Affordable brekkie and lunch in the CBD from an award-winning hospitality team — you don't come by that very often. But, that's exactly what you'll find at This Way Canteen. Located at the Museum of Sydney between Circular Quay and The Domain, the charming spot comes from House Made Hospitality, the crew behind the winning formula of Hinchcliff House, Promenade and Martinez. Described as a "good-times sandwich bunker", This Way Canteen presents a simple crowd-pleasing menu with fresh produce at the core — plus, it won't break the bank, with all of the sandwiches here under $16. If you're on the hunt for a quick and easy lunch, set your sights on one of these foccacia sambos, ranging in fillings like spicy falafel and a classic schnitty to ramen pork or grilled mango chicken. Maybe it's Friday and you want to give yourself a little treat? Well, just opt for the lunchtime special which includes the loaded schnitzel sandwich and a beer for $20. That's a bona fide bargain. If you're in earlier in the morning, the breakfast menu also offers plenty of options around the $12-14 mark including, granola, B&Es and next-level English muffins. Finally, there are the drinks. A robust coffee selection is on offer alongside juices and a few boozy lunchtime offerings including beers, wines and Four Pillars yuzu gin and soda. Images: Steven Woodburn
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.
Already made your way out of a serial killer's lair in Sydney? Panic not, a brand new escape room-style adventure is about to land in Sydney. And, instead of trapping you within four walls, it challenges you to get into a room, steal a piece of art and get out with it. Art Heist is the latest project of the Jetpack Theatre Collective, who specialise in out-of-the-box theatrical experiences. Before now, they've managed to chase their audiences through mazes, row them across lakes and transform them into a herd of stampeding rhinos. For Art Heist, Jetpack has built Wade Gallery, a fictional art space in Dulwich Hill. Inside lies a masterpiece titled The Fat Dragon, which is coveted by Adrian Bailey, an unknown benefactor. Acting as one of his thieves, you'll have 45 minutes to steal it for him. Along the way, you'll be deciphering clues, getting around guards, avoiding alarms and squeezing through air vents. The guards aren't just statues or robots, but actual actors, who'll be responding in real time to your moves — that's part of what what sets Art Heist apart from established escape rooms. "With a stressful political climate and incredibly fast-paced news and social media cycle, it can be invigorating to lose yourself in pretending to be somewhere and someone else," said Jim Fishwick, director of Art Heist. "And when culture is now so available on a phone, what does it really mean to go to a theatre or go to a gallery? It's the social connection with the people you're with and the presence of the art around you." Art Heist is at 404 New Canterbury Road, Dulwich Hill, from 1 June–30 July. It runs on Thursday and Friday, 5.30–8.30pm, and on Saturday and Sunday, 1.30–8.30pm. New sessions start each hour.
Good news gaming fiends: Melbourne's first hotel games-inspired room is now available for you to live out all your gamer dreams. View Melbourne has created a 35-square-metre room that's custom-made for gaming, providing guests with everything they need for the ultimate game night. It's essentially a fully loaded paradise for gamers and, yes, it's as good as it sounds. The PC corner includes an MSI MEG Trident X2 computer, dual 27-inch 170Hz Esports gaming monitors, a full Elgato streaming setup and a game library that boasts an extensive collection that's continuously updated. The setup also includes an Xbox controller, MSI gaming headset, mouse, keyboard and a Logitech speaker system. Meanwhile, the couch and main television are perfectly set up for all kinds of console gaming, from intense solo sessions to epic four-player parties. The main machine is a Nintendo Switch hooked up to a 55-inch Samsung TV complete with Apple TV, accompanied by four Nintendo Switch pro controllers. On the games front, all the Nintendo faves are available, including the big Mario titles, Super Smash Bros. Ultimate, Pokémon: Let's Go Pikachu and The Legend of Zelda: Tears of the Kingdom. Plus, guests also have access to a huge catalogue of NES, Super NES, Game Boy, Game Boy Colour, Game Boy Advance, Sega Genesis and Nintendo 64 games, all of which are available to play via the Switch. Now, let's talk perks. The room comes with bottomless popcorn, which you'll make in the room yourself; a whole fridge filled with energy drinks, soft drinks, beer and wine; various spirits; and a fully stocked snack bar with an array of gamer faves (yes, even Cheetos). The popcorn is complimentary, but you'll pay for everything else that you eat and drink. The room is full of gamer memorabilia without feeling crowded, and the customisable RGB lighting adds a cool touch (don't worry, you can turn it off if it isn't your thing). Up to five people can stay in the room, so it's the perfect space for epic Mario Party sessions. The setup includes a king bed which can transform into two singles, a sofa bed, and the option to add a portable bed. The room is inclusive for two guests, with each additional adult costing $40 per night. Kids under 12 stay free if they're using existing bedding. For those looking to stream, the high-speed internet and Elgato gear, and even a ring light are there for a seamless experience. And if you're in Melbourne for business, the PC corner doubles as a workspace. In short, the room is a cool blend of nice hotel amenities and a gamer's dream setup, offering a fresh, fun way to stay in Melbourne if you're visiting — or a dream staycation if you just want to live out your 12-year-old kid fantasy. Find View Melbourne at 562 St Kilda Road, Melbourne — and head to the View Melbourne website for bookings.
To watch films written and directed by Ryûsuke Hamaguchi is to watch people playing a part — in multiple ways. That's one of the key truths to features not only by the Japanese filmmaker, but by anyone helming a movie that relies upon actors. It's so obvious that it doesn't usually need mentioning, in fact. Nonetheless, the notion is as essential to Hamaguchi's pictures as cameras to capture the drama. He bakes the idea into his films via as many methods as he can, pondering what it means to step into all the posts that life demands: friend, lover, spouse, ex, sibling, child, employee, student, classmate and the like. Hamaguchi loves contemplating the overt act of performance, too — his Best International Feature Oscar-winning Drive My Car, which also nabbed its helmer a Best Director nomination at this year's Academy Awards, hones in on a play and the rehearsals for it in dilligent detail — but the auteur who's also behind Happy Hour and Asako I and II has long been aware that the art of portrayal isn't just limited to thespians. Shakespeare said it centuries back, of course. To be precise, he had As You Like It's Jaques utter it: "all the world's a stage, and all the men and women merely players". Hamaguchi's Wheel of Fortune and Fantasy, his second film to reach cinemas in mere months, definitely isn't a French-set comedy; however, it lives and breathes the Bard's famous words anyway. Here, three tales about romance, desire and fate get a spin. This trio of stories all muse on chance, choice, identity, regret and inescapable echoes as well, and focus on complex women reacting to the vagaries of life and everyday relationships. They're about sliding into roles in daily existence, and making choices regarding how to behave, which way to present yourself and who you decide to be depending upon the company you're in. While Wheel of Fortune and Fantasy mightn't ultimately mimic Drive My Car's Oscars success, it's equally masterful. In the first segment — dubbed 'Magic (or Something Less Assuring)' — model Meiko (Kotone Furukawa, 21st Century Girl) discovers that her best friend Tsugumi (Hyunri, Wife of a Spy) has just started seeing her ex-boyfriend Kazuaki (Ayumu Nakajima, Saturday Fiction). She's told in a sprawling taxi chat, which makes for stellar early sequence, and then she grapples with her complicated feelings while musing on what could eventuate from there. Meiko also heads straight to her former paramour, which was never going to simplify the situation. Her mantle to bear: either remaining the picture of a supportive pal by failing to tell Tsugumi about her past with Kazuaki, or laying out their history and forever shifting the dynamic. It's a devastating tale in how intricately it understands the push and pull of bonds that splay in different directions, and how we hold ourselves in various ways depending on who we're with. Next, in 'Door Wide Open', college student Nao (Katsuki Mori, Sea Opening) is enlisted to seduce Professor Sagawa (Kiyohiko Shibukawa, Tezuka's Barbara) as part of a revenge plan by her lover Sasaki (Shouma Kai, Signal 100). She's forced into the part — which blatantly requires her to play a part — by the entitled Sasaki, all because the professor won't give him a passing grade. Nao is married, adding further shades to the roles she's inhabiting at any given time. She's also wholly uncomfortable with the position that her boyfriend has placed her in, but it still leads to authentic connections and revelations. Another of Hamaguchi's strong and frequently repeated truths: that the pretences we all sport, for whatever reasons we adopt them in any particular circumstances, are often barriers to genuine emotions and attachments. Finally, in a world where the internet has been eradicated due to a virus — making third chapter 'Once Again' a piece of science fiction, too, and as quietly fantastical as the feature gets — Natsuko (Fusako Urabe, Voices in the Wind) and Nana (Aoba Kawai, Marriage with a Large Age Gap) cross paths. The former has returned home to attend her high-school reunion, bumping into the latter within moments of getting off the train, with the two women instantly thinking that they were classmates decades ago. Thanks to the preceding portions of the film and also Hamaguchi's filmography in general, it's instantly clear that this scenario won't be straightforward, either. Nana invites Natsuko back to her house, the two chat and reminisce, but neither is all that confident about their shared history in a segment that tenderly but candidly examines role-playing as a two-way street, and also deception as a social grace. Hamaguchi's resume is littered with other obsessions beyond the fictions people spin to get through their days — to themselves and to each other, and willingly and unthinkingly alike — many of which also pop up in Wheel of Fortune and Fantasy. Coincidence has a role in each of the movie's trio of intelligently and painstakingly plotted narratives, and destiny and fortune as well (as the name makes plain). The tangled web that romance weaves, and the sticky strands that represent alluring exes, also leave a firm imprint. So does seduction, and not always in its usual and most apparent form. All three of the picture's sections could stand alone, but each could've been fleshed out to feature length as well; as they exist, they leave viewers wanting more time with their lead characters. Commonalities ebb and flow between them, though, because this is a smart, astute and savvily layered triptych that's brought to the screen with everything that makes Hamaguchi's work so empathetic, warmly intimate and also entrancing. On the list: a canny knack for domestic drama that spies the revelatory in the seemingly ordinary and mundane; a willingness to let dialogue guide each story, yet never by resorting to only speaking in exposition dumps or lazily telling over showing; and, to help with that crucial last component, piercing and haunting long shots by cinematographer (Yukiko Iioka, Listen to Light) in every chapter. Indeed, each portion of Wheel of Fortune and Fantasy almost resembles a full-length film as it is courtesy of these trademark traits, which make the entire movie seem deeply lived-in. It should come as no surprise, then, that Hamaguchi's cast fares just as brilliantly. With the filmmaker's patent fascination with performance on full display, the restrained yet meticulously textured portrayals he exacts from his cast are uniformly excellent. They're more than that; in a beguiling piece about playing parts, and that makes the process of adopting a role its very reason for flickering, peering at its actors feels like peering at reality at its most soulful, insightful and also playful.
Today, the NSW Government announced which festivals would be impacted by its strict new music festival licensing regime — and four of the 14 named are where young people died from suspected drug overdoses. As well as Defqon.1, Lost Paradise, FOMO and Knockout Games of Destiny — where five festivalgoers died during the past six months — the list includes Laneway, Electric Gardens, Subsonic and Rolling Loud. You can check out the full list below. While the regime will not be officially introduced until March 1, the 'interim guidelines' have already led to the cancellation of two NSW festivals: Mountain Sounds and Psyfari. The festivals highlighted the "newly imposed safety, licensing and security costs" and the inability to pull together an estimated $200,000 to cover 45 police working across a 24-hour period as reasons for the cancellations. Byron Bay's Bluesfest — whose festival director sent a scathing letter to Premier Gladys Berejiklian saying, "Will the last festival to leave NSW please turn out the light of culture in this soon to be barren state?" — was not included on the list. In the statement released today by the NSW Government, Minister for Racing Paul Toole said that only the 14 festivals listed would be impacted by the new licensing regime, but that the list would also be "regularly reviewed". "The NSW Government wants music festivals to thrive – but serious drug related illnesses and deaths have demonstrated that we need to help make a small number of them safer," Mr Toole said in the statement. The licensing regime has already been widely criticised for its lack of transparency and failure to consult with industry bodies, and this latest announcement has only heightened this. The Australian Festival Association said in a statement that the organisers of the 14 festivals were notified "by SMS last night" of their 'high risk' status, saying "the process has lacked integrity and transparency — and there are just as many questions left unanswered by the government's latest announcement". This latest move from the NSW Government follows, the Don't Kill Live Music rally on Thursday, Friday 21, when thousands of Sydneysiders — as well as bands and big-name members of the live music industry — descended on Hyde Park to defend the city's live music scene. Despite increasing calls for pill-testing the NSW Government has refused to consider it as a harm-minimisation technique at festivals. Canberra's Groovin' the Moo, however, has just been given the go-ahead to host Australia's second-ever pill-testing trial. LIST OF HIGHER RISK FESTIVALS Days Like This — Victoria Park, March 2019 Transmission — Sydney Olympic Park, March 2019 Up Down — Newcastle, March 2019 Defqon.1 — Castlereagh, September 2019 Subsonic — Monkerai, November 2019 This That — Newcastle, November 2019 Knockout Games of Destiny — Sydney Olympic Park, December 2019 Lost Paradise — Glenworth Valley, December 2019 FOMO — Parramatta Park, January 2020 Electric Gardens — Centennial Park, January 2020 HTID — Sydney Olympic Park, January 2020 Rolling Loud — Sydney Olympic Park, January 2020 Laneway — Callan Park, February 2020 Ultra — Parramatta Park, February 2020 Image: Laneway, Maclay Heriot
UPDATE, September 17, 2021: A Star Is Born is available to stream via Paramount+, Foxtel Now, Google Play, YouTube Movies, iTunes and Amazon Video. It's been a decade since Lady Gaga's star was born in a cloud of upbeat pop and outlandish costuming, but with her first major film role, it's happening all over again. Stripped of the makeup, outfits and theatricality that have shaped her stage persona since she told the world to just dance, the singer is a revelation in A Star Is Born — both because of and despite the obvious. Belting out heartfelt ballads and throwaway pop alike, she clearly has the voice for the job. That said, it's how she performs when she's not crooning the movie's catchy tunes that's truly special. Like an actor gaining weight or sporting a physical ailment, wiping the gloss off an existing megastar might seem an acting cliche, however Gaga isn't simply playing tourist with normality. The 'Poker Face' popster plays Ally, who works in hospitality by day and unleashes memorable versions of 'La Vie En Rose' in a drag bar by night. An ordinary woman dreaming big, writing her own songs but never thinking that she'll make it, it's a part that Gaga lives and breathes with earthy, unguarded authenticity — almost as though she's been through it herself. The singer is electric in A Star Is Born's early scenes, as boozy country rocker Jackson Maine (Bradley Cooper) catches her club act, convinces her to have a drink with him and sparks fly. When he takes her home the next morning, says goodbye and then calls back to her from his limousine window, Jackson says what everyone watching is thinking: "I just want to take one more look at you". And look he does. Thanks to Jackson, his adoring gaze, and his certainty that Ally has both a genuine voice and something genuine to say, her fantasies start coming true. When he sends a driver to take her to one of his stadium shows, brings her out on stage and they duet one of her songs, the movie's title starts ringing true too. Love blossoms also, but Ally and Jackson's tale is one of rising as well as falling. For Jackson, the combination of alcoholism, hearing loss and childhood trauma leave a wound that only cuts deeper as Ally shines and his career fades. An aspiring talent striving to see their name in lights is one of the oldest narratives in Hollywood's book. In A Star Is Born's case, it dates back to 1937 — or 1932 if you count What Price Hollywood?, whose studio almost sued the original A Star Is Born for plagiarism. Across eight decades now, this sweeping tale just keeps hitting the screen, complete with remakes starring Judy Garland in 1954 and Barbra Streisand in 1976. With Gaga leading the charge this time around, it's easy to see why A Star Is Born keeps glowing. A crash course in the highs and lows of the American dream, it's a fantasy where wishes come true, but where everything has a cost. It's also an underdog story, a star-crossed romance, an account of trying to make it in entertainment, a drama about substance abuse and a warning about fame's many ills. Most of all, A Star Is Born is an unashamed melodrama. While that's a term that's been given a bad name of late, wrenching emotion and heightened drama is exactly what this story calls for. Not only co-starring but jumping into the writer and director's chairs for the first time, Cooper doesn't skimp on sentiment, with every passionate kiss, overwhelming moment and tragic development landing with undeniable force. And yet, his film never wallows in sappiness or spoon-feeds its feelings to the audience – even when it charts blatant plot points that even newcomers to the tale will spot, or suffers from bloat in its mid-section. Seamlessly updating the narrative for the 21st century with co-scribes Eric Roth (Extremely Loud & Incredibly Close) and Will Fetters (The Best of Me), Cooper understands the power of the material. A Star Is Born has been wowing audiences since the 1930s, after all. It helps that Cooper has a knack for visual storytelling, working with cinematographer Matthew Libatique (Mother!). A Star is Born's imagery sings its own affecting tune, with the actor-turned-director favouring shots that are grounded in the emotion of the narrative. Cooper also does his part as performer, both acting the sorrowful part and holding his own when it comes to his vocals. But his biggest gift to the movie is his willingness to let his collaborators glisten. While A Star Is Born is a definite showcase for a debut filmmaker who stars, croons, writes and directs, it gleams brighter thanks to the space and weight given to its cast. Sam Elliott is in astonishing form as Jackson's equally gruff and tender older brother, Dave Chappelle waxes kind and wise as an old pal telling it like it is, and Andrew Dice Clay is warm and protective as Ally's supportive dad. And, jumping from being one of the world's biggest pop stars to playing one of the world's biggest film roles, Gaga is far from the shallow now. https://www.youtube.com/watch?v=ywkF1lj5wyI
Sometimes getting through the day without spilling coffee all over yourself or throwing a major tantrum at work is a real challenge. Let's face it, adulting is tough — what with the bills, the responsibility, the expectations. No wonder you sometimes want to get off the grown-up roundabout. When it all gets too much and the kid in you wants to bust out and forget about your worries for a while, we've got you covered. With the help of our pals at American Express, we've put together a list of the best places to head to shake off the shackles and do as young you would do — except this time with your grown-up American Express® Card paying your way. Whether it's slamming down bowling pins and beers, hitting up old-school arcade games or belting out karaoke, you're guaranteed to forget about the 'real' world for a while. Got yourself in another dining situation and need some guidance? Whatever it is, we know a place. Visit The Shortlist and we'll sort you out.
Whether you're looking for somewhere close by for an overnight staycation or you're planning a Saturday morning sojourn out of the city, put this leafy and light-filled cafe on your list. Greenhouse on Flora is your next-go brunch destination situated in the heart of Sutherland Shire — about 25 minutes out of Sydney's CBD. Locals Paula and Pablo opened this tranquil cafe back in January 2021, after Pablo (head chef) had spent about 15 years in the culinary game as a chef in two-and-three-hatted restaurants. Now they're providing a leafy oasis where slowing down is the name of the game, amid the hustle and bustle of Sutherland's busy retail strip. Enjoy excellent coffee in the tranquil (and to be honest, extremely 'grammable) interior and watch the world go by. If you think the only meal with having is brunch, you've come to the right place. The all-day breakfast menu changes seasonally — but sweet-toothed diners might opt for the cinnamon banana bread, or the vanilla and cinnamon French toast topped with coconut mascarpone, roasted coconut, banana, blueberries and maple syrup. And yes, you can add ice cream. If you're more of the savoury brunch persuasion, there are all the big breakfast and benedict options you know and love. But branch out and try one of the Greenhouse's specialities like the open omelette with crispy potatoes, pancetta, caramelised onions and manchego cheese served with fermented crumpets. Our pick? The three cheese toastie containing gouda, gruyere and cheddar, along with chives, bacon and jalapeno jam, fried egg and crispy leek. And if brekkie foods aren't your bag, don't worry. There are burgers, spaghetti, and even a lamb backstrap. Once you've appropriately fuelled for the day, spend a few hours checking out Sutherland Shire — there are sparkling waterways, national parks and boutiques. It's a soothing antidote to the rat race of Sydney's CBD.
A monster vintage sale is set to kick off today. Tonight, a novel pop-up store opens its doors for two short weeks. With prices $20 and under, Love Your Face believe they can occupy the a similar gap in the market to that previously held by the (now price-agnostic) Oxford Street Design Store. The new-look space, decked out with vintage wears that draw their "inspiration from London fashion over the years", has something extra special to entice punters in on opening night as well. "Why are we doing it? To bring affordable vintage fashion to Darlinghurst," explains co-founder Careen Redman. "It's somewhere you can pop into in your lunch hour and get something really quirky, for $20." Love Your Face launches tonight, and is open for two weeks ('til November 15). Bears with Guns — the Parkes band whose anthemic hit, Taken for a Fool, has been praised by audiences and critics alike (this one included) — will perform an intimate live set from 6pm, to help get the party started. https://youtube.com/watch?v=KcEAlHPr5Pg
Calling all history buffs: now is an excellent time to plan a long weekend in Canberra, with an incredible exhibition celebrating the might of the Roman Empire arriving at the National Museum of Australia (NMA) on Friday, September 21. Rome: City and Empire is a collaborative exhibition with the British Museum and makes the NMA only the second institution to host it worldwide — and the only museum that will do so in Australia. The exhibition showcases over 200 jaw-dropping objects, including marble sculptures, illustrations, geometric jewellery, gold medallions and burial chests — many of which have never toured internationally, let alone reached the Southern Hemisphere. This is once-in-a-lifetime stuff. Whether you're a history aficionado who smashes all the ancient Rome questions at trivia or a total novice, the exhibition offers an opportunity to step back in time to experience what daily life was like in one of the most sophisticated, culturally diverse and creative civilisations the world has ever known. You'll leave with an insight into just how Rome became such a mighty empire — one whose aesthetics, ingenuity and approach to design continue to influence us today. Rome: City and Empire will run from Friday, September 21, 2018 to Sunday, February 3, 2019. Tickets can be purchased via the NMA's website. Images: Fragment of a diadem, Naukratis, Egypt, 67–98 CE, gold; Roman Republican coin for Julius Caesar minted in Rome, Italy, 44 BCE, silver; Mosaic panel, Halicarnassus (modern Bodrum), Turkey, 4th century CE ©Trustees of the British Museum
Every hotel tries to offer visitors a home away from home. At Melbourne's new luxe spot, however, that's the entire concept. Opening in June, United Places endeavours to blend the best of both — a hotel and a home — across its 12 roomy suites. And, like everyone's dream house, it also features plenty of greenery. The rampant plant life comes courtesy of United Places' location, situated opposite the Royal Botanic Gardens in South Yarra. As well as views over the parklands, the hotel's three two-bedroom suites boast city vantages from their sunken bathtubs. Nine one-bedroom suites will also be available. Further ramping up the comfort, United Places will provide personalised butler service 24 hours a day, plus curated in-room breakfasts by chef Scott Pickett (Estrelle, Saint Crispin). Daily hampers will stem from onsite restaurant Matilda, Pickett's latest venture, which'll focus on open fire and hot coals. While it'll be open to the public for lunch and dinner seven days a week, and for weekend brunch as well, the eatery will also give hotel guests priority seating. Design-wise, architects and interior designers Carr Design Group have opted for velvet drapes, hardwood floors and charcoal bathroom pods, with each suite also featuring a kitchen and terrace. And as a striking focal point upon entry, artist Laura Woodward has created a specially commissioned piece for United Places' foyer, playing with water, light and movement and interacts against the hotel's monochromatic hallways. If all of the above sounds particularly luxurious, that's the entire point. Unsurprisingly, it also comes with a hefty price tag, with rooms starting at $650 per night. Find United Places Botanic Gardens at 157-159 Domain Road, South Yarra from June. Keep an eye on the hotel's website and Instagram feed for further details. Image: Moritz Marquardt via Flickr.
2019 marks the 50th anniversary of the moon landing, and at Sydney Festival 2019, there'll be a whole heap of ways to celebrate the occasion. As we commemorate the gents who first traipsed across the lunar surface, it's not a bad opportunity to think back on a few of the earlier Apollo missions. Remember Apollo 3, the unmanned mission to test whether or not NASA could successfully restart the ship's engines? Or Apollo 7, the first live TV broadcast from space? No, we don't either. The truth is, during the space race, a whole bunch of people did a whole bunch of crazy things to pave the way for the Armstrong/Aldrin moonwalk. To recognise these lesser-known space odysseys, SydFest has commissioned 11 cosmos-themed works for Barangaroo. With a combination of sculpture, interactive installations and roaming performers, this is a great chance to delve into some of the leaps that made Neil's 'small step' possible 50 years ago. Apollo 11 is part of Sydney Festival's dramatic and diverse 2019 program. Check out the full lineup here.
Art galleries never fail to draw a crowd in Sydney, especially since the Harbour City is home to some of the biggest galleries in the country. But it's not often that you get a dose of good karma after splashing out on a ticket; that's a benefit typically reserved for charity events. The Unbound Art Show, the annual fundraising show for Barnardos Australia, does both. This year, the event will be themed 'Horizons of Hope' and will take place in the Cell Block Theatre of Darlinghurst's National Art School on Thursday, March 20. Kicking off at 6pm, your $75 ticket includes access, beverages and rights to any canapé you desire, plus a $50 voucher to put towards any artwork you would like to purchase on the evening. You read it right: these works (sculptures, photos, paintings, prints and more) are on sale, donated by artists to Barnardos for the occasion. If you're unable to attend the event in person, all pieces will be available in an online auction from Thursday, March 6. Of course, all proceeds from the one-night-only event will go towards Barnardos youth homelessness services, as they work towards a future where every young person is safe and secure in a home of their own. The Unbound Art Show: Horizons of Hope will take place from 6pm on Thursday, March 20. For more information or to buy a ticket, visit the website.
This homewares shop prides itself on its use of raw materials and contemporary design. Born from a quest to create sustainable materials, Papaya combines ethical production with timeless and innovative designs — and the result is a beautiful (and popular) range of sofas, dining tables and other furniture that'll spruce up your home. Not here for the big house purchases? The store also sells beautifully designed soap dispensers, scented candles, and other, modern lighting, decor and home-building gifts.
It's been a busy couple of months of stargazing, with both the Lyrid and Eta Aquarids Meteor Showers lighting up our skies, as well as a supermoon. This weekend, there are another two reasons to look up, too: a strawberry moon and an eclipse. Well, it's penumbral lunar eclipse. And you'll have to shake yourself out of your warm bed at a super-early hour on the morning of Saturday, June 6 to catch this one. While the penumbral lunar eclipse — which occurs when the Earth moves between the Sun and the Moon, but they don't form a perfectly straight line — will start around 3.45am, the maximum eclipse will occur at 5.24am. From here, you'll only have a very short amount of time to catch the main event, with the moon setting at 6.59am. For the full details, timeanddate.com has put together a handy to-the-minute schedule of when the eclipse will be happening in each city. During a total lunar eclipse, the moon turns a shade of red, but during a penumbral eclipse, which is much subtler, it'll appear to look dark grey or silver. For a lunar eclipse to occur, there must be a full moon. This June full moon is called a strawberry moon after the wild strawberries that ripen at this time of year. If you can't get a clear view, The Virtual Telescope Project will be live-streaming the partial lunar eclipse from the skyline above Rome from Saturday, June 6 at 5am AEST.
When mid-February rolls around each year, a specific feeling starts to sink in: the yearning for these sunny, summery days to keep on stretching on. But autumn will soon be upon us, and cooler weather, too — unless you decide to chase an endless summer by spending time anywhere from the Gold Coast up to Cairns while it gets frosty down south. After a chaotic couple of years due to the pandemic, Queensland holidays have been back on the agenda since late 2021. Just last month, the Sunshine State also ditched all of its remaining domestic border restrictions. And, if you're keen to make an autumn date with plenty of sun, surf and sand — or even to book in a winter getaway, too — Virgin Australia has just dropped a huge Queensland flight sale. Running until midnight AEST on Sunday, February 20 or sold out, whichever arrives first, this sale is solely about trips to and from the Sunshine State — with more than a 1.5 million fares on offer. It might be focused on one part of the country, but you still have options in terms of departure points and destinations. Within Queensland, you can leave or arrive in Brisbane, Cairns, Townsville, Rockhampton, Hamilton Island, the Gold Coast, the Sunshine Coast, Emerald, Gladstone, Mackay, Mt Isa and Proserpine. And, around the rest of the country, flights to and from Adelaide, Alice Springs, Canberra, Darwin, Hobart, Launceston, Melbourne, Newcastle, Perth and Sydney are all covered. One-way fares start at $59 — which'll get you from Sydney to the Gold Coast, Launceston to Brisbane, Newcastle to Brisbane and Brisbane to Prosperine (and vice versa). Other sale flights include Sydney–Sunshine Coast from $65, Melbourne–Gold Coast from $69, Melbourne–Townsville from $99 and Sydney–Hamilton Island from $109. If you're wondering when you'll need to travel, the travel periods depend on the leg — but some span up till spring. Only some fares cover seat selection and checked baggage, however, with the airline announcing back in August that it is now splitting its economy flights into three types. Economy Lite doesn't include checking any baggage or picking your seat, but Economy Choice does — and Economy Flex gives you extra flexibility (hence the name) if you have to change your plans later. As we are still in the middle of a pandemic, flying is little different to normal. Virgin has introduced a range of safety measures, including hand sanitisation stations, contactless check-in and face masks provided to all passengers. Wearing masks on flights also became mandatory in Australia in January. Virgin's Great Queensland Getaway sale runs from today, Monday, February 14–midnight AEST on Sunday, February 20 — or until sold out.
An all-day diner and aperitivo bar has just opened in Bondi from the team behind The Shire's beloved eatery Blackwood Pantry. Blackwood Bondi is the second outpost from the team and is open for breakfast through to dinner seven days a week, just a short walk from Bondi Beach and a few doors down from Beach Road Hotel. The venue welcomes you in with a gentle green and grey fit-out. The food and drink menu will change throughout the day, and has been created by co-owner and Executive Chef Rob Lechowicz. Lechowicz completed his apprenticeship under Tony Bilson who is often called a 'godfather of Australian cuisine', and has honed his skills at Michelin-starred establishments in London and Paris. The brunch menu is available from 7am until 4pm each day and spans from breakfast classics to more hearty options for the lunchtime crowd. Blackwood's version of a big brekkie features scrambled eggs, chorizo, sweet potato, kale, pickled onion, goats cheese, avocado and sourdough; while the spicy bacon and egg roll is topped with sriracha and lime mayo as well as crispy shallots. If you had your morning Weet-Bix hours ago and you're looking for more of a midday spread, there's a curry roasted cauliflower bowl, and a chicken schnitzel sandwich featuring truffle ranch and pickled zucchini, a Moreton Bay bug roll with truffle casarecce. Once the weekend rolls in, dinner is served until late. The curried cauliflower, casarecce and Moreton Bay bug rolls make the cut for the nighttime menu, placed alongside seared snapper fillet, pecorino-crumbed veal cotoletta and chargrilled spatchcock coated in a sage and garlic beurre noisette. There's also a host of snacks for those looking to dip in and for a drink and a nibble. Oysters, warm olives, San Daniele prosciutto, truffle salami and a chef's selection of cheese are all on-hand to accompany the drink menu headlined by an array of signature cocktails curated by award-winning bar Maybe Sammy. Aperol features heavily across the drinks list. For exmaple, the Sebastian Spritz combines peach liqueur, Aperol, prosecco and yuzu soda. You can also opt for a Croissant Martini with almond croissant-soaked vodka, Mr Black and espresso, or the Blackwood Margarita which introduces watermelon and Tio Pepe to the classic combination of tequila and agave. Reservations can be made via the Blackwood Bondi website, or you can swing past the 90-seat venue and nab a table day and night. [caption id="attachment_848562" align="alignnone" width="1920"] Co-owners Paul Pisani, Daniel Sorridimi and Rob Lechowicz[/caption] Blackwood Bondi is now open at 3/87–89 Glenayr Avenue, Bondi, 7am–4pm daily and 5pm–11pm Friday–Sunday. Images: Felix Forest
Turning hit movie franchises into TV shows is one of Warner Bros' current strategies, as HBO's recent and upcoming slate demonstrates. The Batman sparked The Penguin, the recent Dune movies are giving rise to Dune: Prophecy, and IT and Harry Potter are also getting the same small-screen treatment. With Game of Thrones, however, it looks like the company is set to take the opposite path. First came George RR Martin's books. Then Game of Thrones reached television, became a monstrous hit and, when it ended in 2019, sparked more TV. Prequel series House of the Dragon premiered in 2022, returned for season two in 2024 and has confirmed that it has two more runs to go before wrapping up with season four. The third Westeros-set series, called A Knight of the Seven Kingdoms: The Hedge Knight, will arrive in 2025. More have been floated, but a stint on the big screen might also be in the works. As per The Hollywood Reporter, apparently a Game of Thrones movie is coming. The publication reports that the film is in its very early stages, and that there isn't any other details so far — "but the company is keen on exploring the idea of Westeros invading cinemas". Accordingly, what the film will be about, who will star, if any familiar characters will return, where it fits in the franchise's timeline, who'll direct and when it might reach viewers are all still unknown for now. But audiences have always known that all things Game of Thrones were never going to simply fade away. Given the saga's love of battles and dragons, and the special effects to bring them to life, making the move to silver screens is also far from a surprise. The latest development in the franchise's fortunes follows news earlier this year that the Jon Snow-focused sequel series that HBO was potentially producing is no longer happening, as confirmed by none other than Kit Harington himself. That show was set to explore Jon Snow's story after the events of Game of Thrones' eighth and final season. You might recall that that last batch of episodes were rather eventful for the character, even more than normal. He found out that he was born Aegon Targaryen, and that he has a claim to the Iron Throne. He also ditched Westeros — after being exiled — to head North of the Wall. Among the other Game of Thrones spinoff rumours, a second new series to the Targaryens has also been mentioned. And as for the forthcoming Knight of the Seven Kingdoms: The Hedge Knight, it is based on the novella series Tales of Dunk and Egg, as has been rumoured for a few years now. The story follows knight Ser Duncan the Tall and his squire Egg as they wander Westeros a century before the events of GoT, when the Targaryens remain on the Iron Throne and everyone still remembers dragons. There's obviously no trailer for the Game of Thrones movie yet, but check out HBO's most recent sneak peek of its upcoming releases, including a glimpse at A Knight of the Seven Kingdoms: The Hedge Knight, below: The Game of Thrones movie doesn't yet have a release date — we'll update you with more details when they're announced. Via: The Hollywood Reporter. Images: Helen Sloan/HBO.
Heads up wellness junkies, superfood latte purveyors and plant-based peeps: a snow-filled winter market is coming to the Grounds of Alexandria. And it'll be stocked with vegan s'mores, hot wine and many (many) more healthy(ish) winter treats. The night will be a mash-up of a wholefood market and a winter wonderland. You'll be able to explore a snow-filled arena, sip organic mulled wine and toast vegan s'mores (yes, vegan s'mores) over a fire pit. Or, fill up a mug at the colourful superfood latte fountain then visit the olive barn to watch olive leaves being turned into olive oil. Apparently you can also exercise and have your smoothie, too — warm up on the smoothie bicycle and blitz your very own healthy smoothie via a pedal-powered blender. Enjoy a healthy woodfired pizza while you sip on a healthy cocktail, but don't fill up just yet — there'll be a host of laneway carts and market stalls offering product samplings and tastings under the fairy lights. Peanut butter fiends can find the 'world's best PB' (apparently), or you can just sip on multicoloured lattes and taste healthy curries. If you're trying to cut back on the alcohol, good news — there'll even be an alcohol-free gin. After you've got your fill, head to the cooking and demonstration theatre to listen to a talk or cooking demo from a line-up of health and wellbeing gurus. The market is thanks to GoodnessMe Box, a monthly subscription box filled with delicious health foods and samples to try, which has partnered with the inner-city food hot-spot to bring the event back for its second year. You can snag your early-bird ticket here, which includes entry as well as a GoodnessMe box to take home — offering a delicious range of tried-and-tested, natural products. The Winter Wonderland Wholefood Night Markets is open from 5.30–7.45pm and 7.45–10.30pm.
Indigenous Australians were the world's first astronomers, using the stars and planets for navigation, to predict the weather and as part of Dreamtime storytelling. You can get a peek at some of this vast knowledge on an Aboriginal Sky Dreaming Cruise. During the one-hour cruise, First Nations astronomers will guide you through the landscape of the sky and share stories as you float around Darling Harbour. You'll also get to learn about the famous emu-shaped dark installation Gugurmin, an important part of the Wiradjuri Peoples' skylore. A cruise on the harbour can sometimes cost you upward of $200, but this eye-opening experience will set you back just $30. [caption id="attachment_814486" align="alignnone" width="1920"] Destination NSW[/caption]
When discount airlines started soaring into business, they made air travel both easier and much more affordable, drastically shaking up the aviation game. Now that you can routinely fly from Sydney to Melbourne for less than the cost of a degustation dinner, conquering longer flights, reducing the environmental impact and offering niche services have become the industry's new sources of inspiration. Think direct Australia-to-London journeys, trips fuelled by mustard seeds, and now an airline dedicated to art events. Launched by Chinese-American performer Qinmin Liu, Angelhaha Airline "promises to only fly to art," as its website explains. Its first flight will take off on December 6, travelling from New York to Miami for the latter's Art Basel event; however the artist and choreographer has further one-way trips planned for jaunts between Beijing and Hong Kong in March, London and Venice in May, and Berlin and Paris in October, among others. Each coincides with an exhibition, art month, art fair or something similar. In total, 25 flights are currently listed on the airline's website, though The Guardian reports that they don't come cheap. Tickets aren't available at present — although you can sign up to be notified when the next flight opens for bookings — but the maiden voyage, on a private plane taking nine passengers, is setting back travellers between $2,700-$3,500. https://www.instagram.com/p/BbmyuFdHKeH/?taken-by=qinmin_liu In addition to its specific destinations, Angelhaha also aims to turn flying through the sky into a happier experience. "Angelhaha will do everything to provide the happiest moment and environment to human beings," the website states. Just how it will achieve that task is yet to be revealed, but if France can start an airline for millennials, and Europe a service that only heads to ski fields, then the world can have a joy-spreading, art-loving carrier as well. Via The Guardian.
Sydney is flush with world-class steakhouses. In fact, we have a whopping five entries in the top 50 of the World's 101 Best Steak Restaurants list for 2023. Liquid & Larder, the team behind two of those five standout meat emporiums, is bringing another beefy brasserie to Sydney's CBD this September in the form of Alfie's. Alfie's will arrive on Bligh Street from the crew behind Bistecca (number 32 on the best steak restaurants list), The Gidley (number 43) and The Rover. In contrast to a restaurant like Bistecca which serves up just one cut of meat for $18 per 100 grams, Liquid & Larder promises Alfie's will be a more fast-paced, affordable dining experience with an adjoining bar, a custom-built grill and a steak ageing facility. [caption id="attachment_675816" align="alignnone" width="1920"] Bistecca, Dominic Loneragan[/caption] "We love creating experiences that disrupt the status quo. Our first restaurant, Bistecca, made headlines for all the right reasons and we're not afraid to do things that challenge people's assumptions and expectations and make them pay attention," says Liquid & Larder co-founded and directed by James Bradey. While Alfie's is set to be a more accessible take on the Liquid & Larder formula it will still champion a single cut of meat: sirloin from the NSW Riverine region. Whether you're stopping in for a weekday lunch, after-work meal or relaxed weekend outing, you can pair your beef with a selection of homely sides and a selection from Group Sommelier Kyle Poole's extensive drinks list. Those looking to just enjoy a glass of wine or a cocktail with a dose of people-watching can nab a spot in the walk-in bar looking out onto Bligh Street. Former Bartender of the Year and Group Bars Manager Alex Gondzioulis has designed the cocktail menu with classic and seasonal combinations on offer alongside a martini that the team claims will be certified Sydney's coldest. [caption id="attachment_908069" align="alignnone" width="1920"] Pat Stevenson[/caption] Alfie's will open at 4–6 Bligh Street, Sydney in September. Top image: Pat Stevenson
On the road between Broken Hill and Silverton — around 1200 kilometres west of Sydney — lies Day Dream, one of Australia's first coal mines. Built in the 1880s, it's now a tourist attraction, where you can experience a day-in-the-life of a 19th century miner. Prepare for darkness, dust and lots of squeezing through teeny-tiny spaces — all 30 metres underground. Mining is still a dangerous business, but was way more terrifying back then. In fact, workers did it so tough that their bosses handed out opium to ease the pain. When that wore off, horehound beer, which caused temporary blindness, was the next refuge. You'll hear these and other tales on a 1.5-hour tour. Find more tips for exploring Broken Hill over here. [caption id="attachment_710913" align="alignnone" width="1920"] Day_Dream_Mine_Bonzle_Website.jpg[/caption] Images: Destination NSW
Injecting a little sparkle and shine into otherwise dull neighborhoods, these architectural designs celebrate all that glitters. Gilded in gold, sequins, crystals, and more, each structure looks fit to house a disco party, or perhaps a drag-queen. Peruse 10 of the world's most blinged-out buildings, and indulge in a little decadence, dahhhling. 1. Maison Martin Margiela @ Beverly Hills, US 2. Golden House @ Nuweiba, Egypt 3. 8 Woningen Kettingstraat @ The Hague, Netherlands 4. Zaha Hadid’s proposal for a new gold Lego-covered courtyard building at The Louvre @ Paris, France 5. Theresa Himmer's 'Glacier #01' @ Reykjavik, Iceland 6. Swarovski flagship store @ Tokyo, Japan 7. Copper sulphate crystal-covered abandoned housing estate @ London, England 8. Theresa Himmer's 'Volcano #01' @ Reykjavik, Iceland 9. Theresa Himmer's 'Waterfall #01' @ Reykjavik, Iceland 10. The Visionary Art Museum @ Baltimore, US [via Flavorwire]
Remember the heavily pregnant, naked woman in Prêt-à-Porter? No? You should rewatch it; it's better than you remembered. Said heavily pregnant, naked woman is also a chanteuse with a longer discography than the Sinatra family combined. Famous for her renditions of the songs of Kurt Weill, Ute Lemper has had an illustrious career of a modern renaissance nature. She paints (neoclassical), she acts (from Marie Antoinette to The Little Mermaid's Ariel), and she can make the rare claim of having Elvis Costello, Nick Cave, Tom Waits and Scott Walker pen songs just for her voice (2000's Punishing Kiss). A frequent treader of the boards, Lemper has won numerous prizes for her role in musical theatre, particularly in London and New York as Velma Kelly in Chicago and in Paris as Sally Bowles in Cabaret. It's more her time spent as Lola in The Blue Angel (first made famous by Marlene Dietrich) that springs to mind with her current tour, Angels Over Berlin. Exploring the past and present through story and song, Lemper dips into to the work of Weill, Brecht, Brel, Piaf and Piazzoilla — from Weimar to French chansons to Argentinian tango — in a contemporary cabaret style. https://youtube.com/watch?v=Zk6itNYV8i0
Everything that Melbourne and Brisbane can do, Sydney tends to believe that it can do better — and devouring Cinnabon's sticky cinnamon scrolls might soon join that list. After the Seattle-born chain opened its first Australian store in the Sunshine State in 2019, then added more Queensland stores, then made the leap to Victoria in 2021, Sydneysiders have been hanging to get their fix; however, that wait now has an end date: summer 2022–23. Ideally, Cinnabon will start serving its coveted scrolls from its first New South Wales site in Darling Square in mid-December this year, but that date might shift slightly. When the brand does launch in NSW, Alby Lam, one of the directors of the master franchisee for the state, is hoping that baked goods-loving locals will come out in force. "Brisbane actually broke the world record for opening Cinnabon, for sales — so hopefully Sydney will break Brisbane's so that we can take that title. We'll see what happens though," Lam tells Concrete Playground. Something that might help: Sydney's first Cinnabon won't be located in a shopping centre, which will enable it to operate for longer hours. At Darling Square, that might mean 9pm or 11pm closes. Those Cinnabon cravings don't just tempt your tastebuds during business hours, after all. In NSW, the plan is to open 15 stores — including one each in the city's east, west, north and south within three years, and also outposts in Newcastle, Wollongong, Coffs Harbour and Taree. Another big difference in NSW will stem from the chain's specials, with a new limited-edition flavour on offer each month. Exactly what they'll be is yet to be revealed, but that'll give Cinnabon fans a new reason to head by regularly. Also, while the first store will launch with a small beverage menu, the plan is to offer an extensive range moving forward, spanning beyond the usual varieties. "It's not going to be your standard strawberry smoothies and vanilla milkshakes — the flavours are going to be quite unique," Lam advises. New to all things Cinnabon? Haven't tasted them on trips overseas or interstate? Only spotted the chain in Better Call Saul? It's famed for those scrolls, which come slathered in glaze and cream-cheese frosting — and, yes, they truly are oh-so-sticky to eat. Many people have tried to replicate them since Cinnabon first set up shop in America in 1985, too, but the brand's long-held recipe is immensely hard to copy at home. Cinnabon will open in Darling Square, Haymarket sometime in summer 2022–23 — with a planned mid-December launch. We'll update you with exact details when they're announced.
For Sydneysiders living in the city's Local Government Areas of concern — aka areas that have experienced higher locally acquired COVID-19 case numbers during this Delta outbreak — tighter rules have been in place for much of this ongoing lockdown. Folks in these spots are currently under an overnight curfew between 9pm–5am, are only permitted to travel five kilometres from their homes unless there are exceptional circumstances, and must wear masks whenever they leave the house. For the past few weeks, residents in hotspot LGAs have only been able to go out of their houses to exercise for one hour per day, too; however, New South Wales Premier Gladys Berejiklian has just announced that that rule is about to be lifted. Today, Thursday, September 2, the Premier Gladys revealed that LGAs of concern will no longer have a one-hour cap on daily exercise from 5am on Friday, September 3. Instead, residents in these areas will be permitted to go out for as long as they like to work up a sweat — albeit still under the five-kilometre rule, and only between 5am–9pm given that the curfew is still in effect. When it kicks in, the change will apply to people who live in the Bayside, Blacktown, Burwood, Campbelltown, Canterbury-Bankstown, Cumberland, Fairfield, Georges River, Liverpool, Parramatta and Strathfield LGAs, as well as 12 suburbs in the Penrith. So, if that's you, you'll be able to spend more time outdoors this weekend — and moving forward. From 5am tomorrow (Friday) morning, exercise will no longer be limited to one hour in the local government areas of concern. The curfew will still apply, but exercise is unlimited outside of those hours. — NSW Health (@NSWHealth) September 2, 2021 The rule does still only cover exercising. Outdoor recreation — so, "sitting for relaxation, or to eat, drink or read outdoors", as defined by the NSW Government rules — isn't yet allowed in hotspot LGAs. But it'll be back on the cards from 12.01am Monday, September 13, as part of the state's slight easing of outdoor gathering rules. From that point onwards, families with fully vaccinated adults in LGAs of concern will be able to go out together for an hour of outdoor recreation, in addition to your exercise time each day, while still abiding by the curfew and the five-kilometre rule. The change to exercise restrictions in hotspot LGAs was announced as NSW reported 1288 new cases in the 24 hours to 8pm on Wednesday, September 1. The NSW Government intends to loosen more rules for fully vaccinated people across the state once 70 percent of residents have had two jabs, which is likely to include being able to go to hospitality venues and outdoor events — and is expected to happen around mid-October. That said, the exact details of those relaxed settings hasn't been revealed yet, and neither has how they'll apply in LGAs of concern. Residents in Sydney's LGAs of concern will be able to enjoy unlimited exercise — as long as they abide by the five-kilometre rule and the curfew — from 5am on Friday, September 3. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
Need a little swing in your step? Whether you feel like you were born to jive, or you're just after a fun activity that's a bit different, swing dancing could be the answer. Each Monday, Swing Patrol holds swing dance classes in the Church Hall of St Stephens. Head to the beginners class at 7pm for the basics of swing dancing and once you have those down, the intermediate class at 8.15pm will up your game will more challenging routines. Swing Patrol has built a huge community over the years with students performing at markets, parties, and events all over the world. Even if your aspirations are less global and more just getting a dose of wholesome retro fun, at just $16 a pop, these classes are a good place to look.
When Parrtjima — A Festival in Light announced its 2025 program, the numbers were impressive, with the event's tenth edition featuring works by 20-plus First Nations artists, plus more than 100 performers and special guests. But nothing sells this Australian celebration of Indigenous arts more than the spectacular end results each year, when the fest lights up the Northern Territory. For 2025, that time is now, and it's once again a dazzling sight to behold. Parrtjima — A Festival in Light has so firmly established itself as a highlight of Alice Springs, the Red Centre and Australia's cultural scene that it's hard to imagine a time before it. Getting a 2.5-kilometre stretch of 300-million-year-old MacDonnell Ranges glowing every evening is the reliable star of the show; however, that's just the beginning. Heading along this year also means being welcomed by The Gateway at Parrtjima's entrance, for instance, where towering poles by artists from Antulye, Irlpme, and Mparntwe groups are greeting guests. Also, Balanggarra and Yolŋu artist Molly Hunt's Three Generations of Station Women is an animated comic strip that honours Aboriginal stockwomen, with actor Mark Coles Smith (Apple Cider Vinegar) on soundtrack duties. Then there's Bobby West Tjupurrula's Hypnotic Reverberations, creating a moving dreamscape out of beams of light, mist and reflections on a shallow pool. From Lyall Giles, Transforming Light & Country isn't just about sand dune patterns — it gets festivalgoers playing with them, using drums to create rings of light. 2025's Parrtjima kicked off on Friday, April 4, and runs until Sunday, April 13. The MacDonnell Ranges Light Show is among past favourites on the bill, again pairing its eye-catching display with classical music and Arrernte language. Another: Grounded, asking attendees to look down instead of up. A festival of lights in the NT was always going to incorporate the red earth, too, which is where large-scale projections turn the soil into a canvas. This year's version features six artworks. Budgerigar Dreaming Ngatijirri Jukurrpa is also back, using shapes from Wirliyajarrayi artist Myra Nungarrayi Herbert Patrick's paintings in neon-hued abstract bird sculptures — and so is Johnny Young and David Wallace's four-metre-tall The Language of Stockmen. While the fest's first weekend has been and gone, the program still has the Darwin Symphony Orchestra to come, in what'll be Parrtjima's first-ever orchestral performance. Gigs by Dem Mob, Dobby, Desert Divas and Warren H Williams & Western Wind are also part of the upcoming lineup, as is the festival's debut comedy night, with Andy Saunders and Sean Choolburra sparking laughs. Parrtjima – A Festival in Light runs until Sunday, April 13, 2025, at venues around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: Parrtjima – A Festival in Light / Che-Chorley. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Parramatta's farmers markets have returned to Centenary Square just in time for your Christmas shopping. The markets have returned boasting all the fresh produce, artisan goods and all the tasty takeaways you could want. Traditionally held on Fridays, the markets are popping up for a five-week trial of new midweek opening hours that will see it operate on Wednesdays from 7.30am–2.30pm. Fruit, veggies, bread, honey, pastries and flowers will be among the goods marketgoers can get their hands on, as well as food from some of Sydney's best food trucks and local takeaway businesses. Think doughy gluten-free desserts from G-Free Doughnuts, saucy pasta selections from On Ya Gnocchi, Gozleme King's spinach and cheese favourites and your caffeine fix from Coconut Coffee. In its current iteration, the markets will run weekly up until Wednesday, December 22, with plans for the new year yet to be announced. "With the festive season here, it's the perfect time to visit," says City of Parramatta Lord Mayor Cr Steven Issa. "There's always a buzz in Centenary Square when the Parramatta Markets are on."
Huge news: South by South West (SXSW) is coming to Sydney in October of 2023 for its first festival outside of its longtime home in Austin, Texas. The world-renowned festival has been bringing together big names and rising stars in tech, film, music, gaming, culture and education industries since it first began in 1987. Now, it's heading Down Under for the first time, with its week-long edition in Sydney set to become the official location of SXSW's annual Asia-Pacific installment. Running from Sunday, October 15–Sunday, October 22, 2023, the new iteration of SXSW will fill the city with more than 1000 sessions, screenings, performances, parties, networking events and activations over eight days. The Sydney iteration of the festival will bring a wide variety of events hailing from the US edition, but with a greater emphasis on creatives and thinkers from the Asia-Pacific. "Focusing on the creator industries in the Asia-Pacific region, SXSW Sydney will celebrate what's next in culture, tech and the regions thriving creative economy," SXSW Sydney Managing Director Colin Daniels said. "Put simply, SXSW is the Olympics of events for the creator industries, and we are thrilled to bring this legendary festival of gaming, music, screen, tech and innovation to Sydney in 2023," CEO of SXSW Sydney's event producer TEG said. Alongside the Sydney edition of the festival, SXSW will continue its usual programing in Austin with a 2023 festival locked in for March. The festival returned in-person earlier this year after an online iteration in 2021 due to the pandemic. It was headlined by talks from Mark Zuckerberg, Lizzo and Neal Stephenson; performances from Dolly Parton and Beck; premieres of films such as Everything Everywhere All At Once, The Lost City and upcoming A24 horror movie Bodies, Bodies, Bodies; and a Q&A with the cast and crew of Donald Glover's critically acclaimed TV show Atlanta. [caption id="attachment_854807" align="alignnone" width="1920"] Atlanta Season 3 premiered at SXSW 2022 with a cast and crew Q&A.[/caption] Over the years, SXSW has featured appearances from the likes of Barack Obama, Dave Grohl, Jordan Peele, Kendrick Lamar, Lady Gaga and Arnold Schwarzenegger to name just a few — as well as large-scale activations. It also acted as an important space for young musicians, filmmakers and creatives to cut their teeth. The festival has had a close relationship with Australia over the past few years, with Sounds Australia running the Australia House showcase at the festival since 2018 featuring up-and-coming Australian musicians. Major Australian musical exports including Flume, Alison Wonderland, Nick Murphy, Tkay Maidza, Gang of Youths, RUFUS DU SOL and Courtney Barnett have all made appearances at SXSW over the years You can head to the SXSW Sydney website to register your interest for the 2023 event and stay up-to-date as new information emerges over at the festival's Instagram. South by South West will host its inaugural Sydney festival Sunday, October 15–Sunday, October 22, 2023.
Sydney Good Food Month is gearing up to turn the big 2-0 and it's set to mark the occasion with its most expansive program yet, dishing up a huge array of food-focused festivities across October. This year's milestone lineup will both look back in time and nod to the future, celebrating the famed restaurants and innovative chefs that have made Sydney's food scene what it is today, as well as those young guns now carrying on the legacy. The festival's Palm Springs-themed pop-up restaurant Hyde Park Palms makes its colourful return to Hyde Park North, hosting culinary greats from near and far across a program of inspiring feasts, talks and parties, from October 4–21. Home-grown heroes like Stephanie Alexander, Bill Granger and Lune's Kate Reid feature alongside international names including LA's Jason Neroni and Italy's Isabella Potì. There'll be throwbacks aplenty, from a 20th birthday feast helmed by Christine Manfield, Neil Perry and Ross Lusted (The Bridge Room), to a long lunch that sees Andy Bowdy (Saga) and Victor Liong (Lee Ho Fook) kicking it old-school with some quintessential 90s flavours, and a noughties lunch with ACME's Mitch Orr and the aforementioned croissant queen Kate Reid. Acclaimed Smith & Daughters chef Shannon Martinez works her signature brand of culinary magic with a three-course vegan Italian dinner, and some of Australia's female food heroes — including Saint Peter's Alanna Sapwell and Momofuku Seiobo's Kylie Javier-Ashton — headline the Culinary Women of Influence feast. And the pasta battle returns, this time helmed by LuMi's Federico Zanellato, Federica Andrisani from Hobart's Fico and Joal Valvasori-Pereza from Perth's Lulu La Delizia. Meanwhile, Ume and Cow & The Moon team up to deliver the ultimate date-night situation, complete with burgers, ice cream, booze and a screening of 10 Things I Hate About You. And of course, Good Food Month's ever-popular Night Noodle Markets are back for another season, taking over Hyde Park from October 4. Along with a tasty assortment of over 40 street food stalls, and a program of performers, live acts and DJs, this year's edition also features a pop-up stall showcasing a rotation of the city's hottest chefs and eateries. For those not wanting to spend heaps of cash, the affordable Let's Do Lunch returns, allowing punters to dine at Good Food hatted restaurants for only $45 — which includes a lunch main and wine or beer. Tickets to Sydney Good Food Month are on sale from 9am Tuesday, July 30, via the website. Image: Night Noodle Markets, Letícia Almeida; Hyde Park Palms, Nikki To; Pasta Battle, Griffin Simm
Heading off on holidays should feel like an adventure, right down to the place you choose to rest your head after a fun-filled day. With this in mind, London's Miller Kendrick Architects have come up with what might be one of the most imaginative and impressive hotels possible. Created for Visit Wales's 'Year of Legends 2017' design contest, not only does it celebrate the Welsh landscape, but it is inspired by the legend of King Arthur — and the cave him and his knights allegedly stayed in. As far as unique accommodation goes, the aptly named Arthur's Cave proves a two-for-one affair: soak in the natural surroundings in a cabin that really has been crafted to emulate a cave, and soak in a slice of British legend. It's also a case of blending the old with the new, namely all of the above with building materials and techniques. Inside the timber and glass structure — which uses locally sourced sheep's wool insulation for thermal insulation against the elements — you'll find a cosy sleeping space with a double bed, chair and woodburner, aka everything you need for snuggling up and staring out over the landscape around you. Don't spend all of your time looking outside, though; with the cabin made from plywood rib-like shapes that expand and contract, the undulating and sinuous interior is a sight to behold too. Sadly, Arthur's Cave is only available for a short season, taking bookings between now and mid-September in two sites: Snowdonia and Llŷn Peninsula. Stays range between £795 and £1995; however, you're not just getting somewhere to sleep — you're getting a one-of-a-kind pop-up glamping hotel that should be on everyone's travel bucket list. Via AWOL.
It's a truth that Morticia, Gomez, Wednesday and Pugsley would treasure: nearly a century might've passed since The Addams Family first graced the pages of The New Yorker in the 1930s, but this creepy, kooky, mysterious and ooky brood will never die. America's first macabre family keeps entrancing and enchanting audiences, luring them in with their unflinching embrace of the eerie, the gothic, and the all-round dark and twisted. Forget bumps, jumps, screams and shrieks, however; this off-kilter crew might pal around with a severed limb and adore graveyards, but they also delight in a gloriously eclectic, eccentric, embrace-your-inner-outcast fashion, as the 1960s TV show, 1991's live-action film The Addams Family and its 1993 sequel Addams Family Values, and now new Netflix series Wednesday understands and adores. Dropping all eight season-one episodes on November 23 — a Wednesday, when else? — The Addams Family's latest go-around arrives stitched-together as so much is of late. Netflix's algorithm has accurately gleaned that viewers love cartoonist Charles Addams' horror-influenced creations. It knows that people like mysteries and teen coming-of-age tales, two of the platform's favourite genres. And, the service is well-aware that already-beloved big names are a drawcard. Throw in Tim Burton directing like it's his 80s and 90s heyday, current scream queen Jenna Ortega sporting the trademark plaits, 90s Wednesday Christina Ricci returning in a new part, and a supernatural school for unusual children complete with Miss Peregrine's Home for Peculiar Children-meets-Hogwarts vibes, and Wednesday's various pieces are as evident as the sewn-on limbs on Frankenstein's monster. Mary Shelley's famous creature is an icon and a marvel, of course, and more things should want to follow in its footsteps. In the author's game-changing book, it lived, breathed and fascinated despite its seams being oh-so-visible, and Wednesday does the same — and quickly engages and entertains. Seeing why and how Netflix has crafted this series, and which levers it's pulling to electrify its experiment, is as easy as getting a killer glare from Wednesday's teenage protagonist. Enjoying every second because it's astutely, knowingly and lovingly spliced together is just as straightforward, especially with Scream, Studio 666 and X star Ortega leading the show so commandingly and convincingly. This version of the Addams family's eldest child is indeed full of woe, like the nursery rhyme she's named for. She wouldn't have it any other way. Played by Ortega with a knockout stare every bit as gleefully bitter as Ricci's and 60s TV show star Lisa Loring's, Wednesday has been bouncing around public schools, but she's suddenly out of options. After unleashing a pool of piranhas on Pugsley's (Isaac Ordonez, A Wrinkle in Time) tormenters — torturing him is her job, not the water polo team's — she's enrolled in the haunted house-esque Nevermore Academy. Morticia (Catherine Zeta-Jones, Prodigal Son) and Gomez (Luis Guzmán, The Resort) went there. In fact, they met and fell in love there. But the preternaturally morbid Wednesday is even less thrilled than usual, until she discovers there's a spate of grim deaths to solve. Harry Potter and X-Men comparisons spring the moment that Wednesday locks eyes on Nevermore, and only deepen when the series reveals that it caters to vampires, werewolves, sirens, gorgons and other paranormal folks. Wednesday's roommate is pastel-loving lycan Enid Sinclair (Emma Myers, Girl in the Basement), who hasn't yet 'wolfed out', for instance. Her immediate nemesis is queen bee Bianca (Joy Sunday, Dog), who has to wear an amulet to avoid unleashing her siren powers. Smartly, series creators and writers Miles Millar and Alfred Gough — who co-created Smallville together two decades ago, so know the ropes when it comes to mining the high-school angst of well-known figures — stick with Wednesday's namesake's withering attitude, and with a wryly comedic mood. She isn't fussed about the whole magical educational institution setup, and the show she's in recognises that it's a setting and a source of plenty of humour rather than the real focus. That centre of attention instead: Wednesday, always. People in and around Nevermore are disappearing, though. Students and Vermont locals might be getting torn to pieces by a monster, or they might show up again the next day even after Wednesday witnesses their murders. None of the adults — not headmistress Larissa Weems (Gwendoline Christie, Flux Gourmet), new teacher Marilyn Thornhill (Ricci, Yellowjackets), local sherriff Donovan Galpin (Jamie McShane, The Lincoln Lawyer) or Wednesday's court-ordered therapist Valerie Kinbott (Riki Lindhome, Knives Out) — are particularly open to her theories or happy about her investigations. A misanthropic teen black sheep sleuthing around an exclusive school and the insular town it's in, making few friends in the process, and determined to expose deep, dark secrets? Yes, there's more than a touch of Veronica Mars to Wednesday, too. Yes, there's thorny romances as well (enter Your Honor's Hunter Doohan as the sheriff's son Tyler and Pretty Hard Cases' Percy Hynes White as Nevermore pupil Xavier Thorpe), just with a brunette lead, a blacker colour palette and moody woodland surroundings. If you're well-acquainted with the formulas behind most high school-set dramas, or whodunnits and detective tales, then Wednesday has few shocks and surprises. Nonetheless, it remains a twisted and easy to binge from start to finish, all thanks to two key factors. First is that standout lead casting, with Ortega slipping into Wednesday's dead-eyed scowl like she's always worn it, never softening it, ensuring that Wednesday lives up to it and perfecting the part's deadpan humour at the same time. Zeta-Jones and Guzman play the lusty Morticia and Gomez with flair, Fred Armisen (Los Espookys) makes a suitably offbeat Uncle Fester, and Christie relishes her authoritative role, but the intense Ortega is the show's blackly and wittily charming heart. Secondly, although Burton doesn't helm every episode in the series — just the first four — Wednesday is as quirkily mesmerising as the Frankenweenie, Beetlejuice and Edward Scissorhands' greatest work. More than that, it's among his finest output in a couple of decades, in no small part because it looks so bewitchingly attuned to his preferred melancholy aesthetic, complete with wonderfully surprising and seductive design choices. There's Danny Elfman-composed theme music to help perfect the mood, too, continuing a collaboration with Burton that goes all the way back to 1985's Pee-wee's Big Adventure. Wednesday doesn't exceed its 60s or 90s predecessors — it swiftly and thoroughly bests the recent animated flick and its own follow-up, though, which isn't hard — but it's exactly what a Burton-style take on The Addams Family was always bound to be. Whether you're popping a witch's shawl on and grabbing a broomstick you can crawl on, or not, it's worth playing a call on. Check out the trailer for Wednesday below: Wednesday streams via Netflix from Wednesday, November 23. Images: Courtesy of Netflix © 2022.
If you haven't already heard, a blockbuster exhibition by Australian Chinese artist Lindy Lee has landed at the Museum of Contemporary Art. Titled Lindy Lee: Moon in a Dew Drop, the free retrospective is running till the end of summer and features over 70 works, including Lee's early photocopy works to whole-room installations and newly commissioned sculptures. Now, the MCA and its major exhibition partner Telstra have announced a bunch of events running alongside the exhibition for those wanting to learn more about the celebrated artist's life, practice and Buddhist beliefs. First up, you can join in a guided mindfulness session alongside the artist, taught by meditation teacher Patrick Kearney. Happening on Saturday, January 16, the one-hour session takes place by Lee's sculpture 'Secret World of a Starlight Ember' in the MCA's forecourt, right by the harbour. Although it's free to attend, you'll need to get in quick and get your name on the waitlist for when tickets are released. Otherwise, the Museum is running more meditation sessions, dubbed 'The art of mindfulness', which will take place inside the exhibition walls. The intimate sessions ($76–90) will run from 8.15–10am on Saturday, November 21 and Saturday, November 28 for a maximum of 18 people — the first session has already sold out, but you can book here for the latter. There are also a bunch of tours happening, both online and IRL, from kid-friendly walk-throughs to Auslan tours. You can check out dates and times here. Plus, you can catch an immersive 180-degree video of Lee's studio as part of the exhibition. And, if that's not enough art-fuelled fun for your calendar, the MCA's popular Sundown Sketch classes have moved online, which you can join in from 6pm on Wednesday, November 4 and Wednesday, December 2 for $20–25. [caption id="attachment_787817" align="alignnone" width="1920"] Lindy Lee, 'Secret World of a Starlight Ember' (2020), installation view, Museum of Contemporary Art Australia, Sydney. Photograph: Anna Kucera[/caption] The MCA is running public program events in conjunction with its exhibition 'Lindy Lee: Moon in a Dew Drop'. You can check out the full program — and book tickets — via the MCA website. Top images: Lindy Lee in 'Birth and Death' (2003), installation view, Campbelltown Art Centre, 2007, image courtesy the artist. Photograph: Robert Scott-Mitchel; and Lindy Lee, 'Listening to the Moon' (2018), installation view, 'Lindy Lee: Moon in a Dew Drop', Museum of Contemporary Art Australia, Sydney, image courtesy the artist and the Museum of Contemporary Art Australia, Sydney. Photographs: Anna Kucera.
Over the past few weeks, racially motivated discrimination, oppression and injustice has been in the global spotlight. It's a subject that always demands action and attention, both worldwide and within Australia. Lately, however, it's been particularly thrust to the fore due to the Black Lives Matter movement, and protests over the death of American George Floyd at the hands of a police officer — as well as, at the local level, the ongoing fight to end the systemic mistreatment of Aboriginal and Torres Strait Islander peoples by law enforcement, and to stop Indigenous Australian deaths in custody. This isn't a new topic. The quest to end racial prejudice and inequality isn't new either. Centuries of history can attest to that fact beyond the current news headlines — and so can a wealth of powerful documentaries on the subject. Some recent films chart the American civil rights movement. Others explore the lives and impact of Indigenous Australian musicians. And, with examples from both categories, five such docos are now available to watch for free on YouTube for the entire month of June. All five films are distributed by Australian company Madman Entertainment, and all have previously screened in cinemas and/or at film festivals. They're all vital viewing, too — and, at present, doing so doesn't involve any cost or require a subscription to a streaming platform. The documentaries are now up on Madman's YouTube channel, as embedded into the company's website. Leading the bill are a trio of movies with a local angle, and with a particular interest in Indigenous music. Viewers can watch Gurrumul, the immensely moving portrait about the chart-topping late Indigenous talent from Elcho Island off the coast of Arnhem Land; then check out Murundak: Songs of Freedom, which focuses on Aboriginal protest music, specifically following The Black Arm Band and other Indigenous Australian musicians on tour; then view Westwind: Djalu's Legacy, about Yolngu elder and master Yidaki (didgeridoo) player Djalu Gurruwiwi and his efforts to pass on his culture's ancient Songlines. https://www.youtube.com/watch?v=_USf1UQIAYg Those docos are joined by two films that examine race and injustice in America, and prove particularly relevant to current US protests. 3 1/2 Minutes, Ten Bullets chronicles the 2012 murder of 17-year-old high school student Jordan Davis — who was shot at a Florida gas station after an argument over loud music — as well as trial that followed, and the media coverage and resulting protests also. Then there's Raoul Peck's potent and affecting Oscar-nominee I Am Not Your Negro, which tackles racism in America from a historical perspective. That's conveyed through the words of novelist, poet and activist James Baldwin — words written in the mid-70s, but sadly still applicable today — with Samuel L. Jackson serving as the documentary's narrator. In sharing the five films, Madman is encouraging everyone to not only watch, but to learn, listen, and talk about them with friends and family. It's also suggesting that viewers donate to support relevant causes, naming a worthy organisation — and, in some cases, multiple organisations — for each documentary. To watch Gurrumul, I Am Not Your Negro, Murundak: Songs of Freedom, Westwind: Djalu's Legacy and 3 1/2 Minutes, Ten Bullets for free until the end of June, head to the Madman website. Top image: I Am Not Your Negro.
Since 2020, fans of cowboy-themed ice cream have had two options: lick your way through a classic ol' Bubble O'Bill on a stick as you've always done, saving the bubblegum nose for last (of course), or tuck into a Bubble O'Bill tub. That's all well, good and tasty, but frozen desserts can't keep a lasso over the fictional, confectionery-based Old West figure — because Bubble O'Bill Easter eggs are now a sweet treat that truly exists. Set to hit the shelves at Woolworths on Wednesday, March 16, the 160-gram chocolate eggs aren't shaped like their namesake, however. They're regular old egg-shaped, but with swirls of strawberry marbling, pieces of caramel and chewy berry pieces mixed into the Chocolatier Australia chocolate. Love the gumball part of Bubble O'Bills? Of course you do. And they're still included in the Easter egg version, with five found inside once you crack open all that chocolate. Turning a beloved Streets ice cream into an Easter egg isn't just the domain of Bubble O'Bill, either. Returning to both Woolies and Coles this year is the Golden Gaytime Easter egg, which sports the same toffee flavour as the frosty dessert and comes coated in Golden Gaytime crumbs. And, it's available now. Yes, Easter is still more than a month away — hitting on Sunday, April 17 in 2022 — but that just means you've got plenty of time to stock up, or to mark the occasion for weeks in advance. Being an adult means eating Bubble O'Bill and Golden Gaytime Easter eggs whenever you like. Find Bubble O'Bill Easter eggs at Woolworths stores from Wednesday, March 16, costing $10 each. Golden Gaytime Easter eggs are available at both Woolies and Coles now.
Whatever else the past couple of years have served up, it has been an impressive time for folks who like staring up at the sky. 2016 ended with a huge supermoon that had everyone looking to the heavens, then 2018 began with an extremely rare super blue blood moon (a supermoon, a blue moon and a total lunar eclipse all at once). Next, at the end of July, an epic lunar eclipse will mark the next notable celestial happening. In fact, the Saturday, July 28 event will be longest lunar eclipse of this century — with the penumbral eclipse lasting just shy of four hours (236 minutes, to be exact) and the total lunar eclipse spanning 103 minutes. If you're wondering what the difference is between the two (because we're all more familiar with The Mighty Boosh's take on the moon than actual lunar terms, aren't we?), a penumbral eclipse is when the earth's outer shadow falls on the moon's surface, while a total lunar eclipse involves the moon passing directly into the earth's actual shadow. During the main event, which is expected to kick off at 5.30am local time, the moon will also turn a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. So yes, as well as a total lunar eclipse and a full moon, it'll be a blood moon as well. Australians will be able to spy the penumbral eclipse from 3.14am and the partial eclipse from 4.24am, before the full thing at 5.30am, with the maximum eclipse occurring at 6.21am. We won't be able to see the end of it, however, as the moon will be below the horizon when the full, partial and penumbral eclipses end (at 7.13am, 8.19am and 9.28am local time, respectively). While it's a great excuse to go stargazing, the 103-minute total eclipse only just pips the 100-minute event that took place on June 15, 2011 — and falls just short of the 108-minute event on July 16, 2000. Still, when the super blue blood moon did come around earlier in 2018, its full eclipse only lasted 72 minutes. If you miss it, 102-minute total lunar eclipses are expected in 2029, 2047 and 2094 — but nothing this long will occur again this century. Via Space.com and timeanddate.com.
Have you ever felt in over your head? Sold your kidney for an iPad? Made a deal you regret? Years ago, Michael Gow's opus Away became part of an educational pact with the board of studies — selected as an HSC example of clear structure and character development. Now Gow is directing a new arrangement of the classic deal-with-the-devil play Faustus for the Bell Shakespeare Company, starring John Bell as the devil himself. There are lots of endings for Faustus. Some with damnation, some redemption. Faustus himself (Ben Winspear) — based on real life doctor (or quack) John Faustus — trades his afterlife and soul with a devil named Mephistopheles (John Bell) for 24 years of earthly knowledge and power. There is some Frankenstein here, with a fear of new kinds of learning, and of new kinds of sciences, as though these things touch the mind of God with the gloves off. Gow has adapted this version from Shakespeare's contemporary Kit Marlowe, but given that he's also worked in elements from Goethe's happier Urfaust, who's to say where this Faustus is going in the end.
Taste of Coogee is back with a new name and a stacked new two-day program of culinary pop-ups and demonstrations. Following eight years under its original name, the festival will return to Moore Park's Entertainment Quarter under the banner of Taste in the City, serving up its annual array of tastings and experiences, live music and its always popular long lunch. Highlights of this year's event include a return of Lobster & Co's lobster rolls following their successful run in Darling Harbour, cocktail masterclasses from the award-winning Maybe Sammy, a Caffeine Caravan from Mr Black and live music from the likes of Hot Potato Band and Top Shelf Live. Ready Steady Cook's Peter Everett will be back to host the celebrity kitchen demonstrations with guests including Mindy Woods, Jason Roberts, Tom Walton and Rowie Dillon. Plus, the long lunch will also return for 100 guests featuring food curated by Tom Walton and Jason Roberts and a quality selection of NSW wines. Tickets are $40 for adults which gets you entry to the festival, a tasting cup and access to the cooking demonstrations, while kids under 18 are free. If you're looking to take your visit to the next level, you can purchase a seat at the long lunch with your ticket which will set you back an extra $110. Rowie Dillon will also be running a Kids in the Kitchen program with tickets for the little ones available for $45. To top off the fun, the event is dog-friendly so you can spend the day with your four-legged pals or expect to run into some adorable fluffballs as you make your way around the festival.
There's something alluring about the deep South of the United States. It seems a land trapped in the past, a land of swamps and evangelicals, of heat and history. Emerging from these factors is rock-revivalist band Mona. Three quarters of the band earned their musical strips in the pentecostal congregations, learning to work a crowd into a frenzy using their instruments. Although their origin story may confuse them with Kings of Leon, their music sets them firmly apart. It's a lot more raw and passionate, and far less anthemic and populist. Their music injects a heavy dose of guitar and sweat, ramping up their secular tunes with a near religious fervour. Their debut and self-titled album was recorded and mixed in a basement in Nashville, Tennessee with producer Rich Costey (who has previously worked with the Foo Fighters, the Arctic Monkeys and Muse). Heading to Australia for the first time for Splendour in the Grass, the boys are making the trip down the coast to play for Sydney audiences, and are a perfect example of the distinction between southern rock and rock from the south. https://youtube.com/watch?v=_YVY3JYgWHs
Fans of Donald Glover, excellent television or both, rejoice: after a four-year gap between its second and third seasons, Atlanta is a mere month away from returning to our screens. The show's creator, co-writer, sometime-director, star and all-round driving force has been more than a little busy since we last saw him play Earnest 'Earn' Marks — cancelling and rescheduling Australian tours, playing Coachella, voicing Simba in the photorealistic remake of The Lion King, dropping albums and making Guava Island with Rihanna, and that was all before the pandemic — but now the wait for new episodes of his exceptional TV series is almost at an end. Get ready to be all about that Paper Boi again — and all about Glover as Earn, obviously. If you're new to Atlanta, it follows Princeton dropout Earn after he returns home to the titular city, then starts managing his cousin Alfred's (Brian Tyree Henry, Godzilla vs Kong) rap career. The 30-something also has an on-again-off-again relationship with Van (Zazie Beetz, The Harder The Fall), with the pair sharing a daughter, which throws up complications on a regular basis After a phenomenal second season which ranked among the best things on TV back in 2018 (as the show's first season did in 2016, too), Atlanta's third season looks set to follow Earn and Alfred/Paper Boy on tour in Europe — based on its teaser trailer. And yes, that means it's still tackling the ins and outs of its characters lives, including the daily reality of being Black in America today, while examining race, money, relationships, parenthood, art, music and trying to get by on the road on the other side of the world. Lakeith Stanfield (Judas and the Black Messiah) also returns as Darius, Alfred's righthand man, with Atlanta also boasting one of the best casts on television. [caption id="attachment_843677" align="alignnone" width="1920"] Matthias Clamer/FX[/caption] After season two gave us the marvel that was the Teddy Perkins episode, it's basically impossible to guess what Glover has in store for his on-screen alter ego and his pals, and for viewers, this time around — but, when Atlanta's third season starts streaming in Australia via SBS On Demand on Friday, March 25, it'll be a definite must-see. That said, the good news keeps coming with the bad theses days, with Atlanta set to follow in Stranger Things' footsteps. We're not talking any storyline similarities, which truly would be wild. Instead, it's been announced that Atlanta also only has one more season left after its upcoming batch of episodes, so it'll end with season four — which is set to also air in 2022, arriving sometime during spring Down Under. Check out the trailer for Atlanta's third season below: Atlanta season three will start streaming via SBS On Demand from Friday, March 25.
For wannabe wizards and witches, the most magical place in Australia right now is located in Victoria. After boasting the country's only run of Harry Potter and the Cursed Child, then playing host to a natural history exhibition based on the Fantastic Beasts films, the state is now temporarily home to a new Harry Potter-themed experience. This time, you can walk around an illuminated woodland filled with nods to the Wizarding World, with Harry Potter — A Forbidden Forest Experience finally arriving Down Under. Accio joy, clearly. Think: Lightscape, which is returning to Melbourne in 2024, but all about the world that's sprung up around the Boy Who Lived on the page, screen and stage. So, with Harry Potter — A Forbidden Forest Experience taking over The Briars Community Forest in Mount Martha until mid-July, attendees can enjoy a nighttime stroll an hour out of Melbourne. Entering the Forbidden Forest is clearly the big attraction, as lit up with dazzling lights, all while also spying creatures from the Harry Potter and Fantastic Beasts movies. A hippogriff features, as do nifflers and unicorns. You also have the chance to pose for a photo mid-wand duel, and to summon up a patronus spell as well. Accordingly, visitors here aren't surrounded by all things Wizarding World after dark in a forest; they can be join in like every aspiring Hogwarts student has always wanted to. Sounds and special effects also help bring the experience to life, as aided by award-winning behind-the-scenes folks. Expect to spend around 90 minutes being immersed in the all-ages event — plus however long you need at the onsite shop afterwards buying merchandise. That's part of the village at the end of the trail, where you'll also be able to grab a bite and something to drink. Wands crossed for butterbeer, obviously. Harry Potter — A Forbidden Forest Experience has hit Australia after seasons in the UK, Europe, the US and Singapore, with Warner Bros behind it just like the films and upcoming Harry Potter TV series.
Last year, you ate copious amounts of burgers, and to balance it out, bunches and bunches of kale. Your beer got craftier than ever before. You wanted to know more about where your food came from, so you chatted to farmers and ate locally-sourced produce. Instead of extensive menus overloaded with choice, you opted for simpler, cleaner and more expertly-prepared dishes. You kept food trucks doing the rounds. You learnt more about Korean cuisine. And you decided that food tastes better when you share it. So, what's in store for 2015? We're expecting sustainability and seasonality taken to extremes, with hearty broths and micro-seasonal menus; the decline of kale; the rise of roots; veggie-fuelled desserts; cheaper lobster; more restaurant swaps; and epic, multi-sensory dining experiences, thanks to the wonders of neurogastronomy. Here are eight trends to look out for. VEGETABLES IN DESSERTS If only your mama had thought of this when she was struggling to get those Brussels sprouts down your recalcitrant, pint-sized throat. Pretending that vegetables aren't vegetables at all, but actually dessert, is one surefire way to crank up your five-a-day tally. In countries like Vietnam, where beans, lotus root and the like frequently feature in sweet treats, this isn't a new thing. But we're only just getting on the healthy yet tasty dessert bandwagon. Parsnip's been the main contender in Australia so far, thanks to Three Blue Ducks' chocolate with smoked parsnip and Four in Hand's parsnip ice cream with matching chips. RESTAURANT AND BAR SWAPS It seems that chefs and restaurateurs the world over are growing increasingly restless. Rather than keeping their gastronomical discoveries to their local clientele, they're keen to share them across regions and even hemispheres via swaps. Thousands of Melbournians got lucky (or greedy) when Heston Blumenthal announced he'd be bringing his Fat Duck to town, while Denmark's Noma has just opened its doors in Tokyo for a two-month stint. The trend is picking up at bar level too, with the Rook and Black Pearl doing an exchange in May last year. BROTH The more finite the Earth's resources are starting to look, the less we want to waste. In ancient times, when frugality was a necessity rather than an eco-conscious choice, the humble broth was master. Concocted out of animal bones and veggie scraps, it turned mere leftovers into a comfort food feast. Today, broth is the logical extension of our continual move towards sustainable food production. What's more, only Thai restaurants can compete when it comes to names. A restaurant in Melbourne has already jumped on the inevitable: Brothl, while in New York, there’s Brodo. Bring on the broth in 2015. AFFORDABLE LOBSTER After years of exclusivity, the lobster is at last stepping off its high horse and coming down to the street. Heading up the new egalitarian approach in Sydney is Burger Liquor Lobster, which has popped up for summer in both Paddo and Manly, waving $15 lobster rolls and lobster popcorn in front of our seafood-craving faces. The crustacean is getting affordable in London, too, where new trendy hangout Burger and Lobster is selling 2000 lobsters per day across six shopfronts. HATTED CHEFS OPENING CASUAL DINERS This trend, which comes direct from Paris, represents the latest in the growth of premium dining in a casual atmosphere. Hatted chefs are expanding beyond their illustrious premises into bistros, where they're making high-end gastronomy accessible to a mid-range crowd. In late 2013, the team behind the Bentley and the Monopole opened an eatery in Potts Point’s once-bohemian Yellow House. Then, last year, chef Mark Best of Marque brought his cooking to (more of) the people with the opening of Pei Modern in both Sydney and Melbourne. MICROSEASONAL MENUS 'Seasonal produce' and 'paddock-to-plate philosophy’ are the well-established catch-cries of many an Australian eatery. It looks like they’ll be taken even further in 2015 with a trend towards microseasonal menus. These promise fresher and more interesting cuisine than ever before, with dishes changing not with each shift of the earth's axis, but with every passing day. The alterations are ever-so-slight and subtle, and entirely dependent on available ingredients. Sydney’s Q Dining is getting in early. UGLY ROOT VEGGIES Kale's been more ubiquitous than cuts to the arts over the past year or so. But we’re not sure how much longer it's going to fare, given the rise and rise of ugly root vegetables. We're not talking about the good old potato, but its numerous more exotic-sounding and tasting (if not especially good-looking) cousins. As mentioned, parsnips have been sneaking their way into dessert menus, but then there's the likes of celery root and kohlrabi. Sydney's Yellow is already onto it, with a dish made up of beef tartare, kohlrabi, smoked curd and rye featuring on their tasting menu. The good news is that you, too can get started — pick up your own ugly veggies at Harris Farm for half-price. NEUROGASTRONOMY Did you know that on average, a pink strawberry dessert tastes ten percent less sweet on a black plate than it does on a white one? Or that, if you drink a single malt whisky while surrounded by real grass and birdsong, it tastes more herbaceous? Try it, on the other hand, around red lighting and curved furniture and it'll seem sweeter. Starting to get what 'neurogastronomy' means? We now have scientific proof that all of our senses — rather than our tastebuds alone — influence how we perceive flavour. A professor at Oxford University by the name of Charles Spence is obsessed with studying this phenomenon. Spence and a bunch of fellow experts have been developing an intense multisensory dining experience, which combines textures, colours, aromas and temperatures, having previously worked with the likes of Ferran Adrià and Heston Blumenthal. Image credits: Speed Bump Kitchen, jane boles via photopin cc
If you're in the mood for the gritty raucousness of old-school New York City this Friday, look no further than CBD favourite Frankie's Pizza. Smash some cheesy pepperoni slices from the pizza parlour out front before swinging through the saloon doors into the delightfully dingy bar behind to catch a live gig. This is the kind of place where the light comes from pinball machines, drinks are served in plastic cups and gig bills cover a substantial portion of the wall space — settle in for a night of rowdy live entertainment.
Overwater dining, meals and sips with a waterside view, taking dinner and drinks up a few levels: around Brisbane, none of these are new experiences. That said, grabbing a bite or a beverage at a restaurant that's not only perched over the water — ten metres above the Brisbane River, in fact — but is also part of one of the city's bridges is something that the Queensland capital has never seen before. Meet Stilts, which is now open on the Kangaroo Point Bridge. The modern-Australian eatery is not just Brisbane's first-ever restaurant on a bridge, but also Queensland's first of its kind — even if it's the second that hospitality company Tassis Group has launched with ties to the River city's newest river crossing. Mulga Bill's Kitchen & Bar, which is sat at the foot of the structure on the Alice Street side, opened before it. Where that venue is a casual all-day diner, Stilts is all about an elevated experience (including literally) in unique surroundings. "Stilts is more than just a restaurant — it's a destination in itself, where guests can experience firsthand the things that make our city so unique. I wanted to create a place where every last detail celebrated the spirit of our community, from the people, culture and lifestyle to our access to some absolutely incredible produce," said Tassis Group's Michael Tassis. "Not only is it raised to capture the stunning views, it's designed to share with loved ones, create memories, and to enjoy the best produce and talent Queensland has to offer." If the 100-seater restaurant's design looks familiar, that's because it takes inspiration from a Sunshine State staple: Queenslander homes. Of course, most such structures around Brisbane don't boast a 180-degree vantage peering out over the Story Bridge, Kangaroo Point Cliffs and Brisbane City Botanical Gardens, including through floor-to-ceiling windows. Also key elements of Stilts: an alfresco balcony, a casual bar area and an indoor dining room that allows ample light in, as well as a 12-person private dining room. Under Head Chef Dan Hernandez (formerly of fellow Tassis venture Fosh, and also ex-Restaurant Dan Arnold and Agnes), the Queensland-focused menu starts with beef tartare in cannelloni shells and potato pavé, serves up caviar three ways — in blinis and beef tartlets among them — and then spans everything from Australian wagyu dumplings and Moreton Bay bug linguine to pistachio gelato and yuzu curd. If you're keen on a surf-and-turf option, Stilts' version features 28-day aged sirloin and swordfish steak, and will set you back $135. Diners can also treat themselves to angus and wagyu steaks from the grill, charcoal or miso-yuzo glazed lobster, and a wagyu tasting experience with three cuts of meat. For those feeling spoiled for choice, three different banquets will make your picks for you, ranging from $155–240 in price — the latter with the three caviar options. Drinks-wise, more than 180 drops are on the wine list, alongside beer, spirits and non-boozy sips. As well as Mulga Bill's, Stilts joins Tassis Group's growing lineup of Brisbane restaurants; see also: Opa Bar + Mezze, Yamas Greek + Drink, Massimo Restaurant and Bar, Longwang, Fatcow on James St, Fosh Portside, Rich & Rare, Pompette and Dark Shepherd. Find Stilts Dining at 147E Alice Street, Brisbane CBD, on the Kangaroo Point Green Bridge — open from 11am–9.30am Sunday–Thursday and 11am–10pm Friday–Saturday. Head to the venue's website for more details. Images: Allo Creative / Markus Ravik / Brisbane City Council.
Founded by Emma Nguyen in 2011, I Love Pho has a special focus on bringing an authentic Vietnamese experience to Sydney. Decked out with a bamboo-themed interior, the dining room captures the essence of the frantic hustle and bustle of Vietnamese street dining. The service here is classy and casual, and it's the kind of place you'll be returning to again and again after discovering it, whether that's once a year or once a week. As the name suggests, the oft mispronounced but easy-to-consume Vietnamese noodle soup is the star of the show at this Crows Nest spot. Following a traditional recipe from Hanoi, and cooked for 24 hours, this steaming broth is available in several different flavours including vegetable, pork chop, wagyu beef and chicken breast. The chicken broth pho is slow-simmered with a hint of zesty ginger and fresh lime leaves, and the mixed seafood option is especially exciting. There's even a totally vegan pho with tofu, mixed veg and lotus root noodle soup. Outside of pho, the menu boasts some incredible traditional Vietnamese dishes. Standouts include a vegan curry topped with roasted peanuts, spicy pork belly served with steamed Chinese broccoli, and a truly spectacular roast duck salad. The wine lost at I Love Pho has all the standards from shiraz to pinot noir and pinot gris to chardonnay, while the beer list is international with the classic Vietnamese Hanoi Beer included. For northsiders, heading here is an easy call — and for everyone else, it's definitely worth crossing the bridge for.
Under normal circumstances, when a new-release movie starts playing in cinemas, audiences can't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the pandemic forcing film industry to make quite a few changes over the past year — widespread movie theatre closures will do that — that's no longer always the case. Maybe you're in lockdown. Perhaps you haven't had time to make it to your local cinema lately. Given the hefty amount of films now releasing each week, maybe you missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here's 12 you can watch right now at home. IN THE HEIGHTS Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of the tune '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. Of course, $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. And that's what this intoxicating, invigorating, impassioned and infectious captures with vibrant aplomb. In the Heights is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. A QUIET PLACE PART II When every noise you make could send savage aliens stalking, slashing and slaughtering your way, it's the waiting that gets you. When you're watching a nerve-rattling horror film about that exact scenario, the same sentiment remains relevant. In A Quiet Place, the Abbott family went into survival mode after vicious creatures invaded, hunted down every sound and dispensed with anyone that crossed their path. For the characters in and viewers of the 2018 hit alike, the experience couldn't have screamed louder with anxiety and anticipation. Evelyn and Lee (Wild Mountain Thyme's Emily Blunt and Detroit's John Krasinski) and their children Regan (Millicent Simmonds, Wonderstruck), Marcus (Noah Jupe, The Undoing) and Beau (Cade Woodward, Avengers: Endgame) all silently bided their time simply trying to stay safe and alive, but their continued existence lingered under a gut-wrenching shadow. The critters were still out there, listening for even a whisper. It was a matter of when, not if, they'd discern the slightest of noises and strike again. That type of waiting drips with tension and suspense, and also with the kind of inevitability that hovers over everyone alive. A certain bleak end awaits us all, a truth we routinely attempt to ignore; however, neither the Abbotts nor A Quiet Place's audience were allowed to forget that grim fact for even a moment. Initially slated to arrive in cinemas two years later, then delayed by the pandemic for 14 months, sequel A Quiet Place Part II isn't done with waiting. Written and directed once again by Krasinski, the film doesn't shy away from the stress and existential distress that marking time can bring, but it also tasks its characters with actively confronting life's inevitabilities. After an intense and impressive tone-setting opening flashback to the first day of the alien attack, when the Abbotts' sleepy hometown learns of humanity's new threat in the cruellest fashion, the storyline picks up where its predecessor left off. It's day 474 — the earlier film spent most of its duration around day 472 — and Evelyn, Regan, Marcus and the family's newborn are grappling with their losses. That said, they're also keenly aware that they can't stay in their Appalachian farmhouse any longer. After spotting smoke on the horizon and setting off in that direction, they reconnect with Emmett (Cillian Murphy, Peaky Blinders), an old friend who has been through his own traumas. Evelyn sees safety in numbers, but he's reluctant to help. Then Regan hears a looping radio transmission playing 'Beyond the Sea' and decides to track down its source — and a film that's less thrilling, potent and unsettling than its predecessor eventuates. A Quiet Place Part II is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. BLACK WIDOW Closure is a beautiful thing. It's also not something that a 24-film-and-growing franchise tends to serve up often. Since 2008, the Marvel Cinematic Universe has operated with the opposite aim — extending and expanding the series at every turn, delivering episodic instalments that keep viewers hanging for the next flick, and endeavouring to ensure that the superhero saga blasts onwards forever. But it's hard to tick those boxes when you're making a movie about a character whose fate is already known. Audiences have seen where Natasha Romanoff's (Scarlett Johansson, Marriage Story) story finishes thanks to Avengers: Endgame, so Black Widow doesn't need to lay the groundwork for more films to follow. It's inexcusable that it has taken so long for the assassin-turned-Avenger to get her own solo outing. It's indefensible that this is just the second Marvel feature to solely focus on a female figure, too. But, unlike the missed opportunity that was Captain Marvel, Black Widow gives its namesake a thrilling big-screen outing, in no small part because it needn't waste time setting up a Black Widow sequel. Instead, the pandemic-delayed movie spends its 143 minutes doing what more MCU flicks should: building character, focusing on relationships, fleshing out its chosen world and making every inch of its narrative feel lived-in. The end result feels like a self-contained film, rather than just one chapter in a never-ending tale — which gives it the space to confidently blend family dramas with espionage antics, and to do justice to both parts of that equation. Sporting an impressive cast that also includes Florence Pugh (Little Women), David Harbour (Stranger Things) and Rachel Weisz (The Favourite), Black Widow begins in 1995, in small-town Ohio. Here, Harbour and Weisz play Alexei and Melina, parents to young Natasha (Ever Anderson, Resident Evil: The Final Chapter) and Yelena (Violet McGraw, Doctor Sleep), and the portrait of all-American domesticity — or that's the ruse, at least. The film doesn't revel in small-town life, neighbourhood playtimes, 'American Pie' sing-alongs and an existence that could've been ripped from The Americans for too long, however, with the quartet soon en route back to Russia via Cuba at shady puppetmaster Dreykov's (Ray Winstone, Cats) beckoning. When the action then jumps forward to 2016, and to the aftermath of that year's Captain America: Civil War, Natasha hasn't seen her faux family for decades. On the run from the authorities, she isn't palling around with the Avengers, either, with the superheroes all going their separate ways. Then the adult Yelena (Pugh) reaches out, because she too has fled her own powers-that-be: Dreykov, the fellow all-female hit squad she's been part of for the last 21 years, and the mind-control techniques that've kept her compliant and killing. There's an unmistakable air of Bourne and Bond to Black Widow from there, but this deftly satisfying flick doesn't trade the MCU's blueprints for other franchises' templates. With Australian filmmaker Cate Shortland (Somersault, Lore and Berlin Syndrome) in the director's chair, this welcome addition to the franchise spins a thoughtfully weighty story about women trapped at the mercy of others and fighting to regain their agency. Black Widow is available to stream via Disney+ with Premium Access. Read our full review. MY NAME IS GULPILIL Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. Cue this heartfelt portrait of an Australian icon like no other, which celebrates a star who'll never be matched, reminds viewers exactly why that's the case, but is never a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. My Name Is Gulpilil is available to stream via ABC iView. Read our full review. VALERIE TAYLOR: PLAYING WITH SHARKS Steven Spielberg directed Jaws, the 1975 horror film that had everyone wondering if it was safe to go back into the water — and the movie that became Hollywood's first blockbuster, too — but he didn't shoot its underwater shark sequences. That task fell to Australian spearfisher and diver-turned-oceanographer and filmmaker Valerie Taylor and her husband Ron, who did so off the coast of Port Lincoln in South Australia. If it weren't for their efforts, the film mightn't have become the popular culture behemoth it is. When one of the animals the Taylors were filming lashed out at a metal cage that had held a stuntman mere moments before, the pair captured one of the picture's most nerve-rattling scenes by accident, in fact. And, before Peter Benchley's novel of the same name was even published, the duo was sent a copy of the book and asked if it would make a good feature (the answer: yes). Helping to make Jaws the phenomenon it is ranks among Valerie's many achievements, alongside surviving polio as a child, her scuba and spearfishing prowess, breaking boundaries by excelling in male-dominated fields in 60s, and the conservation activism that has drawn much of her focus in her later years. Linked to the latter, and also a feat that many can't manage: her willingness to confront her missteps and then do better. The apprehension that many folks feel when they're about to splash in the ocean? The deep-seated fear and even hatred of sharks, too? That's what Valerie regrets. Thanks to Jaws, being afraid of sharks is as natural to most people as breathing, and Valerie has spent decades wishing otherwise. That's the tale that Valerie Taylor: Playing with Sharks tells as it steps through her life and career. Taking a standard birth-to-now approach, the documentary has ample time for many of the aforementioned highlights, with Valerie herself either offering her memories via narration or popping up to talk viewers through her exploits. But two things linger above all else in this entertaining, engaging and insightful doco. Firstly, filmmaker Sally Aitken (David Stratton: A Cinematic Life) fills her feature with stunning archival footage that makes for astonishing and affecting viewing (Ron Taylor is credited first among the feature's five cinematographers). Secondly, this powerful film dives into the work that Valerie has spearheaded to try to redress the world's fright-driven perception of sharks. Like last year's David Attenborough: A Life on Our Planet, 2017's Jane Goodall documentary Jane and underwhelming 2021 Oscar-winner My Octopus Teacher, this is a movie about being profoundly changed by the natural world and all of its splendour. Valerie Taylor: Playing with Sharks is available to stream via Disney+. Read our full review. CRUELLA A killer dress, a statement jacket, a devastating head-to-toe ensemble: if they truly match their descriptions, they stand the test of time. Set in 70s London as punk takes over the aesthetic, live-action 101 Dalmatians prequel Cruella is full of such outfits — plus a white-and-black fur coat that's suspected of being made from slaughtered dogs. If the film itself was a fashion item, though, it'd be a knockoff. It'd be a piece that appears fabulous from afar, but can't hide its seams. That's hardly surprising given this origin tale stitches together pieces from The Devil Wears Prada, The Favourite, Superman, Star Wars and Dickens, and doesn't give two yaps if anyone notices. The Emmas — Stone, playing the dalmatian-hating future villain; Thompson, doing her best Miranda Priestly impression as a ruthless designer — have a ball. Oscar-winning Mad Max: Fury Road costume designer Jenny Beavan is chief among the movie's MVPs. But for a film placed amid the punk-rock revolution, it's happy to merely look the part, not live and breathe it. And, in aiming to explain away its anti-heroine's wicked ways, it's really not sure what it wants to say about her. Before she becomes the puppy-skinning fashionista that remains among Glenn Close's best-known roles, and before she's both a wannabe designer and the revenge-seeking talk of the town played by Stone (Zombieland: Double Tap), Cruella is actually 12-year-old girl Estella (Tipper Seifert-Cleveland, Game of Thrones). In this intellectual property-extending exercise from I, Tonya director Craig Gillespie, she sports two-toned hair and a cruel that streak her mother (Emily Beecham, Little Joe) tries to tame with kindness — and she's also a target for bullies, but has the gumption to handle them. Then tragedy strikes, an orphan is born, loss haunts her every move and, after falling in with a couple of likeable London thieves, those black-and-white locks get a scarlet dye job. By the time that Estella is in her twenties, she's well-versed in pulling quick heists with Jasper (Joel Fry, Yesterday) and Horace (Paul Walter Hauser, Songbird). She loves sewing the costumes required more than anything else, however. After years spent dreaming of knockout gowns, upmarket department stores and threads made by the Baroness (Thompson, Last Christmas), she eventually gets her chance — for fashion domination, as well as vengeance. Cruella is available to stream via Disney+ with Premium Access, Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. MARTIN EDEN The last time that one of Jack London's books made the leap to cinema screens — just last year, in fact — it wasn't a pleasant viewing experience. Starring Harrison Ford and a CGI dog, The Call of the Wild forced viewers to watch its flesh-and-blood lead pal around with a needlessly anthropomorphised canine, to groan-inducingly cheesy results. Martin Eden is a much different book, so it could never get the same treatment. With his radiant imagery, masterful casting and bold alterations to the source material, writer/director Pietro Marcello (Lost and Beautiful) makes certain that no one will confuse this new London adaption for the last, however. The Italian filmmaker helms a compelling, complicated, ambitious and unforgettable film, and one that makes smart and even sensuous choices with a novel that first hit shelves 112 years ago. The titular character is still a struggling sailor who falls in love with a woman from a far more comfortable background than his. He still strives to overcome his working-class upbringing by teaching himself to become a writer. And, he still finds both success and scuffles springing from his new profession, with the joy of discovering his calling, reading everything he can and putting his fingers to the typewriter himself soon overshadowed by the trappings of fame, a festering disillusionment with the well-to-do and their snobbery, and a belief that ascribing worth by wealth is at the core of society's many problems. As a book, Martin Eden might've initially reached readers back in 1909, but Marcello sees it as a timeless piece of literature. He bakes that perception into his stylistic choices, weaving in details from various different time periods — so viewers can't help but glean that this tale just keeps proving relevant, no matter the year or the state of the world. Working with cinematographers Alessandro Abate (Born in Casal Di Principe) and Francesco Di Giacomo (Stay Still), he helms an overwhelmingly and inescapably gorgeous-looking film, too. When Martin Eden is at its most heated thematically and ideologically, it almost feels disquieting that such blistering ideas are surrounded by such aesthetic splendour, although that juxtaposition is wholly by design. And, in his best flourish, he enlists the magnetic Luca Marinelli (The Old Guard) as his central character. In a performance that won him the Best Actor award at the 2019 Venice Film Festival, Marinelli shoulders the eponymous figure's hopes, dreams and burdens like he's lived them himself. He lends them his soulful stare as well. That expression bores its way off the screen, and eventually sees right through all of the temptations, treats and treasures that come Eden's way. Any movie would blossom in its presence; Martin Eden positively dazzles, all while sinking daggers into the lifetime of tumult weathered by its titular everyman. Martin Eden is available to stream via Google Play, YouTube Movies and iTunes. I BLAME SOCIETY She's fired by her manager after he finally reads one of her scripts, then deems the topic of Israel "too political". When his assistant wrangles her a meeting with a couple of indie film producers in the aftermath, she's asked to lend her perspective to stories about strong female voices, breastfeeding in public, and either intersexuality or intersectionality — when it comes to the latter two, they aren't quite sure which. So, as I Blame Society gleefully posits in its savage takedown of the film industry today, it's little wonder that Gillian (writer/director Gillian Wallace Horvat) decides to follow up a leftfield idea. Three years earlier, some of her friends told her that she'd make a great murderer, a notion that she took as a compliment and has been fascinated with to an unhealthy degree ever since. Indeed, at the time, she went as far asking her pal Chase (co-writer Chase Williamson) if she could hypothetically walk through the process of killing his girlfriend. The request put a long-lasting pause on their friendship, to no one else's surprise. Now, as she resurrects the project, her editor boyfriend Keith (Keith Poulson, Her Smell) keeps reiterating that it's a terrible idea; however, with no other avenues forward, Gillian is committed to doing whatever she thinks she needs to to kickstart her career. During a mid-film conversation, an increasingly exasperated Keith reminds Gillian that no "there is no movie that is worth hurting someone for". He's endeavouring to get her to agree, but "if it's a very bad person for a very good movie…" is her quick and firm reply. I Blame Society is equally direct. While Horvat plays a fictional character — and, the audience presumes, hasn't ever flirted with or committed murder in real life — she absolutely slaughters her chosen concept. Not every line or moment lands as intended, but this biting satire sticks a knife into every expectation saddled upon women in general and female filmmakers especially, then keeps twisting. The film's recurrent gags about likeability cleave so close to the truth, they virtually draw blood. Its aforementioned parody of supposed allyship among powerbrokers and gatekeepers is similarly cutting and astute. In their canny script, Horvat and Williamson find ample time to poke fun of a plethora of industry cliches and microaggressions, the treatment of marginalised voices both within filmmaking and in broader society, and even the current true-crime obsession, all without ever overloading the 84-minute movie. And, on-screen as well, Horvat is a savvy delight. She wants viewers to both cringe and nod, and everything about her performance and her feature directorial debut earns that response. I Blame Society is available to stream via Google Play, YouTube Movies and iTunes. A FAMILY Just five letters are needed to turn A Family's title into the name of one of popular culture's most famous clans. The Addams crew aren't the subject of this Australian-produced, Ukraine-shot blend of comedy and drama, but it does delve into the creepy, kooky and mysterious anyway. The feature debut of director Jayden Stevens — who co-wrote the script with his cinematographer Tom Swinburn (Free of Thought) — the absurdist gem spends time with the stern-faced Emerson (first-timer Pavlo Lehenkyi). With none of his family around for unexplained reasons, he pays other Kiev locals to play their parts, staging dinners, Christmas parties and everyday occasions. They eat, chat and do normal family things, all for Emerson's camera. His actors (including Maksym Derbenyov as his brother and Larysa Hraminska as his mother) all need to stick to his script, though, or he'll offer them a surly reprimand. Olga (Liudmyla Zamidra), who has been cast as his sister, struggles the most with her role. She's also the member of this little faux family that Emerson is particularly drawn to. Her own home life with her mother Christina (Tetiana Kosianchuk) is far from rosy, with the pair suffering from her dad's absence, so eventually Olga decides that Emerson's role-play game might work there as well. A Family is a film of patient and precise frames, awkwardly amusing moments, and bitingly accurate insights into the ties that bind — whether of blood or otherwise. It's a movie that recognises the transactional and performative nature of many of life's exchanges, too, and ponders how much is real and fake in both big and seemingly inconsequential instances. To perfect all of the above, Stevens walks in Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), Aki Kaurismäki (Le Havre, The Other Side of Hope) and even the usually inimitable David Lynch's shoes. His feature is austere, deadpan and surreal all at once, and smart, amusing and savage at the same time as well. Indeed, if a bigger-name filmmaker had made this purposefully and probingly off-kilter picture, it would've likely proven a film festival darling around the globe. A Family did start its big-screen run at a fest, at the Melbourne International Film Festival back in 2019. Now reaching Australian cinemas after a year that's seen everyone either spend more time with or feel more physical distance from their nearest and dearest, it feels doubly potent. Every lingering image shot by Swinburn — and all of the pitch-perfect performances that he captures — speak loudly to the cycle of yearning and disconnection that comes with being alive, and that never stops being put under a microscope. A Family is available to stream via iTunes. THE CONJURING: THE DEVIL MADE ME DO IT Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets when it comes to battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. With director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman) doing the honours — taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks — it once again serves up the usual bumps, jumps and scares that have haunted this franchise since day one. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way, because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup for souped-up demonic antics and a routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film. The Conjuring: The Devil Made Me Do It is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Read our full review. THE HITMAN'S WIFE'S BODYGUARD Someone involved with The Hitman's Wife's Bodyguard must really love paperwork; that's the only reason anyone could've given its script the go-ahead. Perhaps Australian filmmaker Patrick Hughes, who also directed 2017's The Hitman's Bodyguard, likes nothing more than keeping his documents in order. Maybe returning screenwriter Tom O'Connor (The Courier) falls into that category, or his debuting co-scribes Phillip and Brandon Murphy — they all made the subject the focus of their screenplay, after all. Whoever fits the bill, their attempt to force audiences to care about bodyguard licensing falls flat. So does the misguided idea that the certification someone might need to unleash their inner Kevin Costner would ever fuel an entire movie. Instead, what was already a needless sequel to a terrible action-comedy becomes even more of a dull and pointless slog, with this by-the-numbers follow-up showing zero signs that anyone spent more than a few seconds contemplating the story. A significant plot point here: that Michael Bryce (Ryan Reynolds, The Croods: A New Age) has lost his official tick of approval. He's no longer triple A-rated after a mishap in the line of duty, and he isn't coping well. To be fair, no one watching The Hitman's Wife's Bodyguard will handle that news swimmingly either, but only because they're made to hear about it over and over, all as Bryce rekindles his begrudging association with assassin Darius Kincaid (Samuel L Jackson, Spiral: From the Book of Saw) and the latter's con artist wife Sonia (Salma Hayek, Bliss). When Darius gets snatched up by nefarious folks during his belated honeymoon with Sonia, only Bryce can help — or so says the angry Mrs Kincaid. She interrupts the latter's vacation with swearing, shouting and shootouts, because that's the kind of feisty Mexican wife that Hayek plays. From there, Reynolds primarily complains, Hayek sticks with stereotypes and Jackson attempts to exude his usual brand of couldn't-care-less cool; however, even more than in Spiral: From the Book of Saw, he's on autopilot. As also seen in Jackson's last big-screen appearance, The Hitman's Wife's Bodyguard insists on reminding its audience about its stars' better movies. You don't cast both Hayek and Antonio Banderas (who plays a European tycoon plotting the world's demise) if you don't want to bring Desperado and Once Upon a Time in Mexico to mind (and Frida and even Spy Kids 3, too). Thinking about the pair's shared past highlights is far more enjoyable than enduring their current collaboration, unsurprisingly. Making fun of accents is considered the height of comedy here, women can only be hot-headed nags and manchild daddy issues get almost as much love as paperwork. The jokes aren't just scattershot; they're non-existent. The messy, incoherent and over-edited action scenes fare just as badly. None of the above is likely to save us from a third movie, though, which'll probably be called The Hitman's Wife's Baby's Bodyguard's Lost Birth Certificate. The Hitman's Wife's Bodyguard is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. FATALE Only 14 women have ever won more than one Academy Award for Best Actress, and Hilary Swank is one of them. When she earned the Oscars double for 1999's Boys Don't Cry and 2004's Million Dollar Baby, she beat both Meryl Streep and now three-time recipient Frances McDormand to the feat — but her career hasn't brought the coveted accolade her way again since. Fatale isn't going to change that recent trend. It hasn't earned Swank a Razzie either, but she could've easily been in the running. Playing a Los Angeles cop who has a one-night stand in Las Vegas with an ex-college basketball star turned high-profile player manager, then starts stalking her way through his life while also trying to intimidate her politician ex-husband into giving her back access to her young daughter, she has one mode here: stern-faced yet unbalanced. Even when her character, Detective Valerie Quinlan, is first seen flirting, Swank plays her as if something isn't quite right. That's accurate, plot-wise, but it robs Fatale of any semblance of tension it might've possessed. The film is meant to be an adultery-focused thriller in the Fatal Attraction mould — with even its title blatantly nodding that way — but it just ends up recycling tired, simplistic, overused cliches about unhinged women into a monotonous and unnecessarily convoluted package. Valerie and Derrick (Michael Ealy, Westworld) hit it off at a Vegas bar, then get physical; however, the next morning, he heads home to his wife Tracie (Damaris Lewis, BlacKkKlansman), who he actually suspects of being unfaithful herself. Before Derrick can meaningfully process either his infidelity or his fears about his crumbling marriage, his swanky home is broken into one night — and, because director Deon Taylor (Black and Blue) and screenwriter David Loughery (The Intruder) are content to hit every expected beat there is (and because they've seen every 80s and 90s erotic thriller ever made, too), Valerie is the investigating officer. Despite being woefully predictable from the outset, Fatale doesn't dare have fun with its cookie-cutter narrative. It doesn't evoke thrills, bring anything more than surface style or prove particularly sexy, and it never gets its audience invested in its obvious twists, one-note characters or rote dialogue. And, although having its badge-toting stalker use excessive force and exploit her power to target a person of colour could've been a choice that said something about America's current reckoning with law enforcement, race and police brutality, Fatale doesn't even contemplate anything other than clunky formula. Fatale is available to stream via Google Play, YouTube Movies, iTunes and Amazon Video. Looking for more at-home viewing options? Check out our lists of movies fast-tracked from cinemas to streaming back in May and June. You can also take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows.
