Speeding onto screens with instant brand awareness is 2023's big trend. Air, Tetris, The Super Mario Bros Movie, Flamin' Hot and Barbie: they've all been there and done that already. Now it's Gran Turismo's turn, albeit with a film that isn't quite based on the video game of the same name. Directed by Neill Blomkamp (District 9, Elysium, Chappie), and penned by Jason Hall (American Sniper) and Zach Baylin (King Richard), it also doesn't tell the racing simulator's origin story. Rather, this pedal-to-the-metal flick focuses on the real-life Nissan PlayStation GT Academy initiative from 2008–16, and the tale of British racer Jann Mardenborough specifically. The overall program endeavoured to turn the world's top Gran Turismo players into IRL motorsports drivers — and the Cardiff-raised Mardenborough is one of its big success stories. The ins and outs of GT Academy receives hefty attention in Gran Turismo: Based on a True Story, plus Mardenborough's life-changing experience along with it; however, much is also made of a massive marketing push. Air, Tetris, Flamin' Hot: yes, they should all come to mind again. Here, Nissan executive Danny Moore (Orlando Bloom, Carnival Row) wants to attract new customers, ideally those leaping from mashing buttons to hitting the road. Accordingly, he conjures up the console-to-racetrack idea to help make that sales boost happen. You don't see it in Gran Turismo the feature, but surely taking the whole situation into cinemas if the underlying concept proved a hit was part of that initial plan as well. Amid the ample product placement anywhere and everywhere that the film can slide it in, that certainty thrums constantly. Kicking into gear based on Mardenborough's tale, the big-screen Gran Turismo has an unsurprisingly engineered air from the outset, then. If filmmaking at its most formulaic sticks to a track, and it does, then this example doesn't dare deviate for a single second. Hall and Baylin gleefully take Hollywood license with the facts, too, and early. For starters, Mardenborough is positioned as the first champion at GT Academy, and part of a make-or-break gambit when he scores his chance to turn professional. In actuality, the program had anointed two previous winners. That's the thing about keeping on your line: it's meant to be the optimal route. So, if you're adhering to the usual rousing underdog sports-film script, which Gran Turismo: Based on a True Story always is, then that kind of tweaking is standard — and, at best, feels like it. The movie's Mardenborough (Archie Madekwe, Beau Is Afraid) has only ever wanted one thing for his future: to race. While his ex-footballer dad Steve (Djimon Hounsou, Shazam! Fury of the Gods) thinks it's unrealistic, he's always dreamed of getting behind the wheel IRL, but he'll take Gran Turismo's lifelike approximation if that's all that's on offer. Enter Moore's gimmick, with Mardenborough's skills in the game earning him a near-fantastical opportunity, and seeing him hop from Wales to Japan, Dubai, Germany, France and more. Although his mother Lesley (Geri Horner, aka Spice Girl Geri Halliwell) is more supportive, trainer Jack Salter (David Harbour, Violent Night), a former driver himself and the man that'll become the GT Academy's mentor, is as sceptical as anyone can be about the entire notion. That's accurate even after Salter agrees to the gig, a choice made purely because he's working for an arrogant and entitled rich kid (Josha Stradowski, The Wheel of Time) otherwise. Someone segueing from excelling behind a gamer's racing wheel at home and in arcades to competing in motorsports — Mardenborough has gotten zipping in formula racing as well, and hit the track at 24 Hours of Le Mans — is genuinely remarkable. As a result, plenty about Gran Turismo: Based on a True Story's subject's reality already fits the against-the-odds template that's reached screens over and over across a plethora of different activities, and that this picture is so slavishly devoted to. Darren Cox, Moore's off-screen equivalent, truly couldn't have hoped for a better story if he was thinking about the silver screen back when he came up with GT Academy. That tinkering when the details don't immediately suit the feature's easy blueprint, however? Again, it's to be thoroughly expected, but it's overtly calculating. Changing the timeline around a fatality solely for dramatic purposes, to give Mardenborough something else to overcome on the road to greatness? That's also deeply shameless and unnecessary. Thankfully, as by the numbers as Gran Turismo: Based on a True Story always proves — and as questionable and needless as some of its plotting choices are — the tension revving through the movie's on-the-track scenes is also genuine. There's little that's out of the ordinary about Blomkamp's approach, nor about cinematographer Jacques Jouffret's (Tom Clancy's Jack Ryan) penchant for swooping sky-high shots (their film doesn't threaten Rush or Ford v Ferrari in the hypnotic stakes, either), but the racing scenes still thrill in the moment. That said, using graphics to construct a car around Mardenborough when he's driving in his bedroom, and to take him back there when he's on the asphalt, isn't the savviest move. Instead of being immersive, it too smacks of needing to shoehorn in as many references to the game, PlayStation and Sony as possible, a motivation that's already evident everywhere that viewers look. There's no mistaking the money-driven motives behind Gran Turismo: Based on a True Story's casting and the characters that it heartily swerves into, too. As Mardenborough, Madekwe is energetic and likeable — convincingly sweet and awkward as required as well — but the fact that the film hinges upon its most bankable name is as glaring as the sun bouncing off a windshield. Since Stranger Things became such a smash, no one enlists Harbour as a cantankerous figure without wanting his irascible best. Blomkamp and company get it, and often, while always making it plain that the feature is built as much around his performance as it is GT Academy, Mardenborough's true tale and selling games. Gran Turismo: Based on a True Story had to get its personality somewhere, of course, because it doesn't spring from its director. Joining the list of acclaimed names doing a workmanlike job on formulaic fare that almost anyone could've handled of late — although doing better than Meg 2: The Trench's Ben Wheatley — he's happy steering a highly watchable but always-routine affair.
Over the last few years, we've seen a certain literary crime-solver follow the action-packed route with Robert Downey Jr, then stalk around modern-day London as Benedict Cumberbatch, and head to America in the guise of Jonny Lee Miller. We've seen Sherlock Holmes in his prime, puzzling over clues and cracking cases. We've seen him save the day, struggle against a nemesis or two and even shoulder a few rough patches. What we haven't seen is the famous "elementary!"-exclaiming figure later in life — well, until now that is. Enter Mr. Holmes, an effort that explores what comes next for the cantankerous detective with the brilliant analytical mind. Set in 1947 and adhering to the original timeline for Sir Arthur Conan Doyle's creation, the latest filmic take on the ace investigator sees him older, wiser and a little worse for wear. His deductive skills still put others to shame, but his 93-year-old memory is failing. After a trip to Japan, Sherlock (Ian McKellen) returns to his seaside farmhouse buoyed with hope that he's found the answer to his ailing state; yet even his great intellect can't conjure a solution to getting long in the tooth. As he attempts to gather his wits to write his own version of his last-ever case, he shares his knowhow with Roger (Milo Parker), the young son of his housekeeper (Laura Linney), with the boy eager to learn everything he can from his idol. Watson might be absent, and Baker Street isn't a primary place of interest, but no rendering of the legendary detective would be complete without a cryptic situation (or several) to unravel. Just don't expect a traditional whodunit, because that's what this film is not. Piecing together the tale Holmes is jotting down — as well as the secretive details of his recent overseas jaunt — actually prove the feature's least intriguing parts. In a film that's more character study than mystery, the real enigma in need of untangling is Sherlock himself. Other recent screen incarnations have fleshed out the person behind the reputation, though not in such a delicate and delightful fashion as McKellen's hobbling, grumbling curmudgeon. His super sleuth isn't just a formidable brain packaged with some unsociable traits; he's a fragile elderly man facing a short future while looking back on a life he's no longer all that certain about. It feels fitting, then, that director Bill Condon lets his star steal the show in their second collaboration after 1998's acclaimed Gods and Monsters. In adapting Mitch Cullin's novel A Slight Trick of the Mind and trawling through its driving theme of accepting mortality, the filmmaker hones in not just on matters of the busy head, but those of the unfulfilled heart — and he has the perfect lead for the job. Condon also boasts a fine eye for the warm hues needed to colour Mr. Holmes' interpretation of the icon's golden years, and a feel for the stately rhythm required for what amounts to a hero's last chapter. Yes, his film is old in its protagonist and old-fashioned in its nature, but it's also an elegant, enjoyable alternative to the recent spate of rousing revisionist takes. That dispelling myths about the fictional hero becomes the film's running joke speaks to the vibe he's going for — and when it comes to Sherlock on screen, it's a vibe that's more than welcome.
There's something about the festiveness of winter that might have you nostalgic for Christmas — regardless of whether you've actually experienced a white yuletide before. Unfortunately, there's still a good amount of time left until the most wonderful time of the year and, when it does arrive, it is usually too hot for the traditional roast (not that it stops us). But the good news is, if a holiday feast is already calling your name, you won't have to wait until December. Each Friday and Saturday night throughout July, you can attend Shangri-La Hotel, Sydney's Christmas in July feast for a large spread of your festive favourites. From 6pm at Cafe Mix, you'll indulge in an international buffet filled with all the fixings for a delicious holiday dinner. Start with a warming chestnut and leek soup before filling your plate with roast essentials, like the whole roasted turkey served with orange, macadamia and cranberry sauce. If you want to go beyond the standard Christmas dinner expectations, you can also sample offerings from the rest of the cafe's stations: California maki, mango chicken curry and a side of papaya salad with peanut sauce. Let a little local Christmas tradition creep in and pay a visit to the seafood station filled with Sydney rock oysters, tiger prawns and crab. Wash it all down with some eggnog or spiced mulled wine, and be sure to leave room for the desserts that pastry chef Anna Polyviou has created. At $85 for adults (and $42.50 for children), this Christmas in July feast will be the gift that keeps on giving — at least until it's actually time for festive feasts. For more information and to make a reservation, visit the Shangri-La Hotel, Sydney website. Images 1 and 2: Nikki To.
If you're a Triple J aficionado, you've no doubt heard Clubfeet's 'Heartbreak' by now. Released in January this year and featuring the sultry vocals of "oriental disco heathen goddess" Chela, it's been topping many a request list for weeks. Groove driven yet melancholy tinged, ‘Heartbreak’ is the single from Clubfeet's sophomore LP, Heirs and Graces. Keys player Montgomery Cooper has described the album as "the kind of record where you come home from a big night out and you put it on". Heirs and Graces maintains the sweet, highly spirited pop feel of Gold on Gold, which earned Pitchfork's praise, but the tunes are more tightly structured and the electro explorations delve into darker, more compelling realms. From all accounts, Clubfeet's live shows are designed to get you up and dancing. This month’s appearance at the OAF, featuring Collarbones, Chela, and Ego, is sure to be no exception.
This contemporary art gallery has been a small but significant member of the inner-city art scene since its establishment in 2012. The Commercial, based in Redfern, represents a steady flock of emerging and established artists across a number of mediums and disciplines. Exhibitions typically last for a month making repeat visits a must for art enthusiasts. Recent works on offer have included Emily Hunt's silk monotypes and ceramics as well as paintings by Tim Schultz and Patrick Hartigan. The estate of prominent Australian Aboriginal artist Michael Riley is also managed by The Commercial. Riley's work in photography and film made a significant contribution to the representation of rural Aboriginal communities and Indigenous society.
Mike Leigh (Vera Drake, Happy Go Lucky) has done it again. With his singular, devastatingly incisive view from the kitchen sink, Leigh has stuck at the very heart of what it is to experience love, loneliness and that benign jealousy that comes from witnessing contentment. To set the scene Leigh calls on his Vera Drake lead Imelda Staunton, who in harsh close up delivers a stunningly raw performance as a woman seeking a cure for insomnia, yet one resolutely unwilling to broke any psychological inquiry. This stunning, severe prologue calibrates the film's emotional barometer as Leigh navigates humanity's highs and lows with a clear and compassionate eye. Divided into the four seasons, Another Year centres on the unadorned but happy marriage of Tom (Jim Broadbent) and Gerri (Ruth Sheen), who have a warm relationship with their grown son Joe (Oliver Maltman) and a modest garden allotment in which they routinely potter about. They'll often invite friends over to share in their bounty, which is how Mary (Lesley Manville) and Ken (Peter Wight) feature in their lives. But as easy-going and well rounded as Tom and Gerri are, Ken and especially Mary are not. Theirs are lives of silently screaming desperation, which throws Tom and Gerri's happiness into brutally sharp relief. Given a firm foundation by Broadbent and Sheen, Lesley Manville absolutely steals the show. It's an extraordinary, transfixing performance, not unlike a car crash at times as Mary runs roughshod over boundaries in an attempt to bask a little longer in the warmth of Tom and Gerri's (and even Joe's) affection. The film is often like being trapped at the most painfully awkward dinner party, which is the source of as much dark humour as pathos. So while outwardly it might seem like not a lot goes down in Another Year, Leigh's unobtrusive filming reveals volumes about the nature of friends and family. Part cautionary tale (heaven forefend that you're a 'Mary'!), part heart-warming tribute, Leigh has weaved together this patchwork of personalities and masterfully crafted Another Year into one of 2011's cinematic gems. https://youtube.com/watch?v=cm-mfxOiUXI
Maybe you first heard of Peloton when US President Joe Biden assumed office, with his use of the company's technology-enabled equipment giving rise to questions about its potential White House security risks. Perhaps you've seen the mocking ad created by Ryan Reynolds' Aviation American Gin, or the recent Saturday Night Live spoof. Or, you could just really like expensive additions to your home gym setup, or getting guided through your workout routine by an instructor without having to leave the house. Whichever fits, Australians will soon be able to get their hands on the brand's indoor bikes and take part in its streamed classes, with the company announcing plans to launch Down Under. An exact date hasn't yet been announced, but Peloton will be rolling out its equipment and at-home workouts in Australia some time in the second half of 2021. Presumably, it won't be doing so by using its controversial 2019 TV commercial, which received considerable backlash and gave rise to the aforementioned parodies. Australians will be able to choose from two Peloton bikes first up, and neither comes cheap. The Peloton Bike will cost $2895, while the Bike+ will set you back $3695. If you're wondering what the difference is, the latter comes with a bigger screen that can rotate 360 degrees, and with a better sound system — because connecting to the Peloton app and streaming its workouts while you're hitting the pedals is all part of the process. You will need to pay extra to access the company's content, which'll cost $59 per month. On offer: instructor-led classes, motivational tracks and curated playlists, with the latter featuring the likes of Beyoncé and The Beatles. The sessions cover cycling, obviously, as well as running, strength training, high-intensity interval training, yoga, barre, pilates, dance cardio, bootcamp and meditation. Time-wise, they span from five to 60 minutes in length and, in terms of skill, range from beginner to advanced. The Peloton app does also include material that doesn't require the brand's equipment, if you're eager to give it a try without breaking your budget. Peloton is also setting up physical showrooms in Sydney and Melbourne, should you want to give its bikes a test run in person. The brand also makes treadmills, although when they'll be available in Australia hasn't yet been announced. When Peloton heads Down Under, it'll set up shop in its fifth country worldwide, after the US, the UK, Canada and Germany. Peloton will launch in Australia sometime in 2021, and set up showrooms in Sydney and Melbourne. For further details, keep an eye on the company's website.
For one week each September, Brisbane becomes Australia's live music capital — even if a Melbourne survey generally claims otherwise. When BIGSOUND hits the city, it seems like every venue in Fortitude Valley is packed to the rafters with bands, industry folks and music-loving punters, all enjoying the latest and greatest the country's music scene has to offer. And given this year's complete lineup, expect that to be the case once again. After unveiling its first 76 acts for 2019 last month, BIGSOUND has revealed who else it'll play host to between September 3–6. As always, it's a hefty bunch. Mojo Juju, These New South Whales, Adrian Eagle, imbi the girl and Cry Club join a bill that already includes the likes of Bad//Dreems, Electric Fields, SCABZ, Outright, Milan Ring, LOSER, Tones & I and Tasman Keith, plus yergurl, EGOISM, Stevan, Laura Imbruglia and Concrete Surfers. Yes, the list goes on, with 147 artists gracing the event's stages in total. BIGSOUND has also announced its full range of venues, reaching 18 all up, all across Fortitude Valley. Attendees can expect to get cosy in smaller spaces including Black Bear Lodge and Heya Bar, tap their toes at big stages like The Zoo, The Brightside, and Crowbar, and enjoy the night air at outdoor spots such as The Valley Drive In, The Elephant Hotel and Ric's Big Backyard. As previously revealed, this year's talking heads will include keynote speaker Terry McBride, CEO and co-founder of Nettwerk Music Group, which includes Canada's largest independent record label, artist management and music publishing company; and British TV and radio presenter Abbie McCarthy, from BBC Music Introducing, Radio 1 & 4 Music, and Good Karma Club. This is a conference as well as a festival, after all — although, you can choose to hear wise words of wisdom, dance all night, or both. [caption id="attachment_636255" align="alignnone" width="1920"] Bec Taylor[/caption] Past BIGSOUNDs have showcased everyone from Gang of Youths, Flume, Tash Sultana and Courtney Barnett to San Cisco, Violent Soho, Methyl Ethel and The Jungle Giants, so its program is usually a very reliable bellwether of current and up-and-coming talent. Even better — the festival's four-night $85 (plus booking fee) Rainbow Pass nabs you access to 270 music showcases at the 18 venues. To view the full BIGSOUND 2019 lineup, visit the event's website. BIGSOUND 2019 runs from September 3–6 at various venues around Fortitude Valley, Brisbane. For further details or to buy tickets from 9am on Monday, June 27, visit bigsound.org.au. To discover what to do, see, eat and drink while visiting Brissie for the annual event, check out our weekender's guide to Brisbane during BIGSOUND. Top image: Kult Kyss at BigSound 2018.
Entertainment is relative to expectation. At slapdash times, a case of beer, a few friends and the digital music collections contained in your pockets will do. But when you're driving piles into the bottom of Sydney Harbour, crafting a nine-metre chandelier out of Swarovski elements and conjuring up a solid 3000-seat outdoor venue where before there were only lawns, you've committed to staging an event that those who witness cannot forget. It was a huge gamble from Opera Australia, Destination NSW and benefactor Haruhisa Handa. The result is a spectacular success and probably the best outdoor event to ever be staged in Australia. Festivals of all stripes could learn a thing or two from Handa Opera on Sydney Harbour. From the moment you enter, it is designed to be a totally comfortable experience that removes you from the everyday. The labyrinthine paths that lead to the seating and social areas take you under arches and over mini red carpets by day and through a prettily lit botanical corridor by night. There's premium catering sequestered somewhere, but the casual dining is perfect, borrowing the efficient layout of Ikea's restaurants to swiftly spit you out with fish and chips or pizza slice in hand. People promenade along the waterfront, which separates the seating from the stage built over the water. The views, the views, the views wash over you from each direction. By combining the grandeur of opera with Sydney's natural and architectural wonders and the (literal) fireworks of outdoor gatherings, the organisers of Handa Opera on the Harbour have assembled a spectacle heightened beyond what could ever fit in a theatre. La Traviata is the world's second-most performed opera, but let's be straight: it isn't the most exciting. This is a story that was fleshed out by Baz Luhrmann in Moulin Rouge, and in this incarnation, the consumptive consort's death scene takes an hour. It means the pressure is on the performers to convey the emotional impact of tragedy almost solely through their soaring, reaching, longing voices — and really, isn't that when opera is at its best? Emma Matthews and Gianluca Terranova as lovers Violetta and Alfredo and Jonathan Summers as meddlesome father Giorgio ably lead you on that journey. But the light narrative also, in this case, gives your eyes a chance to wander from the surtitles and absorb the spectacle on stage, and when they itch for a break from that, time to dance across the city skyline from the CBD over the Opera House, Harbour Bridge and to the bookend of North Sydney. It's sublime. La Traviata is a story made for excess, allowing designers Brian Thomson and Tess Schofield to fill parties with a raucous mix of tuxedoed gentlemen, gypsies, matadors and drag queens and furnish the set with a cartoonishly long banquet table and Chesterfield lounge. Even when it's lit like a nightclub, the set delivers on scale and glamour. The gilt-frame base is less evocative in reality than concept (it looks a little like a skate park at times), but that much-talked-about chandelier is truly stunning and, given its surrounds, not overwhelming. Most impressively, just when you thought their every use had been thoroughly exhausted by Sydney outdoor events, this one makes fireworks seem wondrous, surprising and meaningful again. La Traviata is the first of three such Handa Opera on Sydney Harbour events scheduled for the next three years. Not even rain could tarnish your experience of a night you'll carry with you well into next March. https://youtube.com/watch?v=ewpzuXjwAMg
Patrick White is an Australian national treasure. Or at least, so we're told; he's hardly read among Gen Ys and even Gen Xers. Conducting an impromptu poll among under-30s, I found only one person who had read Patrick White, and that was because his name, too, was Patrick White, and he felt obliged. However, that might be about to change, with one of White's novels finally adapted to the screen, 38 years after it was written and 21 years after his death. The Eye of the Storm is delightfully wry, distinctly antipodean and surprisingly affecting. It makes you feel alive to the depth of Australian stories we've yet to plumb. The film has also, significantly, roped in the great Australian talents of actors Geoffrey Rush and Judy Davis and director Fred Schepisi (Fierce Creatures), so you'll definitely be paying attention. The Eye of the Storm joins Elizabeth Hunter (Charlotte Rampling), the matriarch of an ultra-elite Australian family of the kind we like to kid ourselves we left back in Britain, on her sick bed, where she is in a declining state following a stroke. Her adult children are on their way from Europe to join her. Basil (Rush) is a London-based stage actor of enough repute to have earned a knighthood. Dorothy (Davis) is a princess of some French-speaking outpost, married name de Lascabanes, who's impending divorce will leave her with a title but no assets. They're both purposely late and care most demonstratively for their inheritance. They have all the hallmarks of success and don't know how to live without them. They struggle to flip a steak or feel real love. They call everyone, including their mother, "darling". She calls them her "great disappointments". The Hunter family may be shallow people, but White and Schepisi have found depth enough in them to make you mourn for the tragedy of their misspent lives. Their emotional journeys are contrasted and elucidated by those of other characters who have become interwoven with them, especially comely nurse Flora (Alexandra Schepisi), who sees her affair with Basil as her ticket out of dullsville; housekeeper Lotte (Helen Morse), who will suffer for Elizabeth's pleasure; and Arnold (John Gaden) and Lal (Robyn Nevin), a couple who's lifelong employment/friendship with the Hunters has brought them few rewards. In Australia, we've come to think we're all part of the aspirational class. And perhaps mostly we are Floras: we all want to get famous or have Geoffrey Rush's babies. But it's a rare Australian story that even acknowledges the existence of different classes in our society, let alone so thoroughly excavates the effects of privilege or dares to sympathise with the indecently rich. To have done it with so much fun is what makes Eye of the Storm truly worth seeing.
Everyone has a favourite kind of chocolate. Everyone also has a favourite kind of chocolate that doesn't actually exist. You know what we're talking about — you've fantasised about a bar of cocoa goodness that includes all your wildest, weirdest additions, and you've been cripplingly saddened every time you've looked for your crazy concoction in the supermarket. Keep dreaming deliciously big, because new Australian online retailer Chocolab is in the business of granting chocolate wishes. Whether milk, white or dark is your jam, and whether you like to find confectionery, spices, fruit, nuts, biscuits, cereal, coffee, popcorn or pretzels hidden within, your dream choccy could be an actual, eatable thing. In the company's online creation lab, you can add up to five possible bits and pieces to your 100-gram block of Belgium's finest. The lengthy list of ingredients currently includes sour gummy worms, Ovalteenies, Nerds, caramel fudge, Nutella, Fruit Tingles, sherbet, acai berries, Tiny Teddies, brownie bites, Cornflakes and more, with new options added regularly. If you don't see an add-in you like, you can even suggest your own. A block starts at $6.50, with add-ins ranging from 70c to $2. Once you've settled on your picks, your concoction is handcrafted by Chocolab's professional chocolatiers, then shipped to you as soon as possible — and yes, there's an express delivery option, because no one likes waiting for the food of the gods. Postage starts at $4 per block, so while it's not the cheapest block of chocolate in town, it's certainly the most happily indulgent. Chocolab recommends eating the finished product with a month or two, and we celebrate their optimism and judgement-free attitude. We all know your dream bar won't last that long. To find out more about Chocolab, or to design your own block of chocolate, visit their website.
Sometimes they're shaved and sprinkled atop pasta, risotto or eggs. Sometimes they're used to flavour cheese. To the joy of libation lovers, they've also been worked into creative types of cocktails. The foodstuff in question: truffles. A king among culinary must-haves, they don't just tantalise tastebuds every time they're mentioned, but get snapped with such frequency that they fill up social media feeds the way they fill up stomachs. Northern Italy's woods are also abundant with them, especially the tuber magnatum — otherwise known as the white truffle. But before these highly sought-after morsels can make their way into kitchens, onto plates, and into many a willing and eager mouth, someone has to spend their time and expend their energy finding the edible fungus. The Truffle Hunters introduces viewers to multiple elderly men and their adorable dogs who all do just that, with their lives revolving around roving the forest and searching out the prized food. It might sound like a relaxed pursuit — as walking through trees with your pet pooch to fill your pockets with a delicacy is bound to — but it's a highly competitive endeavour, and one that the documentary's central figures are intensely passionate about. For Aurelio, the only thing he loves more than foraging for truffles is Birba, his partner in the hunt. Alas, he worries that when his days are over, there'll be no one to care for his adored canine companion. The cantankerous Angelo has no such concerns, but he does have a plethora of gripes. Now an ex-truffle hunter disillusioned with the way that the industry has evolved over time, he's happiest when he's attacking his typewriter with gusto, using it to chronicle his myriad woes and complaints. In earning the film's attention, these two very different men are joined by the committed Sergio, who enjoys his task with his dogs Pepe and Fiona by his side — and by Carlo, who takes his walks with his own four-legged companion Titina. The latter duo are the source of some of The Truffle Hunters' most memorable scenes, with Carlo's beloved pastime forbidden by his wife. Unperturbed, he routinely sneaks out at night to search with a torch in hand. Cycling between these men's stories, directors Michael Dweck (The Last Race) and Gregory Kershaw (cinematographer on The Last Race, and also on this) chart their individual efforts. The titular subjects try care for their canines, argue with others encroaching on their turf, type missives about how the world has changed and, in Carlo's case, keep absconding by moonlight. Their hounds remain a focus, including their efforts to avoid poison baits. Devoted to capturing the pooch perspective however they can, Dweck and Kershaw aren't above using puppy cam as well. Seeing truffle hunting from a dog's viewpoint may be an easy gimmick, but it's also both a joy and a thrill — and emblematic of the film's fondness for flavour and character above all else. Narration is absent, talking heads don't clog up the screen, and no one is on hand to describe the ins and outs of the business in the spotlight, with Dweck and Kershaw favouring immersion rather than explanation. It's a fitting approach, and a purposeful one, even if the documentary takes on a relaxed air from start to finish. The Truffle Hunters is a leisurely movie that's content to chronicle its subjects' easy-going lives, lean into their eccentricities and survey their lush surroundings — and, even clocking in at just 84 minutes, it's an unhurried gem of a documentary — however, it's also carefully compiled. Truffle aficionados will spot the symbolism, of course. When chefs whip up bites to eat using the fungi, they enhance the charms of a raw ingredient by weaving it into a painstakingly crafted dish — and The Truffle Hunters does the filmmaking equivalent. When working in the kitchen and making a movie alike, it takes skill and precision to bring out the best in something, while also simultaneously arranging it in an exacting fashion. If Dweck and Kershaw happen to be as adept at cooking as they are at directing, they'd make exceptional chefs indeed. The pair's efforts behind the camera are certainly enough to whet appetites; shots of truffles being grated over plates will do that. That said, The Truffle Hunters doesn't ever earn the culinary documentary genre's least-wanted term, because no one here is interested in making mere food porn. Instead, this sumptuously and patiently lensed affair is a record and a musing. It details a way of life, and the men behind it, that's likely to wane. To place that foreseeable change in context, it shows how everything surrounding truffles is becoming an ever-lucrative business. In the process, it also ponders the way that traditions fade — when the number of people keeping them alive continues to decline, and also when profit becomes a heftier source of motivation for those taking over. As these elements swirl through the documentary — which also boasts Call Me By Your Name filmmaker Luca Guadagnino as its executive producer — it serves up a rich and substantial cinematic meal. https://www.youtube.com/watch?v=eg7QTqm_i4o
Spending more time at home is much easier to stomach with a hefty rage of desserts on hand, or at least that seems to be Gelato Messina's pandemic motto. Over the past few months, the gelato fiends have served up plenty of tasty specials, including cookie pies in choc chip, red velvet, choc-hazelnut, and peanut butter and jelly varieties, as well as 40 of its best gelato flavours. Up next: a gelato version of everyone's favourite Italian chocolate, in tub form. If your ultimate chocolate is round, covered in gold wrapping and has a crunchy hazelnut centre — yes, we're talking about Ferrero Rocher — you best get ready to order this Messina special, dubbed the Tartufo Rocks Hot Tub. Inspired by the famed Italian chocolate, the tubs feature layers of gianduja (chocolate-hazelnut) gelato, whipped cream, chocolate-coated puffed rice, hazelnut mousse and gianduja fudge and are topped with hazelnut rocher glaze. And, yes, the end result looks like the chocolates you know and love — but in a scoopable form. Available as part of Messina's 'Hot Tub' series, the Tartufo gelato can only be ordered online on Monday, October 26, with a one-litre tub setting you back $30. You can then go into your chosen Messina store to pick up your tub between Friday, October 30 and Sunday, November 1. While Rocher's tagline is indeed 'share something special', we think there's nothing wrong with keeping this all to yourself. Gelato Messina's Tartufo Rocks Hot Tubs will be available to order on Monday, October 26, for pick up between Friday, October 30–Sunday, November 1 — keep an eye on the Messina website for further details.
With the Australian Government looking at relaxing some restrictions in mid-May and international travel potentially on the cards in four months, some of the country's most-popular events are optimistically pencilling in dates. One of them is Sydney's always busy Sculpture by the Sea. The free outdoor sculpture exhibition is set to takeover the two-kilometre Bondi–Tamarama coastal walk this October (when it usually takes place), which is exciting for two reasons: firstly, we may see some semblance of normality return to our lives by October; secondly, the event organisers have resolved their stoush with Waverley Council. To rewind a little, in mid-2019, the organisers of Sculpture by the Sea were at loggerheads with the Council over the construction of a new path, and were scoping out alternative locations for the long-running art exhibition. In a statement released this morning, Waverley Mayor Paula Masselos said after months of discussions, "both parties [are] thrilled to come to an agreement to see the exhibition return to its home in Bondi". And the exhibition won't just return to Bondi this year either, but at least until 2030 with the organisers and Council agreeing to a ten-year deal. [caption id="attachment_694146" align="alignnone" width="1920"] Sculpture by the Sea 2018 by Trent Van der Jagt[/caption] In regards to COVID-19, organisers said the exhibition taking place this October is "pending any public gathering restrictions" and that it's discussing a postponement contingency plan. "Waverley Council will continue to monitor what impact COVID-19 measures in NSW will have on public events in the future," Mayor Masselos said. "But for the meantime, we just want to congratulate Sculpture by the Sea for moving forward in this new chapter." NSW Premier Gladys Berejiklian has said social distancing measures will remain a "part of our lives" until a vaccine is found, which some experts are saying could take 12–18 months, so if it does go ahead, Sculpture by the Sea may look a little different this year — with restrictions on how many people are allowed on the path at each time, for example. Last year, the event saw approximately 450,000 visitors over three weeks. For now, though, Sculpture by the Sea is planning to go ahead from October 22–November 8 and is taking applications from Australian and international artists. And, in the meantime, you can check out our favourite works from last year over here. Sculpture by the Sea is set to take place from October 22–November 8, 2020 on the Bondi–Tamarama coastal walk. For more information, head to sculpturebythesea.com.
Calling all Scandi cinema diehards, Nordic noir buffs, fans of the region's oft-icy climes, and lovers of mythology and folklore: the 2023 Scandinavian Film Festival has something on its lineup for you. When it gets frosty in Australia each year, this big-screen showcase celebrates titles primarily hailing from Denmark, Finland, Iceland, Norway and Sweden — and its latest lineup is full of must-see highlights. Touring the nation between Thursday, July 13–Wednesday, August 9, with stops in Sydney, Melbourne, Canberra, Perth, Adelaide, Brisbane and Byron Bay, the fest's latest program will kick off with the Australian premiere of Let the River Flow, which won the Audience Award at this year's Göteborg Film Festival. Based on a true tale, it tells of a young woman who unintentionally becomes involved in a protest against a dam, with the new structure set to possibly flood Indigenous Sámi land. The standouts keep coming, such as Godland from Icelandic filmmaker Hlynur Pálmason (A White, White Day), which gets the festival's centrepiece slot — and Fallen Leaves, the latest from Finnish great Aki Kaurismäki's (The Other Side of Hope). Both hit the Scandi Film Festival after bowing locally at other events around the country. Also boasting a high-profile name is Burn All My Letters, which follows the consequences of a love affair, and stars Barbarian and John Wick: Chapter 4's Bill Skarsgård. Or, there's Swedish thriller Shadow Island, Darkland sequel Darkland: The Return and psychological drama Copenhagen Does Not Exist for devotees of Nordic cinema's dark side. If that's your favourite way to get a Scandi film fix, you'll also be in your element with Scandi Screams, the fest's six-movie retrospective. That's where that focus on myths and eerie tales comes in, and of course Let the Right One In is on the lineup. So is Ari Aster's Midsommar, the Oscar-nominated Border, Mads Mikkelsen in Valhalla Rising, twisted Christmas flick Rare Exports and the fantasy-heavy Troll Hunter. Back to the event's slate of recent releases, comedy lovers can get excited about Iceland's dinner party-set Wild Game, Denmark's Fathers & Mothers and The Land of Short Sentences, the new film in The Grump franchise, and absurdist-leaning period piece Empire. Also on the lineup: Unruly, another 2023 Göteborg Film Festival award-winner, this time for Best Nordic Film; documentary The King, about Swedish King Carl XVI Gustaf; Munch, a dramatisation of the Norwegian artist's life; coming-of-age drama Norwegian Dream; One Day All This Will Be Yours, about a Swedish cartoonist and her siblings dividing up the family farmland; and polyamory love story Four Little Adults. One note: cinemagoers in Perth won't get to see Fallen Laves, while Adelaide movie buffs don't have Four Little Adults on their lineup. SCANDINAVIAN FILM FESTIVAL 2023 DATES: Thursday, July 13–Wednesday, August 2 — Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, The Kino, Pentridge Cinema and The Astor Theatre, Melbourne Tuesday, July 18–Wednesday, August 9 — Palace Norton, Palace Central and Chauvel Cinema, Sydney Wednesday, July 19–Wednesday, August 9 — Palace Electric, Canberra Wednesday, July 19–Wednesday, August 9 — Palace Nova Eastend Cinemas, Adelaide Wednesday, July 19–Wednesday, August 9 — Palace James St, Palace Barracks, Brisbane Thursday, July 20–Wednesday, August 9 — Luna Leederville, Luna on SX & Palace Raine Square, Perth Thursday, July 20–Wednesday, August 9 — Palace Byron Bay The Scandinavian Film Festival tours Australia from in July and August 2023. For more information or to buy tickets, visit the festival's website.
Edge of Tomorrow tells the story of a cocky, unlikeable man trapped in an inescapable temporal loop where he must relive the same day over and over again. From the trailer alone it was clear this new film by director Doug Liman (The Bourne Identity) had borrowed heavily from 1993's outstanding live-die-repeat karmic comedy Groundhog Day. The only questions were: how much, and how well? Over the past 20 years, a number of attempts have been made to match the Groundhog Day formula, with Source Code and Deja Vu perhaps the most on point, while Looper — though not specifically a 'repetition' film — offered the most refreshing perspective on what it called "that time travel crap [that] just fries your brain like an egg". In Edge of Tomorrow, the allusions to Ramis' film are at their most pronounced, yet — thankfully — they are also perhaps at their best. Tom Cruise, putting in his best performance in years, plays the spineless advertising exec turned military spin-doctor Will Cage, who's railroaded by his commander (Brendan Gleeson) and dispatched to the western front as a regular grunt on the eve of a major military offensive. The enemy is an alien species whose arrival, objective and anatomy most closely resemble those of the bugs in Starship Troopers. As the waves of troop carriers, aircraft and boats swarm across the English Channel towards France, it's hard not to think the timing of this film's release wasn't just a little bit strategic given this week's 70th anniversary of D-Day, yet it neither grates nor bears any significance to the wider implications of the compelling plot once Cruise dies and begins his seemingly endless loop. Edge of Tomorrow was written by Hiroshi Sakurazaka, whose background in IT and video games unmistakably impacted on both the visuals and narrative. For one thing, the soldiers resemble something between human Mech-Warriors and Titan Convertibles, yet it's in the nature of the temporal loop that the gaming analogy is most apposite. Every time Cage dies, he immediately restarts from the same time and place. It is, in effect, his 'save point', and — just as in gaming — he uses both the pain and knowledge from his previous deaths to extend the time before his next one in order to beat the eventual 'Boss'. In Groundhog Day, the main character taught himself piano. In Edge of Tomorrow, it's martial arts and weaponry. In Groundhog Day, he got to know a woman in order to sleep with her. Here, it's to keep her alive. That woman is Rita Vrataski (Emily Blunt), a war hero and propaganda darling whose nickname is either 'The Hero of Verdun' or 'Full Metal Bitch' depending on whether she's there to hear it or not. Blunt is spectacular in the role, playing an entirely plausible warrior without having to resort to hackneyed tough-talking or turning her body into a giant muscle in a sports bra. She's less a love interest than she is a trainer, motivator and ally, and the partnership is a delight to watch. Funny, suspenseful and terrifically imaginative, Edge of Tomorrow is a thinking-person's action film that will surely stand as one of 2014's best blockbusters. https://youtube.com/watch?v=vw61gCe2oqI
What's your age again? Old enough to remember when blink-182's classic lineup of Tom DeLonge, Mark Hoppus and Travis Barker were initially together — and old enough to be excited that DeLonge has now rejoined the band, too. If that's you, then you will have been mighty excited about the above news, as well as the fact that the trio is hitting the road on a huge world tour, including heading to Australia. To the surprise of no one, blink-182's upcoming trip Down Under has been getting a huge response, even before general tickets to its February 2024 shows go on sale. So, also unsurprisingly, the band has just added extra gigs in Melbourne, Sydney and Brisbane. [caption id="attachment_873239" align="alignnone" width="1920"] Jack Bridgland[/caption] Melburnians can now choose between Tuesday, February 13 and Wednesday, February 14 at Rod Laver Arena; Sydneysiders can opt for either Friday, February 16 or Saturday, February 17 at Qudos Bank Arena; and Brisbanites have Monday, February 19 and Tuesday, February 20 at Brisbane Entertainment Centre to pick from. Well, assuming you nab tickets quick smart from 1pm on Thursday, October 20 local time — or hop on the Live Nation and Spotify pre-sales at 1pm on Wednesday, October 19. That feeling you get when a decades-old band either reforms its beloved lineup and hits the road, or tours your way with a huge history behind them, kickstarting all those nostalgic old memories? If you're blink-182 fan, you clearly know the right words for that: well I guess this is growing up. DeLonge, Hoppus and Barker — with Rise Against in support — will start their Australian run in Perth, then head to Adelaide, Melbourne, Sydney and Brisbane. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' out now. Expect to hear everything from 'Dammit', 'Josie' and 'What's My Age Again?' to 'All the Small Things' and 'I Miss You' live, though — and yes, the latter feels oh-so-apt right now. BLINK-182 2024 AUSTRALIAN AND NEW ZEALAND TOUR: Friday, February 9 — RAC Arena, Perth Sunday, February 11 — Adelaide Entertainment Centre, Adelaide Tuesday, February 13–Wednesday, February 14 — Rod Laver Arena, Melbourne Friday, February 16–Saturday, February 17 — Qudos Bank Arena, Sydney Monday, February 19–Tuesday, February 20 — Brisbane Entertainment Centre, Brisbane Friday, February 23 — Spark Arena, Auckland Monday, February 26 — Christchurch Arena, Christchurch Blink-182 will tour Australia and New Zealand in February 2024. Live Nation and Spotify pre-sales start at 1pm on Wednesday, October 19 — and general sales from 1pm on Thursday, October 20 (all local time). For more information, head to the Live Nation website.
On the lookout for a dope new denim jacket? Or do you want to be rid of that weird-looking lamp taking up space in the living room? Then, by golly, you're in luck. The Garage Sale Trail works with local council partners Australia-wide to get as many trash-and-treasure troves happening on the same day as possible. Last year, more than 400,000 Aussies took part, and held more than 18,000 sales. While life is a little different in 2020, 16,000 events are still expected to open their doors to bargain hunters, selling more two million items. When the event returns across the weekend of Saturday, November 21 and Sunday, November 22, online garage sales will also be part of the trail. According, whether you're buying or selling, you have two options: do so in person, or take the virtual route. It's the first time ever that the Garage Sale Trail is going digital, too. Aside from the retro goodies up for grabs, the Trail is all about sustainability. Instead of ending up in landfill, unwanted clutter becomes a fantastic find. So get that tight pair of sunnies for peanuts and help the environment at the same time. The Garage Sale Trail began humbly in Bondi in 2010 and is growing bigger every year. There'll be a right slew of sales happening all around Sydney, so keep your eyes on the event website — or register online to make a quick buck from your old junk and hang out with the friendly folks in your hood. [caption id="attachment_783811" align="aligncenter" width="1920"] Jo Lowrey[/caption] The 2020 Garage Sale Trail takes place on Saturday, November 21 and Sunday, November 22, both in garages all around Sydney and via virtual garage sales. Images: Garage Sale Trail.
The Campbelltown region is a patchwork of people and localities. While a lot of the local culture goes on in the surprisingly swish Campbelltown Arts Centre — and sometimes at the Campbelltown Mall as well — the surrounding suburbs have secrets of their own. If multi-storied Minto, for example, seems a bit distant from the inner-city — the sort of place you'd need a guide to get around — the Sydney Festival has you covered. Festival outlier Minto: Live takes you on a artistic tour of this often overlooked south-western Sydney suburb. Imported artists will work with locals for a production that spans the Minto streets. UK theatre duo Lone Twin will stage their Street Dance with eight local households telling their stories on their doorstep, while fellow Brit Hetain Patel stages his TEN with local Pacific Island drummers. Sydney artist Nicole Bakarat will deliver fabric art, while Freddie Hill leads a trumpet chorus of locals in the streets. For the finale, Belgian performance artist Gwendoline Robin promises us fireworks. If you're interested in what happens in that part of the world while no one is looking, Minto: Live promises to pull away the curtain — if only for an hour or two. Tours meet in the carpark of Minto Mall at 6pm. Buses will take you back to the carpark or station at the end of the tour.
If your idea of a good Thursday night involves tasting some of the best wines NSW has to offer in the company of the makers themselves, then keep reading. As part of the revamped Citi NSW Wine Awards, Outstanding on the Pier is a new event taking place on Pier 2, with the sparkling waters of Walsh Bay as a backdrop. It showcases the 120 wines that were selected as 'top wines' for 2013, with over 60 NSW wineries from varying regions being represented. You'll be able to meet some of the makers and sample a smattering of seasonal state produce (think Brasserie Bread, Alto Olives, Pepe Saya butter, a bit of Southern Highlands Lamb). Make sure to vote for the People's Choice Award to be in the running to win a special prize, including a selection of this year's top wines.
First, it was a popular 80s comedy starring Dolly Parton, Jane Fonda and Lily Tomlin. Then, it became a five-season television sitcom led by Parton's real-life younger sister. In 2009, 9 to 5 made the leap to the stage too, because you just can't stop a good story about female empowerment in the workplace. Revived in the West End back in 2019, it's still a huge hit — and now, after being delayed by the pandemic, the stage production will make its Australian premiere in Sydney in February next year. Just by reading the show's title, we know that you already have Parton's catchy song of the same name stuck in your head. Pour yourself a cup of ambition, because that tune isn't going away anytime soon. Indeed, you'd best get ready to exclaim "what a way to make a living" more than once when 9 to 5 The Musical plays its Aussie debut season, hitting the Capitol Theatre in Haymarket from February 16, 2022. Ahead of its time when it first reached cinemas, this tale of three women who take on their sexist, egotistical and all-round despicable male boss is obviously still highly relevant today. Before #TimesUp and #MeToo, workmates Doralee, Violet and Judy decided to turn the tables by kidnapping their supervisor and reforming their office. Expect the same story in 9 to 5 The Musical, as penned by the original film's screenwriter Patricia Resnick — just with more songs. The Australian version will star Caroline O'Connor (a veteran of the movie version of Moulin Rouge!), as well as Eddie Perfect as the workplace's controlling boss. With Parton herself writing the score — and earning Tony and Grammy nominations for her efforts — expect plenty of feel-good music as well. Although she doesn't appear on stage, the famous country star is still involved with the show, and with bringing it to Australia. Images: Pamela Raith Photography. Updated February 14, 2022.
Sydney winters mightn't be known for their ice and snow; however, that doesn't mean you can't slide across a frozen surface in the centre of the city. From June 28 to July 21, St Mary's Cathedral forecourt will become a winter wonderland thanks to the return of the Skating At Sydney Festival. With the event back for another year, all of the frosty fabulousness Sydneysiders know and love will return to the CBD. It's the next best thing to heading to Europe when it's oh-so-cool, just without the bone-chilling, teeth-chattering cold. The lineup of events includes not only regular ice skating, but a 'date and skate' night each Tuesday, plus a 90s and 00s-themed evening every Thursday from 5pm, which will see you skating to disco and R&B bangers. Both nights will feature $10 espresso martinis. Entry to the area is free, but you'll have to pay for all of the fun stuff, with the fest open from 10am–9pm Monday to Wednesday, 10am–10pm on Thursday to Sundays.
Gather an eclectic group of people in an intriguing place, spill a few secrets, commit a few crimes and watch sparks fly. It's an approach that's worked for Agatha Christie's Murder on the Orient Express, Quentin Tarantino's The Hateful Eight and even the board game Cluedo, and it works a treat for Bad Times at the El Royale. Contrary to the film's moniker, you can expect a rollicking good time with this mystery-thriller, which has devilish fun taking both its sharp narrative and its motley crew of characters on a twist-filled ride — and taking the audience along too, for that matter. On a sunny 1969 day that's soon to turn stormy, Lake Tahoe's El Royale Hotel welcomes four guests to its distinctive surroundings. Checking into the spot smack-bang on the border of California and Nevada are smooth-talking vacuum salesman Laramie Seymour Sullivan (Jon Hamm), jobbing singer Darlene Sweet (Cynthia Erivo), man of the cloth Father Daniel Flynn (Jeff Bridges) and a woman who writes "fuck you" in the ledger instead of her name (Dakota Johnson). Strangers crossing paths for the first time, each has their own reasons for being there, not that anyone is forthcoming. As they assemble in the lobby beneath photos of Marilyn Monroe, Frank Sinatra and other bigwigs who've stayed on the premises, the young, distracted manager Miles (Lewis Pullman) gives them the spiel: they can slumber in either U.S. state, but rooms in California cost $1 extra and you can't drink in the Nevada lounge, or gamble either since it lost its gaming license. The hotel's divided layout aside (and yes, a line literally runs right through the middle), much about Bad Times at the El Royale initially feels familiar. The basic setup, the use of title cards, the shifting perspectives and fractured timelines, and the air of foreboding in a fading abode all could've stepped out of countless other movies. Thankfully, derivation isn't the name of the game here, although there's one particular film that writer-director Drew Goddard owes a debt to. It's his own last big-screen release, The Cabin in the Woods — and while the filmmaker isn't trying to make the same flick twice by any means, he approaches this slightly over-long 90s-style crime throwback in the same way as his hit horror movie. Both share a sense of playfulness that's highly engaged with their chosen genres, neither follows the routine path, and each comes packed with an energy that's thoroughly infectious. Chris Hemsworth plays a part in both films, although just how the star and his frequently bare chest fit into Bad Times at the El Royale's narrative is best discovered by watching. But, by re-teaming with Goddard, he's once again immersed in an engrossing story that's spun around a fantastic setting — complete with shooting, spying, scandals, bank robbers and cults. While treating a movie's location like one of its characters might be commonplace to the point of cliche, this lively, pulpy and often amusing noir-esque picture wouldn't be anything without its central lodge. From the diorama-like opening scene that buries a secret beneath the floorboards, to roving camerawork that stalks every hidden nook and cranny of the place in a striking fashion, the El Royale proves a slick visual playground for blood-splattered revelations and reversals. Along with cinematographer Seamus McGarvey (The Greatest Showman), roaming the hotel's halls is a well-chosen group of actors, helping to overcome what could've been the film's greatest flaw. Casting can often be a movie's biggest spoiler, instantly signalling that a high-profile name is destined for a more sizeable role than their seemingly small part first indicates — but even when that remains true here, talent such as Bridges and Johnson craft fascinating characters who are more than the sum of their flaws, failings and deceptions. Firmly and delightfully in Kurt Russell-meets-Patrick Swayze mode, Hemsworth is charming to watch in a more straightforward part, however it's Erivo who's having the best time of all. Turning in a performance as powerful as the soulful tracks she's often singing, the Tony and Grammy winner only made her cinematic debut at the Toronto International Film Festival last month. With Bad Times at the El Royale, Erivo checks in to a darkly entertaining affair, and certain big-screen stardom as well. https://www.youtube.com/watch?v=y7wzBVARwaU
New year, new vaccination campaign, new chance to see life return to pre-pandemic normality: when 2020 ticked over to 2021, that's what was on the horizon. But the year hasn't turned out as planned so far thanks to ongoing lockdowns and restrictions — and the slow pace of Australian's vax rollout. For many Aussies under 40, it's been quite a wait to get the jab. Across most of this year, getting vaccinated if you're aged 39 and under — and getting the Pfizer vax, which is the preferred jab for that age group — has only been possible if you've fallen into a specific high-risk category. But, thankfully, that's no longer the case. So, it's time to roll up your sleeves, get your two jabs and protect yourself against COVID-19. In the process, you'll also help the country increase its vaccination rate, with more restrictions expected to ease for fully vaxxed Aussies once the nation hits both the 70-percent and 80-percent vaccination thresholds. That said, when it comes to the process of actually booking in for your vaccination, you might have a few questions. It isn't always as straightforward as it perhaps should be, in fact. So, we've run through the basics — and the queries you might have bubbling away in your head at the moment. Obviously, if you have any questions or concerns about the COVID-19 jab, you should seek advice from your GP or a healthcare professional. How do I find out if I'm eligible to get vaccinated? Sydneysiders, your first point of call is the NSW Health website, which runs through exactly who is eligible for both the Pfizer and the AstraZeneca jabs. All Aussie adults have been able to actively opt to get the AZ vax since late June, including under 40s. But, due to rare side effects with the AZ jab, Pfizer is the recommended COVID-19 vaccination for under 60s — and it's now available to any person aged 16–59 years in NSW. To get the Pfizer jab if you're aged 39 and under, you have a few options, too — more on that below. Where can I get vaccinated? The NSW Government has set up NSW Health vaccination centres across the state, including at places such as Green Square Library, Wests Ashfield Leagues and PCYC Marrickville. If you're under the age of 40 and you're getting the Pfizer vax, they're some of the places that you can book in. You can also get the Pfizer jab from your GP, or from other participating GPs. If you want to head to a pharmacy, though, they're only administering the AZ vax. To find relevant NSW Health clinics and GPs giving the Pfizer vaccination, the NSW Health website directs you through to the Australian Government COVID-19 vaccination eligibility checker first — and we'll tell you a bit more about that in a moment.. Or, in a nifty spin on another handy online map that's gotten quite a workout during the pandemic, COVID-19 Near Me now has a vaccination function — so you can use it to find your nearest location as well. How do I book in my vaccination appointments? There are two pathways for people under 40 to book in their Pfizer jabs: via the NSW Health website if you're booking into a NSW Health clinic, and via the Australian Government COVID-19 vaccination eligibility checker. So, you can either hit up the NSW Health website straight away, enter your relevant details and step through the online process to book. Or, if you want to triple check that you're eligible first, you can head to the eligibility checker, then follow the prompts through to the various clinic booking sites afterwards. Once you've had your first jab, you'll follow the same steps to book in your second dose. I've had my jabs. How do I find proof? Allowing people who've been fully vaccinated against COVID-19 more leeway — to go to venues and to travel, for instance — is part of Australia's National COVID Response that was announced in July. So, once you've had both of your jabs, you'll likely be looking for the documentation to prove it. The easiest way at the time of writing: via Medicare, either through the Australian Government's My Gov website and app, or the Express Plus Medicare mobile app. The Services Australia website will step you through accessing your digital certificate using both methods. For further information about Australia's COVID-19 vaccine rollout, head to the Australian Government Department of Health website.
Stop what you're doing. Get out of bed. Cancel that mid-morning meeting. Whatever it is — it can wait. Because this is happening again: In-N-Out Burger is back in Sydney for one of their late-notice pop-ups. They'll be setting up shop at Dead Ringer in Surry Hills from noon till around 4pm today, Wednesday, January 20. It's been almost bang-on a year since the LA fast food legends whipped together a few burgers out at Parramatta Mixology Lounge, so you can bet that burger aficionados will be desperate so get their hands on one of those buns. Last time they were doling out hamburgers, regular cheeseburgers and some double cheese lovelies, so we hope they're on the menu today as well. And cheese fries. Please say there's cheese fries. If you've been to one of In-N-Out's previous Sydney pop-ups though, you'll know those burgers sell like, well, cult-status burgers — so you'll have to get there early. Now is probably a good time. Go. The In-N-Out burger pop-up will run from noon until around 4pm — or until they sell out — at Dead Ringer, 413 Bourke Street, Surry Hills. Move. Now.
It's true of every movie: how much you know going in can and does influence the viewing experience. Great films are still great films no matter your prior awareness of their twists, or even just the main premise, but how the audience takes that ride will morph and shift depending on what they're expecting will eventuate. Abigail is a case in point. Why that's so was revealed in its trailer, leaving almost no one sitting down to it in the dark about what's to come. But when the reveal arrives in Matt Bettinelli-Olpin and Tyler Gillett's fifth full-length directorial effort — and their first after bringing back Ghostface in 2022's Scream and 2023's Scream VI — it's a glorious moment. It's also treated in the flick as a big unveiling, and not just for the picture's characters, in what serves as an overt reminder of how divorced that marketing a movie is to making it. Abigail, aka the tween vampire ballerina film, is still an entertaining time irrespective of your starting knowledge, thankfully. It begins as a blend of a heist affair, horror mansion movie and whodunnit, with a kidnapping skilfully pulled off by a motley crew (is there any other type?), then with holing up in the mastermind's sprawling and eerie safe house with their 12-year-old captive, then with fingers being pointed and their charge toying with them. Bettinelli-Olpin and Gillett are slick with their opening, from breaking into a well-secured estate to avoiding surveillance cameras while speeding through the streets afterwards. They're playful, too, when corralling everyone in their next location — a setup that they've turned into an ace horror watch before in 2019's Ready or Not — and letting suspicions run wild. The six abductors here, as given nicknames Reservoir Dogs-style but with a Rat Pack spin, and told not to divulge their true identities or histories to each other: Joey (Melissa Barrera, Carmen), a recovering addict with medical skills; Frank (Dan Stevens, Godzilla x Kong: The New Empire), who has a background in law enforcement; Rickles (William Catlett, Constellation), an ex-marine; Sammy (Kathryn Newton, Ant-Man and the Wasp: Quantumania), the resident hacker; Peter (Kevin Durand, Pantheon), the dim-witted muscle; and Dean (Angus Cloud, Euphoria), the stoner wheelman. The middleman for their employer: the no-nonsense Lambert (Giancarlo Esposito, The Gentlemen). And the girl: Abigail (Alisha Weir, Wicked Little Letters), of course, who is the daughter of someone obscenely rich and powerful. She's just finished dance rehearsals, is still in her tutu, and proves the picture of scared and unsettled when she's snatched from her bedroom, drugged and blindfolded — until she isn't. Anyone that's seen Ready or Not will spot the commonalities with Abigail, even amid such hefty differences as well. Although this definitely isn't about a newlywed bride being hunted by her wealthy in-laws on her wedding night, it does trap its characters and the bulk of its action in a stately but isolated residence filled with secret hallways and rooms, and in a fight-to-the-death battle where it's evident from the outset that folks are going to get picked off one by one. There's also a strict timeline, and a red-splattered white dress. Abigail heroes a working-class female protagonist who's forced to grow into her role taking on the privileged, sports buckets full of affection for horror old and new, and winks to the past vigorously among its thoroughly modern irreverence. And, in inventive and eye-catching manners — captured this time by cinematographer Aaron Morton, who is having a great 2024 with this and The First Omen — it loves, loves, loves splashing around OTT violence. Radio Silence, the production company that doubles as a brand for Bettinelli-Olpin and Gillett, clearly know this terrain. Working with a script by Stephen Shields (The Hole in the Ground) and Guy Busick (back from Ready or Not, Scream and Scream VI), Abigail's helmers also know how to make the key storytelling move in frightening flicks, and all other types of tales, of ensuring that familiar elements feel fresh when viewers can spy oh-so-much that's recognisable. That's part of the fun of Abigail, including as it becomes a gleefully gory rendering of a Home Alone-esque caper with its namesake stalking the people holding her for a $50-million ransom: seeing how its pieces, drained from elsewhere as they may be, mix and pirouette anew. It's also why the feature's chief reveal should've stayed that way going in, because there's so much else that drinks from overflowing genre cups anyway, while dropping clues from the use of Tchaikovsky's Swan Lake onwards about what's in store. A tense crime-film atmosphere to kick off, Agatha Christie nods, quite the child adversary, deranged dances, getting drenched in blood again and again, a The Cabin in the Woods vibe: they're all in a day's work for the film's well-deployed cast, even if not every character runs deep. The screenplay gives its flesh to Joey and Abigail above everyone else, and Barrera — also reuniting with Bettinelli-Olpin and Gillett after their Scream flicks — and Matilda the Musical breakout Weir benefit. Stevens, Catlett, Newton, Durand, Cloud and Esposito might only be asked to hit one real note each in this predator-and-prey monster mash, but they commit to the task. It's a talent-trumps-material scenario, where this group were always going to give their figures more life on the screen than on the page — with Stevens especially having a ball, and Cloud's involvement dishing up a reminder of what the world lost when he passed away in 2023. Abigail isn't just any addition to the vampire fold (on-screen, it also knows what else slumbers in this jam-packed coffin). In 2023, Universal Pictures was similarly behind Renfield and Dracula: Voyage of the Demeter. Before 2024 is out, The Witch, The Lighthouse and The Northman's Robert Eggers will have his own Nosferatu flickering. Finding new ways to rework its Universal Classic Monsters characters and titles — plus the pictures that inspired them, such as unauthorised adaptations of Bram Stoker's Dracula — is one of the studio's current niches, which also applies to The Invisible Man, the upcoming Wolf Man and this. Abigail does it with flair, enthusiasm, humour and literal guts aplenty, and while biting heartily into maximalist flourishes. It might've tasted sweeter if its promotional campaign had been slyer and shyer, but sinking your teeth in remains bloody delicious.
With one of the most picturesque coastlines in the country right on our doorstep and a set of expansive rivers winding in and out of the city, Sydney's got plenty of options when it comes to hanging out by the water. Whether you're opting for a leg of the Georges River, or you're out on the coast, there's plenty to keep you occupied while you're there. Perhaps you're a wanderer who enjoys meandering at your own pace with a scenic view. Maybe you're certain that any beverage or bite to eat goes down better when you can feel the river or sea breeze against your skin. Or, you could like getting active on the water itself, but in a creative fashion. Whichever category you fall into, we've picked the best ways to make the most of your chosen body of H20 in Sydney. HEAD TO A WATERSIDE CAFE, RESTAURANT OR BAR When it comes to waterside drinks and dining, Sydney's got it in spades. There are options for just about every time of the day, from luxe brunch spots where you can start your day through to late-night oceanfront haunts like Ravesis or Manly Wine. And it's not just these stalwarts offering up dinner and drinks with a view. There are plenty of fresh faces popping up by the harbour. Take Bay Nine, for example, which has just opened in The Rocks and is offering six-, eight- and 11-course omakase menus right by the water. If you're in need of some inspiration, just make your way through our list of all the beachfront bars, restaurants and cafes you can find across this city. HIRE A PICNIC BOAT FOR YOU, YOUR DATE, MATES AND DOG Picnicking by the water in Sydney is a tried-and-tested way to spend an afternoon — and it's featured on this list a bit further down. But you can now also picnic on top of the water, all thanks to Denmark-born company GoBoat, which is sailing its 18-feet-long, dog-friendly vessels up Parramatta River. The company is all about making the whole boating caper more accessible for everyday folk, and its Scandinavian-designed vessels are slow-moving, a breeze to operate and don't require a boating licence — making for some fun, fuss-free sailing sessions. Each GoBoat boasts a central picnic table with room for eight people (and all the necessary snacks and booze). And despite what you might be thinking, they're even affordable enough to fit your budget — simply BYO food and drinks, find enough eager sailors to jump aboard and a GoBoat session will you less than $17 per person, per hour. That's $129 hourly in total. [caption id="attachment_754226" align="alignnone" width="1920"] Bondi to Manly Walk by Destination NSW[/caption] PAIR A STROLL OR CYCLE WITH A WATERY VIEW Some folks prefer putting one foot in front of the other and seeing just where that takes them. Others like to sit on top of two wheels and start pedalling. Whichever one suits you best, if you live in Sydney, you won't be lacking in options — but we all know that the oceanside options sit at the top of the list. For walkers, you can pick from one of the many coastal strolls on offer ranging from the wild pathways of the Royal National Park to the sparkling new Barangaroo foreshore walk. Cyclists may find the ins and outs of the National Park a little tricky, but never fear. There are still countless bike rides to tackle from the bay run to the Manly Beach foreshore. TAKE A KAYAK TOUR You've seen Sydney and its surrounds from rooftop bars, strategically positioned restaurants and mountaintops. But jump in a kayak, where you can watch at human-powered pace, from sea level, and you'll discover a whole new perspective. Plan a day on the water leaving from one of Sydney's many choice kayak rental spots found everywhere from deep in the Hawkesbury to right in the hustle and bustle of the city. If you're looking to feel like you achieved something other than just an enjoyable day adventuring on the water, you can also add the option of helping the environment on your kayaking journey. Sydney by Kayak's Sydney Harbour clean-up tours means you can remove rubbish from the ocean while you float along Sydney Harbour. The sustainability-focused tours generally hit the harbour from 9.30–11am at $65 per person. [caption id="attachment_826961" align="alignnone" width="1920"] Brooke Zotti[/caption] PICNIC IN A WATERSIDE PARK The weather is glorious. Your basket is packed with homemade salads, a big stack of cheese or the finest sandwiches your local deli can make. The lawn games are at the ready. A relaxing picnic is just moments away — and yes, because this is Sydney, it's easy to add a glistening view to your outdoor meal. While we may have been all picnicked out at one point, enough time has passed since the end of 2021's lockdown that the simple act of putting down a rug and having a snack can feel thrilling again. Sydney is home to quite an array of places that fit the bill. Whether you're keen to recline with views of the iconic skyline or rolling sand dunes, there are plenty of picnic spots that you can check off your list. For the ultimate inspiration, check out this huge guide to all the best picnic spots, as well as what to bring. [caption id="attachment_754009" align="alignnone" width="1920"] Destination NSW[/caption] TAKE A DIP IN A MAN-MADE OCEAN POOL There are over 100 ocean pools scattered around NSW, and Sydney is home to some of the most dramatic and fun among them. These idyllic and mostly free swimming holes can be found at some of the city's most beloved beaches and have become as much a part of Sydney's seaside culture as the sand has. These human-made wonders allow you to splash around in the saltwater or get in some laps without the risk of rips (or sharks). Highlights include Bronte Baths which was built all the way back in 1887, the iconic Bondi Icebergs and the newly renovated Dawn Fraser Baths which finally reopened to the public last year after two years. BOOK A STAY ON THIS FLOATING VILLA If you're looking to really immerse yourself in the deep blue areas of this city, what better way than to book a night's stay floating atop the ocean. Lilypad, the northern beaches' lavish floating accommodation is tipped to reopen later this month, following a series of upgrades and refurbishments. The villa, which first opened in 2019, has been fitted out with a whole new design that pulls from Spanish and Mediterranean coastal villas as well as an on-board sauna. The floating paradise has been built with respect for its natural environment, running entirely off of solar power. Inside you'll find all the comforts of a luxe home-stay from a full modern kitchen and king bedroom, to a wine cellar. The living space opens onto a deck on which you can sit and look out over the surrounding ocean while you eat or with a drink in hand. And if this is all a bit out of your price bracket, the northern beaches has plenty of other waterfront stays you can book. Top image: DNSW
With all of its crushing, heartbreaking weight, grief is rarely far from cinema screens. Still, even in the most thoughtful and personal film, it's an emotion that can be difficult to convey. There's such an immense difference between watching characters going through the process of mourning and actually coping with intense sorrow yourself that, when a movie gets it wrong, it's noticeable. When a movie gets it right, however, it hits with the force of a sledgehammer. Foxtrot is one of those elusive pictures: inventive, immersive and absorbing from start to finish, and so accurate in its portrayal of loss that the story feels as though it has been ripped from reality. Although inspired by writer-director Samuel Maoz's own experience in a tangential way and confronting the very real situation in Israel, it's in fact a work of fiction. It's also an astonishing piece of cinema. When a knock at their Tel Aviv door interrupts an otherwise ordinary day, Michael (Lior Ashkenazi) and Dafna Feldmann (Sarah Adler) automatically expect the worst. With their son Jonathan (Yonaton Shiray) currently completing his compulsory military service, they've been dreading this moment — and when officials deliver the news that no parent ever wants to hear, their world falls apart. The Feldmanns' shock is only the beginning of Foxtrot's story, with Maoz exploring the situation across three separate parts. After first riding the wave of grief, the film jumps backwards to spend time with Jonathan as he conducts border patrols at a remote desert outpost, before returning to the family's apartment some time latter. True of this movie perhaps more than most, where Foxtrot heads is best discovered by watching. The film's title refers to a dance as well as a military codeword, and as appropriate as the latter obviously is, it's the former that proves an apt description of this fluid foray into devastating territory. Like the fleetest of footsteps, every move Maoz makes shapes the movie's overall rhythm and keeps viewers enthralled, with actual dance sequences, surreal interludes, and eye-catching animation all part of the show. They mightn't sound like standard ways to explore bureaucracy, mourning and the many difficulties of living in a state of perpetual conflict — or to make plain the film's clear anger about life in modern-day Israel — but, in an extraordinary feat of cinematic choreography, absolutely nothing is wasted or unnecessary. The same description applies to Foxtrot's trio of central performances, for what's a dance without skilled performers moving to a beat? When Michael is riddled with deep-seeded fury, Israeli veteran Ashkenazi makes every glare in the character's eyes as explosive as his actual outbursts. When Dafna is so overcome with sadness that she can barely even speak, French talent Adler expresses a world of hurt in even the slightest of gestures. And, while newcomer Shiray could've just played Jonathan as a regular youth in a tricky situation, his portrayal is every bit as affecting and textured as the work of his older co-stars. Painting a portrait of a young man grappling with forces beyond his control and troubles of his own, Shiray serves up a disarmingly naturalistic turn that's crucial to the movie's shattering impact. Indeed, Foxtrot asks the audience to stare at its main cast harder than most films; to feel their aching hearts, to dive into their despairing minds, and to experience their unshakeable sorrow. Maoz doesn't just call upon his actors to attract attention, though, but ensures that every meticulous shot reflects the characters' internal states. Through camera placement, composition, colouring and every other visual tool in the filmmaker's arsenal, the movie's images sear themselves into viewers' brains as well. While this is only Maoz's second picture, that's his modus operandi — intimacy, intricacy, heightened emotions, awe-inspiring images and topical issues, all intertwined. It has been nearly a decade since he drove a tank through the international cinema scene with his gripping debut Lebanon, which was set during the country's 1982 war and confined its view of the conflict to the inside of a tank. But this exceptional follow-up was well worth the wait. https://www.youtube.com/watch?v=K6o5WPcCgT0
If you've been dreaming of a white Christmas in July, this isn't for you. This year, The Kraken Black Spiced Rum is turning tradition on its head by transforming popular Sydney haunt Porteño's Cleveland Street event space into a deep, dark, mysterious wonderland for one evening only. On arrival, you'll be led down a black carpet, immersed in the sounds of a violin being played live within a giant snow globe. You'll then be met with a warming Spiced Egg Fogg. The cocktail is a take on traditional eggnog, spiked with orange marmalade and — you guessed it — The Kraken Black Spiced Rum. Next up is an enigmatic feast, featuring dishes infused with black or blackened ingredients. Among Porteño's offerings, you'll find mulled wine-braised octopus with cuttlefish rice, spiced black pudding with Kraken kraut and ash rum baba with liquorice cream. Three adventurous cocktails — a Sucker Punch, Sea Spector and Kraken Espresso Martini — will be available to enjoy with dishes. And they're not the only surprises. The plan is to keep you entirely ensconced in The Kraken's wintry abyss with a scattering of unexpected events. We can tell you, however, to look out for snow and listen for a cappella carollers. Your ticket includes absolutely everything: cocktails, the feast, live happenings and a farewell gift to take home. Kraken Kristmas in July will take place on Friday, July 13 from 8pm-11pm. This is an 18+ event and you can snag a ticket here.
These are the stories that we have read and adored — but what happens when they take a turn in a different direction? Over the years, we've seen books turned into television shows, movies and musicals, and which iteration is better is always a hotly contended topic. So now, with reboots being one of the biggest cultural moments, many of us are enjoying the experience of meeting different sides of our favoured characters and potentially finding out who they really are. There are more than a few classic texts we could delve into, but these seven are spectacular. By being shown an alternative angle, we uncover the events that have shaped who certain characters are and discover the reasons why we have learned to love them or love to hate them. Some may say our theatrical creatives are running out of ideas, but musicals like & Juliet prove otherwise. The production is based on Shakespeare's Romeo and Juliet (obviously), and while we've seen the story reimagined countless times, it's always played out the same way. So, what happens when the characters break the mould and they ditch the script that was written for them? Let's dive into the history of modern takes on classic texts. & JULIET A war between families, a story of love and a tragedy. These are the themes you automatically think of with Romeo and Juliet. The fate of two star-crossed lovers can only end one devastating way... or so we think. With music by pop genius Max Martin and dialogue and story by Schitt's Creek writer David West Read, & Juliet tells what could have happened had Juliet had another chance at life. The production takes remixing to a new level by expanding and giving more agency to its romantic lead, enabling her to embrace her own identity while introducing new characters and elements along the way. The superstar team has successfully — with proof in the awards — turned a classic tragedy into an exceptionally moving and joyful new legacy. This particular piece of theatre is showing until Sunday, June 2, at the Sydney Lyric Theatre (so nab your tickets, stat, if you want to experience the twisted take). [caption id="attachment_846530" align="alignnone" width="1920"] Daniel Boud[/caption] HAMILTON As a founding father of the United States, Alexander Hamilton has firmly cemented his place in American history. And the global sensation Hamilton — based on the founding father's life — has done the same. Impressively, Lin-Manuel Miranda both wrote and starred in the electric historical reproduction — a musical that infused hip hop, rap, R&B and soul to create a reimagined history. With a diverse, multicultural cast, this musical explores love, loss, forgiveness and ambition, delivering threads of a story we can all relate to. Miranda stayed true to what was written in the history books about Hamilton, but in a spark of creative genius, turned the moment that ended his life into a beginning. [caption id="attachment_904236" align="alignnone" width="1920"] Matt Murphy[/caption] LES MISÉRABLES Written by Victor Hugo and published in French in 1862, Les Misérables is the the story of Jean Valjean, a man imprisoned for 19 years who was then able to turn his life around, all the while being scapegoated by an obsessed police inspector, Javert. In 1980, a musical with the same name was created, adored and subsequently inspired multiple cinematic renditions. In the modern makings, some characters differ from who they are in the book and some are forgotten completely. Using songs and stage, the message of the story comes to life vividly, although the strength of some characters doesn't hit the same way they do in the (enormously long) book. [caption id="attachment_904338" align="alignnone" width="1920"] Matt Murphy[/caption] SUNDAY IN THE PARK WITH GEORGE This one's a fun one: Sunday in the Park with George is based on a brightly hued painting by post-Impressionist artist Georges Seurat — "A Sunday Afternoon on the Island of Grande Jatte" — completed between 1884 and 1886. Written by James Lapine and with music by late theatre legend Stephen Sondheim, the musical tells a fictional tale exploring the artist's journey. It's a truly original piece, with most of the painted characters appearing on stage. Inspired by the brush strokes, costumes come to life, and characters flow over the stage in homage to the artwork. This musical only enhances the interest in this painting by offering each person a story that is truly their own. MATILDA Written by Roald Dahl and first published in 1988, Matilda began as a charming yet terrifying novel telling of Matilda's childhood. We had the sugar sweetness of Miss Honey, Matilda's kindergarten teacher, the cold dismissiveness of her parents and the terror of Miss Trunchbull, the headmistress. It was brought to the screen in 1996, delightfully following the hero's journey of the precocious child as she discovers her magical powers. In 2010, the musical co-written by Tim Minchin was born. Going almost full circle, and based on the success of this stage adaptation, another movie was released by Netflix in 2022 — one that stayed true to Minchin's clever text. [caption id="attachment_904337" align="alignnone" width="1920"] Joan Marcus[/caption] OLIVER! A true classic text, Oliver Twist was written by Charles Dickens in 1838. Originally published in monthly instalments, the book depicts the gruelling (and gruel-filled) life led by orphans living in 1830s London. Specifically, an antics-filled life with exposure to criminal masterminds, forced into child labour and without education. Since its release, the story has been retold in various forms as silent movies and films and, of course, musically on stage. Most have kept the story as it was originally intended, but there are versions that tell the story from different points of view, too. As we know, Disney likes to make its mark on great cultural works and it did the job on Dickens with the release of Oliver & Company in 1988, an animated feature about a homeless kitten. [caption id="attachment_803460" align="alignnone" width="1920"] Matthew Murphy, Disney[/caption] THE LION KING Shakespeare's works have been adapted countless times. Here, it happens yet again in Disney's film The Lion King. Taking narrative cues from Hamlet, The Lion King introduces us to Simba, a lion cub grappling with the loss of his dad. Running away from his broken heart and malevolent uncle Scar, we follow Simba on his journey of self-discovery, which ultimately leads him back to *spoiler alert* save the day for his pride. A movie with music written by Elton John and Tim Rice, the masterpiece was turned into a Broadway spectacle in 1997 — and has stayed on stage pretty much ever since. There have been musical changes and whole new songs, Rafiki now being played by a female lead and a special dedication to highlighting the richness of African culture. In 2019, a photorealistic computer-animated remake was created, bridging the gap between the Disney movie and the musical by focusing on African culture in both its casting and music choices. If you're after a musical theatre experience that fantastically reimagines a classic text, look no further than '& Juliet'—now playing at the Sydney Lyric Theatre. To nab your tickets, head to the website.
Last year, Woolworths trialled checkout-free shopping at its Double Bay store. And we guess it was a success, because the supermarket chain has now expanded its Scan&Go service across the Sydney CBD. As of today, Thursday, June 27, customers at four metro stores — Pitt Street, Met Centre, George Street or York Street — are now able to use an app to self-scan and pay for groceries. Here's how it works: download the Scan&Go app on your iPhone or Android, and use it to scan products as you walk through one of the participating stores. Once you've finished your shop, you pay via the app, too, then tap-off at a dedicated kiosk near the exit. No human interactions necessary. To download the app, you need to be Woolworths Rewards member and must upload your credit or debit card details. Woolies also rolled out Scan&Go at its Mona Vale shop last week, and Double Bay is still using the technology, bringing the total number of stores offering the service to six. Going forward, the app will be trialled across more Sydney stores, too. The new technology has already been embraced overseas, with retail giant Amazon opening its first checkout-free, fully automated shop-and-go grocery store in Seattle earlier this year, and China's bricks-and-mortar Alibaba stores using a similar technology. Woolworth's Scan&Go is now available at the CBD's Pitt Street, Met Centre, George Street and York Street, as well as Mona Vale and Double Bay.
Whether tearing up football fields across during his 372-game stint for the Sydney Swans, or standing up against prejudice both in the AFL and in Australian in general, Adam Goodes' name has been splashed across the headlines plenty of times over the past two decades. That's not going to change in 2019, but for a different reason — the dual Brownlow medallist and 2014 Australian of the Year is the subject of two documentaries, with each exploring his story on and off the field, including the racism he endured over his 17-season playing career. The first film, The Final Quarter, just launched at the Sydney Film Festival, premiering to a packed house on Friday, June 7 and receiving a standing ovation from the lively audience afterwards. Directed by Ian Darling, and solely compiled from archival material — in a technique reminiscent of another great sports doco in recent years, Senna — it's a powerful and impassioned chronicle of the treatment Goodes received from crowds and commentators alike. Unsurprisingly, it's also both moving in displaying the AFL champ's dignified response to such horrors, and infuriating in its thorough examination of his ordeal. As the name suggests, The Final Quarter focuses on the last stages of Goodes' time in the AFL — when he was verbally attacked by spectators and high-profile media figures, relentlessly booed at games, put under immense scrutiny for celebrating his Indigenous heritage, accused of staging for free kicks and ultimately chose not to play for a period due to the toll he was under. As Darling astutely realised, the footage says it all. The documentary intertwines media clips from Goodes' games, general AFL coverage, news stories, press conferences and interviews from the era to paint a heartbreaking picture of the ex-Swans captain's experiences. As essential for the broader public as it is for football fans, the film is set for both a cinema and television release later this year, Just hours before the premiere — but nearly four years after Goodes retired at the end of the 2015 season, notably — the AFL and its 18 clubs released a long-overdue statement that apologised "unreservedly for our failures" in not standing up for him during his career. The second Goodes-focused doco, The Australian Dream, will surface in August. It's written by acclaimed journalist Stan Grant, and will open the Melbourne International Film Festival before hitting theatres around the country. Check out the trailer for The Final Quarter below: https://www.youtube.com/watch?v=q9C8JaJxoYU The Final Quarter will release in Australian cinemas later this year. We'll update you with a release date when one is announced.
Beginning as a physical trek to the isolated Australian outback, Beautiful Kate is the first feature length film to be directed by Rachel Ward. Ned (Ben Mendelsohn) is a forty-something author who returns home after a long absence with his young trophy girlfriend, Toni (Maeve Dermody). He is there to farewell Bruce, his dying and estranged father (Bryan Brown), at the request of Sally, his long-suffering sister (Rachel Griffiths).An emotional journey begins as Ned’s memories of his last summer at home with his late brother Cliff and the precious but dearly departed Kate (a scene-stealing Sophie Lowe) are evoked by the scenery. The centrepiece in the flashbacks is a clandestine and taboo love affair, and a devastating accident taking place in a family marred by scandal and tragedy.An adaptation of American author Newton Thornburg’s novel, Beautiful Kate is ultimately a tale of forgiveness and redemption, and a dysfunctional family story that explores teenage sexuality with great dignity. https://youtube.com/watch?v=MALGsIuXvgY
As the spirit of insurrection and a brilliant cast threaten to set the Opera House alight, it’s hard not to wonder whether there’s a revolution or two taking place in Maxim Gorky’s grave. Children of the Sun (directed by Kip Williams and adapted by Andrew Upton) was originally penned in 1905 by Russian author Gorky, a Bolshevik sympathiser before it was cool, a prolific writer and a man thoroughly unafraid to ruffle bureaucratic feathers (rumour has it that Stalin had him poisoned). Set in 1862, during a cholera epidemic, the play explores class tensions and the wider plight of Russia through the eyes of an ensemble of naive middle-class characters. Armed with this knowledge, I expected (completely illogically) to be met by a wall of grey punctuated by the odd widow wailing next to an open grave. What I got, for the most part, was a wonderfully acted, skilfully directed romantic comedy in which everybody, in true Russian fashion, ends up dead. Children of the Sun is a play of failed revolutions. It takes place in the house of Protasov (Toby Truslove), a scientist seemingly on the verge of a major breakthrough whose only tangible offering is a series of worsening smells. While he's oblivious to everything outside of his laboratory, including the advances of the desperately daft Melaniya (a hilarious Helen Thomson), his wife, Yelena (Justine Clarke), is courted by Vageen (Hamish Michael), a ridiculous chap in the throes of an artistic revolution that has failed to find any followers. Meanwhile, it is only Protasov’s sister, Liza (Jacqueline McKenzie), who has noticed the growing unrest in the world outside. Her warnings about the need for reform are trampled by the officious maidservant Nanny (Valerie Bader) and the proposals of Boris (Chris Ryan), Protasov’s best friend. A few undisguised flats make up the house, with the cluttered sitting room and courtyard revolving to provide occasional glimpses of a dingy laboratory and servants’ quarters. Despite a relatively small cast, Williams’ direction brings the house alive, filling the large space with a bustling energy and momentum. One of the only drawbacks is the text itself. Williams and Upton both mention the way in which Gorky’s play speaks to contemporary audiences, but the imposition of a relentlessly modern vernacular on the piece robs it of the chance. It's steeped in anachronism and jarring humour. This made it no less entertaining, but as I left the theatre, I did so with the sneaking suspicion that much of Gorky’s original intent had been thrown out the window. In an interview with the Sydney Morning Herald, Upton remarked that the play is “first and foremost about love”. It’s virtually impossible to see how Gorky, writing from a prison cell in response to a failed revolution in which scores of his countrymen died, could have arrived at the same conclusion.
When Hugo's closed last year, many Sydneysiders were left wondering about the future of Sneaky Sundays. Run by Sneaky Sound System's Miss Connie and Black Angus, the Sunday staple has been providing weekend party people with the best house music since 2000 and has gained a dedicated following. It might even be where you were introduced to deadmau5 or Daft Punk. After a successful summer run in Mykonos, the long-loved event is returning with a new home at Bondi beachfront bar The Bucket List. Sneaky Sundays is on from 7pm to midnight, every Sunday throughout the summer and features an array of weekly guests. It's the best excuse to while away the balmy nights dancing to everything from deep house to electro.
Businesses on three of Sydney's busiest streets are officially teaming up to declare themselves the city's newest must-visit spot. Meet YCK Laneways, a dining and cultural precinct that encompasses the CBD laneways in York Street, Clarence Street and Kent Street — and has ten bars throwing a big party to celebrate. The precinct is the work of local business owners, with the help of the City of Sydney's CBD activation grants program. "It's our hope that YCK becomes as much a part of the Sydney vernacular as The Rocks, or Chinatown," Nick White, Director of Kent Street bar Since I Left You tells Concrete Playground. White says that in the ten years Since I Left You has been open, he's seen the area blossom. "We've watched as a definite little precinct has developed organically, and now you've got something like 18 small bars in the area around York, Clarence, and Kent streets," he explains. "I think the reason there has been such a proliferation of small bars in the area is that it's one of the few parts of the city that retains a lot of its heritage in the building and streets," he continues. To kick things off — and to remind Sydneysiders about all the beloved venues that span these three streets — Since I Left You and nine other bars are throwing a massive six-week party. Running between Wednesday, April 7–Sunday, May 22, the YCK Laneways Block Party will feature 75 cultural events including dance, theatre, live music and interactive art across the ten beloved spots bars. The ten venues involved: Since I left You, Papa Gede's, The Lobo, Spawn Point, The Barber Shop, The Duke of Clarence, Stitch Bar, Uncle Ming's, Prince of York and Grandma's Bar. [caption id="attachment_805443" align="alignnone" width="1920"] Prince of York by Mitchell Ferris[/caption] With both free and ticket events taking place, the cultural offerings stretch from antipasto burlesque at the Prince of York and poetry readings in the Since I Left You courtyard to wheelie bin art at The Barber Shop and playing Dungeons & Dragons at Spawn Point. Regular CBD favourite events like Brunch With... will also be wrapped up in the festivities, while a whole heap of live music and dance parties will take place across the three streets following the recent rolling back of restrictions to allow dance floors in New South Wales. More events are set to be announced in the lead up to the block party, including a standalone outdoor live music event. You can browse the full program and stay up-to-date on everything happening in the YCK precinct via the YCK Laneways website. YCK Laneways Block Party will take place across the YCK Laneways precinct on York Street, Clarence Street and Kent Street, Sydney between Wednesday, April 7 and Sunday, May 22.
Craig Robinson slays snakes. If Killing It was initially pitched with those four words and those four words alone, it still would've been easy to greenlight. When the latest comedy from Brooklyn Nine-Nine co-creator Dan Goor and executive producer Luke Del Tredici first arrived in 2022, it leaned in, too, with terminating serpents the whole point of the contest at the centre of the comedy's debut season. The place: Florida, home to the python-teeming Everglades. The year: 2016, in the lead up to the US election. The reason for vanquishing vipers: a $20,000 payday, which Craig — also the name of Robinson's character — needed to enact his vision of becoming a saw palmetto farmer. Killing It served up far more than just Robinson, a B99 guest and The Office star, polishing off reptiles — and not simply because Claudia O'Doherty (Our Flag Means Death) joined in as the hammer-swinging Jillian. As a satire of the type of society that has people resorting to seeking a better future by offing animals competitively, this series has always sunk its fangs in. Craig wanted to swap being a Miami bank security guard for capitalising upon a smart idea (the berries he's keen on are coveted in the health market for prostate medicines) to provide for his ex-wife Camille (Stephanie Nogueras, The Good Fight) and daughter Vanessa (Jet Miller, Young Dylan). Aussie expat and Uber driver Jillian wanted a life beyond the gig economy and sleeping in her car. But even in a nation that celebrates the American dream as the pinnacle of existence, a goal that all can chase with hard work and perseverance, and a key factor in US exceptionalism, neither had any other option but to hunt snakes for a big payday. Getting Killing It's characters bludgeoning wildlife was a savvy signifier of a horribly broken system. In season two, which streams in Australia via Stan from Friday, August 18, slaughtering serpents is old news; however, venomous foes definitely aren't. They're the uncaring bureaucracy, the shameless corporations, the shaking-down gangs, the car thieves, the cruel insurance bodies, the nation's entire health scheme, the manipulative bosses, the rude customers and the cash-splashing rich. They're absolutely everyone with a solely in-it-for-themselves perspective, which is almost everyone. They're also unscrupulous entrepreneur Rodney Lamonca (Tim Heidecker, I Think You Should Leave with Tim Robinson) and his mini-mogul 12-year-old daughter Prada (Anna Mae Quinn, A Carolina Christmas), who aren't done with Craig and Jillian from season one. When Killing It's latest eight-episode go-around begins, its central pair have followed through on the saw palmetto plan — albeit at a cost, with Craig's low-level criminal brother Isaiah (Rell Battle, Superior Donuts) now on the run and posing as a doctor in Phoenix. Their farm is up and running, and perennial-optimist Jillian isn't is the only one who's hopeful. The two business partners even have a buyer for their berries — and, while their margins are thin, they're getting by. Alas, whether they're dealing with a possible giant snail problem, being blackmailed into taking on new colleagues or becoming the subject of a hostile takeover, Craig and Jillian swiftly realise that snakes still lurk everywhere. Taking a cue from slithering critters, in fact, season two of Killing It poses a question: how low can modern-day America go? It's apt that this brutal contemplation of savage inequality and constant grifting returns in the same week that also gives streaming stunning docuseries Telemarketers, which similarly ponders people exploiting anyone that they think is lower than them in the food chain. Killing It is still firmly a comedy, though, and a hilarious one. Indeed, it's the best comedy that too many viewers aren't watching when everyone should be. The show is also so cutting and canny about capitalism's predators, and the prey that the globe's dominant economic setup turns most folks into, that it nearly draws blood as well as inspires laughs. There's another query at Killing It's core, of course: how low will Craig and Jillian sink, too? Season one introduced them as strangers that were each struggling but striving, then hacked into the little they each had, observing how they were forced to cope (including by coming together). Season two finds them seemingly more comfortable and secure, then unpacks what they're willing to do to retain their new status quo. It sees the selfish moves they make, or don't; the loved ones they protect, or can't; the others they sell out, or won't; the morals they compromise, or refuse to; and the dirt they embrace, or wash away. Craig and Jillian have always been an odd-couple pair, with Killing It's new run also exploring how their differences shape their responses to every choice and decision that slides their way. Problems won't stop multiplying for their on-screen alter egos, but Robinson and O'Doherty's casting gleams. He's all charismatic determination, she's perkily indefatigable, and both play keepin' on keepin' on to perfection. Together, they provide two portraits of trying to hurtle forwards however one can — and as the entire state of Florida, country of America and planet that is earth keep pushing their characters down. That said, Killing It's leads aren't the only ones shining. Fleshing out season two's storylines with an array of eclectic folks, Battle, Heidecker, Quinn and the also-returning Scott MacArthur (No Hard Feelings) all steal scenes. So do Dot-Marie Jones (Bros) as a crime-family matriarch with a laundering proposal, Beck Bennett (Nimona) as an overstressed government flunkey, Jackie Earle Haley (Hypnotic) as an insidious debt collector, Kyle Mooney (Saturday Night Live) getting shady and Timothy Simons (Joy Ride) as an FBI agent. Sharks in swimming pools, shonky surrogate arrangements, multiple Pitbull impersonators, the ridiculousness of the influencer industry, loving your first-ever major purchase, those aforementioned oversized snails: Goor, Del Tredici and their writing team also work them in. Even more than in season one, Killing It's new run of episodes delights with its eagerness to get absurd, filling every instalment with surprises. There's another way of looking at that throw-anything-in randomness: this series is hustling, just like Craig, Jillian and company. Again and again, this satire gets sharper. It also gets deeper and funnier. Yes, that name is accurate: this show is killing it as well. Check out the trailer for Killing It season two below: Killing It season two streams via Stan from Friday, August 18.
This year marks the 11th annual Festival of German Films, and 2012's program promises to be one of the biggest so far, with 37 films screening at the Chauvel and Palace Norton Street. Presented by the Goethe-Institut, this year's festival aims to highlight the breadth and diversity of contemporary German filmmaking. With a long cinematic history spanning as far back as the Weimar silent film era to Rainer Werner Fassbinder and Wim Wenders in the 1970s and '80s and films like Goodbye Lenin! and The Lives of Others in more recent years, Germany has some of the richest and most diverse films in the world, and this festival makes sure Sydney can get a taste. It kicks off with the Australian premiere of Hotel Lux, a satire set in the 1930s dealing with Stalinist Russia and the rise of Nazism. Director Leander Haussmann will put in an appearance for the opening night, hosting a question and answer session alongside a showcase of his other films, including Sonnenallee and Robert Zimmermann Is Tangled Up In Love. Other directors you'll be able to catch in conversation are Alice Gruia and Hendrik Handloegten. This year's festival highlights include Combat Girls, a confronting film about a woman who's involvement with a neo-Nazi gang exposes the lives of those trapped in racial hatred, and Hell, which presents a dark vision of a post-apocalyptic world. Taboo, which tells the story of poet Georg Trakl and his tortured and somewhat dysfunctional relationship with his sister, and Sennentuntschi, Switzerland's first horror film, are also touted as some of the best films on the program. The festival runs for two weeks in Sydney before moving on to the rest of the country. Image from Hotel Lux.
Already in 2023, streaming viewers have watched Sam Richardson get spiteful in one of the most kindhearted sitcoms in recent years, and get nominated for his second Emmy for it. They've witnessed him host oh-so-silly game shows, too. It isn't just Ted Lasso and I Think You Should Leave with Tim Robinson that've been keeping him on-screen, but also rom-com Somebody I Used to Know and voicing Shaggy in new Scooby Doo take Velma. Only The Afterparty, which returned to Apple TV+ for season two on Wednesday, July 12, has him playing buddy cop with Tiffany Haddish, however. Actually, The Afterparty has the ever-busy Richardson playing a wealth of roles, but only stepping into one character's shoes. Aniq Adjaye is a wedding guest, doting boyfriend and eager-to-please potential future son-in-law. He's the guy who finally made good on his high-school crush at his reunion in season one, after getting accused of murder when a classmate would up dead at, yes, the afterparty. And, he's whatever his fellow revellers see — because this murder-mystery comedy from Cloudy with a Chance of Meatballs, 21 Jump Street and 22 Jump Street, and The Lego Movie's Christopher Miller is a whodunnit about perspective. The clever, inventive and entertaining twist? Every episode not only takes a different character's viewpoint, but filters their recollections through a parody of a different genre. Sometimes, then, Richardson dives into a romantic comedy within the ensemble murder-mystery comedy. That's what the show's two Aniq-centric episodes — the opening chapters of both 2022's season one and now 2023's season two — have delivered, and delightfully. Richardson is the series' lead no matter which on-screen figure's memories guide each instalment, though, teaming up with Haddish's (The Card Counter) Danner to interrogate his fellow partygoers. So, sometimes Richardson is also plunged into the world of action. Or, he's whisked into a musical, a teen drama or police procedural. In season two, the list includes a Jane Austen-style period romance, both Hitchcockian and erotic thrillers, Wes Anderson's aesthetic and film noir. The Afterparty's second go-around takes Aniq and his other half Zoe (Zoe Chao, Party Down) to her younger sister Grace's (Poppy Liu, Dead Ringers) nuptials to the wealthy-but-awkward Edgar (Zach Woods, Avenue 5). After the ceremony, then the reception, then the post-proceedings, there's a body, a winery full of suspects and questions to ask. There's also Richardson proving as versatile as ever, a skill that's served him exceptionally on everything from underseen Tim Robinson-costarring comedy Detroiters to stealing scenes upon scenes as Veep's Richard Splett — plus a six-episode run on The Office, cinema stints as varied as Spy and Promising Young Woman; and Werewolves Within and Hocus Pocus 2 as well. With The Afterparty season two now streaming, Richardson chatted us through the joy of the show's comedic layers, his odd-couple dynamic with Haddish, living the murder-mystery dream as a big fan of the genre, how he'd respond if one of the series' situations crossed over to his real life, I Think You Should Leave's unhinged reactions and more. ON MAKING A MURDER-MYSTERY COMEDY THAT'S ALSO A ROM-COM, AN ENSEMBLE COMEDY AND A SPOOF OF EVERY GENRE IT CAN FIT IN "There's so much that I love about all these things. I'm a big fan of a murder-mystery — Sam Richardson is. I'm a big fan of a rom-com. And I'm a big fan of an ensemble comedy. So the show is all three of those things. So I got to do that the first season, and then the second season we get to heighten all of that. Now Aniq is investigating not just to protect himself, but to try to figure out actually who the murderer is with him outside the gaze of suspicion. He's now trying to solve this mystery, and also his retelling of the story is a rom-com sequel. So now everything's all heightened when he's telling the story — big setpieces and big physical-comedy bits. That's a really fun thing for me to do, and to get to work with the new cast — everybody's so funny —and all these new genres." ON MAKING A BUDDY-COP COMEDY WITH TIFFANY HADDISH, TOO "They're an unlikely pair [Aniq and Danner], but it turns out they're good partners. One balances the other. And getting to perform with Tiffany — she's so funny. So it's good to play off of that dynamic and that energy. It was such a great thing to do and to get to play with. The two of them — her methods are unorthodox at first, and then his methods are maybe a little sloppy. So together they're able to get through this thing, but [make] an unlikely pair." ON TICKING MURDER-MYSTERY OFF THE ACTING BUCKET LIST "There's nothing more fun than being the one to get to put the pieces together at the end of the mystery — that sort of monologue that Sherlock Holmes has where he explains all the pieces that he's seen, that you've seen as the audience, but now I'm giving you the grand thing, the Colombo sort of speech, the "one more thing, you thought I didn't know this, but ha!". Getting to be in that role is a dream come true for me." ON THE CHALLENGES AND FUN OF JUMPING BETWEEN GENRES FROM EPISODE TO EPISODE "It's definitely both, because you are getting pulled in a bunch of different ways. But that is the fun of it, because you get to explore your character and these genres from all these different perspectives. As an acting exercise, and as a challenge to an actor, you get to say not only 'what is the perspective of this character whose story I'm in, the person who's telling the story, what's their perspective on me?' but also 'what is the trope of this genre?'. 'What is this character in a film noir? And who who is the person within that trope? Who is this person in this Jane Austen story? What is that person in this trope?' But then also at the same time, 'what does the character telling the story think of me? Does this person think I'm untrustworthy? Do they think that I'm a weak person? Do they think that I'm more maybe more bold than I am? Do they think that I'm behaving surreptitiously?'. So that's a fun thing to explore in a show like this." ON THE BEST GENRE TO DIVE INTO SO FAR — AND A DREAM PICK FOR THE FUTURE "I really do love the the big rom-com sequel that I got to do this season — big set pieces and physical comedy. I also really enjoyed the Wes Anderson-style episode, the costumes of the Jane Austen [episode]. Each one has it's [merits] — it's so hard to pick one. But if there was another genre that I would want to do, it'd would be a kung-fu movie. That would be so much fun." ON PLAYING OLD HIGH-SCHOOL BUDDIES WITH SEASON ONE'S CAST — THEN STRANGERS AT A WEDDING WITH SEASON TWO'S "The first season, the cast, and getting to play with that cast, was terrific. And then also the idea that you have this shared history and so you're looking back on these relationships that you've had — but what's the dynamic now? — was such a great thing to get to do. So in this season, there are some dynamics that have existed before. But for Aniq especially, he's meeting so many people for the first time. And so getting to be introduced to these characters, and then to get to work with some of these actors for the first time as well, it was such a great fertile playground for reactions. You're absorbing these people for the first time — whereas on the other side of the coin, you get to fall back on 'oh, this guy behaves like this and I know they do'; this time, you get to be like 'this guy behaves like this, what are they doing?'. So it's two sides of the coin, but the coin is still 25 cents." ON HOW RICHARDSON WOULD REACT IF HE WAS LIVING A MURDER-MYSTERY IRL "I fear that day happening greatly. But I do wonder how I would react, because you want to hope that you'd be bold and be like 'no, it has to have been this'. And you'd answer all the things. I myself, I do like to solve things. So I really would be trying to look at things objectively and be like 'well, no it couldn't have been this because these three people were here at this time, that person was there, and I know they were, and they said that before'. That's kind of how I approach things anyway, so I think if somebody got murdered in my high school, I'd figure out who it was." [caption id="attachment_903580" align="alignnone" width="1920"] Netflix © 2023[/caption] ON WHAT RICHARDSON LOOKS FOR IN A ROLE "Good money. I look for, you know, does it pay my insurance? I am entirely joking — but also not. I really just like characters who have very fun wants, and characters who are able to react to things. So for I Think You Should Leave — I Think You Should Leave is its own sort of thing. That's my best friend's show, and it's sketch, and I very much love sketch and I love playing these characters who have wants that are a little bit unrealistic, and then the reaction to not getting those wants is also unhinged. That's a fun thing to get to do. But then with with shows like Detroiters, the wants there are to spend time with your best friend and represent your city in the best way. I think it ultimately comes down to wants — the interestingness of what characters want, and getting to see how these characters go about trying to achieve them, is what I look for most." Season two of The Afterparty streams via Apple TV+ from Wednesday, July 12. Read our full review of season two.
It's the film festival that gives German cinema fans a showcase of the European nation's latest and greatest movies without leaving Australia. It's a way to catch up on highlights from the Berlin International Film Festival from Down Under, too. And, it's where German-language flicks from beyond the obvious nation equally get their time to shine. Here's another description that fits: it's also where one of Rainer Werner Fassbinder's masterpieces is almost always on the bill. The event in question is the German Film Festival, which has a huge 2025 in store even just by the numbers. Making its way around Australia between Wednesday, April 30–Wednesday, May 28, this year's fest has 29 days of movies on offer across eight legs in nine places and 23 cinemas. Cinephiles in Sydney, get excited: 20 features, plus 14-part miniseries Berlin Alexanderplatz, are hitting Palace Norton Street, Chauvel Cinema, Palace Central and Palace Moore Park between Thursday, May 1–Wednesday, May 21. Fassbinder's addition to this year's program is playing on the silver screen across three weekends — and clearing your diary to see the page-to-screen great that is Berlin Alexanderplatz couldn't be more highly recommended. The German Film Festival's 2025 opening-night pick is romantic comedy Long Story Short, kicking off the celebration of cinema by giving Australia the chance to see one of Germany's recent box-office smashes. Other highlights across the complete program include six flicks that first played at this year's Berlinale, spanning closing night's Mother's Baby, the Nina Hoss (Tár)-starring Cicadas and conspiracy thriller Hysteria, alongside Hildegard Knef-focused documentary I Want It All, comedy of manners What Marielle Knows and the family-friendly Circusboy. That strand of movies also demonstrates the fest's fondness for variety, and for veering from the amusing to the thrilling and the dramatic. Or, attendees can catch Anatomy of a Fall Oscar-nominee Sandra Hüller in heist comedy Two to One, which is based on real-life events in 1990; Lars Eidinger (Babylon Berlin) as an orchestra conductor in Dying; Sam Riley (Widow Clicquot) in biopic John Cranko, about the choreographer; the literary loving The Door-to-Door Bookstore, as fittingly based on the novel; or Winners, which picked up the 2024 German Film Award for Best Children's Film.
Across its 12-season order to-date, the best episodes of Bob's Burgers have always resembled exactly what they should: a delicious serving of the meat-and-bread combination that shares the hit sitcom's name. There's a knack to a great burg — to a tastebud-thrilling, so-appetising-I-need-more-now example of this extremely accessible culinary art — and it's all about perfecting the absolute basics. No matter what else gets slotted in (and plenty of other ingredients can), every burger's staples should be the stars of the show. Indeed, a top-notch burg needn't be flashy. It definitely mustn't be overcomplicated, either. And, crucially, it should taste as comforting as wrapping your hands around its buns feels. On the small screen since 2011, Bob's Burgers has kept its version of that very recipe close to its animated, irreverent, gleefully offbeat heart. Unsurprisingly, the show's creators whip up the same kind of dish for The Bob's Burgers Movie, too. It's a winning formula, and creator Loren Bouchard knows not to mess with it while taking his beloved characters to the big screen. Co-helming with the series' frequent supervising director Bernard Derriman, and co-writing with long-running producer Nora Smith, he experiments here and there — in filmic form, Bob's Burgers is a tad darker, for instance — but he also knows what keeps his customers a-coming. That'd be the goofy but extremely relatable Belcher clan, their everyday joys and struggles, and the cosy little world that sprawls around their yellow-hued Ocean Avenue burger joint up the road from seaside fairground Wonder Wharf. Bouchard also knows that if you make something well enough time after time — be it a burger or a TV show that's spawned a movie; both fit — it'll be warmly, reliably and welcomingly familiar rather than just another helping of the same old nosh. With that in mind, it's a compliment to say that The Bob's Burgers Movie could've easily stayed on television, slotting in among the 238 episodes that precede it — but longer. Vitally, however, it doesn't ever simply feel like a few TV episodes simmered together. That can be the television-to-film curse, as Downton Abbey: A New Era demonstrated recently. Thankfully, as The Simpsons Movie and all three SpongeBob SquarePants films so far have also achieved, that isn't the case here. Instead, this super-sized stint in the Belcher family's company sports as much care, attention to detail, plot, gags, character-building moments, in-jokes, puns and musical numbers as a 102-minute portion of Bob's Burgers needs. It features the same colourful animation that works such a treat on TV, with added shadows for a cinematic feel, plus the lively voice acting that's the heart and soul of the show — but it's its own meal, and never merely four servings of fries passed off as something more substantial. As always, the action centres on the film's namesake — the diner where patriarch Bob (H Jon Benjamin, Archer) sizzles up punningly named burgs to both make a living and live out his dream. And, as the show has covered frequently, financial woes mean that Bob and his wife Linda (John Roberts, Gravity Falls) have more to worry about than cooking, serving customers, and their kids Tina (Dan Mintz, Veep), Gene (Eugene Mirman, Flight of the Conchords) and Louise (Kristen Schaal, What We Do in the Shadows). Their solution: a burger, of course. But their bank manager isn't munching when they try to use food to grease their pleas for an extension on their loan. That mortgage also involves their restaurant equipment, leaving them out of business if they can't pay up. As their seven-day time limit to stump up the cash ticks by, Bob sweats over the grill and Linda oozes her usual optimism — only for a sinkhole to form literally at their door. As trusty as Bob's Burgers gets, and still refreshingly committed to depicting the daily reality of its working-class characters, that above setup is the movie's buns. Layered inside are tomato, lettuce, cheese, pickle and beetroot, aka the narrative's well-balanced fillings. First comes a murder-mystery ensnaring the Belchers' eccentric landlord Calvin Fischoeder (Kevin Kline, Beauty and the Beast) and his brother Felix (Zach Galifianakis, Ron's Gone Wrong). Springing from there is Louise's determination to solve the crime to save the diner and prove she isn't a baby just because she wears a pink rabbit-eared hat. Then there's Tina's quest to make her crush Jimmy Jr (also voiced by Benjamin) her summer boyfriend; Gene's need to get The Itty Bitty Ditty Committee, the family band, a gig at Wonder Wharf's Octa-Wharfiversary celebrations; and Bob and Linda's attempt to sell burgs at the amusement park using a barbecue on wheels MacGyvered up by number-one customer Teddy (Larry Murphy, The Venture Bros). Meat-slinging, killer-hunting, carnival-frolicking mania and mayhem is the name of the game — dripping one-liners and puns, too, including the obligatory next-door store gag ("Sew You Think You Can Pants" is the film's offering) — and it all makes the leap to cinemas with well-oiled ease. So does the non-stop onslaught of quick gags, verbal and sight included; the extravagant musical numbers and action-flick-esque setpieces, which are all gorgeously choreographed even though they're animated; and the always-loose vibe that can entertainingly feel like the voice cast are just riffing. And, while it might've felt gratuitous, Bouchard and company's efforts to find space for plenty of the series' motley crew of neighbours and other supporting players is as natural as dipping chips in whatever sauce takes your fancy. Also part of this animated gem: robot aliens who hate music, a village inhabited by Wonder Wharf workers called Carnieapolis, fantasy horse rides, creepy skeletons and an underground lair that Wes Anderson could've dreamt up. And, obviously, the overflowing affection for its oddball family that's always made all things Bob's Burgers as engaging as it is firmly remains on the menu as well — as eagerly sprinkled with fondness for the Belchers' many quirks, their routine woes, and their daily efforts to just get by, be happy, love each other and enjoy their modest existence. Without that, The Bob's Burgers Movie would've just been any old film. With it, it's exactly what viewers have adored for over a decade. This show doesn't need to be your regular dish to fall for its charms, though. Whether it's your first bite or your 239th, it's a delight.
You may recognise Jad 'Funk' Nehmetallah from his heated Gogglebox debates about the correct pronunciation of falafel. But, the restaurateur-turned-reality-tv-star is also responsible for Misc. Parramatta, the sleek 300-seat venue that opened in Parramatta Park late last year. Already a Western Sydney favourite, Misc. is taking things up a notch for one special weeknight with the Mersel x Misc. Wine Dinner. Set against the leafy green backdrop of Parramatta Park, the one-night-only event will see the venue collaborate with Mersel Wines, one of the best producers of Lebanese vino. While you might typically expect excellent drops from Spain and Italy, the rolling hills of Lebanon are also responsible for producing some rather excellent reds and rosé which will be on display at the dinner. While the evening will take you on a journey through the vineyards of the Middle East by showcasing five of Mersel's most popular creations, it will go beyond the bottle by pairing them with a four-course menu curated by Executive Chef Sebastian Geray. With a soundtrack courtesy of East West Trio and violinist Yena Choi, the occasion will be a perfect opportunity to embrace the Misc. ethos: "To tell the best stories. And make the most memorable experiences. To feast together. Break some bread. Order a bit of this. Add a bit of that. Drink something. And together we will let the good times roll." Mersel x Misc. Wine Dinner will take over the Parramatta diner on Thursday, July 13. You can nab tickets for $160 via the event's website.
If you're familiar with Cat Power (aka Chan Marshall), then you know how badass she is. Her singer-songwriter meets rock star persona sets her apart as one of the more unique musicians out there. Those who saw her at Golden Plains Music Festival this past March know what we're talking about. Don't fret if you missed her then, because you'll soon have another chance. Cat Power is crossing the pond again for an Australian tour this summer. Cat Power's ten-show tour will kick off this January at the Sydney Festival. It was just announced that she would be a guest performer at the festival's Big Star tribute show alongside Jody Stephens, Mike Mills (R.E.M.), Ken Stringfellow (The Posies), Chris Stamey (The dB's), Mitch Easter (Let's Active), Edwyn Collins and Kurt Vile. Power's Sydney shows will continue the day after at the Circus Ronaldo Tent with a matinee and midnight show. After, she'll continue down the coast, performing in Milton, Canberra, Melbourne, Menniyan and concluding in Perth. So if you haven't heard Cat Power in a while, it'll be worth your hitting up one of her shows. Her newish album, Sun, is freshly awesome and and her blonde coif is shocking, but that's why we love Cat. She always keeps you coming back for more. Cat Power's 2014 Australian Tour Dates Thursday, January 23 – Big Star Tribute at Enmore Theatre, Sydney Friday, January 24 – Circus Ronaldo Tent, Sydney 5:30pm Friday, January 24 – Circus Ronaldo Tent, Sydney 11:59pm Saturday, January 25 – Milton Theatre, Milton Sunday. January 26 – Milton Theatre, Milton Thursday, January – Street Theatre, Canberra Friday, January 31 – Thornbury Theatre, Melbourne Saturday, February 1 – Thornbury Theatre, Melbourne Sunday, February 2 – Meeniyan Town Hall, Meeniyan Tuesday, February 4 – Fly By Night, Perth Tickets for all shows on-sale Friday, November 29. https://youtube.com/watch?v=PDbPrOuXq2s
UPDATE, December 23, 2022: The Batman is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. Why so serious? That question is answered quickly. Also, badging Pattinson's turn in the cape and cowl 'emo Batman' is 100-percent accurate. It's meant to be, because violence isn't just about experiencing or inflicting pain, but also about processing the emotions stirred up. Apply the label to The Batman's unrelentingly dark and rainy aesthetic as well and, once again, it suits. Lensed with such an eye for the absence of light by Australian cinematographer Greig Fraser (a Dune Oscar-nominee) that he's painting with the shadowiest of shadows, this is a grimmer Batman than Christopher Nolan's trilogy, moodier than Ben Affleck's stint, and gloomier than the Michael Keaton, Val Kilmer and George Clooney-starring movies (not to mention the upbeat and campy 60s TV series that gave us the Batusi). Like teen shows, the tone of any given Batman entry reflects the surrounding times, and the tenor here is bleak, bruised and battered. Call the prevailing batmosphere cinema's own bat-signal and that's oh-so-fitting, too. Batman is bruised and battered himself in The Batman. He flinches when jumping from skyscrapers in his winged batsuit, grimaces upon impact and sports contusions beneath his mask before that. In spurts of Taxi Driver-style narration — where he could be one of screenwriter Paul Schrader's lonely men wrestling with the world (see also: The Card Counter) — he seethes about his self-appointed task, past and the state of Gotham, exposing his psychological scars as well. That doesn't change when a serial killer who dubs himself The Riddler (Paul Dano, Okja) and must love David Fincher movies (Seven and Zodiac especially) commits The Batman's opening murder, the first in a chain targeting the city's elite. This other angry mask-wearing vigilante is also waging a war on Gotham's corruption, and leaving puzzles to be solved along the way — with Batman assisting police lieutenant Jim Gordon (Jeffrey Wright, The French Dispatch), and being aided by nightclub waiter-cum-cat burglar Selina Kyle (Zoë Kravitz, Kimi) in turn. What makes one man's angst-riddled quest noble but the other's deranged? As The Batman broods over that conundrum, the line between its titular figure and The Riddler is the finest it has perhaps ever been. Reeves isn't interested in another hero-with-a-sob-story spin on Batman, but in surveying the tragedy that seeps through his grimy and dank rendering of Gotham — yes, even dimmer than in Joker — and plotting the choices that spirit its abandoned residents towards either improving or destroying the city. The longer he chases The Riddler, via altercations with crime kingpin Carmine Falcone (John Turturro, Severance) and club-owner Oswald 'The Penguin' Cobblepot (Colin Farrell, The North Water), the more that Bruce/Batman flies parallel to his new foe. Selina slinks along a similar route, too, as coloured by her own history — plus the missing friend she's desperate to find, which is what connects her with Batman to start with. This many different Batman films and shows in, it isn't easy to make the Dark Knight an entrancing and surprising character again — Christian Bale did, Affleck didn't — but Pattinson's casting is exceptional. Since he stopped visibly sparkling in the Twilight saga, his role choices have been near-impeccable as Cosmopolis, The Rover, Maps to the Stars, The Lost City of Z, Good Time, High Life and The Lighthouse have shown, and The Batman slides seamlessly into his enviable recent resume. There's soulfulness and tension to his portrayal of the Gotham crusader's inner turmoil, not just matching the Nirvana's 'Something in the Way'-meets-'Ave Maria'-soundtracked mood of melancholy, but also rippling in every glance, glare, step, jump and thrown fist. There's also a deep-seated intensity; a willingness to play both Bruce and Batman as weird, awkward and unsettled; and a welcome lack of boundaries between his character's two personas. Reeves hasn't just scored a pitch-perfect lead, though. At just a batwing's flap shy of three hours, his film comes packed more convenient plot developments than necessary, but it has time to cement the savvy Kravitz among the most memorable versions of Catwoman — and to refreshingly play up her sexual tension with Batman. It also ensures that the quietly commanding Wright, hypnotically unhinged Dano and prosthetics-laden Farrell all have room to shine, though The Penguin is hardly a big player. It gives the latest Batmobile a helluva revved-up entrance and breathlessly thrilling car chase, and lets wide-framed, rhythmically choreographed action scenes roll long so that viewers feel the toll they wage on the movie's main man. Spotting everything that influenced The Batman isn't an enigma, of course, and The Riddler would be thoroughly disappointed. But the way that everything is spliced and shaken together, and the mood — and it's definitely a mood — makes this weighty, heavy, sublimely shot, excellently cast, always-engaging blockbuster feel new, and all things Batman with it.
Get ready for solid dose of intoxicating dance beats. Melbourne's electronic disco outfit World's End Press are hitting stages across the east coast this week to wrap up their 'Spirals' tour, geared up to bring their hypnotic mix to Goodgod. Off the back of their debut self-titled album release in 2013, World's End Press will be bringing their one-of-a-kind dance mixes to audiences along the East Coast this December. Offering irresistibly rhythmic melodies with every single, WEP is one highly underrated live act rumoured to dominate this summer festival season. Playing alongside electronic legends Phoenix and Architecture in Helsinki earlier this year, the band will wrap up 2014 in style with these East Coast shows. Fans will know the kind of energetic antics to expect from these guys. For those looking to start the weekend right, you won't go wrong nabbing tickets to this ripper electronic mini-rave. Supported by TEES + Francis Xavier (DJ set).
This New Year's Eve, it's time to turn back the clock. Pumping out his signature '90s hip hop classics, the legendary Grandmaster Flash is hitting The Soda Factory for a house party like no other. Spinning an unmissable set of old-school records, the founding father of the hip hop scene will be sending off the year-that-was in spectacular fashion. The Grandmaster is gearing up to bring his truly partystarting edits to our shores this NYE. Renowned for breaking new ground and pushing the limits of what DJs are capable of, Flash paved the way for the mixing methods seen pumping across clubs and airwaves today. Tucked away in Surry Hills, The Soda Factory will play host to partygoers looking for a spot to one-two step their way into 2015. Bring your mates and best dance moves along for some Grandmaster tracks this New Year's Eve. Image: Yves Borgwardt.
In 1956 Marilyn Monroe was the biggest movie star in the world, secretly longing for recognition as an accomplished actress. Across the Pacific, Sir Laurence Olivier was acting royalty harbouring dreams of superstardom (and, it would seem, of bedding Monroe). Believing he could achieve both in one fell swoop, he contrived to fly Monroe to London and shoot The Prince and the Showgirl, a trifling farce about an American showgirl falling for a European royal. Life, Olivier undoubtedly hoped, would quickly and obligingly imitate art. My Week with Marilyn traces the course of that ill-fated production through the eyes of Colin Clark (Eddie Redmayne), a 23-year-old English lad who, courtesy of powerful family connections, secured himself a job as third assistant director to Olivier on the Pinewood set. It was a gopher-type role (go for this, go for that) that not only afforded Clark a fly on the wall perspective but also put him in regular and direct contact with the film's leading lady. Clark kept a diary of his experiences and in 1995 published The Prince, the Showgirl and Me, a supposed 'tell-all' account upon which this film is based. While the veracity of his narrative remains questionable, it ultimately matters very little because My Week with Marilyn is not a plot-driven story at all; it's instead an utterly delightful tale of infatuation and a showcase for two of the year's best performances. Kenneth Branagh stars as Olivier, and it's hard to imagine anyone more tailor-made for the role. He gloriously captures every last whit of the man's imperious conceit and diva-like tantrums so Shakespearean in their delivery they may as well have been in iambic pentameter. It's such a commanding performance that it almost outshines the film's other star, Michelle Williams, especially given the subtlety with which she handles her subject. Williams' Monroe is not the sex bomb we're familiar with; she's more introverted, insecure and childlike yet still somehow every bit as beguiling. Seen through Clark's eyes it's entirely understandable how and why a cavalcade of men, both famous and unknown, blindly strove towards glorious despair despite all the warning signs of heartache. Monroe's gift (and perhaps curse) was how effortlessly she captured the imagination of all around her, fostering irrepressible yearning and inducing the very malfunction of reason. My Week with Marilyn is a light and tender tale of one such diversion, and to hear Clark's account is to believe without reserve how one is always 'better to have loved and lost'. https://youtube.com/watch?v=U_tbnTM7zVE
After years of farmers markets and hopping around — from a six-seater café in Matraville to a kitchen in Marrickville to a Darlinghurst pop-up store — Sydney bagel slinger Brooklyn Boy Bagels has finally laid down some roots. It's just opened a permanent cafe in Circular Quay's huge Gateway Sydney dining precinct. With the self-proclaimed (and widely agreed upon) title as Sydney's "real-deal NYC bagels", the new outpost obviously focuses on the bakers' signature round pieces of dough. But — with the extra space — Brooklyn Boys has expanded its menu to include pastries and other snacks you'd typically find in a New York deli. Think pastrami on rye, Frankie's Fine Brine pickles, and turkey sandwiches with streaky bacon on house-made soft and crusty pain de mie. A selection of pastries are also available each morning — you might be lucky enough to score a whoopie pie or a chewy burnt butter and hazelnut cookie. Just after a bagel? The shop will sell all of Brooklyn Boys' varieties, from plain to onion to blueberry to pumpkin. Try the whiskey-cured trout pumpernickel bagel with dill and capers, labneh and pickled onions. Or go for the ricotta, poached pear, cinnamon honey if you're after something sweet. https://www.instagram.com/p/BvQgDt0AxQQ/ Typical American drinks, from peach Snapple and Minute Maid pink lemonade to New York deli soda classic Dr Brown's Celery Soda are also on offer, with Mecca coffee for something a little stronger. The interior is sleek, with polished concrete floors, dark timber furnishings and steel structural beams and a smattering of hanging plants, an impressive wall of baked goods and copies of the New Yorker add a certain geniality. The 68-seater space is open Monday to Friday, catering to a weekday business crowd. With large windows overlooking Reiby Place, the view is a flurry of suits and the comings and goings of the city. "You can see the Mary's boys wandering past as they get ready to take over The Basement," adds Shafran. Find Brooklyn Boy Bagels on level one of Gateway Sydney, 1 Macquarie Street, Circular Quay. It's open Monday to Friday from 7.30am—4pm.
“Your word is ticket.” “Can you use it in a sentence?” “Get a ticket to this show, now!” This isn't your average night of comedy and it certainly isn't your average spelling bee. I mean sure, words are given to the contestants and they have to spell them correctly, but are all the words real? Probably not. Can they even be used in a sentence? We’re guessing no, but there's sure to be comical consequences aplenty for any incorrect answers. Michael Hing, Alex Lee and Patrick Byrnes are your gamemasters for the evening.
Infamously the craziest time of the year when it comes to discounts, Black Friday sales can be hard to navigate at the best of times. To help you get prepped, we've narrowed down some of the best bargains from Amazon. You can expect to see some epic deals across homewares, beauty, shoes, electronics and fitness with brands like Samsung, Maybelline, Hugo Boss and Garmin. It's time to get shopping and make the most of the deals while they last. Homewares Stocking up on things for around the house and grabbing some homewares for a gift is never a bad idea. And with these discounts, you'll finally get your hands on those top-quality frying pans you've been putting off or actually replace that pillow you've had for an embarrassingly long time to admit publicly. Corelle Dinnerware Set for $51.99 – 60% off. Tontine Allergy Sensitive Pillow for $17.89 – 61% off. TEFAL Non-Stick Induction Wokpan for $61.19 – 49% off. PetSafe Staywell Aluminium Pet Door for $109.62 – 49% off. Tontine Single All Seasons Quilt for $31.96 – 70% off. Electronics Whether you're a Samsung or a Google person, these Black Friday discounts on all your electrical necessities are enough to make you drop everything. Google Nest Cam Wireless Camera for $166.00 – 50% off. Samsung Galaxy Buds FE Wireless Earbuds for $104.99 – 47 % off. Yamaha TW-E3C True Wireless Earbuds for $45.00 – 65% off. JBL FLIP 6 Portable Waterproof Speaker for $99.99 – 41% off. Rocketbook Core Reusable Smart Notebook for $29.90 – 46% off. Beauty For all the beauty queens out there, we know how expensive it can be to get your hands on the best makeup, moisturisers, perfumes and all the other essentials to keep you feeling at your best. Our recommendation? Stock up while you can. Vera Wang Princess Eau de Toilette for $28.13 – 68% off. Hugo Boss Boss Bottled Eau De Toilette for $84.93 – 59% off. Maybelline New York Matte Lipstick for $8.91 – 58% off. Garnier Brightening Serum for $16.63 – 55% off. Aveeno Daily Moisturising Body Wash for $11.10 – 57% off. Maybelline Superstay Vinyl Liquid Lipstick in Peachy for $11.47 – 58% off. Maybelline Multi-Use Concealer for $9.77 – 58% off. Shoes Finding durable, hardy shoes at a low price can feel almost impossible. However, you can get your hands on everyone's favourite brands including Dr. Martens, Keen, Salomon and Tevas for almost half-price with these spicy Black Friday deals. Dr. Martens Unisex Embury Leather Chelsea for $139.99 – 50% off. Skechers Women's Sneakers for $78.99 – 47% off. Salomon Men's XA PRO 3D Trail Running and Hiking Shoe for $120.00 – 48% off. Teva Men's M Forebay Sandal for $79.99 – 53% off. Nike Sneaker for $44.88 – 55% off. KEEN Women's Waterproof Hiking Boot for $153.06 – 49% off. Timberland Men's 6-Inch Waterproof Boot for $179.99 – 48% off. MERRELL Men's Moab 3 Hiking Shoe for $101.99 – 49% off. Fitness Get active, running, swimming or whatever kind of movement you prefer with these nifty fitness accessories. With these kinds of discounts, there's really no excuse not to. Speedo Men's Endurance + Aquashort for $31.99 – 42% off. Garmin GPS Fitness Smartwatch for $998.00 – 46% off. Buzio 1180ml Insulated Water Bottle for $29.58 – 44% off. Step One Men's Bamboo Trunks for $17.50 – 50% off. TriggerPoint GRID TRAVEL Foam Roller for $23.98 – 60% off. This article contains affiliate links, Concrete Playground may earn a commission when you make a purchase through links on our site. Images: supplied.
