If that doesn't sound 'adult', we don't know what does. Getting a theatre subscription can seem like something that's out of your adulting league, but Belvoir has made it much more accessible for you in 2019. While you usually need to subscribe to a minimum of five shows, you now have the option to subscribe to a minimum of three — a much cheaper and easier option for those with commitment issues. Along with an overall discount on tickets to the shows, you'll get first dibs on seats and receive exclusive members-only perks likes deals on wine, discounted dinners and cheap tickets for family and friends — make it a group thing and round up the crew for a bit of culture and adulting. The three-play subscription package maxes out at $179.75, and if you're 30 or under, you'll only pay $113.75 — that's less than $38 a ticket. Check out the punchy 2019 program and get ready to expand your very adult mind. BUILD A WINE COLLECTION As we've established, goon bags are not kosher in your new adult life (except for maybe house parties and to make sangria). You need to start drinking the good stuff; not only will your hangovers become less severe, but you'll also appear more grown-up. Don't know where to start? Let us introduce you to loose-ends wine subscription service. For $150 a month, you'll have tasty, bio-dynamic, organic and sustainable natural wines (six bottles of red, white or mixed) delivered straight to your door. And if a monthly delivery is too much of a commitment, you can always opt for a one-off wine pack from DRNKS; they come in different sizes (from two to six bottles, usually), are always changing and always full of excellent natural wines. Once you've started to make a nice little collection for yourself, invest in a second-hand Vintec fridge or stylish wine rack to display your plonk and demonstrate your maturity and restraint. That's right; you didn't drink all six bottles in one weekend — pat yourself on the back. [caption id="attachment_689595" align="alignnone" width="1920"] Sky-Lab, Surry Hills.[/caption] START A HEALTHY HABIT Swap late nights and painful hangovers for energising early mornings and exercise-induced endorphins. There are a ton of refreshing, feel-good workouts to discover around Sydney, and they're nothing like the average treadmill slog. Ditch the weights, forgo the pullup bar and give something completely different a go. Try your hand at Brazillian Jiu-Jitsu in Camperdown, stretch out in midair at aerial yoga in Surry Hills, float like a butterfly and sting like a bee at Boxing Works in Kings Cross, scale the walls at Sydney Indoor Climbing Gym or step it out at Retrosweat in Waterloo. Keen to find some fitness pals along the way? Opt for some group exercise at your local Parkrun, join a basketball team, give into underwater rugby or gather at Coogee for some beach volleyball. Pick an activity, commit, sweat it out each week and, trust us, that glass of natural wine will taste that much better. SHARPEN YOUR CULINARY SKILLS To be a real grown-up, you need to be able to cook a good dinner. Forget about ordering your usual go-to on Uber Eats, and learn to make it yourself. Head to Vive Cooking School in Rosebery to add a few new recipes to your culinary repertoire. Here you can master pad thai, bao buns, tagine, bouillabaisse and even the art of the soufflé. At each class, you'll be guided step by step through the recipes to ensure you come out confident and ready to take on the world one red curry, paella and beef pho at a time. What's more, the classes are BYO so you can grab a top-quality tipple from the Drink Hive next door to enjoy with your creations. Classes are $140 and run for three hours. Check out the full calendar of cooking classes on the website. JOIN A BOOK CLUB Getting together with a bunch of other grown-ups to talk about books certainly sounds like very high-brow adult behaviour — luckily it's also fun and free. The readers' groups, which take place in various public libraries across Sydney, are a great way to share your thoughts and reading experiences with like-minded people in a relaxed atmosphere. And, trust us, book chat is so much more rewarding than chewing the fat about the most recent reality TV drama. If you're an introvert or not a fan of crowds, forgo the 'club' part and spend your time getting through our list of must-read books for 2019. Reach next level adulthood with a subscription to Belvoir, because nothing says sophistication like theatre. Top image: Barbara and the Camp Dogs at Belvoir by Brett Boardman.
An old man, haunted by history, leans forward and whispers almost imperceptibly to a young, wide-eyed boy: "…let me tell you a story". As a narrative device it's far from new, though few films have used it as effectively as 1987's The Princess Bride. For lazy writers it's an easy way of skipping from one big scene to the next without having to weave in difficult or dreary exposition. For clever ones, it's a chance to play with form and occasionally even wink at the audience. In The Lone Ranger, it's just plain unnecessary and entirely unwise, instantly robbing the movie of much of its tension by revealing in the opening scene that at least one of its two protagonists lives to be an old shirtless man. The Lone Ranger reunites actor Johnny Depp with producer Jerry Bruckheimer and director Gore Verbinski, whose last collaboration was the hugely successful Pirates of The Caribbean. Creatively, it seems none of them have quite been able to let go of the past, with The Lone Ranger adopting (to its peril) much of the Pirates franchise's aesthetic and form. Even Depp's character, Tonto, just looks like Jack Sparrow without his hat and for whatever reason, the style doesn't hold water when it's not set on it. The Lone Ranger is, quite simply, an overly long (149 minutes) series of exaggerated action sequences without much of a plot to bind them together. Now you may have noticed that, despite him being both the star and title of the film, this review has so far overlooked the actual Lone Ranger. Why? Because that's exactly what the movie does. From the first teaser it was clear this film was being built around its biggest star, Depp, and not Armie Hammer, who last had to share billing with himself as the Winklevoss twins in The Social Network. Hammer makes a fine Ranger: tall, charming and good looking — he's every bit the polite and polished hero that our mothers loved. But this is the age of the gritty reboot, and pitting a deliberately unarmed lawyer against a villain who literally eats parts of his victims was like slamming two entirely different movies together and hoping nobody would mind. The brutality of the film's opening stages is impressively unsettling and William Fichtner makes a fine bad guy; however, the darkness quickly gives way to quirkiness, robbing the Ranger of any chance to be a proper hero. The Lone Ranger has some great moments, and no matter how incongruous it feels compared to modern soundtracks, the eruption of the iconic William Tell Overture during the film's climax will bring a smile to most faces. But it's just too long, and without any truly defining back story or characteristics, the Ranger will struggle to find an audience calling for this one-off to become a franchise.
There's an unassuming poke shop sitting on Queen Street in Woollahra. Behind the charred wood wall at its back — actually a sliding door — you'll find Izy, the eastern suburbs' new modern izakaya. Previously home to Japanese eatery Kenny Rens, the space has been given a makeover, and the food and drinks list reinvented by chef Jack New (Icebergs, Sokyo), bartender Atlanta Pahulu (Ramblin' Rascal Tavern) and front-of-house powerhouse Sebastien Dallee, who previously co-owned The Nine in Bondi. While most dishes on the menu are cooked on a large robata grill — stretching along the length of the open kitchen and bar — they're anything but traditional. New is known for his fusion cooking, previously pairing Scandinavian techniques and Japanese ingredients at the now-closed Edition, and he's implemented it here, too. Japanese ingredients are featured throughout the menu — with nori, koji and miso making regular appearances — and they're often paired with Italian flavours and dishes. Burrata ($20) is served with sake-glazed grape, charred on the robata, and should be ordered with a thick slab of 'garlic bread' ($6.50) topped with vibrant spread of smoked garlic and garlic chives; and koji-fried quail ($18) pairs well with a side of brussels sprouts ($10) tossed in house-made XO. As is the case at most izakayas, the food here is meant to facilitate drinking, so most dishes are salt- and chilli-heavy and easy to eat with your hands — a standout being the Hawaiian skewers ($14), made from cubes of pineapple and chestnut-fed pork cooked on the grill and topped with kewpie. Sakes and accessible naturals lead the drinks lineup (the particularly peachy La Violetta pét-nat goes down a treat) but are backed up by Japanese whiskeys, craft beers and, surprisingly, punch. Served in sharing bowls — portioned for two-to-three people, or one, very thirsty, customer — the punch rotates often, including options such as white wine and rum with mandarin and clove syrup. Izy, like most good Sydney restaurants these days, uses local produce and has a focus on sustainability, purchasing meats from Victor Churchill and seafood from Costis — both located stone throws' away on Queen Street. The menu also adapts to absorb leftover ingredients from the poké shop out front and a regular wastage user is the Salmon vs Salmon ($16), a build-your-own taco made using dehydrated salmon skins cooked in squid ink. Sydney has no shortage of bars serving up natty wines and next-level bar snacks, but this one — with its moody, fiery dining room, inventive eats and dangerously quaffable pét-nats — is worth hunting down. Izy is now open at 146 Queen Street, Woollahra from 5–10pm every day except Monday. Images: Nick Diomis.
When it comes to fashion, staying ahead of the pack can be a mighty tough feat. But if you're keen to kick monochromic minimalism to the curb, while giving a little back to your global community, we've found just the bold West African label to help you do it. YEVU, which means 'foreigner' in the local Ewe language, is a socially responsible clothing line bringing the wild traditional wax prints of Ghana to Aussie shores. Linking local African tailors with style-conscious global customers, founder Anna Robertson is creating serious change for Ghanaian seamstresses living on the poverty line. You can read more about the company's social impact here. After launching its sell-out debut range in October 2013, the company has gone from strength to strength, hosting pop-ups around the country, selling out eye-catching pieces and garnering a cult following along the way. Now, YEVU returns to Sydney, hosting a ten-day pop-up filled with its new summer range, limited-edition prints, archival pieces and samples — just in time to stock up for summer. From December 6–16, the store will also be filled with plenty of foliage, thanks to Leaf Supply — and, yes, every plant on display in the store will be available to buy. So both you and your house can acquire some fancy new accessories. The YEVU Pop-Up is open from 10am–7pm, Monday–Saturday and 11am–5pm, Sunday.
Don’t know if it’s meant to be, but his stage name is pretty apropros. Pitchfork points out that it’s partly because Alex Zhang Hungtai spent the majority of his life feeling “unmoored and adrift”, but also his music is like all the other sun-soaked beach-inspired music acts that have been cropping up as of late had a delinquent distant relative who was a bit moodier and sometimes even a little menacing. Hungtai’s music looks beyond the psychedelic ’60s and back to 1950s rock ‘n’ roll, before cranking up the distortion so it comes out sounding even older again. On top of this add his grungy falsetto vocals and you have something that should come across as dated, but “timeless” is probably a better word. On his debut album Badlands the tracks bounce jerkily between poppy and powerful, sometimes even sad, but the one thing they all have in common is that they don’t sound like anyone else’s songs. Though the ideal listening situation would involve a rumbling ute, a dusty road and complete isolation, these songs are also quite good when you’re indoors and around other humans. Get to FBi Social on February 11th for proof.
After more than two weeks without any new COVID-19 cases, and the final active case now recovered, Prime Minister Jacinda Ardern has announced that New Zealand will transition to the lowest possible alert level from midnight Monday, 8 June. All current rules and social distancing restrictions will essentially be lifted. The move means that gatherings of any size are allowed to take place, restaurants and bars can operate as usual without seating limitations, and large public spaces including retail outlets and cinemas won't be required to count heads. Alert Level 1 also sees everyone being able to return without restriction to work, school, sports and domestic travel. Stringent border controls remain for those entering New Zealand, including health screening and testing for all arrivals, and mandatory 14-day managed quarantine or isolation. Which, sadly for Australians, means the trans-Tasman travel isn't quite on the cards — yet. First floated back in back in late-April, the 'travel bubble' was flagged as a potential in step three of Australia's COVID-recovery road map, which could come into place as early as July. Last week, though, when asked about opening NZ to Australian tourists, Ardern said told 7 News reporters: "We're on a great track. Australia is still dealing with cases, so just a little bit more progress is required...It's fair to say we are all eager, but we're eager to do it safely." Australia currently has 455 active cases out of a total 7260. While travel to NZ may still be off the cards for now, the Australian Health Protection Principal Committee — which advises the government on decisions during health emergencies, such as pandemics — is meeting today to discuss "stage three and beyond" of the road map, so it's possible we could find out about other eased restrictions relatively soon. For more information about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website.
Maybe you've heard about that fabled burger joint in Penrith (and now Beaumont Hills) named Burger Head. Maybe you've wanted to go but you live in the inner west and rarely leave. Well, here's your chance to get your hands on one of the much-loved burgers, with Newtown brewhouse Young Henrys hosting the burger joint for a one-day pop-up. Sunday, February 3 marks the first time Burger Head's burgers will hit the inner west. For the occasion, the team will be cooking up some crowd favourites alongside a one-off creation, which includes a smashed Angus beef patty, beer tempura onion rings, beer cheese sauce (both making use of Young Henrys' brews, of course), American hi-melt cheese and a smothering of dill and jalapeño mayo. If you've never tried Burger Head's burgers before, we suggest trying The Americana (with a smashed Angus patty, pulled barbecue brisket, grilled onions and mustard mayo) or The Clucker (a fried buttermilk chicken burger seasoned with 16 herbs and spices, pickled onion and mayo).
When The Fast and the Furious took Point Break's premise and swapped surfing for street racing, it seemed like one of those easy Hollywood knockoffs that would speed into cinemas and then race right out of viewers' memories. Eighteen years, seven sequels, plenty of Coronas and a whole lot of talk about family later, we all now know that wasn't the case. It's the high-octane franchise that just keeps tearing up tyres and tearing across silver screen, and it has yet another new addition. The first Fast and Furious spinoff, Hobbs & Shaw reunites two of the series' newer players: Dwayne Johnson's Luke Hobbs, the government agent who has been a F&F staple since 2011's Fast Five, and Jason Statham's Deckard Shaw, the villain from Furious 7 who starts buddying around the gang in 2017's The Fate of the Furious. Directed by John Wick and Atomic Blonde's David Leitch, it's basically an excuse to put the two action heroes in the same movie again, watch as they bicker and banter like a muscular odd couple, and throw in the usual world-saving, car-racing antics. It also sounds like box office catnip. Because two of today's biggest stars isn't enough for this initial foray outside of the main F&F stable, Hobbs & Shaw also features Idris Elba as the flick's villain — plus Helen Mirren reprising her role as Shaw's mother, and The Crown's Vanessa Kirby joining the fold as his sister. Johnson reportedly wanted Hobbs to have some family, too; however bringing Aquaman's Jason Momoa on board didn't work out due to scheduling conflicts. Fans of Vin Diesel and the original gang, don't worry. Ninth and tenth F&F films are due in 2020 and 2021 respectively, so Dominic Toretto and company will be back to live their lives a quarter mile at a time once more. Also on the agenda is a female-focused spinoff focused on the ladies of the franchise, because this series remains furious about stretching out its run for as long as possible. Watch the trailer for Hobbs & Shaw below: https://www.youtube.com/watch?v=5Lxu75r3-kI Hobbs & Shaw opens in Australian cinemas on August 1.
During the Point Break remake, a gang of adrenaline junkies contemplate their next fix. Staring up at a mountain they're about to base jump from, they discuss their limits — or "the point where you break". Dialogue isn't exactly this movie's strong point. Yes, the film expands its remit and titular reference beyond the realm of surfing that was so integral to its 1991 predecessor. No, it's not a smart move. The latest Point Break is as lacklustre as everything that comes out of its characters' mouths, despite its best efforts to distract audiences with scenes of spectacle. In broad terms, the story remains roughly the same: a freshly minted FBI agent tracks a gang of thieves whose crimes are tied to their thrill-seeking antics. Cue an undercover operation that tests the cops-versus-robbers divide, as Johnny Utah (Luke Bracey) is seduced by the swagger of ringleader Bodhi (Édgar Ramírez). This time, Bodhi and his cronies don't just surf and skydive, but snowboard, glide and free-climb too. Seeking spiritual fulfillment, they're attempting to complete the holy grail of death-defying endeavours, known as the Ozaki Eight. Their accompanying heists are designed to give back what they're taking in the process, redistributing the wealth to the poverty-stricken, Robin Hood-style. As a standalone feature, it all makes for the kind of slick film that leans heavily on what's being seen rather than what's being said. When the expositional or faux-philosophical chatter gets grating, up pops a daredevil act; when the script can't quite find a way to move forward, or anything for its characters to do, the same trick is deployed. It's the "look over there!" approach to filmmaking, and while it provides some striking sights, their purpose as filler is never in doubt. With the central bromance weak and the law-and-order side of things formulaic, Point Break becomes little more than a fast-paced, choppily edited mash-up of extreme sports videos and any template police procedural you can think of. Moreover, as a remake of a beloved, breezy '90s action classic, the film fares even worse. In reimagining the Keanu Reeves/Patrick Swayze, about stoner surfers trying to finance their endless summer, director-cinematographer Ericson Core (Invincible) and writer Kurt Wimmer (Total Recall) clearly think that bigger is better — and that's where their thinking stops. Core has actually toyed with this kind of material before, lensing the car-oriented riff that is The Fast and The Furious. But where that flick spawned a successful franchise, this rehash just peddles in tedium. Sure, he ramps up the stakes, stunts, locations and backstory, adds the requisite updates and throws in a few overt winks and nods (including one that Hot Fuzz did better). But he also strips the feature of its fun, thrills, humour and personality in the process. Indeed, never has there been a movie in greater need of Reeves saying "whoa", Swayze's oozing charm, or Gary Busey being Gary Busey than this choppy dip into been-there, done-that territory. Among the next gen performers, only Ramírez stands out. Aussie actor Bracey plays his role not just blankly but blandly, Ray Winstone phones in his turn as a London-based officer, and Teresa Palmer's love interest appears to exist purely to give someone female a speaking part. To say that this version of Point Break is a wipeout might be a cliché, but it's also the dull reality — and the film doesn't try to inspire anything more than that. https://www.youtube.com/watch?v=LsSGbIujmPo
It’s interesting what happens when you throw a whole bunch of disconnected ideas into a skip and see what comes out. Let’s say you had an idea for a story about an isolated girl learning to connect with a family she’s never met before. Or you have an idea about what it’s like for a group of kids to survive in the country when nuclear war hits the capital. Or you have a forbidden love idea about cousins falling for one another. Or you want to write about a sullen teen with psychic abilities. Rather than writing four different books, why not just put them all in the same book and hope for the best? On the outside, How I Live Now looks like a mess. Part Tomorrow When the War Began, part The Shining, part 28 Days Later, it’s a hodgepodge of concepts that don't completely gel. So it’s weird that the film is actually quite good. Part of the reason it works is that it’s compellingly all over the shop. You genuinely don’t know where it’s going to go next, and that sort of haphazardness keeps your attention. Even when some of the storylines — hell, most of the storylines — remain unsatisfactorily unresolved, it still makes for a tale that’s far more than the sum of its parts. It’s directed by Kevin Macdonald, best known for 2007’s The Last King of Scotland, and he establishes an unsettling and powerful mood throughout. Saoirse Ronan (The Lovely Bones, Hanna, The Host) is good as ever, creating a thoroughly unsympathetic moody teen and then making us sympathise with her. Young actors Tom Holland, George MacKay and Danny McEvoy acquit themselves very well, especially the exceedingly young Harley Bird (known to a very specific portion of the world as the BAFTA award-winning voice of Peppa Pig), who has to play an enormous range of emotions in increasingly difficult circumstances. The consequences of war — the violence, the sex, what happens when the rule of law collapses — are presented in an extraordinarily unvarnished manner. It’s almost difficult to believe this is based on a Young Adult book; it’s so intense at times that, were the protagonists all adults, this would surely be considered unsuitable for anyone under the age of 18. But make your characters teens, and it’s suddenly relatable. That’s the theory, at least. In practice, audiences will likely be divided. It will be an unsatisfying experience for those who require an explanation for some of the more outlandish setups this film gives us, but for others, the story’s uniqueness will overcome these issues. Its untainted look at the realities of war, and the suspense this creates, will make this a firm and enduring favourite.
For around 100,000 people annually, Sydney’s Tropfest is a chance to enjoy a day of live music, cold drinks, good company, and some of the best short films made that year. For a slightly smaller number it’s also a chance to delve beneath the immediate surface of filmmaking. Tropfest's Roughcut program is probably the festival's main draw for filmmakers and other cinephiles and will return in 2013 to pick apart the idea of collaboration as the key to creativity. Each session will focus on a different aspect of the filmmaking process, with speakers ranging from high-profile Australian actors to Natasha Pincus, aka the brain behind the world-dominating video for Gotye's ‘Somebody I Used to Know'. This year organisers have managed to pull together a lineup with more famous names than the Ocean's trilogy. Tackling the subject of taking Australian productions overseas will be writer/director Michael Petroni (Narnia) and producer Jamie Hilton (The Waiting City, Sleeping Beauty), while writer Erica Harrison and animator/director Simon Rippingale will discuss how they collaborated on crowd-funded animation A Cautionary Tail. Helming the requisite social media section will be Thomas Mai and Hattie Archibald of FanDependent, exploring how new media can help finance, market, and distribute film content. Cutting Edge will delve into post-production, and Aussie export Sam Worthington will rekindle his long-standing relationship with the festival (he took out Tropfest's Best Actor award in 2001 before going on to score the leading role in Avatar) by returning as a speaker. Tropfest Roughcut will be held in Monkey Baa Theatre Company at Darling Quarter on Saturday 16 February. A limited number of tickets are on sale via Monkey Baa's website.
The time has come again to celebrate the world’s largest LGBTQI celebration, the 37th Sydney Gay and Lesbian Mardi Gras Parade. The march up Oxford and Flinders Streets in Darlinghurst commemorates the 1978 demonstration of a few hundred people standing up against discrimination and has become a celebration that draws tens of thousands onto the street. Get up to Oxford Street early on in the afternoon to take in the visual extravaganza of costumes, floats and fabulous fun.
Drum roll please: Groovin the Moo is here, and 2014 looks like a real crowd-pleaser. The big guns on the lineup this year include a few topnotch international acts, like electronica king Robert Delong (USA) and Dizzee Rascal (UK), as well as some of our well beloved locals like Karnivool, Illy and Architecture in Helsinki. The Naked and Famous (who we'll probably end up claiming as Australian soon) are making their way across the ditch, too. A fair slab of the artists announced have really proved their worth lately, taking out a number of spots in triple j's Hottest 100 of last year, including the winner of the coveted number one spot, Vance Joy. Rounding out the first announcement are Action Bronson, Andy Bull, Cults, Disclosure, Holy Fuck, The Jezabels, The Jungle Giants, Kingswood, The Kite String Tangle, Loon Lake, Parkway Drive, Peking Duck, The Presets, Thundamentals, Violent Soho, Wave Racer and What So Not. Groovin the Moo will hit Maitland Showground on Saturday April 26. This year marks the move towards something new as well, with the very first Groovin the Moo art exhibition. It's running in conjunction with the Maitland Regional Art Gallery, making a space for images, graphics, objects and a mishmash of multimedia from the Groovin the Moo archives to show off the colourful history of the festival itself. It runs from March 7 to May 25, and entry is free. Over the last couple of years we've seen huge changes on the Australian music festival scene, losing some stalwarts and seeing some youngsters really come to fruition. Since its inception, Groovin the Moo has been one of those festivals that really looks like sticking around, bringing the best in Australian and international talent to the country, to the people who can't get to shows in the big smoke. Tickets are now sold out for Maitland and there's more information available at the Groovin the Moo website. https://youtube.com/watch?v=uJ_1HMAGb4k
When COVID-19 came to town, it forced Sydney restaurants, bars, cafes and pubs to shut up shop for a while. Now that venues are welcoming punters back and life is slowly getting back to normal, we're starting to see how the pandemic has changed our hospitality scene. We lost some Sydney gems, such as Surry Hills institution Il Baretto and live gig and comedy venue Cafe Lounge. Over the bridge, much-loved Neutral Bay wine bar Firefly also closed its doors after 12 years of service — but it's not all bad news. In the same Young Street digs that used to serve up Frosty Fruit-favoured cocktails, plenty of pinot and damn fine bar snacks, you'll find an Israeli pop-up by Firefly owner Daniel Sofo and chef Nissim Elkabetz. While dining numbers are limited to 50 with strict social distancing rules, the transition to a more casual diner makes sense. Pocket Pita opened yesterday, Tuesday, June 2, with a succinct menu of Israeli dishes — all under $25. Expect falafel, shawarma, salad (served in bowls made of laffa), sabich and, of course, pita, plus dips and the former venue's signature za'atar zucchini fries. For dessert, there are two Middle Eastern dessert favourites: knafeh and baklava. You'll also find a range of sodas and spritzes, too, with flavours such as date and mint, pomegranate, sour cherry, and tamarind. The pop-up is open Tuesday through Sunday from 11.30am till 9.30pm for dine-in and takeaway, wth home delivery available from Thursday, June 11. You can't book, so just walk by and see if you can nab a spot or get some takeaway. You can pre-order via Mr Yum. Pocket Pita is now open at 24 Young Street, Neutral Bay . Opening Hours are Tuesday–Sunday 11.30am–9.30pm. Home delivery is launching on June 11.
It has been 28 years since the first Jewish film festival reached Australian screens, and the annual cinema showcase is still going strong. If a movie hails from Israel or explores Jewish culture, it's likely to end up in the Jewish International Film Festival's program — including opening night's Yiddish-language drama Menashe, Orthodox community-set screwball romantic comedy The Wedding Plan, the intimate exploration of grief and connection (and baked goods) that is The Cakemaker, and the Kevin Spacey and Nicholas Hoult-starring JD Salinger biopic Rebel in the Rye, which closes out the fest. They're just some of this year's JIFF's highlights, and there's more where they came from. In fact, the complete 2017 lineup boasts 65 films from 26 countries, including features and documentaries from Israel, Australia, Argentina, Denmark, France, Germany, the Netherlands, Poland, Spain, the UK and the USA. If you're a fan of Jewish-themed cinema, prepare to settle in for the long haul when JIFF does the rounds from October. Sydneysiders can get their fix at Event Cinemas Bondi Junction from October 26 to November 22, and at the Hayden Orpheum from November 11 to 22 as well.
Sopheap Pich is an artist who's had it particularly rough. Born in Cambodia in 1971, Pich and his family fled the genocidal Khmer Rouge in 1979. The group made their way by foot to a refugee camp on the Thai border before resettling in the US. He began pre-medical studies but dropped out to attend art school where he attained his BFA and MFA. In 2002, the artist moved back to Cambodia and began working with local materials, primarily bamboo and rattan (a slender, wood-like plant). As a child, Pich had spent a great deal of time making toys and hunting devices by hand. He explains, 'when I first started using rattan to make sculptures, I was reminded of the adventures I had as a kid. I try to approach my new works with the same curiosity and openness to possibility. Aside from their useful qualities, bamboo and rattan are also very satisfying to work by hand and the simple techniques I employ allow for complex shapes and thoughts to come through'. Pich's works are staggeringly eloquent with a marvellous sense of lightness and are steeped in references to Cambodia's cultural and political history. They range in scale, but the centrepiece of the exhibition, a woven statue of Buddha, is about three times the size of a person. The walls of SCAF have been painted a rich, dark maroon. The colour envelops as you move around the space and the lighting has created fabulous shadows that appear against the walls. The shadows themselves feel like an integral part of the works. Pich is perhaps Cambodia’s most internationally regarded artist. He received a solo show at the Metropolitan Museum of Contemporary Art earlier this year, pretty much the Holy Grail for any artist. Sopheap Pich's exhibition at SCAF is part of Collection+, a new project that sees curators choose individual artists whose work is represented in the Gene and Brian Sherman Collection. The curators then use their selections as a jumping off point to build an exhibition by sourcing other pieces by the artist from local and international collections.
NAIDOC Week is a time to recognise and celebrate the history, culture and achievement of Aboriginal and Torres Strait Islander Peoples, and the theme of the week this year is Get Up! Stand Up! Show Up!. On Saturday, July 9 East Village Shopping Centre is hosting a jewellery-making workshop in partnership with Boomalli Aboriginal Artists Coop. The workshop will be led by Wiradjuri woman Sharon Smith. Through her work as a painter and multimedia artist, Smith has created countless works exploring her culture, heritage and identity. The workshop is popping up in front of East Phoenix on level three of the shopping centre. Book a spot for an easy $20pp, with two session times across Saturday at 11am and 1pm. Plus, all proceeds will be donated to Boomalli Aboriginal Artists Coop. Spots are expected to fill up quickly so head to the East Village website to secure your place. View this post on Instagram A post shared by East Village (@eastvillagevp)
Huge news: The Lady Hampshire is back. Thanks to hospitality group PUBLIC who own and operate spaces like Oxford House, The Strand Hotel, El Primo Sanchez, and the newly-revamped Camelia Grove Hotel, the pub and live music venue has been given a second chance at life in Camperdown and is here to keep the party going. To celebrate its return, the pub is hosting a massive relaunch party from Friday, April 14 to Sunday, April 16 — and you won't want to miss it. The pub returns to form with locals and live music at the forefront, bringing a stacked lineup of artists to a month-long celebration of music, coined the Month of Madness. Lady Hampshire's Launch Weekender — presented by their beer-brewing Newtown neighbours Young Henrys — will be the first instalment with live tunes headlined by FANGZ on Friday and Pacific Avenue on Saturday. You can enjoy pub classics from the kitchen, plus a pop-up tattoo stall from Thanks Tattoo and free nail art by People and Pooch nail salon on offer, and $10 smashed cheesies all weekend. "It was very important for us to retain as much original character of the venue as we could. Our primary focus was expand on the venue's role in the community as a live music venue," said George Gorrow, one of the crew who helped bring back the much-loved pub. If you would rather opt for a quieter option, peruse the exhibitions of works from emerging artists. Some works are available for sale, so if you're ready to splash some cash, you may be going home with a hefty prize. Or, you can simply enjoy a few coldies in the 100% recycled urban beer garden as the sun sets. The revived venue also features a revamped kitchen menu. Head Chef Brendan King, formerly from Baba's Place and FISH SHOP, has taken the reins on refreshing the pub's eats. You can now expect hearty house-made pub feeds with fresh, locally sourced ingredients including classics like the Guinness shepherd's pie and the Hampshire smash burger. Tickets for Saturday's gig are already sold out so get in quick to nab a spot on Friday. You can find tickets here. View this post on Instagram A post shared by The Lady Hampshire (@theladyhampshire)
Spring has most definitely sprung. It's time to start thinking about how you're going to get the most out of this year's blooming daffodils, fluffy lambs and balmy evenings. One city that's gearing up for a fresh, fun season is Bendigo. Come early October and through to November, it'll be hosting an array of spring happenings — from a vegetarian festival at the biggest stupa in the western world to a ten-day food and wine extravaganza. Situated just under two hours' drive north of Melbourne, Bendigo is an easy-peasy weekender. So, to ensure your weekend is suitably entertaining, we've partnered with Bendigo Tourism and pulled together seven spring-time events to keep you smiling big in Bendigo.
While 'Thrift Shop' swaggers to the clumsy mash of spiky melodic contours and full Ab minor chords, triple j's other Hottest 100 collaborative effort rambles confidently through soulful grooves and grazing vocals. The grooves come at the hands of 9-piece funk/soul/psych/mod Melbourne outfit The Bamboos and the vocals from You Am I frontman Tim Rogers, and the result is one big track that's even bigger live. This month the temporarily ten-piece lineup will take 'I Got Burned' across the country along with some unheard originals and a whole heap of new covers. With Rogers voice and Lance Ferguson's guitar punctuated by the spectacular larynxes of resident Bamboos Kylie Auldist and Ella Thompson plus a handful of brass things and a Hammond organ, the Soul and Rock 'n Roll show should give you plenty of material with which to argue that maybe genre is kinda redundant anyway. Read our interview with Lance Ferguson of The Bamboos here. https://youtube.com/watch?v=hZEN_l4j6mY
If you, like us, long to spend every evening in the cinema but also need to preserve your doubloons to pay rent, this is the competition for you. To celebrate the release of Suburbicon, we're giving away 104 double passes to an early screening of the film. Suburbicon, just to pique your interest, is a film about dirty deeds happening in idyllic 1950s suburban America. In true Clooney style, it's not heavy, but more a dark comedy (that would be the influence of the Coen brothers, with whom he co-wrote the film). Matt Damon and Julianne Moore play a family who get in over their heads with with mob and are forced to navigate their way through some comically dark situations. They're supported by Josh Brolin and Oscar Isaac, all set against a vintage backdrop. Even though it's a little heretic to put George Clooney (silver fox and everyone's favourite Nespresso advocate – sorry Penelope Cruz) behind a camera, instead of dancing in front of it, the man has directing chops. And a double pass (for you and a lucky date) will let you watch his latest offering before the rest of Australia at the EVENT cinema on George Street at 6.30pm on October 25. Truly, a very swanky way to spend a Wednesday night. To enter, see details below. Suburbicon is out in Australian cinemas from Thursday, October 26. [competition]640995[/competition]
There are many ways to do Vivid. But not many combine gazing at the epic views and escaping the crowds while sipping premium wines — until now. Premium wine producer Grant Burge Wines is packing up some of its best stock and bringing it up from the Barossa Valley to host a pop-up cellar door at The Squire's Landing during the festival. You'll have just five nights to join chief winemaker Craig Stansborough for a wine tasting backdropped by incredible views of the Sydney Opera House and Harbour Bridge swathed in light. You'll start your evening with sparkling wine and canapés before Stansborough guides you through a flight. The list features premium drops from Grant Burges Wines' most coveted ranges. And to celebrate this special wine tasting series, we're giving away three double passes, worth $100 each, to the final session at 7.30pm on Sunday, June 2. Enter your details below for a chance to win. [competition]717195[/competition]
When it comes to finding a delicious bourbon, we tend to turn to makers with a whole lot of experience — like our mates at Buffalo Trace who have spent over 200 years mastering whiskey making in Kentucky. And this month, Buffalo Trace is giving away a barbecue and bourbon-filled night at NOLA Smokehouse and Bar for you and a mate (or date). Whether you're a bourbon brainiac or total rookie when it comes to American-made whiskey, you're sure to discover something delicious on your night at this Barangaroo bar and restaurant. You'll start with a St Louis sour cocktail on arrival followed by a Weller Special Reserve old fashioned to enjoy with the pit-master's selection of succulent barbecue meats, tangy house pickles and a selection of tasty sauces for dinner. After dinner it'll be time for the all-important tasting session where you'll get to sample some of NOLA's extensive range of American whiskeys — the largest selection in Sydney, no less. The whiskey flight will include tastings of some of the rarest bourbons in Australia including Buffalo Trace, Weller Special Reserve, Eagle Rare 17 and the 20-year-old Pappy Van Winkle. Afterwards, you'll be heading home with a bottle of Buffalo Trace in hand for next time. And the best part? You won't have to pick up the tab. Sounds pretty incredible, right? To score this prize, see details below. For more information on Buffalo Trace, follow them on Instagram. [competition]830128[/competition]
We all have private lives different to the ones we make public. And many of us assume that for every secret weird thing we have, uber rich people have 10. Extreme ambition and extravagant living seem to require a flipside. It's a tension explored on stage in Griffin's Dreams in White, which is partially inspired by the murder of Melbourne businessman Herman Rockefeller, who knew his killers through a swingers site. Michael Devine (Andrew McFarlane) is a debonair property developer with a loving wife (Lucy Bell) and better-than-average relationship with his 18-year-old daughter, Amy (Sara West). But it's a life he doesn't get to return to after he harasses a couple, David (Steve Rodgers) and Paula (Mandy McElhinney), who hooked up with him via his sex ad once and have no desire to do so again. Playwright Duncan Graham (Cut, Ollie and the Minotaur) does not take the obvious route in his storytelling, and that's a big part of what makes Dreams in White so appealing. It's a thriller in which you already know whodunnit, so the mystery is instead in seeing how a seemingly good man comes to be murdered by two other seemingly good people. We know Michael had a normal relationship with his wife, who never suspected his secret proclivities, but we assume this normal interaction rather than see it played out on stage. In fact, the husband and wife do not share a scene. Instead, we see Michael's sweet side through his relationship with his daughter. Their revealing late-night chats are singly the thing that gives Dreams in White great depth. The friendship and understanding he shows her, and the way he encourages her self-respect while she's going through typically dubious teen relationship experiments, seem in contrast to the man he is on the side — and yet also somehow essentially a sign of it, since he might not have that flexibility if not for his own experience with deviance. The performances are strong and fearless all round, with Bell's unanchored angst being particularly moving. Impressive, too, is the coolly manipulative calmness that suddenly switches on in McElhinney when she moves into her secondary role as Anne's psychiatrist. Once you've been hooked on the lean tension in Dreams in White, there is a brutal, unreserved payoff. Director Tanya Goldberg (The Story of Mary MacLane By Herself, Way to Heaven) has chosen to go all-out on the ending, which is confronting in the intimate confines of the Stables Theatre and saddening in the context of the characters you thought you knew. Image by Brett Boardman.
Art & About 2013 is shaping up to be another festival of fun, accessible and thought-provoking art. With the focus on creation and storytelling, one of this year’s expected highlights is the unique interactive work I Think I Can. Terrapin Puppet Theatre artistic director Sam Routledge and interdisciplinary artist Martyn Coutts have co-created a whimsical project that offers viewers the opportunity to become an imaginary resident in an imaginary railway town. To take up this virtual residence in Springfield Junction, the participant completes an iPad personality test and is subsequently allocated a character (and a passport so you can return!). Of the dynamic town community, you could live vicariously through the Queen, a hitman, a reality TV star, or perhaps even President Obama. Your tiny puppet avatar will then be animated, magnified and broadcast live onto large screens above the model town. You can also read about the latest news and scandals happening in the miniature community via the online newspaper.
While Australian winters can get pretty damn nippy (hello slanket, our old friend), unfortunately we're not often blessed with really fun cold weather. We don't get snow, sleet or iced-over lakes which means we don't get snow days, slush fights, skating, tobogganing or a plucky bobsledding team to represent us in the Olympics (okay, we do have that last one). The Winterlight wonderland in Parramatta's Prince Alfred Square ‚ back for a third year — is aiming to right this grievous wrong. From July 6, you can delve into the kind of winters that the Starks seem to fear so much: a snowy, fun winter. The installation boasts all the icy activities you could ever want. If gliding around a treacherous ice pond with knives attached to your boots is your bag (known as 'ice skating'), you'll be delighted to know there's a large ice rink planned. But if you're more of a demure ice frolicker, the ice toboggan may be more your thing. Or perhaps a trip down a slick ice slide? The world is your cold, wet oyster. A turn about the rink will set adults (14 years and older) back $23, but after you ease your tired feet back into normal shoes and try to remember how to walk, the real fun begins. Winterlight is decked out with a delicious, delicious village serving up Turkish gozleme, hot chocolates, bratwurst and burgers. And really, aren't bratwurst and mugs of hot chocolate the real spirit of winter? Winterlight will be open Monday to Thursday from 11am till 10pm and Friday to Sunday 9am till 11pm. Images: Ali Mousawi.
It's hump day, which means it's time to start thinking about the weekend (if you're not already). And, excitingly, the weekend coming up is a long one. With all states, territories and capital cities copping an absolute scorching over the past couple of weeks, we thought we'd take a look at what's on the menu for the Australia Day long weekend. Our capital is going to be bearing the brunt of the heat with the Bureau of Meteorology predicting Canberra will remain in the near-40s from Friday through Saturday, with Sunday dipping to 35 with 30 percent chance of rain. We suggest hitting the sand in the early morning before it gets too hot (and before the UV peaks). Down the coast in Melbourne, Friday is expected to be a fiery 41 — luckily this all-vegan gelateria is giving out 1000 free ice creams to make it slightly more bearable — but Saturday's only hitting a max of 26, with 40 percent chance of showers. Sunday and Monday will also hover around the mid-20s, with minimal showers predicted, so it'll be perfect weather for a hike or splash around in a body of water. There'll be no near-40 temperatures in Sydney, instead just mid-to-low 30s across the board, with little chance of rain. Our mates at BOM are predicting extremely high UV during the day on Friday and Saturday, so do cover up (with clothes, zinc or sunscreen) if you plan to head outdoors to the beach or to Yabun Festival, an all-day celebration of Aboriginal and Torres Strait Islander cultures. Brisbane is expected to be equally subdued, with 33 degrees predicted all weekend. If this sounds like perfect gin-drinking weather to you, you'll be happy to know that two juniper-heavy parties will, in fact, be taking place across the weekend, as well as GABS' much-hyped top 100 craft beer countdown. Across the country, Perth is expected to be dry and balmy, sitting in the mid-20s, while Darwin should expect rain and thunderstorms every day for the next week. Adelaide folk will be cranking their air-cons with 45 predicted tomorrow, before it eases off to the mid-30s for the rest of the week. Hobart will be ten degrees cooler, with mid-20s expected across the weekend. To help you plan your beach trips, we've rounded up our favourite ten spots in Sydney, Melbourne and Brisbane. Images: Lorne by Robert Blackburn; Manly by Paros Huckstepp; Currumbin via Flickr.
Ever wished you were around for — or wanted to return to — the 80s boss board room style of power suits, shoulder pads and three-martini lunches? Chin Chin is aiming to do just that this June. The always-busy Surry Hills eatery is joining forces with Sydney-based fashion designer Frida Las Vegas (aka Stavroula Adameitis) for its next immersive dining experience, dubbed Smoke and Mirrors. Chin Chin's basement event space will be dolled up with Frida Las Vegas' neon and acrylic artwork, along with decadent furniture and interiors. The Sydney-based pop artist and avant-garde fashion designer has been commissioned by the likes of Katy Perry and Client Liaison, so you can expect some serious statement pieces in tow. Alongside this bright and punchy remodelling will be a special menu featuring some of Frida's favourite dishes and cocktails. Those include an apple jelly pavlova with minted dragon fruit, whipped rose cream, fairy floss and popping candy, and an absinthe and melon martini. You can go a la carte or do the Frida Me set menu which, for $69.50 per person, gets you the lot. It's the same price as Chin Chin's regular set menu, so it could be a good chance to try something new if you've done it a few times already. The Smoke and Mirrors menu will be available every Wednesday through Saturday from 5pm between June 12–29. Bookings are crucial, so get on it over here. It follows Chin Chin's last immersive art and culinary experience, Hyper Real, which just took place in April. You can expect to see more of this sort in the coming months, so keep an eye out.
On one of our most important days of remembrance (also one of the busiest days in the year to be a bartender), Watsons Bay Boutique Hotel are laying out a spread to cater for a solemn celebration in the sun. There'll be live beats, brews, and the much-anticipated flipping of coins, as is tradition on Anzac Day. Two-up kicks off at noon, and then the day will give way to live bands and DJs in the Beach Club. In keeping with the theme of the day, there will be a performance from the NSW Pipe Band. On top of that, the Watsons Bay Boutique Hotel also boasts a comprehensive cacophony of adult beverages, and a solid menu that builds a little on the classics. ANZAC Day remains a tribute to those who fell in defence of their home, but you can still enjoy the public holiday, and the opportunity to partake in traditional celebrations at the Watto's idyllic setting.
Sydney's much loved LGBTIQ+ party collective and publisher Heaps Gay is celebrating four years of being a major thing with an all-day banger of a party on Saturday, November 18. Presented by FBi Radio, the event — which will be decked out like a big gay wedding party — will kick off at Sydney Portuguese Community Club from 1pm and feature musicians and DJs like GlamouRatz and Haiku Hands. There'll also be art, Portuguese chicken, vegan nosh, and potentially even puppies (well, probably not — but organisers are working on it). Beyond Heaps Gay's stellar rep for throwing rowdy parties, the site has established a formidable online presence spotlighting the brilliant work of Aussie LGBTIQ+ folk, such as playwright Charles O'Grady, sex worker and lyric prose Instagram caption master Tilly Lawless and former pro-surfer turned filmmaker Cloudy Rhodes. The party falls on the weekend after the marriage equality result is announced, so bring your love and celebrate the hell yes outcome or — and we're hoping this isn't the case — come commiserate in a safe, inclusive, glittery space.
Oxford Street's staple Della Hyde is teaming up with comedy collective LaughMob to host a monthly comedy night in its basement bar. Down for Good Laughs will see a lineup of Australian comedians from around the country come together in a night of booze, American-style eats and (hopefully) a lot of laughs. Doors open at 4pm and comedy kicks off at 7.30pm. Tickets are a tenner online or $15 at the door, with the additional option to pre-purchase the snacks and show package for $39 — this includes entry, reserved seating and a seven snacks. Think cheeseburger sliders, mac and cheese balls, guacamole with black corn chips and brownies for dessert. Plus, on Wednesdays, the bar does $1 wings (as long as you're buying a drink). Tickets for the first three comedy nights are currently available on the website, with dates and lineup for future months yet to be announced.
Whether you're spending this year's Melbourne Cup with your mates, office crew or loved ones, you've got to plan in advance. With so many spots offering up ticketed events, set menus and parties, choosing can easily take the fun out of the day before it even begins. Luckily, hospitality group Merivale has you covered, with happenings going down at 70 of its venues. It's got it all — from just a few cheeky pints, fancy hats and champagne or all-out party vibes. But we don't blame you if 70 venues is just too much to sort through. That's why we've chosen just a few of our favourites for you to check out — and book immediately. KEEP IT CASUAL AT THE VIC ON THE PARK The Vic on the Park has all the makings for a rowdy Melbourne Cup Day at the pub. This year, it's not just taking walk-ins — for $45, you can nab a table on the deck or in the bistro and settle in for the afternoon with a three-course set menu and a schooey of Furphy (or glass of Chandon Brut for the traditional types). The share menu is served 'family style' and starts with a Mediterranean dip platter (baba ganoush, tarama, beetroot and labne) along with falafel, pickled veg and pita chips. For mains, think rump steak with salsa verde and rotisserie chicken with gravy, plus a wood-grilled veggie side and strawberry cheesecake dessert for all. DJs will spin classic vinyl to keep the atmosphere alive well into the night. GET INTO THE PARTY SPIRIT AT MS G'S MsG's regular party vibes make it a Melbourne Cup go-to, and the team has created an eight-course banquet menu just for the occasion. The venue's famed cheeseburger spring rolls sit alongside crumbed pink ling banh mi, albacore tuna tartare with rendang dressing and tamarind-caramel pork ribs. Dessert brings you the inventive Thai milk tea custard tart with burnt lemongrass cream and milo crumbs to boot. It'll cost you $95 per person, and also comes with a glass of Chandon Brut or Furphy beer. GO ALL OUT AT BERT'S BAR AND BRASSERIE If a fine and fancy Melbourne Cup is what you're after, then you deserve waterfront views to accompany your Champagne sipping. Look no further than Bert's, with its sparkling Pittwater outlook and a brasserie set menu for the finest of dining. For $185, guests will begin with a glass of Veuve Clicquot Yellow Label and canapés, which include fresh oysters with a chardonnay mignonette and marinated trout roe with chicken butter on brioche toast. It'll be followed by a three-course feast by executive chef, Jordan Toft — from king prawn and crudo entrees to vine-leaf snapper and wild mint vinaigrette spatchcock for mains, plus three vegetable sides and peach melba for dessert. It's definitely a dressed-to-the-nines affair, and prizes will go out to the best of the bunch. For a full list of Merivale's Melbourne Cup happenings around the city, head over here.
Ever wanted to go back in time to see just how far we have — or haven't — evolved as a society? Well, at Riverside Theatres you can do just that via its upcoming cabaret production, 30 Something. Set on New Years Eve 1939, the show follows a Hollywood star and a mischievous local maestro as they join forces in Kings Cross to count down to a brand-new decade. Follow the pair of performers as they reminisce on the dramatic happenings of an era defined by The Great Depression, politics and booze through traditional and reimagined music interspersed with cheeky social commentary. It's part party, part immersive theatre production, featuring two of Australia's finest stage stars, Catherine Alcorn and Phil Scott. Get ready for an incredible night at the theatre loaded with historical celebration, big laughs and a damn good time. Keen to party like it's 1939? 30 Something is playing at Riverside Theatres in Parramatta at 8pm Friday, July 22 and 2.30pm on Saturday, July 23. For more information and to book your tickets, visit the website.
This week at Firstdraft sees the opening of three new shows. Galleries 1 and 2 provide Karena Keys and Helen Shelley with the space to explore faith and constructed belief systems as physical representations in paint and its lateral definitions. Their two-person exhibition, The Otherings conjures up images of tribal ambiguity asking us to explore our own worship, religious or secular. Similarly, Tye McBride asks us to question the way in which we construct our knowledge of the world. Her exhibition, 149597870 references the number of kilometres it would take to traverse the distance from the earth to the sun. As a child, I used to lay in bed at night getting myself lost in conceptual knots over how stories could exist right here in my house and not elsewhere (don't you wish you knew me at 10!) and then I would forget the question and I would lose my place and not be able to get back to where I started from or had got to. Anyway, I feel that McBride's offering may be a little like this — it seems that the sun is so very far away from here and now — all 149597870 kilometres away — and yet how the hell did they work that out? I can see Indiana Jones starting out from Antarctica, stepping off as the crow flies with his wooden measuring wheel. Ah yep. Last to tie that conceptual knot is Ben Byrne with Tumult in Gallery 4. Here Byrne explores noise — the noise within us, outside of us — we are surrounded but not really listening at all. We cannot shut it off for we are a part of every sound ever present. I often think of this idea in connection to our eyes. How is it that our eyes see everything within their vision and yet it is our brains that fail to pick up the slack — how in fact could we ever miss anything? And so ends Big Questions 101 for this week. You never know, some answers might lie at Firstdraft. That's where we will start anyway.
Wander into the Contemporary galleries on lower level two at the AGNSW and you'll come across a video of a young Judy Garland coming face-to-face with her adult self. You'll find photographs that recreate the imaginations of people who've never seen the world through their own eyes. And you'll find out what it might look like if we could see an echo. Shadow catchers is a four-room exhibition of abstract photography, creative video art, sculptural works and historical objects that play with the idea of split selves and twinned time, mirrored images and the eerie experience of seeing body doubles. Curator Isobel Parker Philip has pulled together works by more than 57 artists who've explored these themes in visual art, including New York-based Australian duo Soda_Jerk, French artist Sophie Calle, and Lismore-born multidisciplinary artist Julie Rrap. [caption id="attachment_764545" align="alignnone" width="1920"] Soda_Jerk 'After the rainbow' from the series 'Dark matter' (2009); Art Gallery of New South Wales, ViktoriaMarinov Bequest Fund 2016 © Soda_Jerk[/caption] Parker Philip says that ever since photography was invented it has recorded and distorted reality in a way that both seduces and disconcerts audiences. She's chosen works that focus on identity and multiplicity (subjects might be cloned or conjoined) and ones that play with reflection and the concept of time. If you're not ready or able to visit the Gallery in person just yet, there are other ways to engage with Shadow catchers online, too. As part of the Gallery's Together In Art project, a number of local musicians were invited into the empty exhibitions to perform. You can watch singer Sarah Belkner perform alongside herself in this exhibition. The result is a haunting vocal improvisation that plays with the themes of split selves. Plus, you can take a private tour of the exhibition with its curator; Parker Philip filmed a digital tour of the space just four days before the Gallery's closure — and whether or not you've visited the exhibition since, you'll come away with a renewed sense of wonder about the video works, photography and sculptures you've seen first-hand. And, in collaboration with Red Room Poetry and Sydney Writers' Festival, the Gallery invited six poets to respond to selected photographs in the exhibition, which you can read and listen to here. Writer, human rights activist and documentary filmmaker Saba Vasefi's poetic responses, called 'Segregation', 'The portable home', 'Minerva', speak to the void she feels about being between worlds and the injustices of displacement, whereas poets Ali Whitelock, Joelistics, David Brooks, Melinda Smith and Maddy Godfrey have taken different approaches to works they connected with most. As the poems are available online, including audio via Soundcloud, why not take them into the Gallery on your next visit to experience their power near the artworks that inspired them. Top images: 'Handwalk' (2015) by Ronnie van Hout courtesy Art Gallery of New South Wales and Julie Rrap 'Body double' (2007) by Julie Rrap, courtesy Roslyn Oxley9 Gallery, photo: AGNSW, Mim Stirling. And Sarah Belkner performing in 'Shadow catchers' as part of Together In Art. Photo: Matt McGuigan, Hospital Hill.
Looking for something to occupy the final hours of your weekend and ward off those Sunday scaries? Everyone's favourite name-changing Chippendale pub The Lord Gladstone is serving up the ultimate end-of-week party with eight hours of quality music, eats and drinks. Evening Records and The Gladdy have come together to compile a lineup of top-quality local musicians to fill your Sunday with tunes. Accompanying the live music will be a pop-up bar from natty wine specialists P&V and a food truck from Sparky's Jerk BBQ. The four bands gracing the pub's two stages will be synth-heavy indie outfit A.D.K.O.B, country balladeer Lady Lyon, as well as Christian Values and Magic Nic. Joe Liffy will also be on hand covering DJ duties for the day. Doors open at 2pm and entry is free with beer specials from The Gladdy's good friends over at Young Henrys throughout the day.
From reclining nudes of the Renaissance era to 20th-century punk feminism, the female body has had a long and turbulent history in art. In 1975, Carolee Schneemann reclaimed the body by pulling a scroll from her vagina and reciting a feminist speech. It’s rare to see something this radical nowadays. However, there’s no single story that binds women together. Dear Sylvia at the Australian Centre for Photography is a collection of works questioning the contemporary role of the female body. From documentary to conceptual photography, nine photomedia artists approach their subjects in different ways. Full of emotional and literal tangles, these distorted and displaced bodies resonate with the poetry of Sylvia Plath. It’s a sometimes bleak but important point of reference. Some of the most striking portraits come from British artist Alma Haser’s Cosmic Surgery, a series of Cubist-inspired photographs. She folds faces into delicate origami and repositions them onto her female subjects. Their fractured features become a strange combination of alien and beautiful. There’s a similar kind of manipulation at play in Julie Rrap’s video work, Castaway. Blending Marilyn Monroe and Gericault’s Raft of Medusa, it has an underlying sense of fatal femininity. As the figure lies tangled in a timber frame, still images slowly fade in and out like a watery cross-fade. There is a real sensitivity to Jessica Tremp’s work. Her soft photographs appear inspired by a more romantic affinity with nature. In each work, the surrounding environment seems to creep onto raw skin, whether it be glistening green wilderness, the grainy tone of rock or the hungry darkness of night. As is expected, the documentary photographs don’t have the same precise composition, but they contain more energy — the occasional blurriness captures a greater sense of urgency. A dynamic series from Flore-Ael Surun rallies together a group of activist women campaigning for peace in different corners of the globe. Entering the troubled world of Eastern Europe, Dana Popa presents Not Natasha, chronicling the sex trade in Romania. Many of these works have a coldness and a loneliness — a floral bedspread framed by pornography, a shelf full of religiously iconography, innocent teenagers and dejected women. Evoking familiar themes such as nature, sacrifice, objectification and self-identity, this exhibition is a physical and emotional examination of what it means to be a woman. And as tragic a tale as Plath’s is, it is that of the modern woman: to be awake to the spectrum of opportunities and potential failures. In The Bell Jar, Plath writes about the multiple branches of a fig tree and the inability to choose which one: “I wanted each and every one of them, but choosing one meant losing the rest." Image: Marlous van der Sloot.
While going outdoors at the moment is mostly restricted to outdoor recreational activities, work and grabbing essentials, you'll need to throw on an extra jumper and bring an umbrella to do just that for the rest of this week, with the Bureau of Meteorology predicting rain, thunderstorms and frosty temperatures across most of Australia. A series of cold fronts are set to sweep the country and have, in fact, already hit Victoria. Last night, Tuesday, May 19, Melbourne copped damaging winds, heavy showers and hail, with a second cold front set to bring more showers and even snow to the Alps from later today. The rest of the week is looking, well, wet and cold. Temperatures are expected to hover around 13–14 until Saturday — which is three degrees under the average maximum of 16.7 for May — and there's a medium–high chance of showers every day for the foreseeable future. https://twitter.com/BOM_Vic/status/1262585286254567427 Moving slight north to Sydney, today's clear skies will be swapped for a high chance of rain and fog tomorrow, with the rains expected to persist for the foreseeable future, too. Temperatures are expected to sit around the average for May 19.5, with low 20s predicted until next Tuesday. So, if you're going to get wet anyway, now might be the time to go and swim a couple of laps at one of the newly-reopened ocean pools. https://twitter.com/BOM_au/status/1262568843853139968 Queensland is already getting a soaking, with 100-300 millilitres falling between Cairns and Ingham. The rains are set to continue for the rest of today and tomorrow, but will clear on Friday, ready for a cloudy but mostly dry weekend. The mercury isn't planned to rise as high as usual, though, with the BOM predicting temperatures six–ten degrees below average for parts of the state. If you go out on a hike or a day trip, pack a couple of extra layers. As is usually the case when rain and winds are predicted, keep an eye out for flood watches and severe weather warnings on the BOM website. For latest weather predictions and warnings, head to the Bureau of Meteorology website.
At Griffin after premiering last year at Perth's Black Swan, Aidan Fennessy’s The House on the Lake is an admirably streamlined thriller devoid of the Important Issues that bedevil Australian theatre, but it doesn’t quite stick the landing. Still, it’s never less than involving, thanks chiefly to the wonderfully detailed performances from Huw Higginson as a man who wakes up in a psychiatric facility and Jeanette Cronin as his assessor. Higginson’s David has lost his short-term memory in some sort of accident, and Alice, a psychologist, is trying to help him recover it. Or is she? Fennessy takes his time peeling away the fog of confusion. Where is David? How long has he been there? How did he lose his short-term memory? As many commentators have pointed out, these are all questions Christopher Nolan asked 15 years ago in Memento, and this play feels like a mash-up of that film with The Usual Suspects. But for all its Russian doll-like construction, The House on the Lake isn’t nearly as ingenuous or as unpredictable as either of them. Its incremental revelations don’t add up to the final reveal, they just lead to it, and Cronin has a slab of exposition foisted upon her late in the game that’s all too pat. Still, it’s hard to think of a better production being done of the play than this one, directed by Kim Hardwick. Both actors are superb in roles that require them to be reticent and open (or seemingly so) at the same time, and designer Stephen Curtis has arranged them on a bare white stage that’s both evocative and fluid. The transitions as Martin Kinnane’s lights dim are smoothly efficient; clever nods to the central character’s state of perpetually waking up. And though the play they’ve chosen to mount isn’t quite one for the ages, it’s a tonic to see a show dedicated to nothing more than to entertain. In the end The House on the Lake is nothing more than that, but nothing less, either.
This editorial is sponsored by our partners, The Rocks. The Hole in the Sky could well be Sydney's first birds-only bar. That's birds in the feathered, rather than the female, sense. In other words, both men and women are admitted, but only if they're incognito, disguised as a winged creature. Before you get yourself into a tizz with feathers, chicken skin, glue and flying contraptions, rest assured that the Village Bizarre team will be the ones providing the costumes, in the form of masks that they'll be giving out at the event's info booth. All you have to do is swoop down to The Rocks, grab a mask, pop it on and follow the feathers, which will lead you to the Hole in the Sky. Open between 6.30pm and 10pm every Friday night for the duration of the Bizarre, the pop up is a bar disguised as the firmament, complete with nests, cocoons, twinkling stars and a 'room in the clouds'. The birdlike beverage attendants will be offering beer, wine and cocktails from the Rocks Brewery. Just in case, at any point, you feel the pull of gravity drawing you earthward, a steady stream of ethereal DJ beats, dreamy projections and celluloid snapshots will keep your senses and imagination airborne. If you happened to be lured anywhere by a white rabbit around this time last year, you might have an inkling of what to expect, though, like Alice, you can't be sure that even your weirdest and most wonderful experiences won't be trumped. To watch the teaser video, click here. https://youtube.com/watch?v=nv9-R9V7Uoo
There's no denying Sydney loves its dumplings. The pillowy parcels of filled dough are the perfect winter warmer and pack a flavourful punch in a single mouthful. And few are as skilled in their making than Chris Yan — one of Sydney's top dumpling masters. The Shanghainese chef is the group executive chef of Lotus Dining Group — the restaurant group with eateries in Walsh Bay, The Galeries, Darlinghurst, the Chinese Garden of Friendship and Barangaroo (with a third Barangaroo spot due to open in July). So, it's fair to say he knows how to cook a mean dish — and not just dumplings. When he's not in the kitchen at one of his many restaurants, he's off collaborating with flavoursome chip brand Red Rock Deli. And, on Thursday, August 8, Yan will be hosting two intimate secret suppers for a limited number of guests. So, what can diners expect from the chef? Well, we don't quite know — yet. The menu will stay true to the event's name and remain under-wraps until the night. But, we do know that it'll be a unique three-course feast inspired by Red Rock Deli's limited-edition flavour, Thai red chilli and creamy coconut potato chips. So, in trying to crack the menu code, we thought we'd find out a little about the Sydney restaurants that Yan likes to visit on the regular (and the dishes he orders) for inspiration. He name-dropped a few of his recent favourites, which may give us an idea of what to expect. [caption id="attachment_652979" align="alignnone" width="1920"] China Doll at Woolloomooloo Wharf[/caption] First up: dumplings, of course. Specifically, traditional Nepalese chicken dumplings (momos) from Momo Bar. Unlike Yan's Shanghai-style dumplings, this north shore spot serves its dumplings with garlic yoghurt and paprika butter or with pickled sauce (achaar), which is authentic Nepali-style. Woolloomooloo's China Doll also made the list and is a go-to for Yan — he thinks the salmon sashimi with blackened chilli dressing is some of the best in town. If you're after something heartier (and cheaper), then Yan recommends heading to Pho Pasteur for an authentic beef noodle soup. [caption id="attachment_653246" align="alignnone" width="1920"] Pho Pasteur[/caption] Rounding out Yan's top five, is the chicken pad thai with glass noodles from Home Thai and Indonesian restaurant The Sambal. You'll often see the Shanghainese chef there feasting on the sambal terong Balado — a Balado-style eggplant sambal. So, what might we deduce about Yan's secret supper menu from his Sydney sparks of inspiration? Expect honest, simple Asian food that has flavour in spades. To register for tickets to Chris Yan's Secret Supper, head over here. And, while you wait for the big night to roll around, you can get cracking on this Yan-certified recommendation circuit. Top image: Kitti Gould.
It's no secret that Sydney's hospitality industry is suffering. With more and more people self-isolating and social distancing — plus the introduction of a government ban on gatherings above 100 people — our city's bars and restaurants have seen a drop in customers. Heaps of Sydney venues have begun offering new takeaway and delivery options to provide an alternative. Sister venues Bulletin Place and Dead Ringer are taking a different approach. They announced on their Instagram pages that they're partnering with a bunch of the city's best venues to encourage Sydneysiders to head on in. Bring in a same-day receipt from a list of local joints and you can nab a $10 penicillin cocktail at either Bulletin Place or Dead Ringer. This deal is on offer all month long, too. Heaps of venues are included on that list, including Mary's Underground, Shady Pines, The Wild Rover, Tio's, Bartolo, Cantina OK!, Ramblin' Rascal, Maybe Sammy, Door Knock, Restaurant Hubert — and that's to name a few. Bistecca has jumped on board with the Drink It Forward, Sydney initiative too, offering negronis for a just tenner. And PS40 is slinging 3-for-$48 or 5-for-$70 cocktails (that's $14–16 a pop). We imagine all of the other venues involved will be offering up their own cocktail deal soon enough. Check out the full list on the Bullet Place, Dead Ringer, PS40 and Bistecca Instagram posts. If you're not as keen on heading out, but still want to support your locals, Bulletin Place and Dead Ringer are both offering gift voucher deals. Each voucher you purchase before Thursday, March 19, this week will come with a 20-percent extra value (so a $100 gift voucher becomes $120). You can order from Bulletin Place here, and from Dead Ringer here. This offer will only be available this week, but the vouchers are valid for three years, so get in quick or miss out. If you're choosing to go out and support local businesses, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health. Images: Dead Ringer, Bulletin Place by Cesar Echeverri, PS40 by Alana Dimou, Bistecca by Dominic Loneragan.
It is a truth universally acknowledged that the alternative music scene that came before is unquestionably better than the scene right now. It's something we've all grown up crowing (no matter if we said the same thing a decade ago). So we know that the tendency towards nostalgia and a willingness to make heroes out of drunken twenty-year-olds who only released two records is damn near irresistible. For the semi-autobiographical film Lucky Them, this kind of nostalgia is both the target and the appeal. Loosely based on the experiences of screenwriter Emily Wachtel in the New York music scene, the film is set in Seattle, the birthplace of grunge, and spends equal time exposing nostalgia and falling right into its trap. Lucky Them tells the story of an aimless music journalist, Ellie Klug (Toni Collette), as she searches for an acclaimed Seattle musician, who supposedly died years earlier. Ellie is initially reluctant to uncover the whereabouts of her former lover and music idol, and she struggles to find closure, while her ex-boyfriend Charlie (Thomas Haden Church) films an amateur documentary about her efforts. While the film supposedly runs close to Wachtel's own personal experiences, in taking on the mythology behind Seattle's music history (where director Megan Griffiths lived for many years), the film manages to feel like a broader story of music nostalgia. The character of the lost musician, Matthew Smith, makes references to the early deaths of Pacific Northwest music idols Kurt Cobain and Elliott Smith, and the whole film is layered with Seattle alt-rock nostalgia. The soundtrack that plays over the sweeping shots of the wet, dreary landscape hints at riffs from Nirvana's 'All Apologies', and memorabilia lent to the film by the iconic local record label Sub Pop line the walls of almost every scene, from original Mudhoney posters to gold records from the Shins and Postal Service. These pleasant hometown references make Seattle feel like an extra character in the film. Alongside this, Church gives an excellent comic performance as the eloquent but music-illiterate Charlie and the fantastic Oliver Platt appears as Ellie's editor Giles, the surprisingly patient, ageing pot-smoker forced to deal with shareholder demands that he boost circulation in a fading print music journalism industry. All this makes it easier to stick with Ellie, whose relentlessly immature decisions, alongside the uncomfortably petulant tone Collette uses, make it difficult to connect with her. Although there's a surprise cameo that manages to be charming rather than distracting from the story, it's a shame that Lucky Them finishes in almost rom-com cliche terrain. It's enough to make you wish you were watching Charlie's fictional documentary instead, like the real nostalgia junkie that you are.
John Pilger's steadfast commitment to Indigenous affairs over the past 30 years has won him international recognition as an investigative journalist and filmmaker. Passionate about communicating the plight of Aboriginal Australians and rallying for change, he returns with new documentary Utopia, which he describes as "one of the most urgent films I have made". Utopia takes its name from the vast region in Northern Australia that is home to the oldest continuous human culture. The film traces the theft of a continent and the subsequent atrocities of the colonial regime. Extreme poverty, death in police custody and concentration camps are just some of the atrocities highlighted. In presenting two clashing portraits of Australia — one of Gold Coast resorts and mining wealth, the other of abject poverty in rural Aboriginal communities — Pilger is out to expose Australia's own secret apartheid, a 'lucky country' stained by human rights violations. With the desperate state of Indigenous affairs, this important film promises an enlightening and moving experience. To get the film seen and spread, there will be a free, open-air screening on Friday, January 17 at The Block in Redfern, a site loaded with Indigenous significance. A series of public screenings will also take place at the MCA, concluding with a special event on Australia Day, otherwise known as 'Invasion Day'.
Roman Polanski's story is an extraordinary one. His life has been marked by tragedies, victories, and traumas of filmic proportions, from his survival of Nazi occupation in his native Poland to the cult murder of his pregnant movie star wife Sharon Tate and his Oscar win for The Pianist in 2003. Roman Polanski: A Film Memoir is an extended conversation between the auteur and his longtime friend Andrew Braunsberg, who produced several Polanski films. The interview took place while Polanski was under house arrest in Switzerland in 2010, following his second trial for drugging and raping a thirteen-year-old girl in 1977. The production itself is pretty undergraduate — shoddy sound, unimaginative camerawork, and cheap iMovie-style effects. It turns out the director, Laurent Bouzereau, makes his living producing 'making of' documentaries for movies like Jaws and Back to the Future, and he's clearly riding on Polanski's incredible story. Polanski, who trained as an actor, is a gifted storyteller and his earlier hardships in the Krakow ghetto during World War II are truly amazing. His retelling is cut with footage from The Pianist to show how his formative experiences manifested in his movies, and this is where the film is strongest. But the biggest problem, and one which I can't overlook, is the treatment of Polanski's 1977 crime. The word 'rape' is never mentioned. Instead, the filmmakers focus on corruption in the justice system and offer an argument that goes along the lines of 'well, hasn't Roman been punished enough already?' It's a blatantly dishonest approach considering the enormity of the crime and Polanski's guilty plea. That Braunsberg, the key interviewer, is a close confidant and associate of Polanski's means that there is no veil of anything close to objectivity or distance, which is especially troubling given the film's already creepy mandate of setting the record straight, of advocating for a convicted rapist. There's no doubt Polanski is a major artist, and his fans will probably get a lot out of his recollections of his childhood and early career, but don't expect any keen insights or rigorous attention to the ethics of documentary-making. Roman Polanski: A Film Memoir is a personal exercise in public atonement. Quite frankly, I left the cinema feeling infected.
