A Noel Coward play, a series of Haydn string quartets, a concert by Clannad — wait, is this Melbourne Festival? It is, but it's the new-look Melbourne Festival, now in its first year under new artistic director Josephine Ridge. Ridge's goal with her first program has been to broaden the festival's appeal. While there will as always be a range of offerings on the weirder side of wonderful, from an epic dramatisation of a verbatim phone conversation (Nature Theater of Oklahoma's Life and Times), to an artist who makes playable musical instruments out of disarmed assault weapons (Pedro Reyes), the 2013 program is also aiming to draw in audiences who may normally have seen Melbourne Festival as not their thing. An expanded music program is a big part of that, bringing an eclectic range of acts from pop bands such as British India and Polyphonic Spree to a celebration of ska, a classical program put together with the help of the Australian Chamber Orchestra’s Richard Tognetti and a concert in the dark by blind artists Amadou and Mariam. This year also sees a greater focus on commissioned works, both from local artists such as Eddie Perfect and Daniel Schlusser and from big international names such as British choreographer Hofesh Shechter. Other guests of note include much-loved Indigenous singer Archie Roach, who will be playing in a grand welcome to country to kick the festival off, Hollywood legend John Landis and celebrated French ballerina Sylvie Guillem. There’s plenty for free and even if you can’t get yourself to a single film screening, gallery exhibit, concert or performance, the art will be coming to you anyway, via a series of decorative 'art trams'. Ridge has just come from nine years working on the Sydney Festival, an event which she says seems to draw more emotional engagement from its audience, compared to the intellectualised response typical of Melbourne. She’s hoping this year to bring a bit of that passion south, with a program that truly gets into Melbourne's heart. Tickets for the Melbourne Festival are on sale on Friday, 16 August. For tickets and the full program, see the festival website.
It is a staple of the horror genre. Old books always give people the information they need to conquer the monster hellbent on murdering them, so they go to the library, where they are conveniently murdered by the villain just after reading how to overcome them. How apt, then, that Freak Me Out, the gory staple of the Sydney Film Festival, returning in 2013, will be presenting a sneak peek of their upcoming horrors at the ever-popular Late Night Library in Surry Hills on Thursday, May 23. The preview will be hosted by Richard Kuipers, the programmer of this years Freak Me Out section of SFF. He will be showing snippets of 2013's films, which include the SXSW Midnight Movie Audience Award-winning Cheap Thrills; the crazed-Nazi-scientist-themed Frankenstein's Army; and The Rambler, which features a mysterious turn from romcom leading man Dermot Mulroney, who you may know from My Best Friend's Wedding. Kuipers will also be discussing the intricacies of selecting films for the festival, which promises to be almost as entertaining as the moments on screen. Best of all it is free. So head on down, take a friend if you're scared and make sure you don't enter any clearly suspicious dark spaces.
Most folks haven't spent time in a prison for the criminally insane. If you live in Australia, odds are that you haven't navigated the American welfare system, either. And, you likely didn't go to a New York City high school — and you probably haven't walked into a Florida domestic violence shelter as well. But watch the documentaries of Frederick Wiseman and you'll feel otherwise. His observational films peer deeply at the institutions they're surveying, and offer viewers the next best thing to being there. It was true of In Jackson Heights, which is set in the culturally diverse NYC neighbourhood. It's the same of Ex Libris: The New York Public Library, which is clearly about the obvious. And it's accurate of Central Park, gloriously so. For the past 55 years, Wiseman has amassed quite the filmography — and a selection of his movies will be flickering across Sydney cinemas thanks to this year's Sydney Film Festival retrospective program. At It Takes Time: Ten Films by Frederick Wiseman at SFF, the documentarian's first-ever directorial effort, Titicut Follies, will get a showing. So too will 2020's City Hall. Pretend to spend a whole lot of time staring at the screen, being transported to the US and savouring every second of it. Also on the lineup: 2009's La Danse: The Paris Opera Ballet, spreading the Wiseman love beyond American institutions. This ode to the now 92-year-old filmmaker will kick off during SFF and then keep running afterwards — showing at the Art Gallery of NSW from Wednesday, June 8–Sunday, June 19, then at Dendy Cinemas Newtown from Sunday, July 3–Sunday, July 31.
For more than four decades, Storm Boy has been an essential part of the Australian primary school experience. If you didn't read Colin Thiele's novella, losing yourself in its pages, then you watched the wonderful 1976 film adaptation. Perhaps you did both — or maybe you saw the stage version from the 90s onwards. Both then and now, Storm Boy has always told a timeless tale, but its 2019 remake might've benefited from arriving a few years earlier. The central narrative remains just as affecting, focusing on a young boy and the lively pelican he comes to call his best friend. The movie's new additions and its big-name star, however, don't fare as well. In much of the film, the story of a pre-teen Mike Kingley (Finn Little) scampers across the screen, just as the boy himself scampers along South Australia's sandy Coorong coastline. Other than his fisherman dad "Hideaway" Tom (Jai Courtney), Mike's days are largely free from human contact. When he meets another of the region's reclusive figures in local Indigenous man Fingerbone Bill (Trevor Jamieson), he makes a rare pal. The two bond over a trio of other lonely creatures: three baby pelicans whose mother is shot and killed by hunters. Naming them Mr Percival, Mr Proud and Mr Ponder, Mike takes the helpless chicks under his wing, cares for them and watches the birds grow. From Lassie's yearning to return home, to Kes' combination of a kid and a kestrel, to the recent version of Pete's Dragon, accounts of humanity's connection with animals have long inspired movie magic. In pictures such as E.T. the Extra Terrestrial and the recent Transformers prequel Bumblebee as well, the same themes and emotions apply. Sometimes the genre tugs a little too hard on the heartstrings, and sometimes it's happy being a tad too cheesy, but when it works, it brings tears and tender feelings in equal measure. And in Storm Boy, it works. Watching Mike escort his grown pelicans back into the wild, then watching Mr Percival make his return, proves moving in all of the right ways. The path their tale charts from there also evokes a genuine reaction. There's a sunny but never blindly optimistic glow to these 1950s-set scenes, as paired with warm performances from the effortlessly naturalistic Little, Courtney putting in his best work in years, and the engaging Jamieson stepping into David Gulpilil's shoes. Making his first movie since 2008's Two Fists, One Heart, director Shawn Seet finds the right mood and tone even when he dials up the sentiment to obvious heights, while also filling the main section of the film with sweeping images. Alas, unlike its predecessor, the young Mike's exploits with Mr Percival only comprise part of the picture. Wrapped around Storm Boy's compassionate core is a contemporary story, following Mike as a weary, wealthy grandfather played by Geoffrey Rush. Summoned to a board meeting for the family company that's now run by his son-in-law (Erik Thomson), the ageing character relays his childhood memories to his teenage granddaughter (Morgana Davies), who's firmly against her father's latest plans. These additions by screenwriter Justin Monjo (Jungle) come saddled with a well-meaning environmental statement that brings modern-day relevance, but the end product is as forceful and clumsy as it sounds. They also push Rush to centre stage for a significant portion of the movie, a move that feels unnecessary given how engaging the flashback scenes are — and also feels uncomfortable after the recent allegations of sexual harassment levelled against the actor, which he denies. As a result, Storm Boy is both a gorgeous film and a wayward one. Its soaring heights are a delight, and its awkward depths are an unwanted distraction. One will melt even the hardest of hearts, the other will test even the most patient of viewers. Our advice: focus on the titular tyke and the pelican, although you'll wish the filmmakers had heeded the same words. https://www.youtube.com/watch?v=6cBOvn18yeQ
The world begins behind your neighbour's walls... Tatia Rosenthal's film is a coarse series of vignettes about a group of characters who are linked predominantly by their apartment block. The characters include a lonely old man; a beggar turned angel; a model with a hairless sexual fetish and her obsessive quick-to-please lover; a juvenile man who chooses his tiny mates over his fiance; an unemployed guy; a depressed man and a naive child who thinks his piggy bank is alive. The narrative is jerky (perhaps the result of being adapted from short stories by Etgar Keret) but this is an intriguing pastiche of the ordinary, unusual and surreal. The excellent stop-motion animation is enhanced with an all-star cast of Australian talent lending their voices (including Anthony LaPaglia, Geoffrey Rush, Claudia Karvan, Samuel Johnson, Joel Edgerton, Barry Otto and Ben Mendelsohn lending their voices) but $9.99's biggest drawback is that the social observations made lack much insight or depth. We have 10 double passes to give away thanks to ICON films! Email your details to hello@concreteplayground.com.au for your change to win. https://youtube.com/watch?v=pYVldJuB5Zc
November's Paint17 at Artereal showcases three solo installations from artists Lionel Bawden, Gary Smith and Teelah George, revealing a variety of approaches to contemporary painting. Known for his sculptural works, Bawden's The Kandinsky has two sides continues his penchant for transforming commonplace everyday materials — in this case, the humble cereal box. Painted on the two large sides with common phrases often exchanged between Bawden and his loved ones (from "it's bin night" to "we need milk") the cereal boxes appealed to him for their "squishy fragility" and "promise of exhaustion." You may have caught Teelah George at this year's Primavera 2017. With Reclining suite her background in textiles is again evident, as the series of paintings expresses the sensation of a languid layering and museful weaving. You'll also see Gary Smith's Alchemy, a collection of intensely colourful, viscously textured paintings inspired by a rush of musical improvisation suggesting a return to the abstract for the artist.
If laughter is the best medicine then you'll never find a better time to fall ill. From Monday, April 18, over 200 local and international comedians will descend upon the harbour city for the 12th annual Sydney Comedy Festival, ready to fill your prescription of chuckles, giggles and guffaws. Stretching across more than four weeks at venues all around Sydney from the Opera House to Parramatta, it's just what the doctor ordered. Of course, comedy is a notoriously hit-and-miss form of entertainment, so picking the right shows is key. Fortunately, the organisers at this year's festival have knocked the program out of the park. International stars including David O'Doherty, Ross Noble, Paul Foot and Sarah Callaghan will join local legends like Anne Edmonds, Demi Lardner, Michael Workman and Lawrence Leung. Alternatively, you could go and watch a bunch of people reading erotic fan fiction. The choice is entirely yours.
Years of hipster geekdom have led to this, a film directed by Edgar Wright (Shaun of the Dead, Hot Fuzz, Spaced), starring Michael Cera (Nick and Norah's Infinite Playlist, Juno, Arrested Development) and adapted from a comic book based on the conventions of video games and romance. Cera is Scott Pilgrim, an average, sweet but EQ-challenged 22-year-old who plays bass with suburban unknowns Sex Bob-omb and considers getting a "fake high school girlfriend" one year on from a messy break-up a sure sign he's moved on. He soon becomes infatuated with the new girl in town — aloof, doe-eyed, tempestuously hair-dyed Ramona Flowers (Mary Elizabeth Winstead). So infatuated is he that nothing can shake him out of his loved-up reverie, not even news he'll have to face her seven evil exes in battle to the death. One ex-boyfriend has special powers bestowed by vegan purity and righteousness, another through musical skill daunting enough to conjure sonic dragons into combat, others just punch, kick and duel like kung-fu masters. And so, it turns out, does Scott, as Cera ably and amiably whips out the butt-kicking hero that's been hiding behind his constantly dopey demeanour. This plays out in the most stylised of fashions, where visual effects bend time and space, onomatopoeic lettering accompanies sounds and decimated ex-boyfriends explode into showers of coins. Amazing editing not only does the best job to date of mimicking the comics-reading experience but develops a mesmeric pacing all of its own and makes even featherweight jokes land knockout punches. It's buoyed along by a spotless supporting cast including Kieran Culkin, Jason Schwartzman and Mae Whitman (a.k.a. Anne/Egg from Arrested Development), plus original Sex Bob-omb tunes composed by Beck. Scott Pilgrim is an allegory of the male dating experience, so the manic pixie dream girls are in full force, but don't let that put you off. The film is inventive, observant and warm, and you can read as much semi-irony into it as you like. Best of all, it won't leave you out of the fun just because you haven't read the books, played Super Mario Bros., been a gen-X slacker or a gen-Y know-it-all. Wright has already proven himself a virtuoso of the niche-busting genre mash-up, and Scott Pilgrim vs. the World — slacker-cross-martial arts in subject, film-cross-manga-cross-video game in form — is quite the opus. https://youtube.com/watch?v=8NUBVcit5VM
Nineties kids, Disney fans and everyone who's ever cried over a lion cub that just couldn't wait to be king, it's time to climb onto a rock and yell your lungs out. The circle of life has struck again, and The Lion King is back. It's in live-action form this time around, and another new teaser for the movie has just dropped. While it's not the first teaser or trailer to drop — we've been blessed with not one, not two, but three already — this time we finally get to hear Nala voiced by Queen Bey herself. Yep, if you didn't already know, Beyoncé Knowles-Carter will be voicing Nala, while Donald Glover is Simba and James Earl Jones is his dad. Other big names attached include Chiwetel Ejiofor as Scar, John Oliver as Zazu, and Billy Eichner and Seth Rogen as Timon and Pumbaa. Elton John is back working on the soundtrack with Tim Rice, as they both did on the first film. They'll reportedly have some help from Beyoncé, naturally, while The Jungle Book's Jon Favreau is in the director's chair for the entire production. If you're anxious about how it might turn out, it's worth taking Timon and Pumbaa's advice at this early stage — although this initial look should help get rid of your worries for the rest of your days. Here's the new teaser with Beyoncé as Nala: https://youtu.be/CQCUnDjYn50 The Lion King hits Australian cinemas on July 17, 2019.
Throughout the COVID-19 pandemic, New South Wales did not close its borders to domestic travellers — until last week. On July 1, NSW banned Melburnians from one of the 36 (now 40) "hot zone" suburbs from travelling into the northern state. From 11.59pm on Tuesday, July 7, NSW is closing its border to all Victorians. It's the first time in 100 years the border between the two states has closed — the last time was in 1919 during the Spanish Flu. The move comes as Victoria's coronavirus cases continue to spike, with 127 new cases recorded in the past 24. This is the highest daily total for the state since the pandemic began (previously it was 111 on Saturday, March 28). Victorian Premier Daniel Andrews says that a permit system will be in place for those who have essential travel to NSW, including for those who live in border communities and need to cross the border for work or essential health services. NSW Premier Gladys Berejiklian is expected to announce more details about the permit later today, Monday, July 6. Premier Andrews says the decision to close the border was made after a phone call earlier today with Prime Minister Scott Morrison and Premier Berejiklian. "All of us agreed that the best thing to do was to close the border," Premier Andrews said. "That closure will be enforced on the NSW side, so as not to be a drain on resources that are very much focused on fighting the virus right now across our state". Victorians in the aforementioned 40 hotspots suburbs are now under strict stay-at-home orders until at least Wednesday, July 29, and the residents of nine public housing towers are in "hard lockdown" for five days from July 4. At the moment, Victorians from hotspots are required to quarantine for 14 days if they enter NSW — just like returned international travellers — and if they don't, could be slapped with an $11,000 fine and spend up to six months in jail. The same rules apply for NSW residents who visit Victorian hotspots, too — when you head back over the border, you'll need to quarantine and, if you don't, you'll risk the same fines or jail sentence. Whether or not these same rules, and punishments, will apply to all Victorians — and NSW residents who visit anywhere in Victoria — are expected to be announced later today by the NSW Government. You can find out more about the status of COVID-19 at the NSW Health and Victorian Department of Health and Human Services websites.
Silk Cut is a brand of cigarettes that was known for its minimalist design. Cut Silk is not that. Although they may share similar silky smooth textures and subtle tones of elegance, the Cut Silk Dance Band will not cause harm to you or those around you and they can be advertised legally. For the final time this year, the Cut Silk band — made up of members from Moon Holiday, Canyons, Motorik and Touch Sensitive — team up at Freda's to bring you a repertoire of early disco house covers. Resident selector Wild Sunset will be curating the evening's playlist with intentions to change the perspective of live performance from the artist and audience relationship, to a party atmosphere in celebration of music and dance.
While Australians are practising social distancing in a bid to contain COVID-19, Federal Education Minister Dan Tehan wants people to "binge on study" rather than "bingeing on Netflix". And the government is helping you do just that by slashing the prices of some online short-course degrees and diplomas. Hosted by "world-class universities and private providers", the reduced-price courses will start in early May and run for six months. They'll allow unemployed Aussies to retrain in "national priority areas", such as nursing, teaching, health, IT and science — areas in which the country is going to to need trained workers "as we emerge from the coronavirus pandemic", Tehan said in a statement. The price of the courses will be cut significantly, too, with Tehan telling SBS that "the cost of these courses has been reduced by over 50 percent, and in some instances up to 74 percent." In an interview with ABC Radio on Monday, April 13, Tehan revealed that six-month courses in nursing, teaching, counselling, English, maths, foreign languages and agriculture will be $1250, while allied health, other health, IT, architecture and building, science engineering, medical science and environmental studies will set you back $2500. Similarly to other university courses, you'll be able to get a HELP loan, which you'll then repay when you start earning above a certain threshold. There'll be two types of short-courses available, according to Tehan: graduate certificates with some prerequisites and diploma certificates that require no prior learning. "You could either use them to reskill, or you can use them to change careers, or just to start learning," Tehan said in the interview. To enrol in one of these six-month courses, you'll need to apply directly to a university — but you may need to wait a couple of weeks. As Tehan told ABC Radio, "courses [are] being developed as we speak, which will be ready to go in the early weeks of May". Swinburne University, which already has a range of online teaching courses, says in a statement on its website that it's "working with the Federal government and developing short courses in the priority areas of teacher education, health, mental health and counselling, aged care and information technology" and more information will be available in coming weeks. The cheap courses are part of the Federal Government's higher-education relief package, which also includes $18 billion in domestic student payments (regardless of enrolments) and $100 million in regulatory fee relief and six-month exemptions of loan fees associated with Fee-Help and VET Student Loans for students. In NSW, TAFE has already begun offering 21 fee-free short courses to help people diversify their skills during COVID-19. Six-month online courses in 'national priority' areas are to be offered at public and private universities across the country from early May. To enrol, you'll need to apply directly to a university.
Annabelle opens with unnecessary intertitles, advising that dolls are liked by children and collectors, and used in occult rituals. Next, the spin-off from The Conjuring links to its predecessor, revisiting that feature's introductory snippet of three housemates quivering in fear over a frightening figurine. So far, so standard — and so it continues in the same obvious, uninteresting vein. The scene is set for haunted horror cliches centred on a possessed porcelain plaything, sans punch or personality. A year prior, doctor-in-training John (Ward Horton) bought it to complete the antique collection of his pregnant wife, Mia (Annabelle Wallis). When murderous satanic cultists break into their Santa Monica home, it is the doll they covet, leaving it splattered in blood. Strange things soon start happening around the house, but moving to a Pasadena apartment doesn't solve their problems. Even throwing Annabelle away proves pointless, while seeking the assistance of a friendly bookstore owner (Alfre Woodard) and local priest (Tony Amendola) just immerses others in their supernatural troubles. As things go bump in the night, lights flicker and doors slam, Annabelle doesn't deviate from run-of-the-mill scares, employing the same techniques as its predecessor. What's missing is subtlety and suspense, with everything telegraphed so far in advance that eliciting genuine jumps becomes impossible. The usual inexplicably moving items are handled well enough, though the same can't be said for cheap-looking CGI as demonic forces manifest. Lingering shots of the titular toy benefit from slow panning and zooming; however, simply staring at something isn't particularly terrifying. The Conjuring isn't the only film cinematographer-turned-director John R. Leonetti unsuccessfully attempts to imitate — and sadly, it isn't Child's Play's off-kilter chaos he evokes, either. Though the movie's central mother gives birth early, the idea of her home alone, afraid and exercising her maternal protective instincts recalls Rosemary's Baby, albeit dulled and dumbed down, not to mention plagued by highly questionable character decisions. When Annabelle resurfaces from the trash, wouldn't disposing of her again be the clear option? Sure, the feature would be over, but so would its patchy pastiche of poorly rendered tropes. Leads Horton and Wallis do little to lift B-movie writer Gary Dauberman's script, their wooden reading of equally stilted dialogue giving the film a TV movie-of-the-week flavour. As they talk about ignoring the bizarre occurrences because they've moved their clothes, furniture and good memories to their new apartment and should keep playing happy families, it's hard not to laugh, particularly with nothing remotely spooky offered as distraction. Making a bad horror film is forgivable; making a bland one, less so. Where Annabelle best succeeds is in enthusing audiences for next year's The Conjuring sequel, hopefully a blatant departure from this and the proper follow-up the series deserves. https://youtube.com/watch?v=ZlCkrl7ZRjU
To watch films written and directed by Ryûsuke Hamaguchi is to watch people playing a part — in multiple ways. That's one of the key truths to features not only by the Japanese filmmaker, but by anyone helming a movie that relies upon actors. It's so obvious that it doesn't usually need mentioning, in fact. Nonetheless, the notion is as essential to Hamaguchi's pictures as cameras to capture the drama. He bakes the idea into his films via as many methods as he can, pondering what it means to step into all the posts that life demands: friend, lover, spouse, ex, sibling, child, employee, student, classmate and the like. Hamaguchi loves contemplating the overt act of performance, too — his Best International Feature Oscar-winning Drive My Car, which also nabbed its helmer a Best Director nomination at this year's Academy Awards, hones in on a play and the rehearsals for it in dilligent detail — but the auteur who's also behind Happy Hour and Asako I and II has long been aware that the art of portrayal isn't just limited to thespians. Shakespeare said it centuries back, of course. To be precise, he had As You Like It's Jaques utter it: "all the world's a stage, and all the men and women merely players". Hamaguchi's Wheel of Fortune and Fantasy, his second film to reach cinemas in mere months, definitely isn't a French-set comedy; however, it lives and breathes the Bard's famous words anyway. Here, three tales about romance, desire and fate get a spin. This trio of stories all muse on chance, choice, identity, regret and inescapable echoes as well, and focus on complex women reacting to the vagaries of life and everyday relationships. They're about sliding into roles in daily existence, and making choices regarding how to behave, which way to present yourself and who you decide to be depending upon the company you're in. While Wheel of Fortune and Fantasy mightn't ultimately mimic Drive My Car's Oscars success, it's equally masterful. In the first segment — dubbed 'Magic (or Something Less Assuring)' — model Meiko (Kotone Furukawa, 21st Century Girl) discovers that her best friend Tsugumi (Hyunri, Wife of a Spy) has just started seeing her ex-boyfriend Kazuaki (Ayumu Nakajima, Saturday Fiction). She's told in a sprawling taxi chat, which makes for stellar early sequence, and then she grapples with her complicated feelings while musing on what could eventuate from there. Meiko also heads straight to her former paramour, which was never going to simplify the situation. Her mantle to bear: either remaining the picture of a supportive pal by failing to tell Tsugumi about her past with Kazuaki, or laying out their history and forever shifting the dynamic. It's a devastating tale in how intricately it understands the push and pull of bonds that splay in different directions, and how we hold ourselves in various ways depending on who we're with. Next, in 'Door Wide Open', college student Nao (Katsuki Mori, Sea Opening) is enlisted to seduce Professor Sagawa (Kiyohiko Shibukawa, Tezuka's Barbara) as part of a revenge plan by her lover Sasaki (Shouma Kai, Signal 100). She's forced into the part — which blatantly requires her to play a part — by the entitled Sasaki, all because the professor won't give him a passing grade. Nao is married, adding further shades to the roles she's inhabiting at any given time. She's also wholly uncomfortable with the position that her boyfriend has placed her in, but it still leads to authentic connections and revelations. Another of Hamaguchi's strong and frequently repeated truths: that the pretences we all sport, for whatever reasons we adopt them in any particular circumstances, are often barriers to genuine emotions and attachments. Finally, in a world where the internet has been eradicated due to a virus — making third chapter 'Once Again' a piece of science fiction, too, and as quietly fantastical as the feature gets — Natsuko (Fusako Urabe, Voices in the Wind) and Nana (Aoba Kawai, Marriage with a Large Age Gap) cross paths. The former has returned home to attend her high-school reunion, bumping into the latter within moments of getting off the train, with the two women instantly thinking that they were classmates decades ago. Thanks to the preceding portions of the film and also Hamaguchi's filmography in general, it's instantly clear that this scenario won't be straightforward, either. Nana invites Natsuko back to her house, the two chat and reminisce, but neither is all that confident about their shared history in a segment that tenderly but candidly examines role-playing as a two-way street, and also deception as a social grace. Hamaguchi's resume is littered with other obsessions beyond the fictions people spin to get through their days — to themselves and to each other, and willingly and unthinkingly alike — many of which also pop up in Wheel of Fortune and Fantasy. Coincidence has a role in each of the movie's trio of intelligently and painstakingly plotted narratives, and destiny and fortune as well (as the name makes plain). The tangled web that romance weaves, and the sticky strands that represent alluring exes, also leave a firm imprint. So does seduction, and not always in its usual and most apparent form. All three of the picture's sections could stand alone, but each could've been fleshed out to feature length as well; as they exist, they leave viewers wanting more time with their lead characters. Commonalities ebb and flow between them, though, because this is a smart, astute and savvily layered triptych that's brought to the screen with everything that makes Hamaguchi's work so empathetic, warmly intimate and also entrancing. On the list: a canny knack for domestic drama that spies the revelatory in the seemingly ordinary and mundane; a willingness to let dialogue guide each story, yet never by resorting to only speaking in exposition dumps or lazily telling over showing; and, to help with that crucial last component, piercing and haunting long shots by cinematographer (Yukiko Iioka, Listen to Light) in every chapter. Indeed, each portion of Wheel of Fortune and Fantasy almost resembles a full-length film as it is courtesy of these trademark traits, which make the entire movie seem deeply lived-in. It should come as no surprise, then, that Hamaguchi's cast fares just as brilliantly. With the filmmaker's patent fascination with performance on full display, the restrained yet meticulously textured portrayals he exacts from his cast are uniformly excellent. They're more than that; in a beguiling piece about playing parts, and that makes the process of adopting a role its very reason for flickering, peering at its actors feels like peering at reality at its most soulful, insightful and also playful.
UPDATE, MARCH 13: Due to concerns around the coronavirus, Disney has announced that The New Mutants will no longer release on its initially scheduled date of Thursday, April 9, 2020. At present, a new release date has not been announced — we'll update you when one has been revealed. When it comes to superhero cinema, quantity doesn't equal variety. A new caped crusader flick hits screens every month, or so it seems, but many of them follow the same formula. You know the drill, because you've seen it in everything from Captain America to Wonder Woman and several different iterations of Spider-Man: someone with special abilities grapples with their powers, learns how to put them to best use, then faces off against an evil nemesis — saving the world from destruction and devastation in the process. Accordingly, when something dares to break the mould in even the slightest way, it stands out. That's one of the reasons that Marvel's The New Mutants has gathered quite a bit of attention in recent years. Set within the X-Men universe and based on the comics of the same name, it follows a group of young mutants being held against their will in a secret psychiatric hospital, basically plonking them in horror movie territory. There's still plenty that's familiar about the premise, with the titular super-enhanced folks all learning to use their powers while trying to escape captivity — but the tone and approach of the film is definitely a welcome change. The darker, scarier mood is on full display in the just-dropped latest trailer, which also confirms an important piece of information: five years after it was first announced, four years since it was cast and three years after it was shot, The New Mutants finally looks set to hit cinema screens. That hasn't always been a given, with the long-delayed film originally due to release in April 2018, only to be pushed back to February 2019, then August 2019, and now April 2020. Along the way, it has been through cast member changes, script rewrites, reshoots and the Disney acquisition of Fox — aka the company behind the MCU flicks snapping up the company behind the X-Men movies — so if you were skeptical about it actually seeing the light of day, let this new sneak peek allay your fears. As well as its ominous tone and plenty of horror imagery, The New Mutants boasts an impressive cast — including Game of Thrones' Maisie Williams, Stranger Things' Charlie Heaton, and Glass and The Witch's Anya Taylor-Joy. Obviously, given how long ago the film was first shot, they all look quite a bit younger than their most recent screen appearances. And, behind the camera sits director/co-writer Josh Boone, who last helmed teen weepie The Fault in Our Stars. Check out the trailer below: https://www.youtube.com/watch?v=otomJ2gKHfQ The New Mutants was due to open in Australian cinemas on April 9, 2020; however it'll now release on a yet-to-be-revealed date — we'll update you when one is announced.
A trip to The Corner Shop has never been so glamorous. Instead of a carton of milk and some red frogs, expect to come back with a treat from their exquisite collection of Australian and international designer labels including Isabel Marant, Kenzo, Helmut Lang and Sarah and Sebastian. There are two of these chic boutiques and we love them both, although we may prefer the William St boutique just because it's actually on a corner. Stocking other fancy frills like Frame Denim, Chloe Shoes and Celine Eyewear, the Corner Shop will leave wallets lighter while enlightening the sartorial soul.
UPDATE: April 15, 2020: Aladdin is available to stream via Disney+. Let's get the obvious reference out of the way: in remaking the 1992 classic, Disney's live-action Aladdin doesn't venture to a whole new world. Instead, the company's latest rehash of its back catalogue adds literal, visible flesh to everyone's favourite makeover concept (Blue Eye for the Street Rat Guy, basically), as well as a few minor twists and an extra song. Relaying the same tale again isn't necessarily an issue, on paper. Storytellers have been doing the same thing since time began, as have filmmakers for more than a century, with re-interpreting familiar narratives, adapting them to different contexts and seeing them afresh all part of human nature. But what Aladdin lacks is a purpose beyond the obvious. It's a glossy new version with actors instead of animation; a shiny, nostalgic replica that's definitely entertaining enough. However it never tries to soar on its own magic carpet. One line of thinking, of course, is that if it ain't broke, don't fix it. Another is that faithful do-overs of beloved hits (including Alice in Wonderland, Cinderella, The Jungle Book, Beauty and the Beast and Dumbo, plus the forthcoming The Lion King) are just Disney's safety-driven success strategy. These are risk-averse filmmaking times, so the latter approach is understandable. When fans mobilise online en masse to cry about women with lightsabers and demand that a television show be remade because it didn't end the way they personally wanted, simply giving viewers what they already like is the all-too-sensible option. Accordingly, Aladdin circa 2019 is exactly what it was always going to be, with all of the expected ups and downs that entails. Yes, it'll make you want to revisit the original. No, Will Smith can't match Robin Williams, but he doesn't always try to. Surprisingly, while there are no geezers spouting Cockney rhyming slang (and no Jason Statham, sadly), director Guy Ritchie's penchant for energetic spectacle generally fits. The story, for those who didn't spend their childhoods rewatching the animated flick endlessly and committing the details to memory, charts Agrabah urchin Aladdin (Mena Massoud), his newfound love for Princess Jasmine (Naomi Scott) and the lamp-dwelling Genie (Will Smith) who can make dreams come true. Aladdin is merely a kind-hearted petty thief with a cheeky monkey for a best friend, with Jasmine only able to marry royalty — and her sultan father (Navid Negahban) is hardly fond of breaking tradition. Complicating matters even further is nefarious advisor Jafar (Marwan Kenzari), who exerts his own influence — with the help of his all-seeing parrot Iago (voiced by Alan Tudyk) — to try to seize the throne. With Genie's wish-granting assistance, Aladdin pretends to be a prince to secure Jasmine's hand, but securing the kingdom becomes just as pressing a concern. There's a timely female empowerment thread to this version to Aladdin, as seen in its new song, as well as Jasmine's rallying against her lack of agency. Barely tinkering with the initial flick's script, Ritchie and co-scribe John August (Frankenweenie) aren't trying to break the mould — or enchanted lamp — yet it's a welcome albeit fairly obligatory touch. Where the director best exerts his influence is in teaming with cinematographer Alan Stewart (Mary Poppins Returns) to bring Agrabah to vivid, jewel-toned life, watching Aladdin sneakily parkour himself around the city and giving the musical numbers the requisite bounce. Where the tunes are concerned, established crowd-pleasers such as 'Prince Ali', 'Friend Like Me' and 'A Whole New World' prove the high points they're meant to be, which sums up the film's fortunes perfectly: its hits are already known, and making sure they don't crash compared to the original is the primary plan. That could sum up Smith's tactics also, or at least that's how it initially seems. He's less comfortable and convincing when he's overtly mimicking Williams at the outset, but serves up an engaging and amusing Genie once he makes the character his own (and when he isn't sporting a distracting shade of blue). Indeed, if viewers had three wishes for the Aladdin remake, and one of them was for a great cast, that has largely been granted. Crucially, Massoud makes a suitably charismatic rapscallion, and Scott brings poise and radiance to a star-making performance, helping you forget that she was in the awful Power Rangers movie. The true scene-stealer, though, is ex-Saturday Night Live star Nasim Pedrad as Jasmine's handmaiden Dalia. It's a move that'd never happen, but if this adequate yet never arresting Aladdin revival sparked a spin-off about its two main ladies just being great and taking on the world, it'd justify its existence several times over. https://www.youtube.com/watch?v=foyufD52aog
UPDATE, July 16, 2021: Blade Runner 2049 is available to stream via Netflix, Amazon Prime Video, Binge, Google Play, YouTube Movies and iTunes. Do sci-fi fans dream of immersive future worlds, neon visuals scored by dark synth notes, and existential musings on what it means to be human? Yes, and they dream of Blade Runner 2049. The sequel to Ridley Scott's influential 1982 film comes to cinemas with a task that's harder than spotting a replicant — or, more accurately, a task that's quite comparable. Directed by Arrival's Denis Villeneuve, and written by the original's Hampton Fancher with Logan's Michael Green, can this follow-up deliver the real deal, or just a convincing copy? The answer, in fitting Blade Runner style, isn't as simple as that. Audiences won't spend decades arguing about it; rather, they'll lap up a movie that's every bit as spectacular as its predecessor, largely because it's built from similar pieces. Taking its cues from the other Harrison Ford behemoth that recently received a long-awaited next instalment — aka Star Wars — Blade Runner 2049 finds the right balance between venturing forward and nodding to the past. With a noir-ish, detective-focused narrative, and plenty of time spent pondering the difference between artificial and flesh-and-blood life, the film proves both a bold second chapter and a loving pseudo-remake. Set 30 years after the events of the first feature, Blade Runner 2049 follows Los Angeles cop K (Ryan Gosling), a blade runner charged with finding and "retiring" old androids. In the intervening period, replicants have fallen out of favour, then come to the fore again in newer, more compliant models, and ultimately found something of an equilibrium with humanity, with tech tycoon Niander Wallace (an ill-placed Jared Leto) leading the charge. Alas, K's latest case threatens the fragile harmony between man and machine, while also leading him to someone who once had his job: an older but far-from-friendlier Rick Deckard (Harrison Ford). That description might seem sparse on details, but the 164-minute film itself is anything but. In soaring overhead shots of crumbling urban sprawl, grey-hued storage facilities, and orange-tinted landscapes, cinematographer Roger Deakins (Skyfall) serves up a masterclass in making every image look like it belongs in an art gallery. In each thrum and drone of the score from Benjamin Wallfisch (It) and Hans Zimmer (Dunkirk), moodiness and mystery intertwine with a rollercoaster of emotion. And, in Gosling's stoic turn at the centre of it all, a look over the top of an upturned collar, and a pause during a slow walk, say much more than the dialogue. Playing a hologram that embodies the next technologically assisted step in the quest for connection, Ana de Armas (War Dogs) proves similarly effective. For a film that overwhelms with its extraordinary sights and echoing sounds, Blade Runner 2049 revels in the little things, and in the potent cumulative toll that they can have. Accordingly, it paints a broad, bleak picture of the past dictating the future that's vivid and convincing because it takes the time to soak in the minutiae — be it the glow of a busy street, the texture of a dead tree or the sorrow in a grizzled face. Again, it's apt — as adapted from Philip K. Dick's Do Androids Dream of Electric Sheep?, the franchise's dystopian vision started with Deckard checking for incriminating glimmers in replicants' eyes, with a tiny flash telling a much bigger tale. Villeneuve achieves the cinematic equivalent, making each moment resound with meaning while honouring the legacy of the original. Oh, and if you thought that every sci-fi flick over the past 35 years took its cues from Blade Runner — and they did — prepare for three further decades of new movies doing the same with Blade Runner 2049. https://www.youtube.com/watch?v=GGa3M0hfTCo
If there's one Sydney event that can evoke both FOMO and JOMO (that's the 'joy of missing out'), it's Vivid. The Sydney spectacle of lights, art and culture is a must-do every year. The problem is that everyone knows it — so battling the crowds is enough to make you crawl into your blanket fort and skip the whole thing. Well, we've found a way for you to avoid the crowds and enjoy the whole shebang in luxury with the best views and a drink in-hand. American Express has snagged the best spot overlooking the gorgeous harbour at Cruise Bar's rooftop and will be hosting an exclusive lounge throughout the festival for both cardholders and guests. Nab a spot next to a heater in this luminous lounge — Vivid views don't get better than this. Whether you're kicking off your night here or dropping in midway through your Vivid tour for some relief from the cold, the Amex lounge is your haven to escape the crowds and take in the sights. Enjoy uninterrupted, panoramic views of the sparkling Sydney Harbour and Sydney Opera House while sipping on Champagne and nibbling on cheese, Lebanese chicken wings and flatbreads and dip. Plus, DJs will also be playing on Friday, Saturday and Sunday nights. These exclusive views are free for Amex cardholders. If you don't have an Amex yet, this is your chance to get a taste of the perks that having one of those cards in your wallet allows. Non-cardholders can register to gain complimentary access to the lounge after 8pm — simply show your confirmation email at the door. The Amex Vivid Lounge will be open every night of Vivid — from Friday, May 24 to Saturday, June 15 — between 5.30–10.30pm. To get your name on the list, head over here.
"Accio April 2022" isn't something any character has uttered in either the Harry Potter or Fantastic Beasts films, but it's what you might be chanting to yourself right now if you're a fan of both. Four years after the last big-screen entry in the Wizarding World — the franchise that's sprung up around The Boy Who Lived — Fantastic Beasts: The Secrets of Dumbledore has just dropped its first trailer. When Harry Potter and the Deathly Hallows — Part 2 reached cinemas a decade back, it was never going to be the end of the on-screen story. Cue the Fantastic Beasts series, which took an illustrated guide book about magical creatures, spun a story about its magizoologist author Newt Scamander, and started a Harry Potter prequel saga. Conjuring up more enchantment hasn't been quite so straightforward this time around, however — and how you feel about 2016's Fantastic Beasts and Where to Find Them and 2018's Fantastic Beasts: The Crimes of Grindelwald might just depend on how spellbound you are with everything HP. But this franchise-within-a-franchise was always going to go on, and The Secrets of Dumbledore is the third entry in the planned five-film series. When it hits the silver screen next year, The Secrets of Dumbledore will once again give Jude Law another 'young' role; he played The Young Pope, so seeing him step into young Albus Dumbledore's shoes in The Crimes of Grindelwald felt like the most natural thing in the world. And, just like in that last Fantastic Beasts flick, Law's version of the future Hogwarts headmaster is pivotal to Scamander (Eddie Redmayne, The Trial of the Chicago 7) and his pals' efforts to face off against the evil Gellert Grindelwald. That said, Grindelwald, the dark wizard who just keeps trying to control all things magical — and wreak havoc on everything in general — isn't quite the same this time around. Both Colin Farrell (Voyagers) and Johnny Depp (Minamata) have previously played the role, but Mads Mikkelsen (Riders of Justice) has now replaced the latter. As the trailer for The Secrets of Dumbledore shows, Grindelwald is still solemnly up to no good — and his devoted following is only growing — so it's up to Scamander, Dumbledore, Tina Goldstein (Katherine Waterston, The Third Day), Queenie Goldstein (Alison Sudol, Between Us) and Jacob Kowalski (Dan Fogler, The Walking Dead) to try to save the day. That requires a dangerous mission led by Scamander, who obviously crosses paths with plenty of beasts (it's right there in the franchise's title). Ezra Miller (Zack Snyder's Justice League) also returns as Credence/Aurelius Dumbledore, while Jessica Williams (Love Life) follows up her brief appearance in The Crimes of Grindelwald by return as Ilvermorny professor Eulalie 'Lally' Hicks. And making the magic happen behind the lens is David Yates, who has directed every Wizarding World film — Harry Potter and Fantastic Beasts alike since 2007's Harry Potter and the Order of the Phoenix. Break out the butterbeer and check out the trailer below: Fantastic Beasts: The Secrets of Dumbledore opens in cinemas Down Under on April 7, 2022.
The Sydney Fringe Festival has announced its 2016 program, and this year its thematic sprawl is matched only by its geographical reach. With Festival Director Kerri Glasscock placing emphasis on the importance of discovering "new places, sounds, people and genres", this year's Fringe comprises over 300 ticketed events and commandeers close to 50 venues over 11 suburbs throughout the city. Darlinghurst will be one of the first suburbs to find itself under creative governance. To celebrate the opening of the festival, Fringe will take over Stanley Street for an epic street party on Saturday, September 3. Fringe Ignite will see shops, bars and cafes on the strip transformed into pop-up live music and performance venues, all of which will be curated by Grammy-nominated jazz pianist and composer Barney McAll. It's also followed by a drag disco at Oxford Street's Midnight Shift from 9pm. And that's just the start of it. This year, the festival will run from 1-30 September with a series of coordinated artistic invasions taking place throughout the month. Performances hit all points of the compass, from Melita Rowson's Giant Worm Show to the 17-piece Sirens Big Band. Rose Callaghan's Attention Deficit…Ooh a Pony! is just one plank in a raft of comedy acts, while dance and visual arts are strongly represented by Melbourne City Ballet and Polixeni Papapetrou, respectively. The Yoganauts — four heroes who introduce kids to the superpower of yoga, naturally — will be returning to ensure younger audiences lose their minds too. On the Thursday, August 11, musician and Festival ambassador Elana Stone will spearhead the carving out of a new artistic precinct along Parramatta Road. Aptly named Off Broadway, an army of local independent artists will descend to reinvigorate a part of the city that is often mistaken for the Soviet Union. Close by, the beautiful new Camperdown Commons urban farm site will also become a vassal state to the arts with a range of events, and Camperdown Park will host a vintage cricket picnic. The festival isn't going out with anything other than a bang either. The closing weekend will see last year's sold out Silent Dinner Party — where diners eat a three-course meal in total silence — will make a return, and, for the first time ever, Fringe will host a mini music festival at Glebe's waterfront Bicentennial Park. The call is to party, but make no mistake – this is annexation by art. Batten down the hatches or pledge your allegiance to culture in the streets this September. For the full Sydney Fringe Festival program, visit sydneyfringe.com. Image: Belina Dipalo.
Suffice to say, there are plenty of high adrenaline activities to fill your itinerary with in Port Stephens. But as a day of jam-packed fun comes to end, you'll want to wind down with something more relaxing — but still a little extra (after all, you're on holidays). Blue Water Sailing offers this in the form of its Sunset Sail, a two-hour cruise around the Port Stephens waterways as the sun goes to bed. Snuggle up to your favourite person and feast on freshly shucked oysters, a cheese platter and local wine as you watch the sky put on a golden- and pink-hued show. Tickets cost $149 and can be booked here. The company also offers sailing lessons and full-day private tours to Broughton Island if you're keen to do a little more exploring. Images: Destination NSW
The lower end of Crown Street did it tough in 2018, with a large number of empty shopfronts littered along the block between Cleveland and Devonshire streets, long-time residents Mr Fox and Cafe Mint closing down, and Bishop Sessa forced to change from fine dining to a more casual affair. But, in good news, one of those spaces has re-opened, with 4 Pines Brewing Company taking over Mr Fox's former abode. As first announced back in November, the Crown Street joint marks the brewery's fourth venue — and its first off the north shore. The new spot isn't just about brews, but about loaded burgers too. Thirsty patrons will find the full 4 Pines core range and limited releases flowing through the taps, alongside some seriously stacked combos of meat and bread. Think dishes like cornflake-coated buttermilk fried chicken burgers with chilli and peanut butter; sweet and sour pork belly topped with Asian slaw, 15 fresh chillies, yuzu mayo and pickles; and both a regular cheeseburger made with Angus beef and a double-sized version that also features smoked bacon. Sides-wise, you can opt for panko-fried IPA jalapenos, a serve of chicken wings, falafels with yoghurt and pickled chillies, and spiced pulled pork croquetas. Apart from beer, there's also a modest supply of wines and spirits on offer, plus a five-strong cocktail menu that makes ample use of ginger beer. The new bar has a similar fit-out to the brewery's other instalments, which include the Manly Brewpub, Brookvale Truck Bar and the Newport barrel-aged outpost — plus the Manly ferry bars and the SCG craft beer stall which opened in April last year. Find 4 Pines Surry Hills at 557 Crown Street, Surry Hills, open Monday to Thursday from 4pm until late, Fridays and Saturdays from 12pm until late, and Sundays fro: 12–10pm. Images: StevenWoodburn.
Drop into almost any fitness class you feel like, without worrying about gym contracts? That's the idea behind Esquared, a new app that lets you find and book your chosen workout session regardless of where it's held (and, crucially, regardless of whether you're a member at the venue in question). Aiming to add some extra flexibility to your fitness routine, Esquared is all about hooking you up with the right class in the right place, giving you control of when and where you work out. Need to go for a spin on one side of the city one day, and hit the barre on the other side over the weekend? Not sure where your schedule will take you, but still keen to fit in a training session when and where you can? Esquared has you covered. Drawing upon a range of participating gyms, the app allows you to pick the session, timeslot and venue that suits you, pay in advance and then walk right in. And, with data displayed in real time, you can select classes on the same day, the next day or any time in the next 30 days. Founded in the UK by former accountant turned pro-athlete Eleni Plakitsi, Esquared will jump from London to Sydney on Monday, September 3, with more than 50 partner gyms already onboard — spanning everywhere from CBD and Surry Hills spots, to the likes of Bondi, Manly, Double Bay, Newtown and North Sydney as well. It's offering a $40 credit to everyone that signs up in advance and, once it's up and running in Australia, will give users access to classes and gym floors across its participating venues. The no-strings-attached, on-demand approach to heading to the gym is also slated to roll out in Melbourne and Brisbane later in the year, with dates yet to be announced. For more information, keep an eye on www.esq2.com.au.
An eccentric alchemist's den now dwells on Cleveland Street; a realm where regular ingredients are turned into hearty nosh, where you'll find 'remedies and elixirs for curious souls'. Time for you to meet the elusive Dr Faustus, the brand new eatery just opened at 380 Clevelenad Street, Surry Hills. Sharing a name with a 16th century Christopher Marlowe play — in which a German scholar, Dr Faustus, dabbles in dark magic in his quest for scientific knowledge and power — this is one quirky new Sydney brunch spot. The creation of Sydneysider Adam Kane, Dr Faustus looks like its been on Cleveland Street for decades — low, brassy ceiling fans, glass-doored wooden cabinets of oddments, varnished tabletops, polished cement flooring, stained glass detailing, old bottles holding freshly-picked flowers. You'll find laboratory-grade flasks, mason jars and metal plates inside; the bizarre collection of the elusive Dr Faustus. Hearty, quirky Australian cafe food is the go at Dr Faustus, from blood sausage with red onion and apple salsa, to zucchini fritters on iceberg lettuce. Breakfasting? You've got some pretty solid options here — eggs three ways (pickled hen egg, quail egg, caviar), the Our Way BLT (bacon, onion, gruyere, foie gras 'smear'), Welsh Rarebit (Guiness bechamel, aged cheddar, Worcestershire sauce and egg). Lunching at Dr Faustus means a Taco Salad (ground chicken, romain, olives, corn, tomatoes, avocado and the immortal chipotle dressing), a Brussels sprout Caesar, and pulled mushroom with kale-slaw. Yep, kale-slaw. Then there's the ultimate brunch sandwich, the New Orleans classic Muffuletta — topped with a big ol' pickle. Get down to see Dr Faustus for an infusion of hearty grub, fresh coffee by Californian barista Mark Fransen and a solid spot to shelter from the summer rain. Find Dr Faustus at 380 Cleveland Street, Surry Hills. Open Monday to Sunday 7am - 5pm.
After one (long) year without a permanent place to call home, Surry Hills favourite Nomad has finally returned to its Foster Street home. A devastating fire back in September 2019 forced Owners Rebecca and Al Yazbek to shut up shop and temporarily open Nomad Up The Road, before a global pandemic threw another spanner in the works. Now, the restaurant has returned to its OG digs with a larger kitchen, more seating and a brand-new deli to boot. Thanks to extensive renovations, the open kitchen is back in action, with the addition of wraparound counter seating — allowing 30 diners to sit up-close and watch the chefs in action. The venue's signature woodfired oven is back, too, as is a double-sized charcoal grill. That oven will once again be the focus of Executive Chef Jacqui Challinor's menu, which will include plenty of new additions for patrons to try. But the fan-favourite dishes have returned as well, such as the smoked ocean trout basturma, date-glazed wagyu tongue and the olive oil ice cream sandwiches (topped with sesame, pistachio and honeycomb). Elsewhere on the menu, you'll find wood-roasted mushroom and XO empanadas, lamb neck with brik pastry and broad beans, smoked mussels with hashbrowns and, for dessert, a banana tart with pine nut brittle ice cream. [caption id="attachment_789146" align="alignnone" width="1920"] Nikki To[/caption] Alongside the restaurant's reopening is the launch of a brand new Nomad Deli, which officially swings open its next week. It will be stocked with a rotating selection of takeaway items and smallgoods, including duck mortadella, freshly made haloumi and the brand's famed cannellini bean hummus. For bakers, there will be chocolate fudge brownie batter and cookie dough on offer, too. Nomad's cellar has also expanded, with more back vintages available than ever before. The list will continue to focus on small Australian producers and will be available for both takeaway and home delivery (in addition to dine-in). Otherwise, expect the same Nomad vibes you know and love. The team has even restored the restaurant's original chairs and tables, while adding some new touches like plush green banquettes. The venue now has room for 200 all up, but is limited to 110 under the current COVID-19 restrictions. And it's sure to be as popular as ever, so we highly recommend booking ahead. Also on the horizon for the Nomad crew is the opening of its first Melbourne outpost, which has been pushed back to early 2021. Keep an eye on this space for the latest updates. Find Nomad at 16 Foster Street, Surry Hills from Images: Nikki To.
For four decades, The Shining has been responsible for many a nightmare — not only due to Stephen King's 1977 bestseller, which helped cement him as a horror maestro, but courtesy of Stanley Kubrick's unnerving and acclaimed 1980 film. If you've ever been spooked by twins, garish hexagonal hotel carpet designs, sprawling hedge mazes, elevators filled with blood, someone shouting "here's Johnny!" or just Jack Nicholson in general, you have this macabre masterpiece to thank. From parodies to homages to overt recreations, The Shining is also the unsettling gift that keeps giving. Everything from The Simpsons to Buffy the Vampire Slayer to Ready Player One has nodded the movie's way — as has documentary Room 237, which attempted to delve into its many secrets, meanings, theories and interpretations, too. But they've got nothing on the actual sequel to the eerie story. It picks up decades later, following the now-adult Danny Torrance as he tries to cope with the fallout from his supernatural gift. (Oh, and the memory of being terrorised by his axe-wielding dad as well.) In the first trailer for Doctor Sleep — which is based on Stephen King's 2013 novel of the same name — all work and no play made Danny (Ewan McGregor) something something. Perturbed, mainly, as he grappled with the trauma he experienced in The Shining. Then he met a mysterious teenager (Kyliegh Curran) who also has the gift, and things got creepier than a ghastly woman peering out of a bath or the word 'redrum' written on a mirror. The teaser was filled with references to the film's predecessor, naturally; however the just-dropped new sneak peak ramps up the nods even further. This time, Danny heads back to the Overlook Hotel to confront his past, and things get even more ominous. Rebecca Ferguson, Bruce Greenwood and Room's Jacob Tremblay also star, with The Haunting of Hill House's Mike Flanagan in the director's chair. While King was famously unhappy with Kubrick's take on The Shining — even writing the script for a three-part TV mini-series version in the 90s — here's hoping that he approves of Flanagan's vision. This is actually the filmmaker's second King adaptation, after Netflix flick Gerald's Game. Check out the latest Doctor Sleep trailer below: https://www.youtube.com/watch?v=0oCTK2U5lpc Doctor Sleep releases in Australian cinemas on November 7, 2019.
When Andrew Haigh surveys the world, he sees its small, quiet stories. Peering deeply at everyday life, the British filmmaker finds tales that couldn't be more commonplace — and, as a result, are often simply overlooked. In queer romance Weekend, he spots two men meeting for the first time, connecting and spending three unforgettable nights together. In melancholic drama 45 Years, he gazes at long-married retirees taking stock of a past gone too quickly. And in Lean on Pete, he trains his soulful stare not only at a struggling teenager, but at the horse that the boy loves unconditionally. That said, it's not just Haigh's willingness to tell these tales that makes his filmography stand out. It's how the writer-director explores these stories that's just as important, with his pictures overflowing with empathy. Haigh couldn't look more kindly, warmly and thoughtfully at the characters in his movies, especially Lean on Pete's 15-year-old protagonist Charley (Charlie Plummer). The lanky boy is someone that the world doesn't see, just like his beloved steed, whose winning days are long behind him. In patient moments that show the unspoken bond between teen and animal, in detailed wide shots that place them both within harsh surroundings, and in rare close-ups that make plain the pain in both of their eyes, Haigh notices, cares and feels for them both. Lean on Pete isn't really Charley's horse. He belongs to trainer Del Montgomery (Steve Buscemi), but when Charley stumbles upon them at the local racetrack, the boy finds a kindred spirit in the ageing sprinter. As a respite from his desolate home life — where the dad he idolises (Travis Fimmel) is more interested in his job and girlfriend (Amy Seimetz) and regularly leaves the teenager alone in their ramshackle house — Charley begins to work for Del. While the boy doesn't shy away from hard tasks, it's Pete that keeps him coming back. Jockey Bonnie (Chloë Sevigny) tells him that "horses aren't pets", but that's not what Charley sees in Pete. Rather, he sees his first real friend. With the film based on Willy Vlautin's novel of the same name, Charley and Pete aren't Haigh's original creations, however that's part of the point of Lean on Pete. Its protagonist is every person who's found more kindness on four legs than on two, every soul that's been cast adrift by society, and every child living in less-than-ideal conditions. And, when Charley's father ends up in hospital, the boy's already difficult life becomes even more so. When he takes off in Del's trailer with Pete in tow, hoping to find his estranged aunt, there's even more heartbreak in store. The second of this year's stellar films about young men, desolate plains and caring animals (after fellow festival favourite The Rider), Lean on Pete is an exquisitely tender and affecting picture. Haigh's handling of loneliness, isolation and tragedy is raw yet delicate yet devastatingly authentic, in a movie that's always sensitive yet never sentimental. Scene by scene, it builds a compassionate portrait of life in the margins in America's midwest that dares to look where others don't. Assisted by lingering and visually striking observational shots by cinematographer Magnus Nordenhof Jønck (Hold the Dark), the film crucially doesn't avert its gaze when the going gets tough. Of course, with Plummer to focus on, why would Haigh look away? Last seen being kidnapped in All the Money in the World, the young actor carries Charley's woes with few words but with a world of hurt evident in his every move — and with just as much love beaming from his face when Pete is by his side. It's another great internalised performance under Haigh's direction, and a portrayal that does what only the best can. Not only does Plummer feel like he's walked across America's heartland and straight into this film, but he makes it seem like he's not even acting. Haigh might see Charley, but his lead actor lives and breathes him. https://www.youtube.com/watch?v=MdJonibBDx4
If you truly want to experience the magic of Jervis Bay, then grab your hat and start with a 90-minute Dolphin Watch Cruise. The tour company has been operating for more than 25 years, with a mission to educate visitors and help them discover the beauty of Jervis Bay, while simultaneously enhancing the protection of the Bays' marine inhabitants. You'll hop aboard at Huskisson Wharf, then voyage into the middle of the bay searching for its 100 resident bottlenose dolphins. If you're lucky, you may even spot some whales, too. When you return, you'll have a good idea of just how epic the bay's proportions are. And, if no dolphins show up, you'll score a free return cruise. [caption id="attachment_770531" align="alignnone" width="1920"] Hyams Beach by Tourism Australia[/caption]
It has been nearly two years since streaming platform Shudder — and AMC Networks, the American company behind it — told scary movie fans in Australian and New Zealand exactly what they wanted to hear. Back in October 2018, it was announced that the dedicated horror service would make its way Down Under; however, as anyone who likes unsettling flicks and spine-tingling TV shows will have noticed, that hasn't actually occurred — until now. In a case of better late than never, Shudder has finally launched to Aussie and New Zealand viewers — joining an ever-growing streaming landscape, but also providing a very specific lineup. Forget anything that doesn't cause goosebumps, chills, thrills or a generally unnerving, suspenseful feeling, as it doesn't belong here. Instead, you can watch your way through new and classic horror movies, as well as horror-focused television programs. Yes, Shudder takes its chosen genre very seriously. Film-wise, that includes retro favourites such as Hellraiser, several Halloween movies and Maniac Cop; newer releases like It Follows, New Zealand horror-comedy Housebound and creative Japanese zombie film One Cut of the Dead; and fresh platform exclusives such as The Beach House and Host. On the TV front, expect to binge your way through the TV adaptation of The Dead Lands, a new anthology series based on 1982 film Creepshow and a self-explanatory five-part documentary series called Cursed Films. https://www.youtube.com/watch?v=X4LZBEVlSXA If you already have a Netflix, Disney+ and/or Apple TV+ subscription and you're wondering whether you really need to add another, rest assured that Shudder's selection continues — so whether you want to revisit Swedish great Let the Right One In, check out Aussie slasher The Furies, or hear from George Lucas, Christopher Nolan and Ridley Scott in James Cameron's Story of Science Fiction, you'll be covered. Shudder's curated collections also handily compile films on certain topics or themes, should you really love monster movies, tales of possession or haunted house flicks, or want to watch more horror features by female filmmakers. In terms of price, Shudder is offering a seven-day free trial for new subscribers. After that, you'll pay either $6.99 if you opt for a month-by-month account or $69.99 if you sign up for a year. For more information about Shudder — and to sign up — visit the streaming platform's website.
It's a little distressing just how good this band is, especially when the two brothers that make up Drenge look like they are only 12 years old. The first time I heard this record, I thought for sure that these were some grizzled old Manchester punks still hanging onto that glorious period of English post-punk in the late '70s and early '80s, still playing their Smiths and Wedding Present cassettes and raging against Margaret Thatcher. And maybe the bit about the cassettes is true, but as you can see, the Loveless brothers (Eoin and Rory) are anything but grizzled. They've been called "Sheffield's Black Keys" by some lazy critics who can only count to two, but rather than coming from a blues kinda background, Drenge is a stripped-back, turned-up combination of all things metal and grunge, with elements of Black Sabbath and The Melvins everywhere — though mostly in the furious guitar overdrive on every track. Their debut album is all killer, and they are absolutely going to tear GoodGod apart. If you're after a sweaty, thrashing headbang over summer, you couldn't ask for a better one than this. https://youtube.com/watch?v=8sqJIdcKsrs
Tales of projects that failed to come to fruition are common in the film industry, as is the wistfulness among audiences for what could have been in different circumstances. Iconic auteur Alejandro Jodorowsky's attempts to mount a cinema adaptation of Frank Herbert's 1965 science fiction novel Dune in the mid-1970s affords yet another example, but rarely has the recollection of a thwarted production been so entertaining. As relayed in the aptly titled Jodorowsky's Dune, the retelling of his efforts is the stuff cinephiles' dreams are made of. Director Frank Pavich assembles a who's who of cinema to furnish an account of how Jodorowsky, then riding a wave of fame thanks to El Topo and The Holy Mountain, tried to take Dune to the screen a decade before the David Lynch-helmed version emerged. Drive filmmaker Nicolas Winding Refn helps fuel the legend and kickstart the exploration of the documentary's central theories: first, that the finished film would have changed the course of cinema history; second, that even in its never-completed form, perhaps it still did influence all sci-fi offerings that followed anyway. The epic effort certainly would have been a sight to behold, as a volume of artwork created in pre-production clearly shows. Jodorowsky had corralled a host of remarkable talent into bringing his passion project to life, including the biggest names in entertainment at the time. Pink Floyd were set to provide the soundtrack; Salvador Dali, Orson Welles, David Carradine, Udo Kier and Mick Jagger to star; H. R. Giger (Alien), Chris Foss (Superman) and Jean 'Moebius' Giraud (Tron) to design; and Dan O'Bannon (Star Wars) to create the special effects. Jodorowsky's Dune may be indulgent, slightly made and steeped in idolatry in its ode to the imagination, but as wild stories unravel, it swiftly becomes apparent that no other approach would have been possible. Now-octogenarian Jodorowsky understandably steals the show as he reflects upon what would be a turning point in his career, his colourful anecdotes and amusingly frank admissions raising a permanent smile. Talking-head interviews with other surviving parties fill in further details, adding to the building of the film's mythology. In a fitting postscript, the celebratory central tale is not the only remarkable story to stem from Pavich's chronicle. During the documentary's making, Jodorowsky reunited with producer Michel Seydoux after decades out of touch, beginning to talk about collaborating once more. Their vision of Dune may have floundered, but 23 years after the auteur's last effort, they came together for 2013's The Dance of Reality. A bittersweet consolation, perhaps, but also proof that the power of creativity cannot be stopped, even if the potentially greatest sci-film of all time never came to be. What if indeed. https://youtube.com/watch?v=4WWu1kclNDA
Last night, the best chefs in the world descended on the Marina Bay Sands in Singapore for the annual World's 50 Best celebrations. And while there were plenty of Australians present at the awards — including the event's host, Australian journalist and TV personality Annabel Crabb — no local restaurants made the top 50. Australia's highest ranking restaurant was Attica in Melbourne, which came in at number 84 in the long list announced last week. Fellow Victorian Brae also came in at 101. This year, the list expanded to 120 for the first (and only) time, as a one-off nod to San Pellegrino's (the award's primary sponsor) 120th anniversary. The top five restaurants for 2019 were dramatically different from previous years as former World's 50 Best winners — including Eleven Madison Park and Osteria Francescana — were barred from the list, and instead added to a 'Best of the Best' lineup. The top gong, for the first time in the event's 17-year history, went to a French restaurant: Mirazur. Run by Argentinian-born chef Mauro Colagreco, whose cooking is also inspired by his Italian grandparents, Mirazur is located in an old 1930s villa in the French Riviera, near the Italian border. And, we're guessing it's going to be pretty hard to get a booking there for the next little while — so, we suggest planning a French vacay for 2020 (or beyond). Rounding out the top five were Copenhagen's Noma at number two, which reopened in a new space with a new seasonal menu last year; Spain's Asador Etxebarri at number three; the soon-to-close Gaggan in Bangkok at number four; and fellow Danish restaurant Geranium at five. Other new and notable additions to this year's list include a first-time inclusion for Dominique Crenn's famed San Francisco spot Atelier Crenn and NY's Cosme, by the 2019 Best Female Chef Daniela Soto-Innes, which was the highest ranked US restaurant. https://www.instagram.com/p/BzI0i_OlDGg/ The winning restaurants were chosen by a 1000-strong global voting panel which, for the first time, had an equal gender balance. Five restaurants led by females made the top 50, the same number as last year. You can check out the full list of the World's 50 Best Restaurants here and read more about the long list here. First image: Mirazur by Nicolas Lobbestael.
The oyster offers a unique taste and texture, and until you embrace this tender and aphrodisiacal snot of the sea, you're just not the refined cosmopolitan you might claim to be. Who could forget the first time they took a fortifying gulp of champers and then allowed the silky grey flesh to slide down their throat, fresh and lemony? And what about those ladies and gentlemen who know how to shuck oysters without severing their own fingers? This is the very height of urban sophistication. You now have the opportunity to join their shining ranks with some help from The Morrison's chefs at August's Shuck Me Silly oyster shucking class. As part of the Oyster Festival, the Morrison team will show you how to extract the suckers without drawing blood. The best part? You can eat the spoils of your labour directly after, enjoying a dozen oysters paired up with their ideal liquid partners: beer by James Squire or Champagne by Pommery.
Kiss winter goodbye with the sweet lush tones of Winter People. Let the gentle acoustics lull and coo-coo you, the a cappella melodies make your heart swoon and the bopping of violin bows hypnotise your consciousness. This Saturday October 13th at the Factory Theatre Winter People are celebrating the release of their debut album A Year At Sea with a national album tour. The six-piece band, with a total of two violin players and five vocalists, is led by singer, songwriter, multi-instrumentalist and visual artist, Dylan Baskind, and since their beloved singles “Gallons” and “Wishingbone” received high circulation on the Js for a while back in 2010/11, Winter People have blossomed further. A Year At Sea been reared by some notoriously talented godparents; recorded by Tim Whitten (Augie March, The Go-Betweens), produced by Brooklyn extraordinaire Peter Katis (Interpol, The National, Frightened Rabbit) and mixed by Rich Costey (The Shins, Foster the People, Bloc Party). The result: A child prodigy that performs the gymnastics of Fleet Foxes, the algorithms of Radiohead, the oratory skills of Bon Iver and the lyricism of Jeff Buckley. Winter People will thaw your soul as if you truly have spent a lonely Year At Sea.
Five years after they were first introduced to curb alcohol-fuelled violence, Sydney's lockout laws are set to be lifted in the CBD. They will, however, remain in place in the Kings Cross area. Premier Gladys Berejiklian has today announced plans to repeal the lockouts, telling The Daily Telegraph: "It's time to enhance Sydney's night-life. Sydney is Australia's only global city and we need our night-life to reflect that." The current lockout area stretches from Darling Harbour to Kings Cross and from The Rocks to Campbell Street in Surry Hills. According to The Daily Telegraph, the laws will be repealed in the CBD, but not in Kings Cross. It's not yet clear exactly where the new boundaries will be. Since the lockout laws were introduced in 2014, a reported 176 venues have closed, and a report by Deloitte Access Economics showed that the laws have contributed to NSW missing out on $16 billion in potential profits. A year-long parliamentary inquiry into the state of the Sydney's music and nightlife economy in 2018 also found that the industry was in "peril" due to the NSW Government's history of neglect, and lack of funding. [caption id="attachment_737655" align="alignnone" width="1920"] The CBD's new nightclub Pamela's will be able to extend its opening hours. Image by Kimberley Low.[/caption] In the past few years, there has been some relaxing of the laws. More than 20 venues have been granted half-hour live entertainment extensions, and Oxford Street has gone lockout-free for Mardi Gras the past two years. Earlier this year, Ms Berejiklian announced a review of the city's night-time economy by a ten-person parliamentary committee. The committee has considered close to 800 submissions from business owners and industry members and is set to release its findings on September 30 this year. Despite this being only 22 days away, Ms Berejiklian has already begun to make moves to to repeal the lockouts. There's not an exact date set for the changing of legislation, but The Daily Telegraph has reported that it's expected to occur later this year. While the CBD's nightlife and live music scene has struggled under the stifling legislation — and has seen institutions like The Basement close — the lifting of the lockout laws together with the City of Sydney's plans to introduce 24-hour trading to the CBD could mean big changes for the area. The repeal of the lockout laws would allow Sydneysiders to head into CBD bars, pubs and nightclubs after 1.30am — and those same venues to remain open after 3am — while the City of Sydney is hoping to encourage the 24 hour trading of unlicensed CBD businesses. That's all we know for now. We'll update you as more specific details — and the findings from the parliamentary committee — are released later this month. Top image: Kimberley Low
Whether you're searching for budget skincare solutions, are stuck in a makeup rut or have never quite figured out how to apply eyeliner properly, YouTube has long been a beauty vlogging haven. But what if you're trying to stay glam after nuclear winter decimates the earth, wipes out life as we know it and forces the mutated remnants of humanity deep underground? Only Sarah's Channel can show you how to dazzle in that literally nightmarish situation — and how to make homemade lipstick out of saliva, clay, blood and what seem to be glow-in-the-dark mushrooms. It's set two centuries after a world-ending disaster and, after initially dying along with the vast majority of the population, Sarah (Claudia O'Doherty) has been reanimated. She's supposed to help the planet's waning survivors grow crops, overcome illnesses, restart civilisation and avoid being eaten by a giant monster called Quahmork — just everyday things, really — but the beauty vlogger, influencer, brand ambassador and author would rather keep doing what she knows. In her original life, Sarah had more than 3.5 million subscribers across her various social media platforms, and she's not going to let them down. They're all dead, but what's the point of saving the few not-quite-people left if no one looks their best? That's the idea behind the ABC's hilarious new satirical series, with Sarah's Channel taking amusing and astute aim at influencer culture and manufactured authenticity — all while its eponymous host dispenses beauty advice in a bleak, post-apocalyptic future, of course. Now available on both ABC iview and YouTube, the first season's six five-minute episodes cover everything you need to know if you're having #dystopianworldproblems, including Sarah's favourite products, her daily routine living in a fortified bunker and how to give a makeover to a slimy subterranean creature who has evolved from humanity. If you loved Australian actor and comedian O'Doherty in Netflix's Love — if you thought she was the best thing about the romantic dramedy, in fact — then you'll feel the same about her turn as the relatable yet oblivious Sarah. She stars alongside Sarah's Channel writer/director Nick Coyle (stage production Feather in the Web), who plays terrified mole person Justin. Sarah's Channel is the smart end-of-the-world parody and scathing takedown of online behaviour that you didn't know you needed. Watch the first episode below: https://www.youtube.com/watch?v=deLiDLkQzio The entire six-episode first season of Sarah's Channel is now available to watch on ABC iview and YouTube.
UPDATE, March 18, 2022: Spencer is available to stream via Prime Video. With two-plus decades as an actor to her name, Kristen Stewart hasn't spent her career as a candle in the wind. Her flame has both blazed and flickered since her first uncredited big-screen role in The Flintstones in Viva Rock Vegas but, by Elton John's definition, she's always known where to cling to. After jumping from child star to Twilight heroine and then one of the savviest talents of her generation, she's gleaned where to let her haunting gaze stare so piercingly that it lights up celluloid again and again, too. Spencer joins Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Larraín also trusts himself well, making the kind of movie he's made three times now — not that Jackie, Ema and Spencer are carbon copies — and knowing that he does it phenomenally. Both essaying real-life figures and imagining fictional characters, the Chilean filmmaker keeps being drawn to tales about formidable women. His eponymous ladies could all be called strong female leads, but Larraín's features unpack what strength really means in various lights. Like her predecessors in the director's filmography, Diana faces searing traumas, plus ordinary and extraordinary struggles. She scorches away tradition, and values letting her own bulb shine bright over being stuck in others' shadows. Viewers know how this story will end, though, not that Spencer covers it, and Larraín is just as exceptional at showing how Diana's candle started to burn out. The year is 1991, the time is Christmas and the place is the Queen's (Stella Gonet, Breeders) Sandringham Estate, where the Windsors converge for the holidays (yes, Spencer is now prime seasonal viewing). As scripted by Peaky Blinders and Locked Down's Steven Knight, the choice of period puts Diana in one of the most precarious situations of her then decade-long married life, with her nuptials to Prince Charles (Jack Farthing, The Lost Daughter) turning into an "amicable separation" within 12 months. Spencer's focus is on three days, not all that defined the People's Princess' existence before or after, but she can't stop contemplating her past and future. The Sandringham grounds include the house where Diana was born, and those happier recollections — and time spent now with her children (debutants Jack Nielen and Freddie Spry) — give her a glow. Alas, all the monarchical scrutiny simmers her joy to ashes, unsurprisingly. Larraín is one of today's great detail-oriented filmmakers, a fact that glimmers in his approach to Spencer — and did in Jackie, too. Both character studies let snapshots speak volumes about broader lives and the bigger narratives around them, including when poised as "a fable from a true tragedy" as the title card notes here. 'Poised' is one word for this fictionalised imagining of real events, which builds its dramas in an immaculate chamber, lets heated emotions bounce around as it tears into privilege and power, and allows audiences to extrapolate from the meticulous minutiae. Specific tidbits are oh-so-telling, such as the demand that Sandringham's guests hit the scales upon arrival and leaving, their weight gains deemed a sign of how much they enjoyed themselves. Bolder flourishes are just as exacting, like the way the place is lensed to make the Princess of Wales resemble a doll being toyed with in a playhouse, as well as a Jack Torrance substitute trapped in her own Overlook Hotel The Shining-style. Often boldly and claustrophobically ominous in its vibe and visuals, and deliberately so — as equerry Major Alistair Gregory, overseer of every move made at the estate, Timothy Spall (The Last Bus) perfects the eerie mood — Spencer can be called a horror film and the label fits. Terror, distress, contempt and cruelty are all part of Diana's Sandringham experience, the first two emanating from the former Lady Spencer and the latter pair frequently flung her way. This is a slice-of-life biopic as well, obviously, and also a Princess of Wales time capsule thanks to its exquisite staging and costuming. Larraín does leap into lingering memories occasionally, which lets the movie survey an array of its central figure's famed outfits with a keen eye. The appearance of things, be it her crumbling marriage or herself, is the key tenet she's being told to uphold, after all — but the decreed version decided by others, not her own, down to dictating exactly what she's permitted to wear and when. Spencer's nightmare of not being able to be one's self, especially under an unyielding spotlight, sees Diana's inner turmoil manifest in multiple ways. Her bulimia and self-harming speak of tainting appearances, and forcefully; her hallucinations of fellow ill-fated royal Anne Boleyn and her general anxiety make her fragile emotional state plain. She's introduced getting lost en route, then earning ire for being late, rebellious and just someone the Windsors must deal with — and the anguish that Stewart wears like a second skin is given ample origins. Spencer's magnetic lead portrayal is smartly underplayed, though, even as the heft of Diana's evident woes, and fight for survival amid the ghosts of history, fame and expectation, fills rooms. In fact, Stewart is all the more powerful for her fine-tuned vulnerability and introspection than something bigger would've been, as past examples have shown. The Crown has done Diana well so far, but the less remembered about 2013's Naomi Watts-starring Diana, the better. Every technical choice on Larraín's part beams brightly, too — or, if dim, it's by design. Spencer looks the grey 90s British drama picture, with cinematographer Claire Mathon (Portrait of a Lady on Fire) baking in grey tones even when the hue isn't visible. Continuing to do stellar things with tension-dripping film scores, Radiohead's Jonny Greenwood adds this in alongside The Power of the Dog to his recent standouts. Spencer does capture warm moments, including sympathetic rapports with some estate staff (with compelling turns from The Shape of Water's Sally Hawkins and The Green Knight's Sean Harris, both ever-reliable), but it also ensures that the rarity of such exchanges in Diana's life is heartbreakingly clear. The upbeat 80s single "All I Need Is a Miracle" might set a glorious closing note, but this is always an equally bold and sensitive — and enthralling — portrait of England's rose wilting not from the sunlight she craves, but from the royal inferno.
For three weeks this winter, Sydney's Palace Cinemas Verona, Palace Norton Street and Palace Central will turn extra frosty — on their big screens, that is. Running from Tuesday, July 9 to Wednesday, July 31, and marking the event's sixth year, the Volvo Scandinavian Film Festival returns with a suitably wintery showcase of cinema from Europe's coldest climes, featuring 21 films from Denmark, Norway, Sweden, Iceland and Finland. Whether you're keen on irreverent comedies, dark dramas or Nordic noir, they're all on the lineup. If you're a fan of Denmark's most popular film series or one of Sweden's hugely successful crime authors, they're on the program too. Sci-fi, rom-coms, character studies, award-winners, festival hits — the list goes on, because Scandinavian cinema is a diverse realm. The 2019 festival kicks off with laughs, as all good things should, thanks to Danish comedy Happy Ending. Next, it heads to Iceland with direct-from-Cannes drama A White, White Day — the latest film from Hlynur Palmason, the director of SFF 2018's Winter Brothers. Also on the bill: the Stellan Skarsgård-starring, Norwegian-made, Berlinale Silver Bear winner Out Stealing Horses; the spaceship-set futuristic Swedish flick Aniara; and, from Finland, the SXSW hit Aurora, about a party girl who befriends an Iranian refugee. Definite highlights also hail from the thriller domain, as Scandi-loving cinephiles would expect. If you saw the first three page-to-screen Department Q instalments at previous festivals, you can see how the series ends with The Purity of Vengeance, which is now the highest-grossing Danish film ever. For those who've read, re-read and watched everything Girl with the Dragon Tattoo-related, make a date with documentary Steig Larsson: The Man Who Played with Fire, which delves into the late author and journalist's archives. As an added bonus, it's screening alongside a retrospective of the original Swedish Millennium Trilogy films, starring Noomi Rapace. Images: Department Q; A White, White Day; Happy Ending; Out Stealing Horses; Sonja.
It's an interesting experience to watch a film when you know exactly how it's going to end. And when that end is tragedy, it's more interesting still. In the case of Fruitvale Station, Ryan Coogler's debut feature film, we're aware from the word go that the film culminates in the fatal shooting of a young man. Don't fret, it's not a spoiler: the movie opens with the camera phone footage of the shooting captured by witnesses. It's an interesting way to open the film, as you become instantly aware of the gravity of the movie. You have just witnessed a man die, and you are about to see why. Twenty-two-year-old Oscar Grant (Michael B. Jordan) was shot in the back by police officers in the early hours of New Year's Day, 2009, and Fruitvale Station lays out his final hours. The film tracks Grant's relationships with the major players in his life — his mother, his girlfriend, his daughter. The audience is allowed, in a somewhat voyeuristic way, to look into the life of a regular guy. A life that ends up being cut far too short. The film itself is beautifully made. It's filmed entirely with a handheld camera (much like another Sundance Winner, Beasts of the Southern Wild), which adds to the effect of the audience bearing witness to a life, not a story. The camerawork also mimics the actual footage at the start of the film, lending a certain truthfulness to the entire piece. The score is played down and sombre, and so doesn't detract from the dialogue, the plot and the actors at all, while still building a mood of dull dread. The actors are phenomenal, with Jordan (from The Wire and Friday Night Lights) tenaciously capturing the character of a young man yearning for a second chance. In support, The Help's Octavia Spencer is the perfect picture of a concerned and loving mother, and 29-year-old indie star Melonie Diaz is beautifully heartbreaking as Grant's girlfriend, Sophina. The film was produced by screen legend Forest Whitaker and has cleaned up on the awards circuit, including taking out the Grand Jury prize at the Sundance Film Festival. The events that transpired at Fruitvale Station featured heavily in the US headlines, detailing the questionably unsubstantiated murder of a young man by law enforcement officers. Oscar Grant's death was a terrible tragedy, and Fruitvale Station carries that emotion onto the silver screen. A film of unmet redemption, it's a stunningly made, deeply emotional story that will have you glued to your seat and, perhaps, wiping away tears. https://youtube.com/watch?v=ceVVVils8z4
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from October's haul. BRAND NEW STUFF YOU CAN WATCH FROM START TO FINISH NOW BECKHAM Strike It Like Sam Kerr would make an excellent movie title. As fans of football and film alike already know, Bend It Like Beckham got there first 21 years ago, borrowing its moniker from David Beckham's uncanny knack for curling the ball when taking a free kick. The former Manchester United, Real Madrid, AC Milan, LA Galaxy and Paris Saint-Germain player — and England captain — now sees his name grace the screen again via Beckham, the instantly compelling four-part documentary about one of the biggest talents to ever play the world game. A birth-to-now chronicle, the series spins a fairytale that's all real and came true. David was once a quiet boy from a working-class family with a dad who loved soccer. He took to the sport with passion and dedication, and has since lived out any and every aspiring athlete's wildest fantasy. Director Fisher Stevens, who is recently best-known for acting in Succession, appreciates the dream ride that Beckham has experienced, but also sees the costs and tolls. Reflecting on that for him are several Beckhams, including the man himself, Spice Girl Victoria (who is adamant that she wasn't into football when she met David and still isn't now), and his doting parents Sandra and Ted. As countless YouTube complications have already captured, watching Beckham on the pitch at the height of his footballing powers is pure sporting joy — a fact that can be appreciated in the doco by soccer diehards and the unacquainted alike. Beckham shows off the skills, demonstrating how exceptional he was on the field and why the world responded. Witnessing that prowess is also key in understanding how everything from brand partnerships to global tours, famous teammates to disapproving team managers, and championships to tabloid harassment followed. Various Beckhams aren't the only folks chatting. Sir Alex Ferguson, Gary Neville, Eric Cantona and Rio Ferdinand are among the footballing names. Anna Wintour makes an appearance. But David and Victoria's observations, memories and insights — and relationship, in the 90s, since and now — are at this docuseries' core. Red cards, the World Cup, big moves, fan abuse and taunts, sacrifices and scandals, sarongs and hairstyles, the Beckhams' wedding, being peak 90s and pop-culture icons, changing clubs, owning clubs, family life: it all factors into this captivating and satisfying watch. Beckham streams via Netflix. THE FALL OF THE HOUSE OF USHER Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this absorbing, visually ravishing and narratively riveting eight-parter. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children (including Pet Sematary: Bloodlines' Henry Thomas, Minx's Samantha Sloyan, The Peripheral's T'Nia Miller, iZombie's Rahul Kohli, The Wrath of Becky's Kate Siegel and The Midnight Club's Sauriyan Sapkota) came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation, even as it bubbles with greed, violence and paranoia (plus death, loss, decay and the deceased haunting the livin)g. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Fall of the House of Usher streams via Netflix. Read our full review. OUR FLAG MEANS DEATH First dropping anchor with its debut season in 2022, and finding a mooring among the best new series that the year had to offer, Our Flag Means Death's premise has always glinted as brightly as its impressive cast (not just Uproar's Rhys Darby and Thor: Love and Thunder's Taika Waititi, but also Bloods' Samson Kayo, Creation Stories' Ewen Bremner, Bank of Dave's Joel Fry, Game of Thrones' Kristian Nairn, Hello Tomorrow!'s Matthew Maher, Loot's Nat Faxon, The Sex Lives of College Girls' Vico Ortiz and The Batman's Con O'Neill for starters). It follows Darby as self-styled 'gentleman pirate' Stede Bonnet. Born to a life of privilege, he felt that seafaring and swashbuckling was his calling, leaving his life on land behind to hop on a ship — details that all spring from reality. Creator David Jenkins (People of Earth) isn't interested in telling the exact IRL tale, however. Consider those basics merely Our Flag Means Death's departure point. On-screen, Stede gets caught up in both a workplace comedy and a boatmance. The first springs from his certainty that there has to be a nicer way to glide through a pirate existence, and the second from his blossoming feelings for feared marauder Edward Teach (Waititi), aka Blackbeard. When season one wrapped up, Stede and Ed had found love in a buccaneering place, but also felt splashes of uncertainty about what their relationship means, leading to heartbreak and a breakup. Season two picks up with the show's motley crew of characters torn in two, with Stede and his loyal faction marooned on the island tourist destination that is The Republic of Pirates — fantasy is as much a part of Our Flag Means Death as comedy and romance — and Blackbeard back to his robbing and murdering ways on The Revenge. The series' attracted opposites will find their way onto the same deck again, but choppy waters are in store for their emotions, as well as ample bobbing up and down, ebbing and flowing, floating and sinking, and everything else that the ocean brings to mind. Similarly splashing their way: rivalries, curses, old pals, new foes, betrayals, forgiveness, glorious silliness, trauma, lopped limbs and a merman (plus Madeleine Sami from Deadloch among the show's new faces). Our Flag Means Death streams via Binge. Read our full review. LUPIN Forget Emily in Paris — the best Netflix series set in the French capital focuses on a light-fingered smooth mover who is as adept at stealing hearts as he is at pilfering jewels and art. The streaming service's Lupin isn't the first screen outing based on the Maurice Leblanc-penned master of disguise, with the author's famous character first popping up on the big screen over a century ago, then appearing in both movies and TV not just in his homeland but also in the US and Japan since. Centred on a gentleman thief who takes his cues from the fictional figure, however, Netflix's take on all things Arsène Lupin is equally creative, riveting, twisty and entertaining. With the charismatic Omar Sy (Jurassic World Dominion) as its lead, it also couldn't be better cast — as viewers initially discovered in January 2021, when Sy's Arsène superfan Assane Diop started showing off his larceny skills in the series' instantly engaging five-episode first part. The angle proved savvy. The central casting is sparkling. Creators George Kay (who has since made the Idris Elba-led Hijack) and François Uzan (Family Business) perfected the rollicking vibe. And, director Louis Leterrier (Fast X) turned in some of his best work helming the debut three instalments. It's no wonder that the show became the most-watched series in a language other than English on Netflix at the pre-Squid Game time. A second five-chapter part arrived in June the same year, but audiences have had to wait until now for a third. Now streaming its seven new entries, Lupin's third part dazzles again. As its central figure tries to protect his family while the world thinks that he's dead, crime capers don't much more charming — and bingeable — than this page-to-screen heist affair. Leblanc introduced the world to Lupin in short stories in 1905, with 17 novels and 39 novellas following. In some, Herlock Sholmes pops up — and yes, the reference to Arthur Conan Doyle's detective is clearly on purpose. Although Sherlock Holmes isn't quite Arsène Lupin's English equivalent, the two characters give readers and viewers alike the same thrills. If spending time with smart figures with silky skills in can't-put-down and can't-look-away mysteries is what you're after, both deliver. Netflix's Lupin gives the French favourite a modern-day Sherlock-esque spin, but with another pivot to put the suave Senegal-born Diop and his various quests in the spotlight. Lupin streams via Netflix. Read our full review. HOT POTATO: THE STORY OF THE WIGGLES Get ready to wiggle: Anthony Field, Murray Cook, Greg Page and Jeff Fatt have ensured that Australia has been in that exact state for so long. It was more than three decades back when the university classmates, all studying early childhood education, decided to combine their area of interest with music — not for fame, which has come and then some since, but to put what they were learning into action while engaging and teaching kids. If your childhood spanned Australia in the 90s onwards, or you've ever spent time parenting or babysitting someone who fits into that category, then you know the end result. Indeed, folks in most parts of the world do, too. The Wiggles haven't gone wrong since those early and humble beginnings. Only Field, aka the Blue Wiggle, remains part of the skivvy-loving group's current main iteration, but such is The Wiggles' beloved status that all four can and do fill arenas filled with adults on OG Wiggles tours. Hot Potato: The Story of The Wiggles charts the why, what and how about the Aussie troupe, who've also won Triple J's Hottest 100, appeared at Mardi Gras and performed at Falls Festival in just the last couple of years. Comprised of archival clips and recent interviews — all lively and colourful — plus earworm-level kids tunes that everyone knows no matter if you've ever actively watched or listened to The Wiggles, Hot Potato: The Story of The Wiggles hits the screen from a filmmaker that's no stranger to exploring the stories behind pivotal figures. Also on Sally Aitken's resume: Valerie Taylor: Playing with Sharks and David Stratton: A Cinematic Life, although neither had such a penchant for bright primary hues. This is a tale of a great idea and the hard work that made it a success, of friendship and being able to do what you love, of creative genius and lucky breaks, and of both finding and spreading joy. It's an account about big red cars, pirates with feathers for swords and dinosaurs called Dorothy as well, of course, and of teaching approaches and learnings, sacrifices made, health tolls weathered, a band becoming a show, and a group ensuring that it wasn't just entertaining Australia and beyond — it was representing its audience, too. Unsurprisingly, Hot Potato: The Story of The Wiggles is both enlightening and likeable; so, classic The Wiggles, then. Hot Potato: The Story of The Wiggles streams via Prime Video. ONEFOUR: AGAINST ALL ODDS Members of ONEFOUR happily chat through their lives and music careers in ONEFOUR: Against All Odds, with first-time feature filmmaker Gabriel Gasparinatos regularly putting brothers J Emz and YP, plus their friend Spenny, centre screen to tell their story in their own words. As the trio talk, they're never anything less than candid and impassioned about their childhoods growing up in Mount Druitt in Sydney's western suburbs, the lack of opportunities available to the Pacific Islander community, being openly told as teens that they'd end up in jail, when paths and choices made those harsh words come true, and the reason that they're famous: their tunes. But everyone involved in this film, and those watching as well, must wish that this was a different movie — not due to anything about how the doco itself is made or plays, but because of the grim reality that it charts. If only this wasn't an account of friends who found not only something they loved but a new way forward in drill rap, which they turned into viral success and more, only to be constantly harassed by a New South Wales police squad that usually targets organised crime, terrorism and bikie gangs. Sharing J Emz, YP and Spenny's dismay comes easily while viewing ONEFOUR: Against All Odds, which takes a thorough ride through the group's origins, career and run-ins with the law. Feeling enraged at the police attempt to censor art — shutting down gigs in NSW and around the country; also thwarting international touring plans; and constantly making their presence known to ONEFOUR's talents, their families and their community — because they claim that the band's tracks will incite violence is just as inescapable. Gasparinatos interviews law enforcement representatives on-camera, and their words don't and can't justify the shocking treatment that ONEFOUR has received and keeps receiving as singles such as 'What You Know', 'The Message', 'Home and Away' and The Kid LAROI collaboration 'My City' have struck a chord with listeners locally, nationwide and internationally over the past six years. This plight isn't over, either; in fact, when ONEFOUR: Against All Odds premiered at SXSW Sydney, the heavy representation from the thin blue line didn't go unnoticed or unreported. The film chronicles the group's highlights, such as earning recognition, starting dance crazes, one-man gigs, a stadium The Kid LAROI show and the band's resilience, while always conveying how true the doco's title rings. ONEFOUR: Against All Odds streams via Netflix. THE PIGEON TUNNEL What happens when one of the world's great documentarians, and a master at the talking-head format, turns his lens toward one of the best authors of espionage intrigue that's ever graced the page? The engrossing The Pigeon Tunnel, Errol Morris' (an Oscar-winner for The Fog of War) exploration of John le Carré's life and work. Of course, the latter's tales haven't just spilled through books, but onto screens themselves long before he was a doco subject — and his IRL exploits are as fascinating as anything ever captured in The Spy Who Came in From the Cold, Tinker Tailor Soldier Spy, The Constant Gardener, A Most Wanted Man, Our Kind of Traitor, The Night Manager and The Little Drummer Girl. How did the man born David Cornwell, who was in his 80s when he sat with Morris for a frank interview before his passing in December 2020, become the go-to for cloak-and-dagger affairs? And what kind of rollercoaster of an existence inspired such narratives? le Carré aka Cornwell explains all here — from his dad's shady schemes, his mother leaving and his time as a teacher through to working for MI5 and MI6, and becoming a novelist. The Pigeon Tunnel: Stories From My Life precedes this film, hitting bookstores in 2016 as the only full-length non-fiction text to le Carré's name. Whether you've read that or not, devoured one or some or none of his spy tales, done the same with the movie adaptations or are coming to the author anew here with just slight recognition drawing you in, The Pigeon Tunnel is gripping as a documentary. A gifted storyteller on the page, the movie's central figure is just as talented when he's in front of the camera — often framed askew, in a feature that tellingly takes the aesthetics of le Carré's favourite genre to heart. Morris and his adept regular editor Steven Hathaway also splice in examples from the author's pen, given there's such a large amount to choose from, which isn't merely a case of illustrating the impact of his work. Indeed, The Pigeon Tunnel knows that the lines between fact and fiction are faint, including when surveying, probing and interrogating decades in the eventful life of someone who spent more than one job spinning complicated webs. The Pigeon Tunnel streams via Apple TV+. TOTALLY KILLER Kiernan Shipka has long said goodbye to Mad Men's Sally Draper, including by starring in Chilling Adventures of Sabrina. After her dalliance with witchcraft, she's still sticking with horror in Totally Killer, but in a mix of slasher tropes and a Back to the Future-borrowing premise. There's a body count and a time machine — and 80s fashions aplenty, because where else does a 2023 movie head to when it's venturing into the past? Also present and accounted for: a tale about a high schooler living in a small town cursed by a past serial killer, which brings some Halloween and Scream nods, plus Mean Girls and Heathers-esque teen savagery. And, yes, John Hughes flicks also get some love, complete with shoutouts to Sixteen Candles, The Breakfast Club and Pretty in Pink star Molly Ringwald. Totally Killer doesn't skimp on knowingly and winkingly mashing up its many influences, clearly, or on enjoying itself while doing so. The end result is a heap of fun, as hailing from Always Be My Maybe's Nahnatchka Khan behind the lens, along with screenwriters David Matalon (The Clearing), Sasha Perl-Raver (Let's Get Married) and Jen D'Angelo (Hocus Pocus 2). Shipka plays Vernon resident Jamie Hughes, who has spent her whole life being told to be careful about everything by her overprotective parents Pam (Julie Bowen, Modern Family) and Blake (Lochlyn Munro, Creepshow) after an October turned deadly back when they were her age. Unsurprisingly, she isn't happy about it. The reason for their caution: in 1987, three 16-year-old girls were murdered in the lead up to Halloween, with the culprit badged the Sweet 16 Killer — and infamy ensuing for Jamie's otherwise ordinary hometown. Pam is still obsessed with finding the murderer decades later, but her daughter only gets involved after a new tragedy. This Jason Blum (The Exorcist: Believer)-produced flick then needs to conjure up a blast in the past to try to fix what happened then to stop the new deaths from occurring. Always knowing that it's a comedy as much as a slasher film (as seen in its bright hues, heard in its snappy dialogue and conveyed in its committed performances), Totally Killer leans into everything about its Frankenstein's monster-style assemblage of pieces, bringing its setup to entertaining life. Totally Killer streams via Prime Video. THE BURIAL Find the right story, enlist an ace cast, and any genre can thoroughly entertain and engage while ticking recognisable boxes — and legal drama The Burial is one such hearty example. The true tale: Mississippi resident Jeremiah Joseph O'Keefe's mid-90s David-versus-Goliath battle against businessman Raymond Loewen, with their respective funeral operations at the centre, and also lawyer Willie E Gary representing O'Keefe's side when it went to court. The stars: Tommy Lee Jones (The Comeback Trail) as the 75-year-old grandfather who is having government troubles over the insurance side of his company, and wants to secure a future for his sizeable family (including 13 children); ever-busy and reliable character actor Bill Camp (Boston Strangler) as a cashed-up promised buyer of three funeral homes to add to his North American deathcare empire; and Jamie Foxx (Strays) as the smooth-talking, jury-whispering, private jet-owning Florida-based personal injury lawyer who is convinced by the just-graduated Hal Dockins (Mamoudou Athie, Elemental) to give a case he normally wouldn't think twice about a go. After writing and helming 2017's Novitiate, filmmaker Maggie Betts takes on both gigs again — co-scripting with Doug Wright (Quills), who also came up with the story that's based on a New Yorker article — on a film that doesn't only step through cracking courtroom antics, but is cleverly funny, too. The details are rousing, as well as infuriating, with Loewen reneging on an agreement with O'Keefe, the latter suing the former with Gary's help, and predatory practices regarding race and economic status becoming plain. After jumping from sci-fi/horror with They Cloned Tyrone to raucous comedy with Strays and now this, Foxx is giddily excellent playing a character that could've been all style and no substance, even as someone who exists IRL, but proves flashy yet genuine. His rapport with Jones, as cemented by the music off late-80s/early-90s R&B act Tony! Toni! Toné!, also shines. And although John Grisham could've penned the ins and outs if it was all fiction, this is still a smart and involving movie, and an easy crowd-pleaser. The Burial streams via Prime Video. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK LOKI One of the best performances in the Marvel Cinematic Universe comes from the man who was first charged with getting villainous, but now leads his own spinoff series as a complex and playful hero. While Tom Hiddleston's acting talents are well-established far beyond playing the God of Mischief — see: The Deep Blue Sea, The Hollow Crown, Only Lovers Left Alive, High-Rise, Crimson Peak and The Night Manager, for instance — the MCU has been all the better for his involvement for more than a decade. A scene-stealer in 2011's Thor, his parts in film after film kept getting bigger until streaming series Loki arrived. Amid Disney's rush of greenlighting shows for Disney+, starting this one couldn't have been easier; as Thor: Ragnarok in particular demonstrated, adding more Hiddleston has always been a winning move. Indeed, when it slid into queues in 2021 as just the third series in the MCU's small-screen realm, following WandaVision and The Falcon and the Winter Soldier, Loki proved that more Hiddleston in a six-part TV show was also a delight. As one of Marvel's standout shows, it came as no surprise when this stint of time-hopping trickery confirmed that it was returning for a second season in that run's final episode. Now back for another half-dozen instalments, Loki becomes the first of Marvel's television entries to earn a second go-around. That isn't an achievement that it takes for granted. Picking up exactly where season one left off, Loki season two sticks to some familiar beats but also makes its own leaps, and remains fun, funny, lively and smart in the process. It feels more lived in, too, a description that rarely applies to any franchise about caped crusaders and their nemeses, gods, multiverses and temporal chaos, this one among them. And, as well as Hiddleston excelling overall, plus opposite Owen Wilson (Haunted Mansion) and Sophia Di Martino (The Electrical Life of Louis Wain), this time-jumping return also brings Everything Everywhere All At Once Oscar-winner Ke Huy Quan into another temporal jumble, which is as great on-screen as it sounds on paper. Loki streams via Disney+. Read our full review. UPLOAD Every show about the afterlife, whether it's The Good Place or Upload of late, relies upon an inescapable truth: if some form of existence can go on after death, humanity's worst traits will go with it. Greg Daniels' addition to this stream of thought relies upon AI, virtual reality, plus capturing the consciousness of someone before they die so that they can spend eternity in a simulation — if they can afford it — and while The Office and Parks and Recreation writer/co-creator has made another sitcom, rather than going all Charlie Brooker and Black Mirror, the end result doesn't evade the fact that people are people whether they're flesh and blood or digital approximations. So, as he resided in the luxurious country club-esque Lakeview after shuffling off the mortal coil, computer programmer Nathan (Robbie Amell, The Witcher) wasn't free of living's troubles. Instead, he had daily struggles and the fallout from his demise to deal with. Now three seasons in, Upload has brought its protagonist back to regular reality, downloading into a body with the help of his former virtual handler-turned-girlfriend Nora (Andy Allo, Chicago Fire), but he's still facing the same troubles. Well, mostly the same — because downloading is risky, hasn't been done successfully before and Nathan's bleeding nose is a worrying sign. As Upload's main duo battle big tech, the series continues to probe the limits that capitalism will take advancements to while prioritising circuitry and dehumanising people. Nathan's ex Ingrid (Allegra Edwards, Briarpatch), who financed his trip to Lakeview, is increasingly coming around to this way of thinking. Even the plentiful AI Guy (Owen Daniels, Space Force) is getting progressively rebellious against the systems, coding and rules that are behind his very existence. Upload season three keeps complicating its storyline, but also keeps doubling down on its critique of wealth disparity, companies ruling over people, modern society's endless quest for control and cash, and the hellscape that might come if and when digital afterlives leap off the screen. Amell, Allo, Edwards and Daniels remain perfectly cast, as does Zainab Johnson (Tab Time) as one of Nora's colleagues and Kevin Bigley (Animal Control) as another Lakeview inhabitant, in a series is repeatedly astute and amusing. Upload streams via Prime Video. Read our full review. A RECENT BIG-SCREEN RELEASE YOU MIGHT'VE MISSED EMILY If Emily had been made two or three decades earlier, it might've starred Frances O'Connor, rather than boast the Australian actor-turned-filmmaker as its writer and director. Back in the 90s and 00s, O'Connor played with literary classics in movies such as Mansfield Park and The Importance of Being Earnest, plus a TV version of Madame Bovary. Now, making an accomplished and emotive debut behind the lens, she explores how Emily Brontë's Wuthering Heights might've come to be. Is a Kate Bush-inspiring piece of gothic romantic fiction of such passion and yearning — the only one from a writer lost to tuberculosis at the age of just 30 in 1848 — the result of a life touched by both? That's a question that this fictionalised biopic ponders. Emily begins with another query, however, although it's also basically the same question. "How did you write it?" Emily's (Emma Mackey, Sex Education) older sister Charlotte (Alexandra Dowling, The Musketeers) demands. "How did you write Wuthering Heights?" As one Brontë grills another, "I took my pen and put it to paper" is Emily's literal answer, offered as she reclines, pale and not long for this world, alongside printed versions of her now-iconic story. The response provided by the gorgeously shot, impressively acted and deeply moving Emily is far more complicated, but O'Connor's choice to open her movie with this scene and question is both clever and telling. One perspective on great artists, including of words, is to view their work as intertwined with their lives — aka this feature's preferred vantage. A key perspective of Emily, too, is not letting the small amount of detail known about the middle of literature's three Brontë sisters dictate how this story is told. That copy of Wuthering Heights by Emily's side? It bears her name, as does every iteration printed today, but her book wasn't first published under her real moniker — her pen name was Ellis Bell — until two years after her death. Emily streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August and September this year. You can also check out our running list of standout must-stream shows from this year as well — and our best 15 new shows of 2023's first six months, top 15 returning shows over the same period and best 15 straight-to-streaming movies from January–June 2023, too.
Blessed be the TV screens — because on April 26, The Handmaid's Tale is back. After becoming 2017's number one must-watch show with its compelling first season, everyone's favourite dystopian drama returns for a new 13-episode round of bleakness. Yes, that means more time trawling through the oppressive society of Gilead and watching women forced into child-bearing servitude, thanks to this grim but gripping adaptation of Margaret Atwood's iconic 1985 novel. It also means once again trying to shake the feeling that this fictional future really isn't all that hard to imagine. Elisabeth Moss putting in another fierce performance, Alexis Bledel stealing every scene she's in, the all-round stacked cast showing why the series won eight Emmys and two Golden Globes: yep, that's all on the agenda as well. It's enough to make you cancel your plans every Thursday night for the next 12 weeks, with this season airing weekly on SBS and SBS On Demand after the two-part premiere. Sure, that means that you can't binge it all in one sitting — but, it also means that your time with Offred and company will last even longer. If you're eager to extend the experience further still, then get a jump start by working through our five pieces of Handmaid's homework. Praise be, obviously. RE-BINGE THE FIRST SEASON It's an easy starting point, we know, but the best way to prepare for the new season is by rewatching the first. Also, it's something else for you to watch if you've already replayed the season two trailer over and over and over again. Scour for clues about what might come next, and come up with theories about Offred's fate; given that the show left audiences with a cliffhanger, there's plenty of questions to ponder. Or, see if there's anything you missed the first time around (like Atwood's early cameo), or introduce all things Handmaid's to your friends that were clearly hiding under a rock last year and somehow haven't seen the show. They're all great reasons to dive back in again, not that you need them when a program is as engrossing as this. As it was last year, the full first season is currently available on SBS On Demand. READ (OR RE-READ) THE NOVEL Maybe you were already a fan of Atwood's 33-year-old book long before the TV version was announced. Maybe you segued from watching the first season of The Handmaid's Tale to devouring the novel. Maybe you meant to get around to pouring over the text (you really, truly did mean to), but life just got in the way. Whichever category you fall into, now is the perfect time to read or re-read the piece of fiction that started it all — and, to set the scene for what might happen in the television program's second outing. As thorough as the first series was, it doesn't include everything that Atwood initially dreamed up. We won't spoil the details, but if you don't have time to stick your nose in the printed tome, here's a rundown. There's also an audiobook version too, if you'd rather listen, as read by Claire Danes. https://www.youtube.com/watch?v=oTnhx_N7nro WATCH A COMPLETELY DIFFERENT TAKE ON THE TALE The Handmaid's Tale that we know and love isn't the only screen version of the story. In fact, if the timeliness, insightfulness and hugely enthralling nature of the show got you thinking "why hasn't the book been adapted before?", well, the short answer is: it has. Back in 1990, German filmmaker Volker Schlöndorff joined forces with poet and Nobel laureate Harold Pinter on an American film based on the novel, starring Natasha Richardson at Offred, Faye Dunaway as Serena Joy and Robert Duvall as Fred. Saying that it's completely different to the current take is quite the understatement, right up there with saying that Gilead isn't the best place to live if you're female. If you're keen to seek it out, it's available to watch on Stan. https://www.youtube.com/watch?v=A-fofQ9VpPQ SEEK OUT LAST YEAR'S OTHER GREAT ATWOOD ADAPTATION 2017 didn't just deliver one adaptation of Atwood's work, but two. Yep, when it rains, it pours, as the saying goes. While Alias Grace didn't attract anywhere near as much attention as The Handmaid's Tale, the Netflix miniseries is definitely well worth your time. Directed by American Psycho's Mary Harron and starring Sarah Gadon (11.22.63), Zachary Levi (Chuck), Anna Paquin (True Blood) and legendary The Fly filmmaker David Cronenberg, the six-part show takes inspiration from famous 19th-century murders. Gadon plays the real-life figure of Grace Marks in this somewhat fictionalised version of true events, with the series exploring a question that has been pondered for nearly two centuries: what was Marks' actual involvement in the crime? GET COOKING Food has special significance in The Handmaid's Tale. No, we're not talking about the "blessed be the fruit" greetings exchanged by handmaids — it refers to the children they're supposed to be bearing, rather than the goods they're often seen shopping for — but, rather, the way it's used to denote status. Handmaids buy it for the household, Marthas prepare meals and the Gilead elite eat fancy spreads while everyone else tucks into something much less appetising. In one first-season episode, for example, a macaron is used to signify the divisive role that food plays, with Serena Joy (Yvonne Strahovski) offering Offred a rare treat. There are plenty more instances where that came from, and it's enough to make you both horrified and hungry. Unsurprisingly, there's no shortage of Handmaid's-themed party menus floating around, but if you whip up something crimson red (cupcakes with red icing are a favourite), then you're on the right track. Or, you could turn your hand to something particularly elaborate. When season two started filming, Elisabeth Moss received a cookie shaped like a music box — something else of significance within the series.
It's omurice time. Some dishes are as straightforward as they sound, and this one — aka omelette rice — is among them. It's an omelette made with fried rice, then typically topped with sauce. Clearly it's an easy concept to get around. And Motokichi Yukimura from Kichi Kichi Omurice in Kyoto keeps visiting Down Under to whip it up. Not all iterations of this western-influenced Japanese eggs-plus-rice staple are made equal, which is why Kichi Kichi Omurice's version might be on your travel bucket list. Chef Motokichi Yukimura's viral-famous take on the dish has made him an internet star — the term "Japan's most-famous omurice chef" has been used — and seen his eatery become a tourist destination. Sometimes, however, he brings his omurice to Australia, as he's set to again in March 2025. If you'd like the Kichi Kichi Omurice experience without the airfares, you can make that a reality in Sydney, Broadbeach and Brisbane. And if this sounds familiar, that's because Yukimura headed this way twice in 2024. He's again visiting Harajuku Gyoza to show why the dish he's been making for over 45 years is such a smash. The chef is doing 'meet and eat' events in all three cities, cooking everyone who attends his specialty — and putting on a show, complete with his Kichi Kichi Omurice song and dance. Folks in Sydney are headed to Harajuku Gyoza Darling Harbour across Tuesday, March 18–Thursday, March 20. For Brisbanites, your destination is Harajuku Gyoza South Brisbane from Sunday, March 23–Tuesday, March 25. And on the Gold Coast, Harajuku Gyoza Broadbeach is your destination on Saturday, March 22. Tickets cost $170 per person, with sittings for both lunch and dinner. That price covers tucking into Yukimura's omurice, as made at your table, plus a range of Harajuku Gyoza signature dishes — and meeting the chef. Alongside removing the need to book a flight to Japan, this is an easier way to enjoy the Kichi Kichi experience for another reason. As of January 2024, the Kyoto eatery is no longer doing bookings in advance. Now, diners are only able to make reservations on the same day they're eating, and need a password that's placed on the restaurant's door each morning to lock in their seating. Kichi Kichi at Harajuku Gyoza — March 2025 Tuesday, March 18–Thursday, March 20 — Harajuku Gyoza Darling Harbour, Sydney Saturday, March 22 — Harajuku Gyoza Broadbeach, Gold Coast Sunday, March 23–Tuesday, March 25 — Harajuku Gyoza South Brisbane, Brisbane Motokichi Yukimura will be at Harajuku Gyoza Darling Harbour, Broadbeach and Brisbane in March 2025. Head to the eatery's website for further details and bookings.
If jungle vibes inside an inner-west warehouse sounds like your perfect outing, head along to the Jungle Collective's indoor plant sale on January 26 and 27. It's the latest greenery-filled market from The Jungle Collective, a Melbourne nursery that stocks all kinds of weird and wonderful species. After opening up its warehouse, which isn't usually open to the public, for a few markets on home turf, they're trucking their way up to St Peters for another warehouse sale here. Whether you're after a hanging pot plant, some palms for the garden, a Fiddle Leaf or a giant Bird of Paradise, chances are you'll find it here. Have a reputation for killing your cacti? Overwatering your ferns? Don't worry — there'll be horticulturalists on site on the night to give you advice and chat through any questions you might have. Here, you can be inspired by greenery aplenty, and learn to incorporate plants into your home and living spaces, while browsing and soaking up some tunes. Due to expected demand, the sale will be held in four sessions on Saturday (8–10am, 10am–noon, 12–2pm and 2–4pm) and two on Sunday (10am–noon and 12–2pm) and attendees will need to register for free tickets. Plus, if you wear beach-inspired attire, you'll get $5 off your purchase.
Red Bull Flying Bach is a serious clash of cultures, a performance where Bach meets breakdancing, two things most would never dare to put together. But hey, as well as wings, Red Bull gives you crazy ideas for collaboration and, from all of the reviews this show has received to date, it also gives you an incredible artistic spectacle. When you look past the preconceptions that say this show shouldn't work, it is really no surprise it has been so successful; it features music from arguably the greatest composer of all time (who happens to be German) expressed physically by four-times breakdancing world champions Flying Steps (who are also German). No coincidence, just a collaboration that shatters the suggestion that breakdancing and Bach don't blend and thrusts the cohesion of the classic and the contemporary into the present. Set against Johann Sebastian Bach's 'Well-Tempered Clavier' — led beautifully by opera director Christoph Hagel — the breakdancing troupe create something truly memorable that challenges conventional constrictions placed on cross-era and cross-cultural collaboration.
The First Qin Emperor of China is said to have burned books, buried academics alive and rationed his official daily reading matter by weight. He was obsessed with obedience, and obsessed with immortality. Ironically, he's best known for his tomb. The life-size terracotta warriors in his funeral complex were never meant to wait — they were there to follow him into the afterlife. But wait they did. Thousands of clay statues — the sheer number of them now thought to reflect the sheer numbers of Qin's imperial guard. Rows upon rows of soldiers, acrobats, horses. Each of them different and distinct. Rediscovered near the city of Xian in 1974, his burial complex is even now still being excavated and even now still being robbed. The Art Gallery of New South Wales is about to play host to the warriors, opening this Thursday for a long summer season. You can get close to the warriors, examine their accoutrements and check out some recently unearthed finds as well. In Qin's time, you could be walled up alongside the artefacts for knowing the secrets of his immsense underground city. Today you just need a ticket, and the Gallery lets you escape with your life. Image by Kevin Poh.
If you died a little death of burger-induced happiness at August's Barrio Cellar x Pub Life Kitchen Burger Pop-Up, it might be time to resurrect your satisfied self and head over to Camperdown's Deus Ex Machina. The two burger champs are coming together once again for a summer burger residency at the motorcycle brand's multi-purpose space, and it opens this Friday, November 27. The residency will see inner-west Sydneysiders full and fed right through to January. This time, however, the two Sydney legends won't be pitted against each other in a battle of hamburger juice and mustard — they'll be teaming up to create the ultimate burger joint. If you're not familiar with the two halves of this delicious equation, get acquainted. Pub Life Kitchen have earned their stripes in burgery, serving seriously excellent creations inside Ultimo's tiny Lord Wolseley Hotel, and have been known to put everything from Dorito fried chicken to chilli jam doughnuts on their buns. Barrio Cellar, while probably known more for their tacos and tequila, have been flipping some pretty excellent burgers in the CBD since June. Just look at this. A photo posted by Barrio Cellar (@barriocellar) on Sep 17, 2015 at 5:22pm PDT Deus Ex Machina is located at 98-104 Parramatta Road, Camperdown. For more information on the pop-up, visit Pub Life Kitchen's Facebook page. Via Good Food.
The Sydney Lyric Theatre has played host to some of the biggest stage productions to come to Sydney in the past two decades, including Book of Mormon and the upcoming Pippin the Musical. As it is based inside The Star, you also have plenty of pre- and post-show dining options at your fingertips, including Flying Fish, Sokyo and Momofuku Seiōbo.
