A Bondi institution for more than two decades, the Beach Road Hotel is one of the only venues the eastern suburbs for free live music, with bands blowing the roof off their bandroom most nights of the week — they get some pretty great acts, and they're almost always free. On the weekend you'll find the front bar packed with enthusiastic sports fans watching their game of choice on one of several screens, while outdoors you'll discover the venue's enormous, sun-soaked beer garden. The latter has long been a preferred destination of locals and backpackers looking to enjoy a few bevs in the sunshine — and with more than 20 different beers available by the bottle, plus a recently refurbished cocktail bar, you shouldn't have any trouble finding something decent to drink. If you're hungry, they've got a rock solid menu and their daily specials include all your typical pub favourites, including tacos, cheeseburgers and, of course, the humble parma.
Young Adult tells the story of Mavis Gary (Charlize Theron), a teen author and recent divorcee who lives in a spacious apartment in Minneapolis. Tired of spending alcohol-soaked nights alone, she decides to venture back to her hometown of Mercury in an attempt to rekindle a romance with her high-school sweetheart, Buddy (Patrick Wilson). However, Buddy is recently married and has recently become a father. Always determined and slightly sinister, Mavis develops a plot to break up Buddy's marriage and further her own love interests. Along the way she manages to form an unusual bond with a former classmate (Patton Oswalt), who is also keen on reliving his earlier teenage years. Young Adult is a romantic comedy with an unusual twist, exploring the concept of forbidden love and the extreme lengths at which we go to recapture happiness. Although we may see Mavis as a villain, we identify with her sense of nostalgia and desperation. What results is a hilarious insight into human nature and our adaption to change and age. The film marks the reuniting of director Jason Reitman and screenwriter Diablo Cody, who previously collaborated on the Academy Award-winning Juno. To win one of twenty double passes to see Young Adult, just make sure you are subscribed to Concrete Playground then email your name and postal address through to hello@concreteplayground.com.au
For a week each year, the town of Maryborough honours one of its most famous former residents: Pamela Lyndon Travers, the author of the Mary Poppins books. The week-long Mary Poppins Festival celebrates Travers and her works with unusual activities that bring her beloved characters to life. Think chimney sweep challenges, kite flying competitions, costume parades and, of course, the Great Nanny Race, during which 20th century-dressed 'English nannies' push prams to the finish line. The festival kicks off with a steampunk afternoon tea and a good old fashioned street party, and culminates a week later in a community day in the park, complete with carnival rides, roving performers, sidewalk artists, workshops, activities and a grand parade. Next year's festivities will take place in July, leaving plenty of time to plan your trip to the Fraser Coast region — complete with a visit to Fraser Island and a dip in the pristine waters of Hervey Bay. We'll let you know when the exact dates are confirmed.
An automatic sliding glass door is Hustle & Flow's first point of difference from other bars. The next is its colourful wall murals by top graffiti artists like Phibs, Pudl and OnShow — and a pretty dope giraffe painted by the owner himself, Tim Duhigg. The bouncy hip hop and RnB soundtrack makes this place feel buzzy yet relaxed. It's all '90s-'00s, stretching from Tweet's 'Boogie 2Nite' to Aloe Blacc's 'I Need a Dollar' to Biggie to Ice Cube (but no hardcore gangsta rap). A flatscreen displays whatever jam's playing, so the curious listener can put her iPhone's SoundHound to bed. Behind a section of black leather sofas that suggest a skeezy hotel lobby, a glass cabinet displays hip hop and sports memorabilia, including a basketball signed by Dennis Rodman and a tiny spray can belonging to Tim's daughter. The bar itself is made of transparent orange resin, with original vintage pub tiles underfoot. It faces a row of tall tables crafted from recycled wooden palettes and high-quality, expensive resin. Not to sound too arts degree, but isn't this what the hip hop narrative is all about? Rags-to-riches? We were impressed by the metaphor-loaded furniture. Also impressive is the almost scholastic commitment to theme: the cocktails are all hip hop classics, each listed with a snatch of lyrics from the song that mentions it. Tupac's Thug Passion ($11) comes in three hues of Alize and champagne; blue's the sweetest and most popular, but orange wins, with its citrusy passionfruit note. The Incredible Hulk ($9) is a long shot of Hypnotiq and Hennessy over ice, which I wasn't crazy about, but my companion was. The winner was the Hurricane ($15) despite its trail of destruction: a deceptively idyllic, sunset-pink melee of Bacardi, Bacardi 151, Triple Sec, Grenadine and pineapple. The 151's taste is imperceptible, but its 75 percent alcohol content is not — this is the moment when you get Tim to write your address on your forehead so you make it home. The beers include South Sydney brews Green Star Lager ($10) and Cinnamon Girl Spiced Ale ($10); you could share a litre of Sol Lager with friends ($16) or down a 'poor man's Mimosa', the Brass Monkey ($7). With such dedication to theme, one gets the sense there's scope for expansion. Maybe a weekly hip hop karaoke night or emcee battles? (Tim voiced a dream to have someone throw down some cardboard outside the door and act as a 'welcome breaker' — an idea I'd back all the way.) The bar's calendar marks great dates in hip hop, so watch out for drink deals on Biggie's birthday and a food menu that's under development. The cocktails could be more complex, but with a strong concept, committed crew, welcoming space and great soundtrack, I intend to hustle in and flow out frequently. (Sometimes the sliding door doesn't open immediately. You must dance to escape.)
If you're a Stranger Things fan, you probably already have plans for October 27 onwards. If you're a Sydney-based Stranger Things fan, you might've even scored tickets to get a sneak peek of the '80s-set sci-fi/horror series' second season before it drops on Netflix. Either way, it's safe to say that excitement for the show's next chapter is as strong as Eleven's (Millie Bobby Brown) love for Eggos — and the just-released final trailer isn't going to change that. With the first season proving everyone's new favourite TV program — and leaving viewers with plenty of questions — that's completely understandable. Indeed, when the last trailer offered a 'Thriller'-scored glimpse of things to come, we all started wondering what awaits Will Byers (Noah Schnapp) and his pals, how tall Steve's (Joe Keery) hair will be and how many time Barb (Shannon Purser) will get a mention. The latest trailer still keeps audiences guessing, but it does reveal more than we've seen to date — particularly when it comes to the monster terrorising the town of Hawkins. Watch it and keep counting down the days until the full series hits. https://www.youtube.com/watch?time_continue=1&v=R1ZXOOLMJ8s
Do you ever gaze at a portrait in a museum and wish the person inside it could speak? Maybe you'd ask them what it was like to be painted by the artist — boring, intimidating, thrilling? — maybe you'd want to know more about their life story, particularly if they're a well-known figure. Or maybe you'd simply be curious to hear what it's like to have your image hung on a wall and stared at by streams of strangers each day. They're not questions you often hear the answers to; when it comes to portraiture, it tends to be the case that the subject is recognised but the artist gets interviewed. So, to redress this, we sought out three 'muses' behind portraits selected as finalists in this year's Archibald Prize to get a sense of how it feels to be a subject in Australia's top portraiture prize. [caption id="attachment_634779" align="alignnone" width="1920"] Loribelle Spirovski: John Bell at home, oil on canvas, 2017.[/caption] JOHN BELL BY LORIBELLE SPIROVSKI The subject of not one, but two paintings in this year's Archibald, legendary actor, director and Bell Shakespeare founder John Bell appears in paintings by Loribelle Spirovski and Jordan Richardson. Having met him earlier this year when he worked with her partner, classical pianist Simon Tedeschi, Spirovski found Bell at first a slightly daunting figure to paint. She used a minimal background and flesh colours tinged with a gleam of Australian sun to channel the viewer's attention towards Bell's piercing gaze, just as she herself "was immediately drawn to that powerful, chiselled face with its deep-set features and inscrutable personality." The resulting portrait of a seated Bell feels both relaxed and intimidatingly regal. Bell was very excited at the prospect of being painted by the artist, who he describes as "a restless creative spirit". He admires her bold experimentation, speed and confident execution: "She can deliver a portrait of photographic realism or one that ventures into the darker reaches of the psyche in a most startling manner." Although he'd seen a number of her paintings, including several of Tedeschi, the finished work nevertheless came to him as "something of a shock," Bell says, describing it as "very intense, brooding and introspective but expressed with a violent palette of colour and craggy vigour of execution. I find it unsettling to look at but very persuasive." He is yet to visit the work alongside the public, but when he does he's looking forward to eavesdropping on their comments (you've been warned). Image: Loribelle Spirovski, John Bell at home, oil on canvas, 2017 [caption id="attachment_634780" align="alignnone" width="1920"] Andrew Lloyd Greensmith: The inner stillness of Eileen Kramer, oil on linen, 2017.[/caption] EILEEN KRAMER BY ANDREW LLOYD GREENSMITH It's not every year that a prominent plastic surgeon has a painting in the Archibald. For Andrew Lloyd Greensmith, ex-chief of the Department of Craniofacial Surgery at the Royal Children's Hospital Melbourne, art was a childhood obsession that he's only recently begun to seriously pursue. His muse? Eileen Kramer — who, at 102 years old, is the world's oldest working dancer and choreographer. She toured with the avant-garde Bodenwieser Ballet for a decade, and has called New York, London, Paris and India home. To Andrew, "she embodies beauty as that intangible thing which cannot be fixed on the surface nor defeated by the wear and tear of age." When asked to sit for the portrait, Eileen thought, "I love the portraits of the great Dutch masters, especially Rembrandt. I hope I look like that!" She found Andrew "extremely sympathetic" to work with during the sitting process. Drawing on memories of being painted several times in Paris, Eileen offered up a series of poses she thought would be suitable — until stopping for a moment to rest. This was, of course, the moment Andrew began sketching. After seeing the stillness and quiet grace of the finished work, Eileen felt that Andrew understood the dancer in her. "I didn't know he'd seen that in me," she comments. "To me it looks like the portrait of a dancer. I did not expect to like it, but I do." As for the idea of thousands of people staring at her everyday? "That is an extraordinary feeling. I wish my mother would have been here to see it." [caption id="attachment_634671" align="alignnone" width="1920"] Dee Smart: The Major of Bondi, oil and acrylic on canvas, 2017.[/caption] JOHN MACARTHUR BY DEE SMART Picking up her first paintbrush 15 years ago while housebound with a new baby, Dee Smart's artistic drive revolves around the desire to capture the human condition — and it was John Macarthur's humility and sense of humour that drew her to him as a potential muse. The result (and her first Archibald selection) is a joyous portrait positively singing with colour, reflecting the 'vibrating hues' of Macarthur's home and wider world. Fondly known as the 'Mayor of Bondi', Macarthur is famous for his internationally coveted, extremely colourful knitwear brand Purl Harbour. And it sounds like he has a similarly colourful life story. In fact, while living in Spain he apparently very nearly became muse to another painter — Salvador Dali, to be exact — who wanted to paint him as an angel. No big deal. His initial reaction when Smart asked him to sit? "I was absolutely gobsmacked. What on earth and how and why?" The painting's progression was, however, a relaxed one, and by the sounds of it, he made an obedient subject. "She said jump, I said how high. That's basically how it went. We laughed a hell of a lot." Observing Smart's close attention to line and angle, Macarthur savoured his behind-the-scenes vantage point, and found the big reveal of the finished painting to be "quite extraordinary". He particularly enjoys the eye-catching palette of his beloved pinks and oranges — stating that "these are definitely my colours" — his "happy and veracious" look and the "intensity in the eyes" captured by Smart. "I identify totally with what she's done." Catch the 2017 Archibald Prize at AGNSW until Sunday, October 22.
It's a rare treat to see classical favourites performed by world-class musicians in a beautiful setting. And it's even rarer for that experience to be completely free, but that's exactly what's provided by Sydney Symphony Under the Stars. Each year the renowned orchestra brings its rapturous performances to Parramatta Park, with the park's rolling green hills acting as a backdrop to a free program that ranges from enduring pieces of the 18th century to famous film scores of the modern era. The symphony was originally supposed to pop up earlier this year as part of Sydney Festival, but was postponed to Saturday, March 26 due to COVID-19. Pack a picnic basket and your favourite rug before heading down early to nab a comfy spot in front of the huge stage located at Parramatta Park's The Crescent. You'll then be treated to a world-renowned performance from the Sydney Symphony Orchestra conducted by Benjamin Northly. Beethoven's epic Symphony No. 5 will act as the grand finale to the night, accompanied by a thunderous firework display lighting the night's sky. The event is family-friendly and spots are first-come-first-serve with no online registrations required this year. You can head to the Sydney Festival website for all the details. Top images: Jamie Williams
If you've been listening to the grapevine, you'll have heard Darling Harbour's recent Mediterranean import, Cafe Del Mar, might not be 100 percent legit. It's true: the Ibiza original's website claims the Sydney version "has nothing to do with our iconic Cafe del Mar brand", while Aussie director John Zappia issued a response labelling the above statement "false and very disappointing". Luckily for Zappia, his venue, whether a part of the brand or not, is far from disappointing. From the Camilla-clad hosts to the blue, white, wood and golden decor that screams beachside holiday cocktails, the large open kitchen, ample outdoor summer seating and wraparound views of, albeit, this city's not-so-favourite aforementioned harbour, the team behind this place have put on quite the show. In all honesty, though, considering the brand in question's history of drawing food-appreciating party animals from all corners of the world, you'd bloody hope so. Said food is topnotch. Head chef Ben Fitton commands the kitchen, and his rule is fair and tasty, offering a pleasantly simple menu with a fair few standout performers. The most notable were the Berkshire pig jowls, served in crispy cases with truffle mash ($24), and the black-inked chilli salt and pepper squid with lime aioli ($24). FYI, the squid isn't deep fried, it comes tentacles and all, but blow me down it's good. For main we divided a six-hour cooked Murryland lamb shoulder (with some of the freshest salsa verde I've had in a long time) from the shared mains section ($65). The meat fell off the bone and straight into our mouths. To drink we sipped a Blanco Dos ($45), one of the six signature sangria pitchers (three red, three white) and designed for four. You can imagine it suited the two of us all evening. Of course, if you're less of a philistine, there's a "carefully selected" wine menu to peruse. We finished with a scoop of sorbet and an espresso: the former comes from a regularly changing list, while the latter made us feel awfully European. All in all, the only real criticisms are the DJ should think about turning the volume down just a tad before 8pm, and the lighting from the two giant and really rather quite spesh chandeliers was a little harsh. Let's just keep our fingers crossed all the rigmarole over whether or not Sydney has its own Cafe del Mar gets sorted. Personally, we want this place to stay.
Comfort food, Greek taverna style, has never been so hip. In a room stripped almost bare with vaulted ceilings, peeling cream plaster and warm lighting, The Apollo is the newest dining hotspot in Potts Point. Once you've tasted the food, you'll wish everyone else wasn't so clued in and that it was simply your local Greek. For those who have had a run in with Greek food that was heavy, oily and served with a cucumber-saturated Greek salad, now is the time to give Greek a chance. This is food that it would be tempting to eat most nights: lemony, zesty and full of fresh herbs. Jonathon Barthelmess, last seen serving his fabulous Italian-accented food at Manly Pavilion, has the lightest of touches when it comes to the food of his heritage. Cocktails form a small part of the drinks list but are among the best in town. There are, of course, nods to Greece, including rosewater, and figs and honey. Similar references are dotted through the wine list, although this features fewer Hellenic inclusions. Back to the food. You can go 'The Full Greek' and be sent out all the signatures as part of a very affordable feast for $55, or pick and choose from the small but perfectly formed menu with all dishes designed for sharing. We suggest trying a series of smaller dishes to start. Taramasalata ($12), served in a small Greek style yoghurt pot with warm, slightly charcoaled pita bread, is pale, creamy and topped with pearly mullet roe. It will well and truly ruin you for the bright pink supermarket versions. Deep-fried king prawns ($6 each) are worth the fiddling to remove the shells for fleshy, juicy meat with a hint of charcoal, and grilled octopus with chickpeas and pickled cucumber is as tender as they come. The already renowned wild weed and cheese pie ($18) is a must, like no spanakopita you've ever eaten. It's lemony and light, full of the good weeds. You have gone Greek, so for the main you really should go with the slow-cooked lamb rib. You won't regret it or the lemony potatoes which help to mop up the juices. It might just finish you off and ruin you for a good Greek dessert, but the walnut filo pastry ($12) or, if you fancy boozy fruit, the ouzo-marinated watermelon are worth making room for. You'll find The Apollo in our list of the best degustations in Sydney. Check out the full list here.
Bringing the European beach club vibe to Sydney Harbour, Pier One is introducing a sun-drenched encounter designed to make your summer. Launching on Thursday, February 19, and running daily until the end of April from 11am–4pm, POOL by Pier One and Business & Pleasure Co combines a floating pontoon and pop-up swimming pool experience, primed for lazy days perched on the edge of Walsh Bay. Just steps away from the hotel's Pier Bar, guests can expect a social hub ripe with refreshing cocktails, summer nibbles and the buzz of Sydney's most iconic harbour setting. So, take a dip in the netted pontoon, then settle into the luxe poolside seating. While there's no sand or pebbles to sink your toes into, this Euro-inspired escape offers the fair trade of uninterrupted harbour views and undeniable coastal luxury. Once you've cooled off, you're invited to order summery small plates from the Pier Bar menu, like kingfish ceviche and bay bug 'Big Mac' sliders. Meanwhile, there's a signature Business & Pleasure Botanical Spritz to sip on. The namesake beach and outdoor furniture brand has brought the al fresco space to life with an assortment of pastel umbrellas, loungers and decorative touches that evoke Riviera resort towns and Slim Aarons' photographs. "POOL by Pier One is about creating a sense of escape without ever leaving the city," says Kristy McKellar, Director of Marketing at Pier One Sydney Harbour. "It is a space designed for relaxed moments by the water, swimming, socialising and soaking up the harbour views, and a natural extension of our vision to deliver memorable, design-led experiences on Sydney Harbour."
It's almost time to tick over into another trip around the sun. But before our current rotation is complete, we have to give this year a massive send-off that celebrates the ups and, hopefully, helps us forget the downs. Fortunately, this New Year's Eve in Sydney is stacked, with these dining encounters, late-night parties and waterfront events making for a memorable final night on the town. New Year's Eve at Cibaria Manly Bring a little Italian spirit to your NYE send-off, as Cibaria Manly presents a specially curated share menu, complete with ocean views and beachfront vibes. Priced at $240 per person, the experience begins with oysters in chardonnay mignonette, warm pizzetta bianca and loads more before arriving at the scotch fillet main, served with a Barolo jus and truffle-pecorino fries. As midnight approaches, enjoy a suitably sweet treat with a Cibaria hazelnut tiramisu. Find out more here. New Year's Eve Dinner Party at Olympus Dining Ringing in the end of 2025 — and a hugely successful debut year — Olympus Dining is transforming into a Greek amphitheatre for an unforgettable dinner party. Bringing along their friends, Four Pillars and Louis Roederer, this Med-inspired banquet — think Sydney rock oysters, a fully stocked souvlaki station and watermelon ouzo slices — is paired with cocktails, wine and beer. From 9pm, the party goes up a notch, as hosts Daimon Downey and Rich Penny guide DJ-led tunes beneath the oculus. Find out more here. Cosmic Universe at Opera Bar Luxe doesn't even begin to describe Cosmic Universe — Opera Bar's galaxy-inspired NYE playground. An incredible fireworks vantage point, this lavish experience, priced at $745 per ticket, features non-stop live performances and DJ sets alongside roaming canapés and complimentary food stalls, available until midnight and beyond. Don't have a budget? An ultra-exclusive VIP lounge costs $20,000 — stacked with free drinks, decadent bites, a dedicated host and uninterrupted views. Find out more here. Balcony Bottomless Package at Coogee Bay Hotel The Coogee Bay Hotel is lighting up NYE with a special balcony bar bottomless experience. Gazing over Coogee Beach with exceptional views of the fireworks, this $180 package features a huge array of tasty bites, spanning freshly shucked oysters, beer-battered potato scallops, crumbed short ribs and more. The drinks are just as inviting, with champagne poured on arrival (and at midnight) alongside beers, wines and cocktails all night long. Find out more here. New Year's Eve at The International Get among the NYE action in Sydney CBD, as The International celebrates the occasion across three vibrant spaces, each with its own skyline view. Head to Wine Bar for easygoing partying, complete with cocktails, slushies and oysters, or enter Panorama Bar for elevated sunset cocktails. If dining is more your mood, The Grill's openair setting is the way to go, featuring woodfired steaks flamed in a two-hatted kitchen. Find out more here. NYE Dinner at The Dry Dock Launch into the New Year with a four-course sharing dinner prepared by The Dry Dock's head chef Ben Sitton. Available for $195 per person, this feast includes an amuse bouche, shared entrees, mains and desserts alongside a glass of Lallier Réflexions R.020 Brut Champagne or a schooner of Asahi Super Dry on arrival. When it's time for the fireworks, guests are welcome to head across the street to Mort Bay Park to catch the harbour show before returning to the restaurant for plenty more partying. Find out more here. NYE at Felons Manly Toast the final sunset of the year, as Felons Manly puts together a vibrant feast made for the Cove. For $149 per person, you'll enjoy a three-course set menu, elevated by a free drink on arrival. As the night wears on, a special 9pm fireworks display will set the tone, followed by live music and tune-spinning DJs that keep the waterfront shindig going into the early hours, both inside and on the jetty. Find out more here.
Summer is coming to an end, but — thankfully — that doesn't mean your time at the beach is. We're blessed with sunny weather for a lot of the year here in Aus, which means we need a few pairs of togs to get us through. If you're looking to snag a new pair, Jets has just launched its new collection of swimwear. To celebrate, the brand is offering Concrete Playground readers 15 percent off, too. Elysian is Jets' first collection under new Creative Director Rachel Allen. The star of the collection is the range of burnt clay swimwear. For example, this sophisticated high neck one piece and this high waist bikini. Jets also has a range of resortwear including dresses, kaftans, flowing shirts and sarongs that'll make you feel like you're holidaying in the Maldives, even if you're just enjoying a cocktail on your back porch. Jets' print collections are made using Renew Plus fabric, which utilises recycled and regenerated Econyl as a replacement to nylon. If you want the first look at the new collection, head to the Jets website and score yourself 15 percent off you order while you're at it. Just use the code CONCRETE15 before 11.59pm on Tuesday, March 30. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
It wouldn't be a film adaptation of a Nicholas Sparks book without the glow of sunlight, the shimmer of a body of water, and some all-knowing, overly sentimental narration. Sticking as closely to the formula as it can, The Choice begins with all three. Other Sparks trademarks swiftly make themselves known: an opposites-attract romance featuring would-be paramours from different sides of the tracks; rustic homes in a scenic, small-town location; letters professing feelings of love and longing; and a sudden catastrophe threatening to tear the central duo apart. Original, this certainly isn't. Indeed, while the movie version of The Choice might not be directed or written by Sparks (those honours going to relative newcomers Ross Katz and Bryan Sipe, respectively), there's never any doubt that the author responsible for 18 sappy books to date is the most influential force behind this film. Audiences that have watched Channing Tatum and Amanda Seyfried in Dear John, Liam Hemsworth and Miley Cyrus in The Last Song or Zac Efron and Taylor Schilling in The Lucky One — yes, attractive white people hooking up is another of Sparks' staples — should know what they're in for. This time, charismatic veterinarian Travis (Benjamin Walker) and spirited medical student Gabby (Teresa Palmer) are the star-crossed parties in the spotlight, meeting when the latter accuses the former's dog of knocking up her own beloved pooch. Though Travis is already fooling around with barmaid Monica (Alexandra Daddario) and Gabby is dating local doctor Ryan (Tom Welling), sparks between the two soon fly (pun intended). The will-they-or-won't-they aspect of their relationship isn't the end of their tale, though. The first half of the feature charts their courtship, then the second half moves the characters to a hospital seven years later, where the titular decision comes into play. As it is in all movies made from Sparks-penned fare, wish fulfilment is the aim of the game, peddling the notion of an epic love story that will withstand even the harshest obstacles, and trying to push as many emotional buttons as possible in the process. But while there's nothing wrong with romantic fantasies or old-fashioned weepies, The Choice dials everything up way too many notches — clumsy meet-cute, overly adorable rapport, corny dialogue and tragic twist included. The film isn't just adhering to a template, it's lazily throwing clichés at the screen to see what sticks. At least Walker, who was previously the best thing about Abraham Lincoln: Vampire Hunter, oozes the requisite charm, while Palmer is given much more to do here than she did in the Point Break remake. The scenery also proves a highlight, though it's obviously a problem when the picturesque background is more engaging than the narrative. Of course, the more troubling thought is that there are still seven of Sparks' novels that haven't been made into movies… yet. We might all love Ryan Gosling and Rachel McAdam locking lips in the rain, but The Notebook has a lot to answer for.
For the cinephiles, TV addicts and all-around lovers of entertainment, the gifting season can sometimes be a little challenging. After all, everything they want, they can just watch…right? Wrong. It's 2025, physical media is making a comeback, and home cinema technology is better than ever. The only thing stopping you from getting your favourite movie lover a quality present is your attitude. Here's a list curated by our own film-addicted writers for all the blockbuster fans, Letterboxd diehards, nerds and tech heads who know how to make screentime into quality time. Shopping for someone who's never home? Check out our guide to the best gifts for frequent travellers. Two-Room Speaker Set, Sonos Anyone who knows their Hollywood blockbuster from their independent arthouse flick probably dreams of replicating theatre audio at home. With this speaker duo, they'll be able to precisely shape an immersive soundscape for all kinds of movies at home. Shop now. Popcorn Maker, Heller No true movie experience is complete without a bowl or box of hot, buttery popcorn. Sure, you could get a microwaveable packet from the shops, but this adds a novelty feeling to the in-home popcorn experience. Shop now. Freestyle Portable Projector, Samsung With some creative thinking and a smooth, vertical (and preferably white) background, this portable projector can upgrade any space into a theatre with pictures up to 100 inches across, 360º sound and inbuilt Samsung Smart TV tech. Shop now. TV Backlight Kit, Govee The dream of any at-home cinema curator, a tv backlight can synchronise the colour display of its lights to the colours on-screen, blending the picture into the room and making for a seriously immersive viewing experience. Compared to other brands, this kit gives you all the gear you need for a very reasonable price. Shop now. 120" Portable Projector Screen, AIWA Perfectly matched with the Samsung portable projector, this lightweight and reliable screen means you can set up a movie night anywhere with a power supply. If that's not a cinephiles dream, we don't know what is. Shop now. 4K DVD Player, Panasonic You heard it here first: physical media is making a comeback, at least among film lovers. If your loved one has a long-forgotten collection of ancient DVDs or a burgeoning collection of new ones, this player will give them the best quality possible for every sweet, ad-free, unbuffered moment. Shop now. One Year of Pro or Patron, Letterboxd Any movie diehard has either already downloaded or desperately wants to get into Letterboxd. A social media platform designed for film lovers, by film lovers, you can gift the Letterboxd user in your life a year of paywalled goodies and bonus features for their account. You just need an account of your own. Shop now. 'Star Wars' The Skywalker Saga DVD Box Set, Lucasfilm If a special someone in your life has a soft spot for the stories set in a galaxy far, far away — and has a compatible disc drive (any DVD player, external disc drive or disc-compatible gaming console will do) — you can gift them all nine feature films that come free of streaming hassle for the rest of their life. Shop now. Movie Log, A24 If Letterboxd, or social media as a whole, isn't the style of your giftee, maybe they'll prefer something more tactile? Available on a waitlist via independent production company A24, this paper logbook is a great print method for someone to track their movie-watching activities. Shop now. 2026 Daily Tear-Off Calendar, A24 Part calendar, part shopping list for some of the best films in the game, this desktop-compatible gift offers up 365 days of A24's award-winning movies in seasonal order. It's a great accessory, and an even better guide to going from general audience member to certified cinephile. Shop now. Gift Card, IMAX At long last, IMAX screens in Australia are on the rise. These massive theatre screens are the biggest and indisputably best way to watch a blockbuster, but tickets don't come cheap. Save your resident film nerd some precious movie snack money and cover their tickets with these gift cards. Shop now. Gold Class Ultimate ePackage, Event Cinemas If movies mean date nights for you and your special someone, you can save this for the next romantic release to get admission, a welcome drink, three small plates of food, nachos and popcorn for two. Yes, the food comes into the theatre with you. Shop now. Cinephile: A Card Game, Cinephile If you want to test the knowledge of a film lover, this party game is the best way to do it. With 150 cards covering difficulties from beginner blockbusters to diehard cinephiles, it can bring a bit of friendly competition to your next cinematic trivia sesh. Shop now. 100 Movies Scratch Off Poster, Uncommon Goods Do you feel like your special someone doesn't have enough experience with Hollywood's undeniable classics? This scratch off poster makes for a decorative and motivating reason to watch 100 one of the most classic films in human history. Shop now. Movie Night Bingo Cards, Uncommon Goods Admittedly, not all movies are classics, and some are classics for the wrong reasons. If you're the sort of person who hate watches a bad film, gamify your next predictable, cliche or uninspired watch with these genre-specific movie bingo cards. Prizes not included. Shop now. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
You're not short on stellar food and drink choices when in the Southern Highlands. There are wineries, fine diners, pubs, local cafes and buzzing restaurants aplenty. But, no trip there is complete without calling into much-loved Gumnut Patisserie. With three locations — Berrima, Bowral and Mittagong — you would think there would be plenty of baked goodies and pastries to go around, but don't be fooled. Locals know to get in early to have your pick of the bunch — and even then you can expect lines. Once you get to the counter, though, you'll find an array of sweet treats like eclairs, cakes, lemon meringue tart, cupcakes, lamingtons and cannoli, as well as croissants, danishes, scones and palmiers. For savoury, expect classics like a flaky sausage roll, plenty of pies — from beef and potato to chicken and leek — and top-notch quiches.
Fancy spending your next coastal getaway in Queensland's far north, splashing in the tree-lined waters of Palm Cove? If so, you'll be swimming in the best beach in the world. That's the verdict of Condé Nast Traveller, which has picked the Sunshine State locale near Cairns as the top patch of sand globally. While plenty of folks Down Under happily trade our own beaches for Hawaii's when it comes to enjoying a tropical holiday, Palm Cove pipped Honopu Beach in Kauai, which came in second. In fact, half of the top ten on the list of 34 beaches hails from Australia and New Zealand. Wategos Beach in Byron Bay took out fourth, Mona Vale Beach in Sydney sits at sixth, Noosa Beach in Queensland ranked eighth and Awaroa in Abel Tasman National Park in Aotearoa came in at ninth. Elsewhere in the top ten, Brekon in Shetland, Scotland placed third; Ora Beach, Maluku, Indonesia sits in fifth spot; Dune du Pilat, France ranked seventh; and Die Plaat, Walker Bay Nature Reserve, South Africa notched up tenth. [caption id="attachment_944619" align="alignnone" width="1920"] Palm Cove[/caption] Palm Cove was chosen for being a quieter spot that's "usually free of crowds", although that might change after topping this ranking. "The combination of leaning palm trees on powdery sand makes Palm Cove Beach the epitome of a tropical paradise," said Condé Nast Traveller, also pointing out its proximity to the Daintree Rainforest and the Great Barrier Reef, as well as being able to see dolphins and whales from the Palm Cove jetty. Queensland's tourism bodies are already hoping for an influx of visitors thanks to the attention. "The Condé Nast Traveller selection of Palm Cove as the first in this curated list will bring international travellers to its coconut palm-fringed shore to dine in beachfront restaurants and cafes and relax at stunning resorts," said Tourism Tropical North Queensland Chief Executive Officer Mark Olsen. [caption id="attachment_944618" align="alignnone" width="1920"] Palm Cove[/caption] In total, seven Down Under beaches made the cut, with Western Australian beaches getting some love, too. Turquoise Bay in Exmouth placed 22nd and Gantheaume Point in Broome came in at 25. All Australian and NZ destinations included on the list were in the top 25. Palm Cove being named the world's best beach comes shortly after Sydney's Manly Beach was picked as the seventh best beach in the world for 2024 by Tripadvisor, and Victoria's Squeaky Beach was chosen as Australia's best beach for this year by beach expert Brad Farmer AM. Queensland keeps scoring attention as well, with Brisbane named one of the best places to go in 2024 by The New York Times, travel guide Frommer's also selecting the city as one of 2024's best spots to visit, TIME putting it on its world's greatest places list for 2023 and the World's Best 50 Hotels picking The Calile as its only Australian and Oceanic entry in its inaugural countdown in 2023. [caption id="attachment_944621" align="alignnone" width="1920"] Palm Cove, Emma Shaw[/caption] Condé Nast Traveller's Top 34 Beaches: Palm Cove, Queensland, Australia Honopu Beach, Kauai, Hawaii Brekon, Shetland, Scotland Wategos Beach, New South Wales, Australia Ora Beach, Maluku, Indonesia Mona Vale Beach, New South Wales, Australia Dune du Pilat, France Noosa Beach, Queensland, Australia Awaroa, Abel Tasman National Park, New Zealand Die Plaat, Walker Bay Nature Reserve, South Africa Grand Anse, Grenada Keem Bay, Achill Island, Ireland Fakarava, French Polynesia Marathonisi, Zakynthos, Greece Praia do Sancho, Brazil Chesterman Beach, Vancouver Island, Canada Anse Source d'Argent, Seychelles Seagrass Bay, Laucala Island, Fiji Hidden Beach, Palawan, Philippines Ile aux Cerfs, Mauritius Tortuga Bay, Santa Cruz Island, Galápagos Turquoise Bay, Western Australia, Australia Pink Sand Beach, Barbuda Playa Manuel Antonio, Costa Rica Gantheaume Point, Western Australia, Australia Dolfynstrand, Namibia Ocracoke Lifeguarded Beach, North Carolina Rauðasandur Beach, Iceland Jibei Island beach, Taiwan Uig Sands, Isle of Lewis, Scotland Benguerra Island, Bazaruto Archipelago, Mozambique Al Mughsail, Salalah, Oman Playa Paraiso, Cayo Largo del Sur, Cuba Luskentyre, Outer Hebrides [caption id="attachment_651421" align="alignnone" width="1920"] Mona Vale Beach[/caption] [caption id="attachment_944620" align="alignnone" width="1920"] Palm Cove[/caption] [caption id="attachment_835908" align="alignnone" width="1920"] Noosa[/caption] [caption id="attachment_791437" align="alignnone" width="1920"] Awaroa, Kiwi Canary[/caption] [caption id="attachment_844181" align="alignnone" width="1920"] Turquoise Bay, Tourism Western Australia[/caption] [caption id="attachment_897204" align="alignnone" width="1920"] Gantheaume Point, Tourism Western Australia[/caption] For more information about Condé Nast Traveller's best beaches, head to the publication's website.
It's been open less than a week and it's already racked up over 150,000 views on TikTok. Plus, it completely sold out within hours of opening on its first Sunday. Smoking Gringos is the new viral Mexican restaurant from an acclaimed Sydney hospo veteran that's just arrived on Muru Way in Blacktown. The new Western Sydney Mexican restaurant is led by Richard Borg and Jade Jackson. Borg brings experience from a storied culinary career to his latest venture, having previously worked across Momofuku and Park Hyatt before opening Surry Hills' Master and Burger Head in Penrith with a group of mates. Over the last few years, he's been working under the Smoking Gringos name, serving up juicy barbecued meats — first in Kingswood and then out of the kitchen at Newtown pub Websters. Now, Smoking Gringos has reemerged in Western Sydney bring its passion for perfectly tender meat to a new canvas: birria tacos. The idea to open a Mexican joint was first fostered after doing a birria special in Kingswood which Borg says customers "went ballistic" for. "A lot of the birria we've had in Sydney kind of misses the mark," he told Concrete Playground. "We make all the meat before we finish it in the broth to give it a bit more body — a bit more flavour." The specialty at Smoking Gringos is the quesa taco, a three-corn tortilla dipped in marinade and fried before being topped with three kinds of cheese, coriander, onion and your choice of beef or chicken. Each serve is paired with pickled onions, lime, consommé for dipping and a selection of salsas made fresh in-house every day — the habanero is the chef's favourite. If you want to take things up a notch, opt for the mulitas, which Borg describes as a "quesa taco on steroids". A dish popular in Los Angeles, the mulitas closely resembles a quesadilla, piling toppings between two of the fried quesa tortillas. Nachos and loaded fried round out the menu, with plans to introduce a burrito in the coming weeks. If things go to plan, Borg and Jackson say we may even see more Smoking Gringos stores or a roaming food truck pop up. Watch this space. Smoking Gringos is located at 1 Muru Way, Blacktown. It's open 12–3pm and 5.30–9pm Thursday–Sunday.
Keen to feast on oysters right by the ocean? Then head to Tathra Hotel to sample a few. The traditional country pub has been a beacon for locals for 100 years and the family friendly establishment has all the pub classics. The oysters are served natural, Asian-inspired or kilpatrick and come in half-dozen ($18) or a dozen ($36). Other smaller plates include Vietnamese salad ($17), spice-dusted calamari ($17) and mushroom arancini ($14). Then, there's schnitty ($24), parmy ($25), sirloin steak with mash($35), burgers and fish and chips ($30). Or, you can pick from the chef's specials, which includes the likes of house-made gnocchi ($22), prawn and vegetable curry served with yellow rice and chutney ($32) and Taiwanese braised beef and noodle stew ($22). Basically, you're spoilt for choice. But, whatever you decide, be sure to wash it down with a tap beer made at the onsite craft brewery, Humpback Brewery. Image: Destination NSW
Imogen Heap is embarking upon her inaugural Australian tour in promotion of her latest offering, Ellipse. Released last year, four years after the Grammy Award–nominated Speak for Yourself, the new album is a self-produced collection of dreamy and bittersweet odes. Without ever straying too far from the characteristic electronic-minimalist formula she has built her career upon, the synthetic universe of Ellipse inspires comparisons to contemporaries Sarah McLachlan, French chanteuse Camille, and even a more pop-tinged Laurie Anderson. The former voice of Frou Frou, Imogen Heap's public exposure has gone into overdrive in recent years thanks to contributions to the soundtracks of The OC, The Chronicles of Narnia films, Heroes, Six Feet Under, as well as an array of US late night talk show appearances, and Ellipse is proving to be her most successfully charting release to date. Tickets for the second show are on sale now. https://youtube.com/watch?v=yXj0dF7LAyE
Seven women, a dinner party and a bunch of relationships crying out for serious re-examination provide the dramatic drive behind Jonathan Gavin’s A Moment on the Lips. Having debuted on the Old Fitz stage 11 years ago, the play is now revisiting home territory via the Mad March Hare Theatre Company. Through one short scene after another, the lives of seven protagonists unravel. There’s Anne (Ainslie McGlynn), self-declared ‘home resource manager’ facing the challenges of first-time motherhood; Emma (Claudia Barrie), appearance-obsessed newsreader; Dominique (Sonya Kerr), possessor of prophetic powers; and two sets of sisters. The first is comprised of creatively frustrated, failing artist Victoria (Beth Aubrey) and PhD student Jenny (Sarah Aubrey — the Aubreys are sisters for real); the second of emotionally detached yet successful barrister Rowena (Lucy Goleby) and adopted Samoan sibling Bridget (Sabryna T’eo), who cares for dying patients. What’s more, Jenny is married to Rowena, for whom Emma still carries a flame. And pretty much every relationship — be it platonic, romantic or biological — is fraught with regret, dishonesty and confusion. A Moment on the Lips begs us to contemplate our values and consider the big impact of 'little things'. It’s a mountain of material to get through in just one play. Gavin ambitiously attempts to address every character’s strengths and weaknesses, but it’s a tough call, and, too often, lapses into one-dimensionality. It also means some rather uneven scriptwriting. Several clever one-liners elicit genuine laugh-out-loud moments, but there’s also an indigestible reliance on cliche. Occasionally it's used ironically with more punch. McGlynn delivers the standout performance as the struggling Anne — charismatic, sassy and funny. The other roles prove difficult to fill out, given their lack of meatiness, but director Mackenzie Steele does pull off a fast-paced, snappy show, accentuating eccentricities and dynamics where he can. Charlie Davis has come up with a beige, orderly set with bookshelves offering titles like The Way We Live that could easily pass for a trendy Bondi apartment and cleverly references the characters’ materialism and tendency to obsess over first-world problems. Costume designer Isabella Andronos delivers striking contrasts with bold, bright colours. A Moment on the Lips is an entertaining night out, but, ultimately, proves more simplistic than probing. Image by Katy Green Loughrey.
Chic activewear is an essential part of the Bondi dress code, so it's no wonder locals tend to congregate around places like Nimble. Found on the tranquil Hall Street, this is an activewear store known for its community spirit and eco-conscious clothing. Pick up a pair of recycled-plastic leggings and join one of the store's organised beach cleanups, or take part in the run club or a community yoga class in the minimalist, wood-panelled shop space. Plus, if you're in search of a bargain, it tends to offer sales alongside all its events.
We all love a good day trip, but when it comes to experiencing the wintry delights of a powder-covered ski resort, it's hard to beat an overnight stay right there atop the mountain. Clicking on those skis in the morning, opening the front door and launching straight into the thrill (or perhaps spill) of it all is a pretty sweet deal. Minimal travel time, maximum snow. So, we've rounded up a few of NSW's best on-snow stays, to help take your next winter escape to a whole new level. From luxury mountain lodges, to private self-contained chalets, here are eight ski-in ski-out stays you can book right now. NSW's latest COVID-19 restrictions allow regional travel within the state from June 1. While all NSW ski resorts are preparing to reopen as soon as possible, Deputy Premier John Barilaro said that they may need a little time to put COVID plans into place so you should get in touch before visiting. That said, this year's ski trip will look a little different to usual, as resorts and operators strive to meet current public health protocol, with limits on indoor and outdoor gatherings set to continue. SMIGGINS HOTEL, PERISHER Gently sloped and protected from the weather, Perisher's Smiggin Holes village is a favourite for beginner snow-trippers. And Smiggins Hotel is located right there at its centre, offering a whole range of top-notch ski-in ski-out accommodation options. It's a modern resort set-up, based just metres away from all the area's chair lifts and t-bars — simply coast out the front door and straight into a choose-your-own-ski-adventure each day. There's a variety of hotel rooms and chalet apartments to suit different groups, while the onsite snow sport school and hire shop will have you mountain-ready, without stepping foot outside of the hotel. Plus, the newly renovated hotel deck is ready and primed for apres-ski sessions around the fire pit. NUMBANANGA LODGE, PERISHER Owned and operated by the NSW National Parks and Wildlife Service, this self-contained six-sleeper lodge offers the full snow experience, sitting pretty on the outskirts of Smiggin Holes. With ski-in ski-out access, it's mere metres away from the village's assorted ski lifts, lessons and hire joints, so you can get up and at 'em within minutes of cruising out the front door. Numbananga Lodge is also primed for group snow adventures, featuring three cosy bedrooms and a fully-kitted kitchen. And if you are after a night on the town, simply hop on your board or skis and glide over to suss out the village's many apres-ski options. Following the government's easing of travel restrictions, NPWS is working towards reopening its accommodation and visitor services. Many sites are set to become available from June 1, with the booking system expected to reopen in the days prior. Check out the website for updates. [caption id="attachment_771410" align="alignnone" width="1920"] Destination NSW[/caption] KOSCIUSZKO CHALET HOTEL, CHARLOTTE PASS As Australia's highest snow resort, Perisher's smaller neighbour Charlotte Pass is a winning option for snow bunnies keen to feel on top of the world. And the 90-year-old Kosciuszko Chalet Hotel is one of its most popular ski-in ski-out stays, offering killer views, loads of history and a ripper location close to the village's chair lifts. Comfy rooms overlook either the valley or the mountain, and when the day is done, you'll find a whole collection of onsite bars and eateries for those apres-ski activities — including a cocktail bar complete with roaring fire. Keep an eye on the calendar, too, for regular gigs, bingo sessions and trivia nights. [caption id="attachment_771411" align="alignnone" width="1920"] Destination NSW[/caption] SNOWBIRD LODGE, CHARLOTTE PASS Handily located for those embracing the less hectic pace of Charlotte Pass village, Snowbird Lodge is a quaint ski-in ski-out retreat within eyeshot of the ski lifts. This one's a relaxed, rustic set-up, with a range of heated ensuite rooms overlooking the white curves of the valley. Though for even better panoramas, check out the sprawling top-floor common room, with central log fire and nightly party vibes. Meanwhile, the licensed dining room will keep you well fuelled for all those on-snow adventures, kicking off with a classic English-style breakfast each morning. And sore muscles are in for a treat, too, with a spa and sauna housed right onsite. SKI IN SKI OUT CHALETS, THREDBO With a name like that, there's really no doubting it. Ski In Ski Out's sleek chalets boast some prime real estate, located right amongst the action of Thredbo Village. We're talking, smack bang on the Supertrail and offering dreamy views across the snow-topped gum trees. There are 25 luxury chalets to choose from, ranging in size from one to four bedrooms. And, while they don't come cheap, they sure will save you time when it comes to getting up the mountain each day. The accommodation's decked out stylishly and for maximum cosiness — think, wood fireplaces, high-end bath products and even the odd private jacuzzi, which you'll be able to jump into just minutes after cruising in from the slopes. RIVER INN, THREDBO A win for novice snow-trippers especially, River Inn is Thredbo's only ski-in ski-out hotel, handily positioned within stumbling distance of Friday Flat — a dedicated beginner-friendly area. It's also perched right beside the Gunbarrel chair lift, so you're primed to beat the crowds and be among the first on the slopes each morning. Here, there's a range of different ensuite rooms to suit various group sizes, with daily breakfast included the rate. After a big day carving up the mountain, you can look forward to a soak in the hotel's heated spa. Or, head straight to the Bavarian-themed restaurant to warm up over a hearty feed and a few beers. BARRAKEE SKI LODGE, PERISHER Just a 50-metre glide from the North Perisher t-bar, you'll find the cosy escape of Barrakee Ski Lodge — a popular ski-in ski-out stay with over 50 years under its belt. It's comfy and modern, with a range of different room options and plenty of stunning white mountain greeting you from out the window each morning. The lodge has its own sauna, bar and games room for kicking back after a day on the slopes, as well as a cranking log fire cosying up the communal lounge each night. And you won't need to venture anywhere else to get your culinary fix — Barrakee's onsite restaurant is helmed by a former personal chef to the Prime Minister of Australia. TAMBAROORA SKI CLUB, PERISHER A picture-perfect, self-contained lodge sitting right in the heart of Perisher Valley, cosy Tambaroora Ski Club is the kind of ski-in ski-out accommodation you'll want to snap up quick for your next group snow trip. It sleeps six and is hidden among the trees, with a front door that opens right onto the slopes and an enviable location just a quick cruise from the Perisher Quad Express chair lift. The Ski Tube rail terminal is also just a few hundred metres away, for those who've parked off-snow. Inside, the chalet's set up with a full kitchen ideal for post-ski cook-ups, and while there's no TV or wifi, you've got your pick of board games to keep your crew entertained beside the lounge heater each night.
When it comes to two-wheeling, Victoria's picturesque High Country offers incredible diversity. And with autumn's mild weather and gold-tinted scenery, there's no better time to do it. Whether you're an easy-going peddler who likes to take things slow and rest often for wine tastings, or a hardcore cyclist unwilling to stop for anybody or anything and gearing up to conquer the Tour de France, there's a trail for you. At one end, Milawa Gourmet Ride and the Rutherglen Pedal to Produce Ride give you 10–12.5 kilometres of gentle, bucolic riding, dotted with wineries and farm gates. At the other, the Great Victorian Rail Trail, at 134 kilometres, is the longest continuous rail trail in Australia. MILAWA GOURMET RIDE Length: 10 kilometres return Difficulty: Easy An adventure that's ideal for leisurely two-wheelers who like to graze as they go is the Milawa Gourmet Ride. Get started at the famous Brown Brothers Cellar Door, not only to sample a drop or two, but also to borrow a bike — for free. Your ultimate destination, Sam Miranda Winery, is five blissfully flat kilometres away, but there's an abundance of tasting and snacking to do before then. Indulge in handmade goodness at Milawa Cheese, get your condiment fix at Milawa Mustards and swing by Blue Ox Berries farm gate for a punnet of just-picked fruit. If you're up for a longer ride, extend it by adding a section of the Murray to Mountains Rail Trail. PEDAL TO PRODUCE RUTHERGLEN Length: 12.5 kilometres Difficulty: Easy Cycling through the High Country – or perhaps any country – doesn't get any easier or more decadent than this. The 12.5-kilometre Pedal to Produce Rutherglen trail carries you through wineries, olive groves, gold-rush architecture and idyllic picnic spots. Start at Rutherglen Wine Experience, where you can grab a free map and, if necessary, hire a bike. Stops along the way include Anderson, where ex-Seppelt winemaker Howard Anderson and his daughter Christobelle make a great sparkling shiraz; Wicked Virgin Olives, where you can sample oils and tapenade; and pretty Lake King. BEECHWORTH TOWN RIDE Length: 11–17 kilometres Difficulty: Easy Beechworth packs a lot of punch for a town of just 3000 or so people. Built mostly during the 1850s, when the gold rush was at its height, it's home to some of the best-preserved 19th-century architecture in Australia. There are pubs, wine bars, cafes and restaurants galore, including two-hatted Provenance and craft brewery Bridge Road. So whatever your budget, you can count on being amply rewarded for your pedalling efforts. If you're keen to stay outdoors, fill your basket with local cheeses, olives, breads, wines, craft beers and baked treats, and go picnicking in parks crowded with glorious elms and oaks. Cycling takes place on a mix of rail trail and roads, across ever-so-slightly undulating terrain. BUCKLAND VALLEY Length: 45 kilometres return Difficulty: A few harder bits This stunning, 45-kilometre, there-and-back road ride begins among Bright's colourful autumn scenes. It's recommended for cyclists of intermediate ability, but to make it suitable for beginners, get started at Porepunkah. From there, the traffic drops away quickly, so even though you're on the road, you'll often feel like you're in the middle of nowhere. This sensation is intensified by the jaw-dropping scenery: think apple orchards, nut groves, alpaca farms and vineyards (Ringer Reef Winery makes a great stop on the way), backdropped by rugged Mount Buffalo. It's possible to stay the night in Buckland Valley, either by pitching a tent by the Buckland River or sinking into some luxury at the Buckland Studio Retreat. HIGH COUNTRY RAIL TRAIL Length: 64 kilometres return Difficulty: Intermediate Victoria's many rail trails give you hundreds of kilometres of car-free cycle paths. This one, which stretches for 35 kilometres from Wodonga to Old Tallangatta (with sections around Koetong and Corryong), spends half its time on the shores of shimmering Lake Hume. To add some history to your ride, visit Bonegilla Migrant Experience, a camp where more than 300,000 migrants lived between 1949 and 1971. There are plenty of waterfront picnic spots along the way, and in Tallangatta don't miss the scenic views at the Lookout or Tallangatta Old Lookout. MURRAY TO MOUNTAINS RAIL TRAIL Length: 100 kilometres Difficulty: Intermediate with easy sections Starting in Wangaratta and winding its way to Bright, this spectacular trail is a 100-kilometre escapade through lush farmland, unspoiled bushland and epic mountain ranges. In between, it passes through several of Victoria's prettiest and most interesting towns, including Beechworth (on an old branch-line route), Bright and Myrtleford. Wineries, breweries, farm gates, cafes and restaurants abound. If you have the time and inclination, then conquer the entire distance in one go. Alternatively, choose a section that appeals to you. For example, the 16 kilometres between Bright and Everton are all downhill, making them popular with coasters and locals. GREAT VICTORIAN RAIL TRAIL Length: 134 kilometres Difficulty: Hard to do in a day; otherwise easy. This mighty trail, at 134 kilometres, is the longest continuous rail trail in the whole country, but it's easy to do just a small section. It kicks off in Tallarook, just an hour's drive from Melbourne, but once you're on two wheels, it feels like you're a million miles away from the big smoke. Your final destination is Mansfield, but you'll visit loads of settlements before then, including the gold mining town of Yea and Bonnie Doon, of The Castle fame, on the shores of Lake Eildon. Swing by Howes Creek Farm to eat an ethically created pork pie beneath a 130-year-old oak tree, Killingworth Hill Whisky Bar for a quick side-trip to Scotland and Sedona Estate to sample excellent cool-climate wines. For a short, highlights-filled ride, do the 44-kilometre stretch from Kerrisdale to Molesworth, through the Goulburn Valley. Autumn scenery and produce won't last — plan your full itinerary in the High Country or explore more of regional Victoria at the Wander Victoria website.
We can't yet zipline around the entire world, though it does sound like something Elon Musk might dream up. We can, however, come up with an increasingly impressive holiday itinerary by touring the globe's scenic zipline spots. From this week, the Grand Canyon joins the list. Zooming along tightly stretched cables is already a reality at the world's longest zipline opening at Jebel Jais in the United Arab Emirates and across Dubai's skyline. London recently had one, currently letting locals and visitors fly across the city, as did Sydney did, stretching between two skyscrapers 75 metres above Circular Quay. Seeing the Grand Canyon from such lofty heights is now on offer at Grand Canyon West, at the Hualapai Ranch in Arizona, reaching 300 metres above the floor of the rock formation. Capable of accommodating 350,000 visitors each year, two ziplines have been strung across the natural wonder, one measuring 335 metres and the other spanning 640 metres while traversing a steeper run. Each consists of four steel cables running side-by-side, which means that groups can enjoy the experience together. Riders will reach speeds of up to 80 kilometres per hour. For those planning a high-adrenaline sight-seeing stint as part of their next US trip, tickets cost AU$115, with the zipline operating from Tuesday to Friday from 9am to 4pm. The ziplines join the resort's helicopter tours and 1.2-kilometre-high skywalk among its sky-high attractions. Via PR Newswire.
A great movie soundtrack has the power to lift you out of your seat and take you on a journey to a world beyond the everyday and normal – whether it's to Middle-earth, Gotham City or a galaxy far, far away. If you've ever wondered what makes a soundtrack really soar, podcasters Art of the Score and the Sydney Symphony Orchestra can tell you as they take a deep dive into the magical music of cinema's most recognisable composers, this time the legendary Japanese composer Joe Hisaishi, live at the Sydney Opera House. Hisaishi is the maestro best known for his decades of collaboration with director Hayao Miyazaki, aka the creative behind Studio Ghibli and films like Spirited Away, Howl's Moving Castle, My Neighbour Totoro and many more. With catalogued works dating back to 1984, Hisaishi has quite the portfolio. At this immersive event, Art of the Score podcasters Dan Golding and Andrew Pogson, alongside conductor Nicholas Buc, will unpack, demystify and celebrate Hisaishi's body of work, exploring its unique motifs and more. [caption id="attachment_986871" align="aligncenter" width="1920"] Tim O'Connor[/caption] And making this event unforgettable, Hisaishi's magical music will be performed live by one of Australia's leading orchestras inside the stunning Sydney Opera House Concert Hall. 'The Music of Joe Hisaishi' will run performances from Thursday, September 25 to Saturday, September 27 at either 7pm or 2pm, produced in Association with Concert Lab. For more information or to book tickets, visit the website. Header image by Craig Abercrombie
Back in 2013, when Kieran Tosolini first opened his gelateria in Darlinghurst, it was unusual to see traditional Italian pozzetti counters. "It literally translates to little wells," says Tosolini, owner of Rivareno Gelato. "It took a lot of energy in the beginning to explain to every single person where we were keeping the gelato, and that we made it fresh every day." The gelato master tells Concrete Playground his early challenges are rewarded every time a new customer tries his gelato. "That look on people's faces. That oh-my-god look. It gives us immense satisfaction," he says. Every day, each Rivareno makes 26 flavours of gelato according to what's in season, how spicy the weather forecast is looking and what flavour combinations will work best together. So, how do they keep it so consistent? [caption id="attachment_791240" align="alignnone" width="1920"] Pozzetti counter; Nikki To[/caption] "We pay a lot of attention to weighing," says Tosolini. "It's really important for controlling the quality, getting the right texture and the right balance of flavour. We're known for having intense flavours — and that's because we use a lot of the ingredients. We want people to be able to immediately recognise what it is, not having to scratch their heads and guess." Whether it's in traditional flavours like pistachio and lemon or mango, strawberry or chocolate, Rivareno uses as little sugar as possible and it doesn't use any artificial colours, flavours or hydrogenated fats. "Our gelato really is a natural product, and not too many places can say that," says Tosolini. [caption id="attachment_790074" align="alignnone" width="1920"] Nikki To[/caption] After mixing and freezing ingredients in the gelato machines, the other important aspect at Rivareno is that each gelato flavour goes straight into the pozzetti — the stainless steel cylinders — and straight into the gelato counter. "It's always super, super fresh," he says. Which is why customers keep coming back for more, with some driving across the city just to order a scoop. [caption id="attachment_791241" align="alignnone" width="1920"] Nikki To[/caption] "We get people who drive for an hour to come to our city stores, and that's part of the reason we opened in Parramatta," he says. "It's great to be able to offer those customers our gelato a lot closer to home." The new Rivareno location opened in October in the same multi-billion dollar urban development as the second Ciccia Bella and the first Lilymu and Harvey's Hot Sandwiches. "There are so many great offerings in Parramatta Square. I really believe there's a really bright future here," he says. Parramatta's Rivareno also offers something the other locations don't: a dedicated barista. "We have a full commercial coffee machine and a really nice Lavazza coffee, the Super Gusto blend. And, as people come back to their offices, we'll soon be opening up for breakfast, too." You can find Parramatta's Rivareno at Shop 4.06, Parramatta Square, as well as these seven signature dishes to order on your next visit to the western Sydney dining precinct. Top images: Nikki To
A string of long weekends is a joy while it's happening, such as the current Easter and ANZAC Day run (plus Labour Day, too, if you're in Queensland). When it's over and five-day work weeks become a reality week after week again, however, holiday dreams start calling. Clearly Jetstar wants you to get a jump on planning your next vacation, given that the Australian airline has just kicked off its latest big flight sale. Both domestic and international fares are on offer at discounted prices, with 40,000-plus seats available between now and 11.59pm AEST on Sunday, April 27, 2025. You'll want to get in quick, though, given that sale tickets mightn't last that long — and these deals run until sold out if that happens before the scheduled end date. One-way prices start at $49 for Club Jetstar members and $54 for everyone else this time, which covers routes from Brisbane and Melbourne to and from Newcastle. Next up, $97/102 will get you between Adelaide and Sydney, $99/104 from Melbourne to Cairns, and $114/119 between either Sydney or Melbourne and Uluru — and flights to and from the Gold Coast, Whitsunday Coast and Margaret River are also among the discounts. With the overseas options, one-way fares kick off at $159/165 from Cairns or Darwin to Bali, while Melbourne–Singapore ($179/189) and Brisbane ($279/289) or Sydney ($299/319) to Seoul are some of the other choices. Expect to primarily take winter getaways no matter where you're heading, although the international routes cover dates from mid mid-May to late-August 2025 and the domestic fares are for mid-July to late-September 2025 travel. The usual caveats apply: all prices apply to one-way fares; checked baggage is not included, so you'll want to travel super light or pay extra to bring a suitcase; and, as per above, dates vary according to the route. [caption id="attachment_938861" align="alignnone" width="1920"] Destination NSW[/caption] Jetstar's Just Plane Good Sale runs until 11.59pm AEST on Sunday, April 27, 2025 — or until sold out if prior. 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.
Digital nomad visas and remote working have never been more attainable, so if you've ever toyed with the idea of taking your skills abroad, Tourism Authority of Thailand is giving you the chance to try before you fly (away forever) with its Live Your Best Digital Nomad Life competition. Up for grabs is a Concrete Playground Trips voucher valued at $3000 (covering return flights to any major airport in Thailand and accommodation for any hotel in Thailand hosted on the CP Trips website), a $500 Klook voucher to spend on top experiences, activities and travel essentials such as transport and SIM cards, as well as $1500 worth of Visa travel vouchers which should cover you for long-tail boat rides along Chao Phraya River in Bangkok, trekking in Chiang Mai's Doi Inthanon National Park, hopping on island escapades in Phuket or Krabi and all the Tom Kha Kai you can consume in a week. That's a total prize value of $5000. And who knows — at worst you can enjoy a change of WFH scenery. Or after a week you might love the Thai hospitality, your digital nomad life (and affordable living) so much, that you'll decide never to come back. Want to find out more about remote working in this incredible part of the world? Here's what you need to know to get yourself set up for a working holiday in Thailand. [competition]885290[/competition]
Hyderabad House reflects the region's Arabic take on Indian food — a result of having been ruled by the Turkish for 1000 years. This western Sydney institution is lauded by those in the know for its biryani. And, to prove its expertise, it has seven different flavour options all available in single serves, family serves (for between 4–5 people) and jumbo serves (for 10–12 people). Take your pick of meat — prawn, fish, egg, goat are available, but we recommend the chicken 65 (battered, spice-laden fried chicken) — and it'll be mixed through and fried off with the surprisingly complex and aromatic rice. You'll find rich curries, Chinese-style noodle dishes, kebabs and over a dozen bread options on the menu to round out your feast. And the best part? Plates rarely creep above $15 each. When it comes to spiciness, there are three levels available for each dish. As it's all made to order, you can simply choose the level you'd like. When we speak to owner Rehan Ali, we ask how he likes his spice level: "Being Indian, I can't even eat level three. If you're ordering for the first time, go with medium. Once you have it spicy, you can't turn it down". So, proceed with caution. Images: Cassandra Hannagn
So much to see, so little time. If hitting the couch is one of your favourite ways to unwind, that'll be a familiar refrain. Now that there are far more streaming services to choose from than we each have fingers and toes, finding something to watch is never a problem — and in 2022, there's been a lengthy list of excellent shows worthy of your attention. Some have tapped into our struggles with work-life balance in chilling and thrilling ways. Others have made hearts soar and swoon several times over. Also on this year's must-see list: multiple shows that dance with exceptional movies, a behind-the-scenes television great doing what he does best, porn for women, spectacularly lifelike dinosaurs and murder-mysteries. And, they're just some of 2022's standouts. Haven't been able to watch all of the year's ace new arrivals thanks to life getting in the way? Not quite sure where to start? With 2022 now at its midway point, here are our picks of the year's 15 best new television and streaming shows — consider it your catch-up list over the next six months. SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to re-enter his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift starts moving, it goes back to the office for Mark's "innie", as his work-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about the nine-to-five grind. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees — it's a surreal and riveting must-see. Severance is available to stream via Apple TV+. Read our full review. IRMA VEP One of 2022's most magnificent new shows, and a cinephile's dream of a series, Irma Vep requires some unpacking. The term 'layered' has rarely ever applied to a TV program quite as it does here. French filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper) retraces his own footsteps, turning his cult-favourite 1996 movie of the same name into an Alicia Vikander-starring HBO miniseries. And, in this series itself, a director is also remaking one of his own past flicks as a television project. In all versions of Irma Vep, the movies and shows being made are also remakes of 1915–16 French crime effort Les Vampires. It was a ten-episode, seven-hour cinema serial, and it's supremely real. Indeed, by first helming a feature about remaking Les Vampires, and now a series about remaking a movie that remakes Les Vampires (which, IRL, is also a remake of a movie that remakes Les Vampires), Assayas keeps remaking Les Vampires in his own way. It all sounds exactly as complicated as it is — and Assayas loves it. Viewers should, too. The nested dolls that are Irma Vep's meta setup just keep stacking, actually. The 1996 Irma Vep starred Maggie Cheung, who'd later become Assayas' wife, then ex-wife — and the 2022 Irma Vep haunts its on-screen filmmaker René Vidal (Vincent Macaigne, Non-Fiction) with visions of his ex-wife Jade Lee (Vivian Wu, Dead Pigs), who, yes, led his movie. If you're a fan of word puzzles, you might've also noticed that Irma Vep is an anagram of vampire; that said, Les Vampires isn't actually about bloodsuckers, and nor is any iteration of Irma Vep. To add to the list, while Cheung played a version of herself, Vikander (Blue Bayou, The Green Knight) plays fictional American star Mira — a name that's an anagram of Irma. You can also take that moniker literally, because mirroring is patently a pivotal aspect of the brilliant Irma Vep in every guise. Irma Vep is available to stream via Binge. Read our full review. WE OWN THIS CITY For the past 20 years, we've all fallen into two categories: people who've seen, loved and haven't been able to stop raving about HBO's Baltimore-set masterpiece The Wire; and folks who don't tick any of those boxes but have been told by everyone who does that they really need to watch it ASAP. We Own This City deserves to spark the same response — and shares many of its predecessor's key pieces. It too takes place in Maryland's most populous city. It also follows a law-and-order battle, complete with time spent within the Baltimore Police Department. It springs from former Baltimore Sun police reporter-turned-author, journalist and TV writer/producer David Simon as well, and sees him reteam with writer George Pelecanos, a veteran of not only The Wire but also Simon's Treme and The Deuce. Oh, and as it tells a compulsive crime tale, it's packed with phenomenal performances. One of those astonishing portrayals is among the first thing that viewers see, in fact, with We Own This City opening with Sergeant Wayne Jenkins lecturing new recruits on the BPD Gun Trace Task Force. Chatting through how to legally do the job — how to get away with what he deems necessary, that is — Jon Bernthal (The Many Saints of Newark) is hypnotically unsettling as Jenkins, who'll become the focus of a corruption investigation for his methods. He isn't the only "prime example of what's gone wrong in Baltimore," as viewers are told. So is Daniel Hersl (Josh Charles, The Loudest Voice), who is initially glimpsed pulling over and terrorising a Black driver for no other reason than that he can. Department of Justice Civil Rights Department attorney Nicole Steele (Wunmi Mosaku, Lovecraft Country) is charged with tracking the force's bad eggs, and that's just one of this complex, revealing and arresting six-part miniseries' layers. And if it feels so detailed that it could only be true, that's because it's based on a non-fiction book by Justin Fenton another ex-Baltimore Sun reporter. We Own This City is available to stream via Binge. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. Minx is available to stream via Stan. Read our full review. OUR FLAG FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. Our Flag Means Death is available to stream via Binge. Read our full review. THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past year or so. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous), and so on. The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The Afterparty is available to stream via Apple TV+. Read our full review. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. Heartstopper is available to stream via Netflix. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet is available to stream via Apple TV+. Read our full review. LOOT Aptly given its title, new Apple TV+ sitcom Loot doesn't look cheap — or sound it. It's partly filmed in one of America's biggest private homes, an enormous mansion with 21 bedrooms, five pools, a bowling alley and a cinema. It's filled with well-known needle drops that come quickly and often, with one episode featuring three Daft Punk tracks alone. It couldn't scream louder or drip harder with excess; the series is about a mega-rich tech whiz's wife who gets $87 billion in their public and messy breakup, after all. And, it is inescapably made by a company that's a big technology behemoth itself, and has been splashing stacks of cash to build its streaming roster (see: The Morning Show, Ted Lasso, Severance, Physical, Prehistoric Planet, Foundation, The Shrink Next Door, Shining Girls, Slow Horses, Lisey's Story and more). Loot is also clearly a satire, however, and a canny, warm and funny one at that. The premise: amid being gifted a mega yacht for her birthday, then jumping to a party in that aforementioned sprawling home, Molly Novak (Maya Rudolph, Big Mouth) discovers that her husband John (Adam Scott, Severance) is cheating on her. Post-divorce, after that huge settlement and a stint of partying around the globe with her assistant Nicholas (Joel Kim Booster, Fire Island), she gets a call from Sofia Salinas (Michaela Jaé Rodriguez, Pose), the head of the foundation she's forgotten bears her name (and even exists). With Molly's drunken decadence all over the news, the charity is finding it difficult to do its work. So, the organisation's namesake decides to ditch the revelry — and her married moniker, becoming Molly Wells — and put all that dough to better use. She also commits to playing an active role in how her funds can truly help people. Loot is available to stream via Apple TV+. Read our full review. TOKYO VICE Seven years after making his most recent movie, aka 2015's Chris Hemsworth-starring Blackhat, one of America's best directors is finally back behind the lens. Thief, Heat, The Insider and Collateral filmmaker Michael Mann only helms Tokyo Vice's pilot, but what a tone-setting debut episode it is — as stylish and gritty a piece of television as you're likely to stream any time soon, in fact. Mann also serves as the eight-part book-to-screen series' executive producer, which explains why its slice of neon-lit Japanese-set noir always feels like it bears his fingerprints. Of course, the show isn't shy about its links to the director, who also executive produced the original 1980s TV series Miami Vice, and wrote and directed the 2006 big-screen remake. That said, Tokyo Vice's moniker actually stems from Jake Adelstein's memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, about his years writing for Yomiuri Shimbun as a non-Japanese journalist. Nonetheless, everything about the HBO-backed program feels as if it was always fated to end up in Mann's hands. Adelstein was Yomiuri Shimbun's first foreign staff writer, with Tokyo Vice exploring his quest to cement himself inside the publication from the bottom up. As played by West Side Story's Ansel Elgort, Adelstein always stands out, as does his dogged determination to chase the stories he's explicitly instructed to ignore. Murders don't happen in Japan, he's told. What he's witnessing screams otherwise, though. So, he starts spending his own time investigating, befriending Tokyo organised crime division detective Hiroto Katagiri (Ken Watanabe, Godzilla: King of the Monsters) for guidance, and also getting close to club hostess and fellow American-in-Tokyo Samantha Porter (Rachel Keller, Legion), plus jaded Yakuza enforcer Sato (Shô Kasamatsu, Love You as the World Ends). Elgort is the weakest part of the series, but that also suits the overall narrative and its focus on the city's underworld — and everything around him, including Rinko Kikuchi (Pacific Rim: Uprising) and Hideaki Itô (Memoirs of a Murderer), is stellar. Tokyo Vice is available to stream via Paramount+. Read our full review. PACHINKO When novels are turned into movies, there's usually a sense that's something is missing, no matter how fantastic the film proves. That's understandable; when you compare the time it takes to unfurl a story on the page with the usual running time of a feature — even a lengthy one — not everything can make the leap from book to screen. Named for the gambling machines that fill Japanese arcades, Pachinko turns author and journalist Min Jin Lee's award-winning text into an eight-part series instead, and it's a canny and clever move. So too is getting filmmakers Kogonada and Justin Chon to direct four instalments apiece, both coming off fantastic work via After Yang and Blue Bayou respectively. And, adding to the smart and savvy choices made by this immediately engrossing series, which unfurls a sweeping, 20th century-set, multi-generational tale about struggle, resilience and endurance: casting always-wonderful Minari Oscar-winner Youn Yuh-jung — as well as newcomer Kim Min-ha as the younger version of her character. Youn and Kim play Sunja (and, as a child, first-timer Yuna does as well), who anchors a story that's both impressively sprawling and devastatingly intimate. As a girl, she grows up in Japanese-occupied Korea, a fact that shapes every part of her young life. When she's older, she moves to Japan — and by the time that she's a grandmother, that's where the bulk of her existence has unfolded. Jumping between different periods, Pachinko charts how the shadow of colonial rule has lingered over not just Sunja but the family she's brought into the world, including in the 80s where her grandson Solomon (Jin Ha, Devs) works in finance in New York and her son Mozasu (Soji Arai, Cobra Kai) has made his way thanks to the titular game. Splashing an epic story told with emotion, resonance, insight and elegance across the screen, this is at the pinnacle of novel-to-screen adaptations. Pachinko is available to stream via Apple TV+. SLOW HORSES One of several espionage-themed efforts hitting streaming this year — see also: the returning The Flight Attendant and movie All the Old Knives — Slow Horses gives the genre a pivotal switch and entertaining shake up. It's still a tense thriller, kicking off with an airport incident and then following a kidnapping, but it's also about the kind of spies that don't usually populate the on-screen world of covert operatives. Stationed away from the main MI5 base at a rundown, clandestine office called Slough House, Jackson Lamb (Gary Oldman, The Hitman's Wife's Bodyguard) and his team are the agency's rejects. They haven't been fired for a multitude of reasons, however, including boasting ties to influential past employees, being great at their jobs but also a drunk and having impressive hacking skills yet proving impossible to get along with. Given the nickname that gives the show its moniker, usually they do little more than push paper, too, until they get caught up in a high-profile case. Oldman goes big and broad as Lamb, and he's also ceaselessly absorbing to watch, but Slow Horses isn't short on stars. In a six-episode first season adapted from Mick Herron's 2010 novel of the same name, Kristin Scott Thomas (Rebecca) plays MI5 Deputy Director-General Diana Taverner, Lamb's supremely competent head-office counterpart — although it's Jack Lowden (Fighting with My Family) and Olivia Cooke (Pixie) as young operatives River Cartwright and Sid Baker, and their efforts to chase down a lead they're not meant to, that's at the forefront. Behind the scenes, executive producer and writer Will Smith (not that one) brings a sly and witty way with dialogue from his past work on The Thick of It and Veep, making Slow Horses both crackingly suspenseful and tartly amusing. The slinky theme tune by Mick Jagger also helps set the mood — and season two is already in development. Slow Horses is available to stream via Apple TV+. THE MAN WHO FELL TO EARTH Who'd want to try to step into the one and only David Bowie's shoes? Only the brave and the bold. Two people earn that description in The Man Who Fell to Earth, the new TV sequel to the iconic 1976 movie that starred the music legend in the role he was clearly born to play: an alien who descends upon earth and ch-ch-changes history. Bill Nighy (Buckley's Chance) is charged with taking over the character of Thomas Jerome Newton and, thankfully and with style, he's up to the task. Chiwetel Ejiofor (Doctor Strange in the Multiverse of Madness) slides into the same kind of part that Bowie owned in the original, however, as fellow extra-terrestrial interloper Faraday. He's this follow-up's newcomer to the planet, and he's just as destined to do big things. That's not a spoiler — early in the first episode, Faraday addresses a massive crowd like he's Steve Jobs announcing Apple's latest product, and The Man Who Fell to Earth's tech success uses the occasion to spin his origin story. Who'd want to try to pick up where one of the best sci-fi films ever made left off? That'd also be the brave and the bold, aka Clarice creators Jenny Lumet and Alex Kurtzman. Drawing inspiration from silver screen gems is obviously the pair's niche of late, but it's worth remembering with this new effort — which takes its cues from Walter Tevis' 1963 novel of the same name, too — that Kurtzman was also behind exceptional 2008–13 sci-fi series Fringe. Indeed, The Man Who Fell to Earth 2.0 feels like the perfect use of his talents, with the series thinking big and brimming with urgency in its vision of a world that might only be able to be saved by a spaceboy who truly cares about stopping climate change's damage. To follow through with his mission, though, Faraday also needs the help of former MIT physics whiz Justin Falls (Naomie Harris, No Time to Die). The Man Who Fell to Earth is available to stream via Paramount+. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Top Gun: Maverick) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range is available to stream via Prime Video. Read our full review. THE DROPOUT Dramatising the Theranos scandal, eight-part miniseries The Dropout is one of several high-profile releases this year to relive a wild true-crime tale — including the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, and also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. It also dives into the horror-inducing Dr Death-esque realm, because when a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. And, it's the most gripping of the bunch, even though we're clearly living in peak scandal-to-screen times. Scam culture might be here to stay as Inventing Anna told us in a telling line of dialogue, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. The Dropout is available to stream via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
If a cinema date was on your agenda in the later months of 2024 or has been since 2025 began, then you might've seen an Oscar-nominee. When it comes to accolade-worthy flicks hitting screens, the films celebrated by the Academy of Motion Picture Arts and Sciences usually release closer to awards season and during it — and, in Australia, even once the year's official Oscar contenders have been named. Dune: Part Two, the first of duelling Timothée Chalamet movies vying for glory, is an exception among 2025's Academy-anointed picks, as audiences have had over a year to catch up with the spicy sci-fi sequel. A Complete Unknown, with Timmy as Bob Dylan, demonstrates the normal trend perfectly, though — and you'll need to get cosy in your local cinema right now to enjoy it. They're just two of 2025's Oscar-contending features and documentaries that Australians can enjoy this very instant. In total, if you're eager to give nominated flicks the Pokémon catch-them-all approach — whether they will, could or should win — there's 33 currently available in the lead up to Hollywood's night of nights. Ahead of the recipients being revealed on Monday, March 3, here's where to see them. Watching epic dramas on big screen, diving into powerful and haunting docos at home, deciding whether to defy gravity in a crowd or on your own couch: they're all options. On the Big Screen: A Complete Unknown Nominations: Best Picture, Best Director (James Mangold), Best Actor (Timothée Chalamet), Best Supporting Actor (Edward Norton), Best Supporting Actress (Monica Barbaro), Best Adapted Screenplay, Best Costume Design Our thoughts: This Timothée Chalamet (Dune: Part Two) passion project took more than half a decade to come to fruition. With its 60s setting, focusing on the period from Bob Dylan's arrival in New York City to going electric at the Newport Folk Festival, a sense of time is always visible A Complete Unknown; however, that also applies to the years that its star has had to perfect his lead part. Benefiting from such a hefty preparation block, this is as committed a performance as Chalamet has given — and one that director James Mangold (Indiana Jones and the Dial of Destiny) always lets shine as the film explores an icon's talents, ambitions and quest to remain himself. Where to watch: In Australian cinemas. Read our interviews with Timothée Chalamet, Elle Fanning, Monica Barbaro, James Mangold and Boyd Holbrook. The Brutalist Nominations: Best Picture, Best Director (Brady Corbet), Best Actor (Adrien Brody), Best Supporting Actor (Guy Pearce), Best Supporting Actress (Felicity Jones), Best Original Screenplay, Best Cinematography, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Since switching from acting to writing and directing, Brady Corbet hasn't lacked in ambition for a second — but as excellent as both Childhood of a Leader and Vox Lux are, his third feature towers above them. With Adrien Brody (Winning Time: The Rise of the Lakers Dynasty) as Hungarian Jewish architect László Toth, The Brutalist is as epic as a three-and-a-half-hour drama about trying to escape life's horrors, including those of the Holocaust, by chasing the American dream can be. The buildings designed by its protagonist aren't the only things that are monumental here, career-best turns by Guy Pearce and Felicity Jones among them. Where to watch: In Australian cinemas. Read our interview with Adrien Brody, Guy Pearce, Felicity Jones and Brady Corbet. Emilia Pérez Nominations: Best Picture, Best Director (Jacques Audiard), Best Actress (Karla Sofía Gascón), Best Supporting Actress (Zoe Saldaña), Best International Feature Film, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Sound, Best Original Song — 'Mi Camino' by Camille and Clément Ducol, Best Original Song — 'El Mal' by Clément Ducol, Camille and Jacques Audiard Our thoughts: As it follows its namesake character's (Karla Sofía Gascón, Harina) journey from cartel leader to trying to live her authentic life, Emilia Pérez isn't just a musical and a crime drama rolled into one. It's also a melodrama — and French filmmaker Jacques Audiard (Paris, 13th District) goes bold in leaning in, and in embracing the juxtapositions of the movie's three main genres as they jostle against each other. That audacity, that willingness to be both spectacular and messy, and the feature's three key performances, including from Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building): they all assist in making this vivid viewing. Where to watch: In Australian cinemas. I'm Still Here Nominations: Best Picture, Best Actress (Fernanda Torres), Best International Feature Film Our thoughts: It came as no surprise when Fernanda Torres (Fim) won a Golden Globe for her portrayal of Eunice Paiva in Walter Salles' (On the Road) deeply moving political and personal drama. Her understated yet also expressive performance as the real-life wife of Rubens Paiva (Selton Mello, Bury Your Dead), who was taken away by Brazil's military dictatorship in 1971 and never seen again, is that powerful. I'm Still Here poignantly charts the task of trying to endure under such heartbreaking circumstances — under oppressive rule, when your existence crumbles, when your family is fraying courtesy of the trauma and when fighting back is the only choice, too. Where to watch: In Australian cinemas. Maria Nominations: Best Cinematography Our thoughts: Chilean filmmaker Pablo Larraín (El Conde). Pivotal women from the 20th century. Phenomenal actors giving their utmost to their parts. That's proven a winning combination three times now, with Maria following Jackie and Spencer. Unlike Natalie Portman (Lady in the Lake) as Jacqueline Kennedy and Kristen Stewart (Love Lies Bleeding) as Princess Diana, Angelina Jolie (Eternals) mightn't have earned a Best Actress Oscar nomination, but she's captivating in every second — in diva mode, but also both soulful and yearning — as opera singer Maria Callas, as the exquisitely shot film (by El Conde's Edward Lachman) charts the week before her death in 1977. Where to watch: In Australian cinemas. The Seed of the Sacred Fig Nominations: Best International Feature Film Our thoughts: Making movies isn't easy; however, there's regular challenges and there's the situation that Mohammad Rasoulof faces. For his art, for documenting the reality of life in Iran today and for showing it to the world, prison sentences and filmmaking bans have come his way. The Seed of the Sacred Fig isn't pivotal viewing just because of what it took to create — in secret, with Rasoulof directing remotely — and how its guiding force is treated by the Iranian regime, though. Observing how a family unravels when an investigating judge's wife and daughters push back amid the country's 2022–23 protests, this is another statement of film from the There Is No Evil helmer. Where to watch: In Australian cinemas. Read our interview with Mohammad Rasoulof. September 5 Nominations: Best Original Screenplay Our thoughts: Before First Cow, Past Lives, The Agency and plenty more, among John Magaro's first on-screen jobs was playing an extra in Munich. Two decades later, he turns in one of September 5's many compelling performances (see also: Presumed Innocent's Peter Sarsgaard, Mrs Davis' Ben Chaplin and The Teachers' Lounge's Leonie Benesch) in another potent drama about the terrorist attack at the 1972 Olympics. Filmmaker Tim Fehlbaum (The Colony) views this chapter of history through the efforts of the ABC Sports crew, whose coverage pivoted and made history — and his tense procedural journalism thriller is both stirring and gripping. Where to watch: In Australian cinemas. Sing Sing Nominations: Best Actor (Colman Domingo), Best Adapted Screenplay, Best Original Song — 'Like a Bird' by Abraham Alexander and Adrian Quesada Our thoughts: In the maximum-security prison that gives Greg Kwedar's (Transpecos) affecting and inspiring second feature its title, the aim of the Rehabilitation Through the Arts program is right there in its own moniker. For the real-life scheme to inspire a new cinema masterpiece, an on-screen masterclass in empathy and a tribute to being moved by art, surely wasn't an initial goal. As Divine G, one of the incarcerated man finding purpose through staging theatre productions with his fellow inmates, Colman Domingo (The Madness) is astonishing — as is Clarence Maclin, a former detainee at the NYC facility who plays himself as the movie mixes actors with amateurs. Where to watch: In Australian cinemas. In Cinemas or at Home: Anora Nominations: Best Picture, Best Director (Sean Baker), Best Actress (Mikey Madison), Best Supporting Actor (Yura Borisov), Best Original Screenplay, Best Editing Our thoughts: Along with playfulness, empathy, and an eagerness to look beyond the usual characters and pockets of America that tend to grace narrative cinema, tenderness is one Sean Baker's special skills, as splashed across his filmography. It's in Tangerine, The Florida Project and Red Rocket, and now Anora. Spotting Cinderella elements and riffs on Pretty Woman aren't hard with this movie about a Brooklyn erotic dancer (Mikey Madison, Lady in the Lake) who liaises with and is soon wed to the son (Mark Eydelshteyn, Zhar-ptitsa) of a Russian oligarch (Aleksey Serebryakov, Lotereya) — but just as Ani is always her own person, the magnificent Anora is always a Baker film. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. A Real Pain Nominations: Best Supporting Actor (Kieran Culkin), Best Original Screenplay Our thoughts: He didn't feature on-screen in his first film as a writer/director, but 2022's When You Finish Saving the World couldn't have sprung from anyone but Jesse Eisenberg. Neither could've 2024's A Real Pain. Both explore the fact that experiencing our own pain, big or small, world-shattering or seemingly trivial, or personal or existential, is never a minor matter. In the latter, the Fleishman Is in Trouble actor plays the anxious part, and literally. His character is a bundle of nerves about and during his pilgrimage to Poland with his cousin (Kieran Culkin, Succession) to honour of their grandmother, who survived the Second World War, then started a new life in the US. Where to watch: In Australian cinemas, and via Disney+, Apple TV and Prime Video. Read our full review and our interview with Jesse Eisenberg. Better Man Nominations: Best Visual Effects Our thoughts: Most music biopics want the figure in its spotlight to remain front and centre. Better Man doesn't stray from the formula there. The bulk of films in the genre also want audiences to always recognise the star in focus, which is where this Australian-made look at Robbie Williams' career makes a huge departure. It's the spirit of the former Take That member that shines through in Jonno Davies' motion-capture performance, as Williams is rendered on-screen as a chimpanzee. For The Greatest Showman director Michael Gracey, it works, so much so that it's now impossible to imagine a feature about the singer done any other way. Let me entertain you indeed. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Jonno Davies and Michael Gracey. Conclave Nominations: Best Picture, Best Actor (Ralph Fiennes), Best Supporting Actress (Isabella Rossellini), Best Adapted Screenplay, Best Costume Design, Best Film Editing, Best Original Score, Best Production Design Our thoughts: Cardinals, they're just like everyone else seeking power — bickering, gossiping, scheming, fighting and trying to find their way to the top by any means possible, that is. Aided by a stellar cast (including The Return's Ralph Fiennes, Citadel's Stanley Tucci, The Old Man's John Lithgow and Spaceman's Isabella Rossellini) answering viewers' prayers, filmmaker Edward Berger swaps World War I's horrors in All Quiet on the Western Front for a pulpy and twisty but smart page-to-screen papal thriller about electing a new pope. He hasn't completely switched thematically, though: how tradition and modernity butt against each other also remains the director's focus. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Gladiator II Nominations: Best Costume Design Our thoughts: Swords, sandals, spectacle, scale, sharks in more ways than one — including literally — and Denzel Washington (The Equalizer 3) having a scenery-chewing ball: welcome to Ridley Scott's 24-years-later follow-up to Gladiator. Helming his fourth feature of the 2020s after The Last Duel, House of Gucci and Napoleon, the veteran filmmaker has taken the sequel-as-remake approach with Gladiator II, but sports the style and stars to largely pull it off, with Paul Mescal (All of Us Strangers), Pedro Pascal (The Wild Robot), Connie Nielsen (Origin), Fred Hechinger (Kraven the Hunter) and Joseph Quinn (A Quiet Place: Day One) also great among the latter. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Paul Mescal, Connie Nielsen and Fred Hechinger. Nosferatu Nominations: Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, Best Production Design Our thoughts: The Witch, The Lighthouse and The Northman filmmaker Robert Eggers turned Nosferatu into a play as a teen. Consider his big-screen remake of FW Murnau's 1922 classic a second bite, then. His fastidious fixation with detail and recreating past eras with painstaking precision is on full and glorious display, as is his way with unnerving eerieness. As Count Orlok in a tale that began as an unauthorised Dracula adaptation a century ago, Bill Skarsgård (Boy Kills World) is commanding, while Renfield's Nicholas Hoult and Shadow of the Vampire's Willem Dafoe make welcome bloodsucker returns, but it's Lily-Rose Depp (The Idol) who truly haunts. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our interview with Willem Dafoe, Emma Corrin, Aaron Taylor-Johnson and Robert Eggers. Wicked Nominations: Best Picture, Best Actress (Cynthia Erivo), Best Supporting Actress (Ariana Grande), Best Costume Design, Best Film Editing, Best Makeup and Hairstyling, Best Original Score, Best Production Design, Best Sound, Best Visual Effects Our thoughts: As a theatre-kid obsession for decades, it was long likely that the big-screen adaptation of Wicked — a movie based on a musical springing from a book that offered a prequel to a film that walked the celluloid road 85 years prior, itself jumping from the page to the screen — would have big theatre-kid energy as it attempted to ensure that its magic enchants across mediums. No one would ever want a muted version, after all. It was true of his take on In the Heights and it's accurate again here: Jon M Chu has a knack as a filmmaker of stage hits reaching cinemas, matching the vibe of the show that he's taking on expertly. Where to watch: In Australian cinemas, and via Apple TV and Prime Video. Read our full review and our interview with Nathan Crowley. Via Streaming: A Different Man Nominations: Best Makeup and Hairstyling Our thoughts: 2024 was the year that Sebastian Stan (Dumb Money) played men chasing a dream that turns out to be a nightmare — and that musing on what it takes to accept yourself and ignore the world's feedback, and whether external change can bring about an internal transformation, was gripping movie viewing more than once. Hailing from writer/director Aaron Schimberg (Chained for Life), A Different Man is an exceptional example of both. When Stan's Edward Lemuel undertakes an experimental treatment for neurofibromatosis, his disfigurement disappears; however, his hopes for stardom and love can't be grasped that easily. Where to watch: Via Binge, Apple TV and Prime Video. Read our full review. Alien: Romulus Nominations: Best Visual Effects Our thoughts: Don't trust your employer. While that isn't the sole takeaway message from 45 years of Alien movies, it's a biting aspect of the sci-fi/horror saga nonetheless. In space, Weylan-Yutani Corp workers keep screaming and the company doesn't simply refuse to hear them; in the battle between killer extra-terrestrial creatures and the outfit's employees, it puts the former first. Under Fede Álvarez's (The Girl in the Spider's Web) direction, watching how that plays out in Alien: Romulus for Rain Carradine (Cailee Spaeny, Civil War), the latest to glean that she doesn't mean anything beyond labour to the source of her paycheque, isn't quite the perfect organism — but it's engaging. Where to watch: Via Disney+, Apple TV and Prime Video. The Apprentice Nominations: Best Actor (Sebastian Stan), Best Supporting Actor (Jeremy Strong) Our thoughts: The Apprentice was always going to be a horror movie. The world already knows its subject, and is familiar with where his path has taken him since the 70s- and 80s-era chapters of his life that are covered by Ali Abbasi's (Holy Spider) compelling film. Sebastian Stan (Dumb Money) and Jeremy Strong (in his first post-Succession role) proving phenomenal in a movie that's unshakeable: that too feels inevitable. The fact that this is a Frankenstein's monster story, too, was perhaps less expected — but by focusing on Donald Trump's (Stan) mentorship by New York City attorney and political fixer Roy Cohn (Strong) when the former was an aspiring real-estate tycoon, it fits. Where to watch: Via Apple TV and Prime Video. Read our interview with Ali Abbasi. Black Box Diaries Nominations: Best Documentary Feature Our thoughts: It's easy to wish for a world where Black Box Diaries didn't need to exist — where its director and subject, journalist Shiori Itō, wasn't sexually assaulted, then forced to investigate the attack herself because the Japanese police declined to pursue the high-profile culprit. The reality, though, is that in a country where only four percent of sexual assaults end up going through the justice system, many women are in the same situation, even if they can't and/or don't pick up a camera. Itō knows that fact as she courageously shares her story, and attempts to ensure that what she went through isn't buried. Filled with vulnerability and determination, this is devastating viewing. Where to watch: Via DocPlay. Dune: Part Two Nominations: Best Picture, Best, Cinematography, Best Production Design, Best Sound, Best Visual Effects Our thoughts: Revenge is a dish best served sandy in Dune: Part Two. On the desert planet of Arrakis, where golden hills as far as the eye can see are shaped from the most-coveted and -psychedelic substance in author Frank Herbert's estimation, there's no other way. Vengeance is just one course on Paul Atreides' (Timothée Chalamet, Wonka) menu, however. Pop culture's supreme spice boy, heir to the stewardship of his adopted realm, has a prophecy to fulfil whether he likes it or not; propaganda to navigate, especially about him being the messiah; and an Indigenous population, the Fremen, to prove himself to. So mines Denis Villeneuve's soaring sequel to 2021's Dune. Where to watch: Via Netflix, Binge, Apple TV and Prime Video. Read our full review and our interview with Greig Fraser. Elton John: Never Too Late Nominations: Best Original Song — 'Never Too Late' by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin Our thoughts: It started in 2018. It finished in 2023. Across that five-year period, it came to Australia twice. Elton John's Farewell Yellow Brick Road tour, his final string of live shows around the world, saw him say goodbye to hitting the stage after five decades — a decision that documentary Elton John: Never Too Late digs into. This is a celebratory film rather than a deep dive, and somehow not as intimate as viewers should expect of a movie co-directed by the music icon's husband David Furnish (who also helmed 1997's Elton John: Tantrums & Tiaras, and works with Martha and Billie Eilish: The World's a Little Blurry filmmaker RJ Cutler hear), but the music is still a treat. Where to watch: Via Disney+. Inside Out 2 Nominations: Best Animated Feature Film Our thoughts: They're basic: joy, sadness, fear, disgust and anger, that is, the five emotions that swirled inside human heads in Pixar's 2015 hit Inside Out. In Inside Out 2, that quintet of feelings isn't enough to cope with being a teenager, which is where anxiety, envy, ennui and embarrassment come in. The newcomers arrive with the onset of puberty. They have no time for simple happiness; they've levelled up some of the emotions adjacent to sorrow, fright, dismay and fury, too. Inside Out was always an all-ages ode to mindfulness, as is its sequel — and discovering how to accept and acknowledge apprehension, unease and nerves is here, like in life, a complicated balancing act. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Kingdom of the Planet of the Apes Nominations: Best Visual Effects Our thoughts: Since day one, every Planet of the Apes tale has been a mirror. Gazing into the sci-fi series means seeing the power structures and societal struggles of our reality staring back — discrimination, authoritarianism and even the impact of a world-ravaging virus should ring a bell — but with humans no longer atop the pecking order. These are allegorical stories and, at their best, thoughtful ones, probing the responsibilities of being the planet's dominant force and the ramifications of taking that mantle for granted. Not every instalment has handled the task as well as it should've, but those, that do like Kingdom of the Planet of the Apes, leave a paw print. Where to watch: Via Disney+, Apple TV and Prime Video. Read our full review. Memoir of a Snail Nominations: Best Animated Feature Film Our thoughts: Fifteen years is a long time between features. Films by Australian stop-motion animator Adam Elliot — movies that he calls "clayographies" — also aren't quick to make. But Memoir of a Snail rewards the wait, with the Mary and Max writer/director again using his preferred medium to process life's heartbreaks, struggles, joys and delights in stunning fashion. Sarah Snook (Succession) voices Grace Pudel, twin to Gilbert (Kodi Smit-McPhee, Disclaimer) and later friend to the elderly Pinky (Jacki Weaver, Hello Tomorrow!). Grace reflects upon her existence from childhood onwards, and her journey towards living for herself, to share this immensely affecting story. Where to watch: Via Apple TV and Prime Video. Read our interview with Adam Elliot. Nickel Boys Nominations: Best Picture, Best Adapted Screenplay Our thoughts: Cinema's function as an empathy machine places viewers into someone else's shoes for 90 or so minutes at a time. Adapting Colson Whitehead's Pulitzer Prize-winning novel, director RaMell Ross (Hale County This Morning, This Evening) doesn't leave that sensation to chance in this impressionistic standout. As shot by Jomo Fray (All Dirt Roads Taste of Salt), Nickel Boys' extraordinary cinematography adopts a first-person perspective, ensuring that the audience sees and hears the world as Elwood (Ethan Herisse, The American Society of Magical Negroes) and Turner (Brandon Wilson, Murmur) do when they're sent to an abusive reform school. Where to watch: Via Prime Video. No Other Land Nominations: Best Documentary Feature Our thoughts: In No Other Land, Basel Adra films what he knows but wishes that he doesn't — and what he knows that the world needs to see. Co-directing with Israeli investigative journalist Yuval Abraham, plus farmer and photographer Hamdan Ballal and cinematographer Rachel Szor, the Palestinian activist chronicles the takeover of the West Bank region of Masafer Yatta for an Israeli military base. As a result, families with centuries of ties to the land are forced to live in caves, battle soldiers and fight to survive. Making this documentary is an act of bravery of the highest order. Watching it, and bearing witness as Adra demands, couldn't be more essential. Where to watch: Via DocPlay. Porcelain War Nominations: Best Documentary Feature Our thoughts: Art can be a radical act — a fight, a show of defiance, a countering to oppression and devastation — and this truth can be baked into a documentary's very existence (see: Black Box Diaries and No Other Land for just two recent examples). The moving and powerful Porcelain War also shows this idea in action in Ukraine, against the backdrop of its devastated landscape under the current Russian occupation. In this Sundance 2024 US Documentary Grand Jury Prize-winner, filmmakers Brendan Bellomo and Slava Leontyev capture the latter's efforts with Anya Stasenko to craft porcelain figurines while they're part of the Ukrainian defense. Where to watch: Via DocPlay. The Six Triple Eight Nominations: Best Original Song — 'The Journey' by Diane Warren Our thoughts: The ever-prolific Tyler Perry directed not one, not two, but three films in 2024: thrillers Mea Culpa and Divorce in the Black, plus the World War II-set The Six Triple Eight. The last of the otherwise-unrelated trio brings the story of the 6888th Central Postal Directory Battalion to the screen — the only all-Black US Women's Army Corps dispatched overseas during the conflict. In the lead, Kerry Washington (Unprisoned) is a highlight. Perry helms with great intentions, honouring women who history shouldn't be permitted to forget. But none of that translates to an impressive feature, even with Oprah Winfrey (A Wrinkle in Time) adding to her acting resume. Where to watch: Via Netflix. Soundtrack to a Coup d'Etat Nominations: Best Documentary Feature Our thoughts: The Cold War. Jazz greats, including Louis Armstrong, Nina Simone, Duke Ellington, Dizzy Gillespie and Melba Liston. America's operations through the CIA in the Democratic Republic of the Congo when it was newly independent from Belgium. Across two-and-a-half hours in essay style, Belgian filmmaker Johan Grimonprez's (Blue Orchids) inventive and engaging — and thorough and dense — documentary Soundtrack to a Coup d'Etat explains how they're all connected, plus the 1961 murder of Patrice Lumumba and much more as well. It has the soundtrack, of course, as well as smarts, pace, thrills and a probing look both backwards and forward. Where to watch: Via DocPlay. The Substance Nominations: Best Picture, Best Director (Coralie Fargeat), Best Actress (Demi Moore), Best Original Screenplay, Best Makeup and Hairstyling Our thoughts: If you suddenly looked like society's ideal, how would it change your life? The Substance asks this. With Revenge's Coralie Fargeat leading the charge on her long-awaited sophomore feature and earning Cannes' Best Screenplay Award for her troubles, the result is a new body-horror masterpiece. Pump it up: the sci-fi concept; the stunning command of sound, vision and tone; the savagery and smarts; the gonzo willingness to keep pushing and parodying; the gore (and there's gore); and the career-reviving performance from Demi Moore (Landman), who'll now always be remembered as newly 50-year-old actor and TV host Elisabeth Sparkle. Where to watch: Via Stan, Apple TV and Prime Video. Read our full review. Sugarcane Nominations: Best Documentary Feature Our thoughts: In 1981, more than a century after it was founded, the Catholic Church-run St Joseph's Mission residential school in British Columbia, Canada closed its doors. Reports of abuse swirled long before its shuttering, in some cases backed up by investigations and trials. Four decades afterwards, unmarked graves were discovered — and more distressing stories emerged, including of pregnancies resulting from sexual assaults and covered up. This is personal for Julian Brave NoiseCat, who co-directs the sensitively, potently, astutely and movingly told Sugarcane with fellow feature-length first-timer Emily Kassie: his father and grandmother are both part of this tale. Where to watch: Via Disney+. Wallace & Gromit: Vengeance Most Fowl Nominations: Best Animated Feature Film Our thoughts: Break out the Wensleydale cheese: Wallace & Gromit is back. The first film, short or feature-length, about the kind-hearted inventor (Ben Whitehead) and his beagle since 2008's A Matter of Loaf and Death — TV's Wallace & Gromit's World of Invention did pop up for six episodes in 2010, though — sees its namesakes targeted by penguin Feather McGraw on a quest for revenge. Despite the long break between screen outings, Aardman Animation's main duo have lost none of their charm. A delight of an all-ages flick, it's both humorous and heartfelt, nails its slapstick silliness, and even makes clever use of a robotic garden gnome. Where to watch: Via Netflix. The Wild Robot Nominations: Best Animated Feature Film, Best Original Score, Best Sound Our thoughts: A favourite on the page first, The Wild Robot is now an all-time gem on the screen. Boasting extraordinarily emotive voicework from Lupita Nyong'o (A Quiet Place: Day One), beautiful hand-painted forest imagery inspired by Studio Ghibli, assured direction from How to Train Your Dragon and The Croods' Chris Sanders, and a rousing score by Kris Bowers (Bridgerton) will do that. Story-wise, it spends time with Roz, aka ROZZUM unit 7134, after the android ends up on an animal-filled island and learns that there's more to existence than following your programming — and, in the process, The Wild Robot proves tender, warm and enchanting. Where to watch: Via Apple TV and Prime Video. Read our interview with Lupita Nyong'o and Chris Sanders. The winners of the 2025 Oscars will be announced on Monday, March 3, Australian time. For further details, head to the awards' website. Wondering what will, should and could win? Check out our predictions in 11 key categories.
Walking through a cathedral made of 100,000-plus lights, moseying beneath a canopy of glowing multi-coloured trees, wandering between ribbons of flashing beams — you'll be able to do all of this when Lightscape heads to Australia for the first time in 2022. Originally meant to debut Down Under in 2020 but postponed due to the pandemic, the after-dark light festival will be taking over the Royal Botanic Gardens Victoria — Melbourne from Friday, June 24–Sunday, August 7, beaming away from 5.15pm Wednesday–Sunday. While the leafy Birdwood Avenue spot is already extremely scenic, to say that Lightscape will be brightening up the place is quite the understatement. Prepare to see the garden illuminated by immersive and large-scale installations scattered along a 1.8-kilometre route, including sparkling trees, luminous walkways and bursts of colour that look like fireworks. A big highlight: large-scale works like Winter Cathedral, the aforementioned installation that'll feature more than 100,000 globes and make you feel like you're being bathed in radiance. Lightscape comes to Australia after taking over gardens across the United Kingdom and the United States. Developed by Royal Botanic Gardens, Kew in the UK, it's understandably proven a huge success — and more than two-million people wandered along its glowing trails last season. In Melbourne, Lightscape will also commission local artists to create works that'll celebrate the city's culture and nature — giving the after-dark light festival a local touch. Fingers crossed for pop-up food and drink stalls scattered throughout — selling, we hope, mulled wine to keep hands warm during the chilly winter nights. Lightscape will light up Royal Botanic Gardens Melbourne, Birdwood Avenue, Melbourne, from Friday, June 24–Sunday, August 7. For more information or to buy tickets, head to the event's website.
A home to sticky floors and debaucherous nights, Club 77 (or Sevs as it's often affectionately referred to) is now 25-years-old. The long-standing nightclub has been a go-to for packed dance floors throughout the last three decades, acting as a base for the renowned DJ collective BangGang and hosting world-conquering acts from across the globe. Just in time for its half-decade celebrations, the Sydney institution was given a revamp, with a new look, a new drinks menu from the Odd Culture crew and a new set of opening hours which will see it open 5pm–4am seven days a week. To celebrate, it's hosting a heap of big late-night parties including two blockbuster shows as part of Vivid's live music program. Taking place on Saturday, May 28 and Saturday, June 11, the two club nights have been coined 77 Live and will feature lineups curated by two renowned party collectives. The first night has been pulled together with the help of events organisation UNDR ctrl and will be headlined by a five-hour back-to-back set from beloved indie-pop producer Golden Vessel and electronic duo Close Counters. Accompanying the music will be lights and three-dimensional visual displays from artist Tom Vanderzeil under their Passive Kneeling moniker. Night two will also feature visuals from Passive Kneeling, with the music now in the hands of local collective Heavenly. Expect a wide-ranging array of electronic tunes from Heavenly including a set from ambient producer Cousin as well as FBi Radio mainstays Bria and Ben Fester. https://www.youtube.com/watch?v=WmsvhQNuO-E
It seems like much of what makes Lightning Ridge special takes place underground. Chambers of the Black Hand is another unique landmark, a sprawling opal cave featuring tableaux hand-carved into the sandstone walls. Produced by artist and opal miner Ron Canlin, this incredible artistic endeavour was started in 1996. Today, the subterranean lair is adorned with figures carved into the mine walls with a small pick-axe and a butter knife. You can explore themed sections dedicated to native animals, dinosaurs and pop culture references like Lord of the Rings. There's also an underground shop where you can purchase opals directly from the source. Head to the website to plan your trip.
Blak Markets are back at The Rocks this weekend, bringing the now-famous offering of Indigenous makers, artists and small business owners together for a special Mother's Day celebration. While the market has historically run for a weekend, this will see 20 stallholders popping up in Dawes Point Park for one day only, from 10am–4pm on Sunday, May 11. It's not just a great activity to visit with Mum — it's a great chance to meet some talented creatives and celebrate the special day with a community, while you spend an afternoon wandering the markets and chatting with the makers. You can also enjoy a Welcome to Country and smoking ceremony when the market opens, as well as live dance performances, a weaving workshop, and a dance and ochre workshop for any kids, before the fun concludes at 4pm. On the stallholder front, you can take home the likes of handmade dolls by Dollies Tribe & Co; gorgeous artworks by Saretta Art & Design, Soul Reign and Kourt; native bushfood and plants from IndigiGrow; and much more.
Two inner west train stations are slated to receive $40-million makeovers as part of their integration into the Sydney Metro project. The upgrades at St Peters and Erskineville stations will help improve accessibility at both sites, and will see them become part of the T4 Illawarra train lines from 2024. This change will provide direct access for inner west residents to Martin Place Station and Sydney's eastern suburbs. The planned upgrades follow an announcement in February that Transport for NSW would be introducing hundreds of extra weekly services to the city's train network. The $1 billion plan to increase the capacity of the rail network is set to include a significant increase in services running through the T2 and T8 lines, both of which run through the inner west, as well as a 6000-passenger capacity increase to the T4 line. When they join the T4 line, trains running through St Peters and Erskineville will no longer continue past Central and Town Hall on to the City Circle (Wynyard, Circular Quay, St James and Museum), but will instead connect from Central to Martin Place, Kings Cross, Edgecliff and Bondi Junction. Both St Peters and Erskineville stations will be fitted with new lifts and canopies in anticipation of increased train services when the Metro opens. Erskineville Station will receive four lifts, a new pedestrian footbridge, new amenities and toilets, a new entrance at the southern end of the station and platform tactiles to help customers with vision impairment. Similarly, St Peters Station will be fitted out with two new lifts, as well as new amenities including a family accessible toilet, platform tactiles and upgrades to the pedestrian pathways. Planning approval is still required, but construction is slated to start later in 2021. Some early work at St Peters Station will take place on Saturday, April 17 during a scheduled train shutdown. You can find out more info on the train shutdown on the Transport for NSW websit. The St Peters and Erskineville Station upgrades are expected to be complete in 2023, in time for the opening of the Metro in the area the following year. For more information about the Sydney Metro City and Southwest project, head to the Sydney Metro website. Images: artist interpretations of the St Peters and Erskineville station upgrades.
While al fresco watering holes might be a dime a dozen in the Sydney CBD, Cabana Bar is an impressive entrant into the mix. The expansive bar and restaurant, located in 25 Martin Place (the erstwhile MLC Centre), is bringing big resort energy to the city thanks to its openair terrace that stretches over 100 metres and is framed with festoon lighting and greenery. Ocean blue banquettes, wicker furniture and white-washed walls complete the look. The cocktail menu leans in to the resort energy — the signature piña colada is a standout here, while there are five margarita varieties and two 600ml fishbowls to choose from as well. The wine list is heavy on Australian makers with most also available by the glass. The food is no afterthought here. The menu, designed by executive chef Brad Sloane, reads like an intersection of resort-style plates and classic pub fare. Highlights include tequila-cured salmon and blue corn tostadas with avocado crema, prawn roll in a toasted milk roll with garlic butter and spicy marie rose and zucchini blossom spaghetti. There's also a late-night menu available from Thursday to Saturday, making this a no-brainer for a post-show bite if you're coming from the nearby Theatre Royal. Cabana Bar also has five spaces available to book for private functions, with both indoor and outdoor spaces available that can cater for groups of up to 80 people. Top image: Wasa Media
If you adore a hidden bar, you're going to love discovering Clarence Street's latest watering hole Old Love's. The new venue from the team behind Old Mate's Place is located down an unmarked corridor and behind a nondescript security door in the basement level of the building. You truly don't know whether you're about to find a bustling CBD venue or an empty fire escape once you head through — but luckily, a welcoming new cocktail bar awaits you. Old Love's has taken over the space previously occupied by Ginny's Canoe Club — a pop-up that Old Mate's Place ran while it was putting the final touches on the Old Love's concept. Namely, the crew was waiting for the perfect swivel chairs to arrive from the US and thought a limited-time restaurant would be a fun idea. Now that the digs have been transformed into Old Love's, you'll find a loving homage to the world of rum in the basement bar. On entry, you're even handed the Book of Rum, a passion project that Old Mate's Dre Walters has been working on in the lead-up to the opening. The book is a guide to all things rum, and the back bar is set up from left to right in the order that different regions and distilleries appear in the book. Flick through the pages to the middle of the guide and you'll discover a list of fun and inventive cocktails — many of which are based on long-forgotten Pacific Island and Caribbean combinations that Walters and the team have dug up from historic Tiki recipe books. The Old Mate's Place owner says they've "dropped some power steering" into these drinks of yesteryear with the help of contemporary spirits and modern mixology. The Pet Dragon will delight, combining a house-made rum-based drambuie, dried plum extract, a burst of citrus and egg whites for fluffiness. Or the Cuban Payphone takes white rum and brightens it with sherry, citrus, sugar and orange bitters. A favourite from the Ginny's and Old Mate's menus, the pickled jalapeño Tommy's margarita is also available here — a good option for the rum-averse. There are seasonal daiquiris using whatever fruit is available from the markets that week. If you want to dip your toes in the world of rum, chat with the bartender and pick out a rum of your choosing to combine with freshly squeezed sugar cane juice. It's the beginner's version of a rum on the rocks. Rounding out Old Love's offerings are a few memorable bar snacks. Both the mini Cubano and the jerk chicken roll are packed with flavour — a true delight when paired with a top-notch cocktail. Old Love's is located on the basement level of 199 Clarence Street, Sydney. It's open 5pm–2am Tuesday–Sunday. Head to the bar's website to browse the full menu.
What sits at the heart of European storytelling? That's a question that one of Australia's must-attend film festivals has been pondering for three years. It was back in 2022 that Europa! Europa initially started showcasing the breadth of cinema from across Europe — surveying as many countries as it can fit into each annual program, and swinging from the latest to the greatest pictures from across the continent. 2025's event kicks off in February to explore that idea again. Attending Europa! Europa's opening night this year means discovering what makes a French box-office hit, for starters. A Little Something Extra, directed by comedian and actor Artus, was its nation's highest-grossing homegrown movie of 2024. When it kicks off this Australian film fest in Sydney and Melbourne on Wednesday, February 12, it'll start the celebration of cinema with a tale about jewel thief and his son at a summer camp for young adults with disability. Returning to Ritz Cinemas Randwick in Sydney, plus both Classic Cinemas Elsternwick and Lido Cinemas Hawthorn in Melbourne — both for a month, running until Wednesday, March 12 — Europa! Europa has compiled a roster of 44 movies from 26 countries. Accordingly, its latest program lets viewers dig into what drives filmmaking from Austria, Belgium, Bulgaria, Denmark and Estonia, and also Greece, Italy, Luxembourg, Poland, Spain, Switzerland and Ukraine. Titles from Bosnia and Herzegovina, Czech Republic, Finland, Germany, Georgia, Montenegro, Norway, Romania, Serbia, Slovakia, Slovenia, Sweden and the United Kingdom are on the list, too. Unsurprisingly, the largest contingent comes from France. Indeed, Gallic cinema provides Europa! Europa with its centrepiece film as well — and it's an Australian premiere, with Once Upon My Mother stepping back to the 60s. The festival's headliners bring big-name talents, as well as touching documentaries to Sydney and Melbourne. In Another End from The Wait director Piero Messina, Gael García Bernal (La Máquina) plays a mourning widower exploring tech-enhanced ways of facing grief, with Renate Reinsve (Presumed Innocent) and Bérénice Bejo (Under Paris) co-starring. The Dardenne brothers (Tori and Lokita) co-produce the Belgian tennis academy-set Julie Keeps Quiet, while Sweden's 2025 Oscar submission The Last Journey hails from Swedish journalists and TV hosts Filip Hammar and Fredrik Wikingsson, and focuses on a trip to France with the former's father. Still on familiar faces, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Academy Award-nominee Maria Bakalova (The Apprentice) leads the satirical Triumph, French standouts Daniel Auteuil (An Ordinary Case) and Sandrine Kiberlain (November) get farcical in Love Boat, and Mélanie Laurent (Freedom) and Guillaume Canet (All-Time High) portray Marie Antoinette and Louis XVI in their final days in The Flood. Other highlights from the fest's slate of new titles include Spain's I Am Nevenka, about an IRL MeToo case; U Are the Universe, a Ukranian sci-fil film made during the current war; the Sundance-premiering Sebastian, about a writer who is also a sex worker; Anywhere, Anytime, a modernisation of Italian masterpiece Bicycle Thieves; and Loveable, from the producer of The Worst Person in the World — and the list goes on. Europa! Europa's annual retrospectives keep proving a drawcard, too. After shining the spotlight on Poor Things and Kinds of Kindness director Yorgos Lanthimos in 2024, the festival is jumping back into French film history by heroing the iconic François Truffaut. Four of the French New Wave filmmaker's movies are on the lineup, all showing as new 4K restorations: Shoot the Piano Player, The Soft Skin, Two English Girls and Finally, Sunday!. Europa! Europa Film Festival 2025 Dates Wednesday, February 12–Wednesday, March 12 — Ritz Cinemas Randwick, Sydney Wednesday, February 12–Wednesday, March 12 — Classic Cinemas Elsternwick and Lido Cinemas Hawthorn, Melbourne Europa! Europa will screen in Sydney and Melbourne from Wednesday, February 12–Wednesday, March 12, 2025. For more information or to buy tickets, head to the festival's website.
This NYE don't settle for something predictable and anticlimactic. We get it, with Christmas still in recent memory, there's often little time to make grand plans for the last party of the year — but Sydney's brand new December 31st festival has done the planning for you. NYE in the Park will ring in the new year with fireworks, a stellar line-up of international artists, great food and plenty of Champagne. Headlining and hosting the inaugural festival is Hot Dub Time Machine, whose packed dance parties are oft described as a 'history lesson through music'. He'll count the crowd down to midnight before starting his epic chronological set — beginning with the rock tunes of the 50s, then travelling through the decades to the best dance hits of today. Also taking the stage will be Canadian electro and techo maestro Tiga, Jurassic 5 legend Chali 2NA, DJ Krafty Kuts and you — if you win our exclusive VIP package. We're offering one lucky Concrete Playground reader the chance to win a New Year's Eve you'll never forget. You'll fire confetti and launch giant inflatable balls into the crowd, dance with Retrosweat aerobic dancers and pop Champagne with Hot Dub Time Machine at midnight — all on stage. Woah. It doesn't stop when you leave the stage, either — you'll be rubbing shoulders with Vera Blue, 2ManyDJs and other famed artists backstage (with complimentary drinks, of course). When the festival is over, you'll have a double pass and priority entrance to an exclusive afterparty in an unannounced location — so you can continue dancing the night away. If there's a new year's eve you can't top, it's this. To enter, see details below. [competition]647819[/competition]
Writer/director Kevin Smith (Mallrats, Chasing Amy) is no stranger to controversy. His 1999 film Dogma received more than 300,000 pieces of hate mail following its release, along with a number of deaths threats that he gleefully published online. Later, in 2005, Smith remarked he'd been mulling over a sequel to Dogma ever since the attacks of 9/11, and so it was that Red State finally emerged. It's casually referred to as a 'horror movie', but that's not quite right. In fact, Red State feels a bit like a movie grappling with an identity crisis: it's not gruesome enough to qualify as horror, just as it's neither exclusively funny enough to be comedy nor 'action-y' enough to tempt the Michael Bay crowd, yet it has more than enough of each to remain both gripping and entertaining throughout. The film is unusual for a number of other reasons, too, not in the least because there's no central protagonist for the audience to follow. Instead, it offers a story in three acts, each of which addresses one of the movie's key themes: sex, religion and politics. First up come the three horny, misguided teenagers Travis (Michael Angarano), Jarod (Kyle Gallner) and Billy Ray (Nicholas Braun), lured to a remote trailer park under the pretense of group sex with an older woman they met online (played to terrifying perfection by Melissa Leo). It feels like a standard setup for a standard horror flick, and when the boys end up drugged, bound and caged for the purposes of a religious execution, Red State seems squarely set on the path to torture porn. Thankfully, though, Smith instead uses the second act to make mockery of religious zealots who warp and misconstrue holy texts for their own perverse purposes. The boys find themselves prisoners of the Five Points Church — a militant version of the real-life Westboro Baptist nutjobs in the United States who (amongst other things) conduct the impossibly offensive protests outside the funerals of gays, atheists and US soldiers. Michael Parks in particular offers a phenomenal performance as the sect's charismatic leader Abin Cooper, and his 15-minute diatribe on the "ills of homosexuality" is as mesmerising as it is exasperating. Finally, the film turns to politics (and bullet-frenzied action) as the church finds itself besieged by an army of heavily armed ATF agents led by John Goodman. The allusions to the disastrous 1993 siege of David Koresh's Branch Davidians cult are unmistakable, and Smith throws subtlety to the wind with his harsh recrimination of both Christian fundamentalism and the heavily unregulated powers prescribed by the US Patriot Act. Overall, Red State delivers a captivating story unlike most of what finds its way to screens these days. It's a tense, unnerving, infuriating and even amusing film that pulls no punches when it comes to Smith's passionate sentiments regarding all things sex, religion and politics. Red State will screen at Popcorn Taxi on Wednesday, October 12 with a special introduction and post-screening analysis by Kevin Smith. It opens nationally on October 13. https://youtube.com/watch?v=uJ1v6oFHefc
Having recently opened its doors in Redfern's bustling Wunderlich Lane precinct, Regina La Pizzeria is bringing authentic Italian cuisine alongside a welcoming atmosphere to the party. Guided by co-owners Matteo Ernandes and Michela Boncagni, this laidback eatery pairs mid-century sophistication with an easygoing menu rich in flavourful options. Perfect for communal dining, the venue's thoughtful polish elevates it high above standard takeaway fare. At the heart of the kitchen is the first Fazzone oven in Australia, designed and built in Naples, aka the birthplace of pizza. Centred on a volcanic pizza stone, this wood-fired innovation offers remarkably hot and consistent temperatures, while a smaller door makes it highly efficient. For customers, that translates to a crispier crust, a tender interior and toppings cooked to absolute perfection. "The Fazzone oven allows us to elevate our pizza to an entirely new level. It's a perfect reflection of our commitment to authenticity and quality," says Ernandes. Regina also has an uncompromising vision for what goes into and onto every pizza. With a steadfast belief that quality ingredients improve every bite, Matteo only works with stone-ground, unbleached flour and top-notch organic vegetables. This way, each slice delivers a wholesome experience that goes toe-to-toe with the best pizzamakers back in the old country. So, what can you expect on the menu? The classic section features familiar names like margherita, capricciosa and diavola. The names are also familiar on the signature menu – only these pizzas acknowledge Italian legends. For instance, the Versace with king prawns, candied tomatoes and confit garlic is named for the fashion icon, while the Rossi combines fior di latte with pumpkin, pecorino, cavolo nero and sausage to honour the boldness of motorcycle racing champion, Valentino. Also of note are pan-baked pizzas. You might be more familiar with Chicago-style deep dish, but this contentious creation has played a role in Sicilian and Calabrian cuisine for much longer – now is the perfect time to give it a shot. The beverage menu is mindful, with several organic and sustainable options. Here, an all-Italian wine menu pairs with a selection of negronis and spritzes. Meanwhile, refined local and Japanese craft brews bring something different. "Regina is more than just a pizzeria — it's an experience where quality, tradition, and community come together," says Matteo. Regina La Pizzeria is open Monday–Saturday from 5pm–10pm and Sunday from 12pm–8pm at Wunderlich Lane. Head to the website for more details.
One of the redeeming aspects of spending time in an airport is the lure of duty-free shopping. But given how rushed the airport experience can often be, there's not always time to browse the aisles when you've got one eye on the time. Savvy Sydney shoppers can take the stress out of the experience at the recently opened CBD store of Lotte, the second-largest duty-free retailer in the world. Located on the corner of Pitt and Market streets, the three-level boutique is home to an array of brands never before seen in Australian travel retail with international favourites such as Pola, Vida Glow, Cosme Decorte, Grown Alchemist and Le Labo available alongside other much-loved beauty brands like Estée Lauder, Shiseido, SK-II, Gucci Beauty, Jo Malone and more. This Thursday, June 30, Lotte's flagship Sydney store is hosting its first-ever sale with 20% off storewide (and no exclusions). There'll also be a range of experiences as part of the occasion — from wine and whisky tastings with Levantine Hill and Benriach to embossing on fragrances and giveaways throughout the day. Shoppers who subscribe to the email list will go into the running to win a $1200 door prize featuring beauty products from SK-II, Tom Ford, Le Labo, Pola and Vida Glow. The only catch? You'll need an international flight ticket to purchase the international brands, but don't need one to purchase products by Australian brands. Come for the bargains but stay for the world-class retail experience. The three-story space, the work of leading Australian interior design company Bates Smart, features a concierge, a cellar door and state-of-the-art technology that ensures a seamless shopping experience — and one you won't have to cut short to catch a flight. The Lotte Shopping Day Out takes place from 10am to 9pm on Thursday, June 30. For more information, head to the website.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=oLV63nrXYSY&feature=youtu.be DAVID ATTENBOROUGH: A LIFE ON OUR PLANET Since the early 1950s, David Attenborough's stunningly shot documentaries have been awash with revelatory sights and detailed insights from the natural world, sharing the kind of wonders that eager audiences would be unlikely to see or discover themselves otherwise. Seven decades later, after becoming a constant, respected and beloved presence in the field, the now 94-year-old's passionate and vibrant work has earned its place in history several times over — but it might also become a record of a world, and of natural history, that's lost due to climate change. With this in mind, and to motivate a response to combat both global warming and the catastrophic loss of biodiversity blighting the environment, the great broadcaster presents David Attenborough: A Life On Our Planet. On offer: an urgent and far-ranging exploration of how our pale blue dot evolved to its current state, what might be in store if we continue down this path, and how and why things could and should change. Determined in his tone, the veteran natural historian calls the documentary his witness statement several times within its frames, and it's as powerful and devastating as intended. Bookended by scenes in Chernobyl that are initially designed to illustrate what can happen ecologically when bad planning and human error combine — a situation that, Attenborough posits, applies to climate change as well — A Life On Our Planet is both broad and intricate, and personal and political too. Cycling through the earth's life to-date to provide a snapshot of the planet's predicament, it delivers a comprehensive overview, a raft of telling facts and figures, and a plethora of reflections from its central figure. It also features the now-requisite array of eye-catching footage that Attenborough's hefty body of work has long become known for, served up here to not only revel in its glory and showcase his exceptional career, but to demonstrate what's fading away due to humanity's impact upon the globe. Accordingly, it's impossible not to be moved by the film. If viewers won't listen to Attenborough on this topic, and as he explains what he's seen and where he sees things heading, then they probably won't listen to anyone. In the documentary's latter third, A Life On Our Planet follows in the footsteps of Australian doco 2040, too, by pondering how the world might adapt for the better — and again, if that doesn't motivate action, what will? David Attenborough: A Life On Our Planet opens in Australian cinemas on Monday, September 28, with a chat between David Attenborough and Michael Palin screening with the film. The documentary only hits Netflix on Sunday, October 4. https://www.youtube.com/watch?v=OAxtH_xwlnM THE HIGH NOTE With 2019's Late Night, filmmaker Nisha Ganatra stepped inside the world of television, contrasting the journeys of a hardworking woman just starting out and a celebrated but stern female veteran of the field who is unsure of what she wants for the future. Switch the setup to the music business, then swap Mindy Kaling's smart Late Night screenplay for a thoroughly by-the-numbers affair by first-timer Flora Greeson, and The High Note is the end result. In this overtly formulaic feature, lifelong music buff Maggie Sherwoode (Dakota Johnson) is a committed and overworked personal assistant to 11-time Grammy-winning R&B superstar Grace Davis (Tracee Ellis Ross). She's also an aspiring producer who's working on a record with up-and-coming musician, David Cliff (Kelvin Harrison Jr), on the side. Maggie toils away at a demanding gig, albeit for a legend, but clearly dreams of more than merely ferrying her idol around town, picking up her dry cleaning and administering enemas on tour. With Grace's latest string of shows wrapping up, a live greatest hits album in the works and no new music released for some time, the singer herself also wants something different; however long-time manager Jack (Ice Cube) is trying to push Grace towards the easy money of a ten-year Las Vegas residency. There's much that's likeable here, including the soundtrack and the cast. The former spans both new tracks and vintage hits (including an appealing singalong to TLC's 'No Scrubs', and Harrison Jr crooning 1957 classic 'You Send Me' by the king of soul Sam Cooke), while the latter is The High Note's best asset. If only the impressive roster of on-screen talent were working with better material. As well as hitting every obvious note and delivering an awful (and predictable) soap opera-esque twist late in the game, The High Note lacks the resonant commentary that made Late Night as clever and savvy as it was amusing and affecting. The fact that it isn't easy being a woman in music isn't ignored here, but it's pointed out via generic lines of dialogue that simply sound like throwaway soundbites. The reality that both ageism and racism blight the industry too, and that a hugely successful Black woman over 40 still gets ignored by those calling the shots, receives the same cursory treatment. Indeed, The High Note is more content to keep any statements as superficial and easy as a disposable pop song, and to serve up as standard a feel-good fairy tale about chasing one's dreams as an algorithm would probably spit out. Read our full review. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23 and July 30; August 6, August 13, August 20 and August 27; and September 3, September 10 and September 17. You can also read our full reviews of a heap of recent movies, such as The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet, Les Misérables, The New Mutants, Bill & Ted Face the Music, The Translators and An American Pickle.
The most famous building in Australia is about to hit a huge milestone, with the Sydney Opera House turning 50 when October 2023 rolls around. Over those five decades, the iconic arts venue has hosted a dream lineup of shows, productions and gigs on its stages — and it has another in store to help mark its massive anniversary. An occasion this huge was never going to pass without plenty of celebrations, so the Opera House is planning a hefty lineup that'll serve up just that. Kicking off in October this year, the 50th-anniversary season will run for an entire 12 months. And while the bulk of it won't be announced until later in 2022, the venue has just revealed its first show: Amadeus starring Michael Sheen. The Welsh actor boasts a resume spanning everything from Masters of Sex and Tron: Legacy to The Queen and Twilight — Frost/Nixon, the Underworld flicks, Alice in Wonderland and Good Omens, too — and, from 1998–99 in London and also on Broadway, this very play. Back then, he took on the role of Mozart; however, this time he'll step into Antonio Salieri's shoes, aka the Italian composer posited to be the titular figure's bitter adversary. [caption id="attachment_860816" align="alignnone" width="1920"] Amadeus by Peter Shaffer. Directed by Peter Hall, with David Suchet as Antonio Salieri and Michael Sheen as Motzart. Performed at The Old Vic in London in 1998. Credit: Geraint Lewis / ArenaPAL.[/caption] Sheen's stint at the Opera House comes as part of Amadeus' Australian-exclusive season, which'll take over the site's newly revamped Concert Hall from Tuesday, December 27, 2022–Saturday, January 21, 2023. He'll play opposite Rahel Romahn (Here Out West) as Wolfgang Amadeus Mozart, plus Lily Balatincz (Constellations) as Constanze Mozart, all bringing a fierce — and fictitious — classical music rivalry to life. If you're new to Amadeus, which first hit the stage in 1979 in London — six years after the Opera House opened its doors — it reimagines Mozart and Salieri's lives as the latter struggles to come to terms with the former's talent. In 1981, for its first Broadway run, it nabbed the 1981 Tony Award for Best Play. In 1984, after being turned into a movie, it also won eight Academy Awards including Best Picture. And, Baz Luhrmann also mentioned it to Concrete Playground as one of the influences that helped him on the path to making Elvis. Including Sheen, Romahn and Mozart, the Sydney cast will feature 40 performers, spanning actors, opera singers and musicians from The Metropolitan Orchestra who'll be worked into the onstage drama. Director Craig Ilott (Smoke & Mirrors, American Idiot, Betty Blokk Buster Reimagined) will be on helming duties, while Australian fashion house Romance Was Born is directing the costumes. [caption id="attachment_860821" align="alignnone" width="1920"] Daniel Boud[/caption] And, for theatregoers keen to turn a night watching Amadeus into quite the special occasion, the Opera House is also doing impressive — albeit expensive — dinner-and-show option called Amadeus: Primo Atto. Starting at $440 per person, it includes a three-course dinner with paired wines in one of the venue's most intimate spaces, plus a private tour beforehand, and then tickets to the production. As for what else will be on the 50th-anniversary lineup, watch this space. Based on this first announcement — and the fact that the full program of events and performances is supported by the NSW Government's Blockbuster Funding initiative — the Opera House's year-long festivities looks set to be big. [caption id="attachment_681696" align="alignnone" width="1920"] Hamilton Lund[/caption] Amadeus will play Sydney Opera House's Concert Hall from Tuesday, December 27, 2022–Saturday, January 21, 2023. Pre-sales start at 9am on Wednesday, July 13, with general ticket sales from 9am on Monday, July 18. For more information, head to the Sydney Opera House website. For more information about Amadeus: Primo Atto, also head to the Sydney Opera House website. Top image: Faith Healer by Brian Friel, rehearsals, Michael Sheen as Frank Hardy. Directed by Warchus, set designed by Howell, lighting designed by Lutkin and Brown. Old Vic Theatre, London, UK; 21 September 2020. Credit: Manuel Harlan / ArenaPAL.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE FRENCH DISPATCH Editors fictional and real may disagree — The French Dispatch of the Liberty, Kansas Evening Sun's Arthur Howitzer Jr (Bill Murray, On the Rocks) among them — but it's easy to use Wes Anderson's name as both an adjective and a verb. In a sentence that'd never get printed in his latest film's titular tome (and mightn't in The New Yorker, its inspiration, either), The French Dispatch is the most Wes Anderson movie Wes Anderson has ever Wes Andersoned. The immaculate symmetry that makes each frame a piece of art is present, naturally, as are gloriously offbeat performances. The equally dreamy and precise pastel- and jewel-hued colour palette, the who's who of a familiar cast list, the miniatures and animated interludes and split screens, the knack for physical comedy, and the mix of high artifice, heartfelt nostalgia and dripping whimsy, too. The writer/director knows what he loves, and also what he loves to splash across his films, and it's all accounted for in his tenth release. In The French Dispatch, he also adores stories that say as much about their authors as the world, the places that gift them to the masses, and the space needed to let creativity and insight breathe. He loves celebrating all of this, and heartily, using his usual bag of tricks. It's disingenuous to say that Anderson just wheels out the same flourishes in any movie he helms, though, despite each one — from The Royal Tenenbaums onwards, especially — looking like part of a set. As he's spent his career showing but conveys with extra gusto here, Anderson adores the craftsmanship of filmmaking. He likes pictures that look as if someone has doted on them and fashioned them with their hands, and is just as infatuated with the emotional possibilities that spring from such loving and meticulous work. Indeed, each of his features expresses that pivotal personality detail so clearly that it may as well be cross-stitched into the centre of the frame using Anderson's hair. It's still accurate to call The French Dispatch an ode to magazines, their heyday and their rockstar writers; the film draws four of its five chapters from its eponymous publication, even badging them with page numbers. But this is also a tribute to everything Anderson holds The New Yorker to stand for, and holds dear — to everything he's obsessed over, internalised and absorbed into the signature filmmaking style that's given such an exuberant workout once again. One scene, in the first of its three longer segments, crystallises this so magnificently that it's among the best things Anderson has ever put on-screen. It involves two versions of murderer-turned-artist Moses Rosenthaler, both sharing the boxed-in frame. The young (Tony Revolori, The Grand Budapest Hotel) greets the old (Benicio Del Toro, No Sudden Move), the pair swapping places and handing over lanyards, and it feels as if Anderson is doing the same with his long-held passions. Before Moses' instalment, entitled The Concrete Masterpiece, the picture's bookending story steps into Howitzer's offices in the fictional French town of Ennui-sur-Blasé. Since 1925, he's called it home, as well as the base for a sophisticated literary periodical that started as a travel insert in his father's paper back in Kansas. Because Anderson loves melancholy, too, news of Howitzer's death begins the film courtesy of an obituary. What follows via travelogue The Cycling Reporter, the aforementioned incarcerated art lark, student revolution report Revisions to a Manifesto and police cuisine-turned-kidnapping story The Private Dining Room of the Police Commissioner is The French Dispatch's final issue turned into a movie — and an outlet for both Howitzer's and the director's abundant Francophilia. Read our full review. DON'T LOOK UP Timing may be everything in comedy, but it's no longer working for Adam McKay. Back when the ex-Saturday Night Live writer was making Will Ferrell flicks (see: Anchorman: The Legend of Ron Burgundy and Step Brothers), his films hinged upon comic timing. Ensuring jokes hit their marks was pivotal to his scripts, crucial during editing, and paramount to Ferrell and his co-stars. Since 2015, McKay has been equally obsessed with timeliness. More so, actually, in his latest film Don't Look Up. As started with The Big Short, which nabbed him a screenwriting Oscar, his current breed of politically focused satires trade not just in laughs but in topicality. Skewering the present or recent state of America has become the filmmaker's main aim — but, as 2018's Vice so firmly illustrated, smugly stating the obvious isn't particularly funny. On paper, Don't Look Up sounds like a dream. Using a comet hurtling towards earth as a stand-in, McKay parodies climate change inaction and the circus that tackling COVID-19 has turned into in the US, and spoofs self-serious disaster blockbusters — 1998's double whammy of Deep Impact and Armageddon among them — too. And, he enlists a fantasy cast, which spans five Oscar-winners, plus almost every other famous person he could seemingly think of. But he's still simply making the most blatant gags, all while assuming viewers wouldn't care about saving the planet, or their own lives, without such star-studded and glossily shot packaging. Although the pandemic has certainly exposed stupidity on a vast scale among politicians, the media and the everyday masses alike, mining that alone is hardly smart, savvy or amusing. Again, it's merely stating what everyone has already observed for the past two years, and delivering it with a shit-eating grin. That smirk is Don't Look Up's go-to expression among its broad caricatures — in the name of comedy, of course. Trump-esque President Orlean (Meryl Streep, The Prom) has one, as does her sycophantic dude-bro son/Chief of Staff Jason (Jonah Hill, The Beach Bum). Flinging trivial banter with fake smiles, "keep it light and fun" morning show hosts Brie Evantee (Cate Blanchett, Where'd You Go, Bernadette) and Jack Bremmer (Tyler Perry, Those Who Wish Me Dead) sport them as well. But PhD student Kate Dibiasky (Jennifer Lawrence, X-Men: Dark Phoenix) and her astronomy professor Dr Randall Mindy (Leonardo DiCaprio, Once Upon a Time in Hollywood) aren't smiling when she discovers a Mount Everest-sized comet, then he realises it's on a collision course with earth and will wipe out everything in six months and 14 days. And they aren't beaming when, with NASA's head of planetary defence Dr Teddy Oglethorpe (Rob Morgan, The Unforgivable), they try to spread the word. The world is literally ending, but no one cares. Conjuring up the premise with journalist/political commentator David Sirota, McKay turns Don't Look Up into a greatest-hits tour of predictable situations bound to occur if a celestial body was rocketing our way — and that've largely happened during the fights against climate change and COVID-19. The President's reactions stem from her clear-cut inspiration, including the decision to "sit tight and assess" until it's politically convenient or just unavoidable, and the later flat-out denial that anything is a problem. The character in general apes the same source, and bluntly, given Orlean is initially busy with a scandal surrounding her next Supreme Court nominee, and that her love life and the porn industry also spark headlines. The insipid media and social media response, favouring a rocky celebrity relationship (which is where Ariana Grande and Kid Cudi come in), is also all too real. The list goes on, including the memes when Dibiasky gets outraged on TV and the worshipping of Mindy as an AILF (Astronomer I'd Like to Fuck). Read our full review. DEAR EVAN HANSEN Dear Dear Evan Hansen: don't. If a movie could write itself a letter like the eponymous figure in this stage-to-screen musical does, that's all any missive would need to communicate. It could elaborate, of course. It could caution against emoting to the back row, given that cinema is a subtler medium than theatre. It could advise against its firmly not-a-teenager lead Ben Platt, who won one of the Broadway hit's six Tony Awards, but may as well be uttering "how do you do, fellow kids?" on the big screen. It could warn against shooting the bulk of the feature like it's still on a stage, just with more close-ups. Mostly, though, any dispatch from any version of Dear Evan Hansen — treading the boards or flickering through a projector — should counsel against the coming-of-age tale's horrendously misguided milk-the-dead-guy narrative. When the most interesting thing about a character is their proximity to someone that's died, that's rarely a great sign. It's the realm of heartstring-tugging illness weepies and romances where partners or parents are bereaved, sweeping love stories are shattered and families are forever altered, and it uses the sickness or death of another person purely as a prop to make someone that's alive and healthy seem more tragic. That's worlds away from engaging sincerely with confronting mortality, loss, grief or all three, as so few movies manage — although Babyteeth did superbly in 2020 — and it's mawkish, manipulative storytelling at its worst. Dear Evan Hansen gives the formula a twist, however, and not for the better. Here, after a classmate's suicide, the titular high schooler pretends he was his closest friend, including to the dead kid's family. A anxious, isolated and bullied teen who returns from summer break with a fractured arm, Evan (Platt, The Politician) might be the last person to talk to Connor Murphy (Colton Ryan, one of the Broadway production's understudies). It isn't a pleasant chat, even if Connor signs Evan's cast — which no one else has or wants to. In the school library, Evan prints out a letter to himself as a therapy exercise, but Connor grabs it first, reads it, then gets furious because it mentions his sister Zoe (Kaitlyn Dever, Dopesick). Cue days spent fretting on Evan's part, wondering if he'll see the text splashed across social media. Instead, he's soon sitting with Cynthia Murphy (Amy Adams, The Woman in the Window) and her husband Larry (Danny Pino, Fatale), who inform him of Connor's suicide — and that they found Evan's 'Dear Evan Hansen' note on him, and they're sure it's their son's last words. With his high school misery amply established through catchy songs, and his yearning to connect as well, Evan opts to go along with the Murphys' mistaken belief, including the idea that he and Connor were secretly the best of pals. As penned for both theatre and film by Steven Levenson (Tick, Tick... Boom!) — with music and lyrics by Benji Pasek and Justin Paul (The Greatest Showman) — this plot point is meant to play with awkwardness and longing, but it's simply monstrous. Indeed, the longer it goes on, with Evan spending more time with Connor's wealthy family than with his own mum Heidi (Julianne Moore, Lisey's Story), a nurse always working double shifts, the more ghastly it proves. It's lazy writing, too, because this isn't just a tale that defines its lead by their connection to a deceased person; it's about someone who intentionally makes that move themselves, then remains the recipient of all the movie's sympathies. Read our full review. RESIDENT EVIL: WELCOME TO RACCOON CITY It's the franchise about zombies that just won't die. The series with a disdain for big corporations and the chaos they wreak that keeps pumping out more instalments, too. After six movies between 2002–16 that consistently proved a case of diminishing returns — and the original horror flick was hardly a masterpiece to begin with — welcoming viewers back to the Resident Evil realm smacks of simply trying to keep the whole saga going at any cost. Resident Evil: Welcome to Raccoon City does indeed extract a price from its audience, stretching their fondness for the video game-to-film franchise, their appetite for John Carpenter-inspired riffs and their penchant for overemphasised 90s nostalgia. Primarily set in 1998, and endeavouring to reboot the series without its previous star Milla Jovovich, it strenuously tests patience as well. After an orphanage stint filled with familiar Resident Evil figures — siblings Claire and Chris Redfield as kids, plus nefarious Umbrella Corporation scientist Dr William Birkin (Neal McDonough, Sonic the Hedgehog) — Welcome to Raccoon City first gets gory en route back to its titular town. The now-adult Claire (Kaya Scodelario, Crawl) hitches a ride with a trucker, who then hits a woman standing in the road. The victim still gets up afterwards, because unnaturally shuffling along after you've been killed comes with the territory. The walking dead are a new phenomenon in the desolate locale, however, following Umbrella's decision to shut up shop and leave the place a crumbling shell. Of course, the night that Claire arrives back to reunite with Chris (Robbie Amell, Upload), who's now a local cop, is the night that a virus zombifies Raccoon City's residents. Any movie that features besieged police officers trying to fend off attackers will always tread where Carpenter's Assault on Precinct 13 has already stomped, and Welcome to Raccoon City writer/director Johannes Roberts knows it — just as he splashed his awareness of shark horror flicks gone by across both 47 Metres Down and 47 Metres Down: Uncaged. Restarting a well-known series by blatantly taking cues from another filmmaker, and from 80s and 90s horror overall, isn't the path to success, though. As this dispiritingly generic feature keeps proving, it's about as smart as constantly splitting up while fending off the undead and navigating labyrinthine spaces, which Claire, Chris, and the latter's fellow cops Jill Valentine (Hannah John-Kamen, Ant-Man and the Wasp), Albert Wesker (Tom Hopper, Terminator: Dark Fate) and Leon Kennedy (Avan Jogia, Zombieland: Double Tap) unsurprisingly keep doing. Welcome to Raccoon City fares better with action over logic and originality, although nodding so forcefully to the filmmaker behind Halloween and The Thing stands out within the Resident Evil franchise. When it comes to Raccoon City's infected inhabitants, plus foes more frightening — their onslaughts, and Claire and company's attempts to evade them — Roberts finds a balance between stripping things back to ramp up the suspense and trying to imitate the video games that started it all. In the film's midsection, it all gets monotonous nonetheless, even while switching between first- and third-person perspectives and going big on monstrous creature design. Callouts to technology gone by, such as Nokia phones with Snake and VHS tapes (and, the flipside, marvelling over whiz-bang new tech by 90s standards like Palm Pilots and chat rooms), get repetitive and old fast, too. All things Resident Evil have as well, something this movie can't change despite its overt angling for a certain-to-eventuate sequel. NEW ORDER If only one word could be used to describe New Order, that word would be relentless. If just two words could be deployed to sum up the purposefully provocative film by writer/director Michel Franco (April's Daughter), savage would get thrown in as well. Sharing zero in common with the band of the same name, this 2020 Venice Film Festival Grand Jury Prize-winner dreams up a dystopian future that's barely even one step removed from current reality. And, in dissecting class clashes, and also examining the growing discontent unsurprisingly swelling worldwide at the lavish lives indulged by the wealthy while so much of the world struggles, the mood and narrative are nothing less than brutal. Screens big and small have been filled with eat-the-rich stories of late — Parasite, Us, Candyman, Ready or Not, The White Lotus, Nine Perfect Strangers and Squid Game among them — but New Order is its own ravenous meal. The place: Mexico City. The setup: a wedding that goes undeniably wrong. As the ceremony gets underway at a compound-style residence that's jam-packed with the ultra-wealthy and ultra-corrupt, the chasm between the guests and the staff is glaring. Case in point: bride-to-be Marianne (Naian González Norvind, South Mountain) couldn't be more stressed when she's asked for money to help ex-employee Rolando's (Eligio Meléndez, La Civil) ailing wife, who also worked at the house, and plenty of her family members are dismissive, arrogant and flat-out rude about their former servant's plight. Then activists start making their presence known outside, as well as further afield in the city's streets — and interrupting the nuptials by storming the mansion, too. The military respond swiftly and brutally, sparing no one in their efforts to implement the movie's telling moniker. Franco doesn't want any second of New Order to be easy to watch. The film's opening foreshadows the bloodshed and body count to come, but even when it then gets immersed in a ridiculously lavish but characteristically chaotic upper-class wedding — as such events stereotypically are — all the slick excess so rampantly on display remains positively ghastly. There's a sense of insidiousness in the air that the filmmaker lets fester amid all the gated home's glass and steel, then pushes into overdrive as the violent uprising gathers steam. There's an utter lack of hope as well, because nothing can or will turn out well in this situation. It can't end nicely for the bourgeoisie previously oblivious to or cruelly uncaring about the 99 percent and, as authoritarianism kicks in to a savage degree, the ideals of fairness and equality being championed by protestors aren't shared by their government. One word that can't be used to describe New Order: subtle, or any synonym denoting a delicate approach. Franco wants the parallels between his fictional situation and reality, and the unsparing critique of the latter he's making with the former, to be noticed — and to be not only unavoidable, but searingly, blisteringly haunting. He's brash and bold with the film's style as a result, as well as blunt. He's forceful, but also masterful, and makes every image and sound resound with palpable anger. Franco's also trading in obvious concepts as he tears down the rich, greedy, powerful and unscrupulous, lays bare the ease with which a fascist nightmare can take hold and posits that the fight against both is never easy, but he's still moulded all those notions into an emotionally dynamic whirlwind. New Order is screening in Melbourne only. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; November 4, November 11, November 18 and November 25; and December 2. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou, The Rescue, Titane, Venom: Let There Be Carnage, Bad Luck Banging or Loony Porn, Dune, Encanto, The Card Counter and The Lost Leonardo.
First, the bad news: if you don't already have a ticket to Laneway Festival 2025 in Sydney, Melbourne and Brisbane to see Charli XCX, Djo, Beabadoobee, Clairo, Barry Can't Swim, Remi Wolf and more, they've completely soldout. Now, some good news: in each of the three east coast cities, Laneway has just announced official afterparties. The small club shows will feature STÜM, RONA. and Fcukers, plus others, with the lineup varying per location — and it's your next chance to get in on the Laneway action. The dates for the three shindigs are obviously the same as the Laneway dates in each destination. Accordingly, Brisbane's turn comes on Saturday, February 8, then Sydney's on Sunday, February 9 and Melbourne's on Friday, February 14. As for venues, River City revellers are headed to The Brightside, Harbour City residents to Oxford Art Factory and folks in the Victorian capital have a date with The Night Cat. In Brissie, STÜM, DJ Ivan Berko, nate sib and Cyber DJs will be taking to the stage. Sydney's gig features RONA., Fcukers doing a DJ set, DJ Ivan Berko popping up again, and both Loosie Grind and BEMAN. And in Melbourne, RONA. and DJ Ivan Berko are back, as is nate sib, alongside Laneway Festival's own DJs. Tickets are limited — so, like all things Laneway, getting in fast is recommended. As for the festival itself, if you've been lucky enough to nab tix, its lineup also features BICEP doing their CHROMA AV DJ set, Olivia Dean, Eyedress, Skegss, Hamdi, Joey Valence & Brae, 2hollis, Ninajirachi, Julie, Girl and Girl, and more. For its 2025 season, the event started by Danny Rogers and Jerome Borazio in the mid-00s is also headed to Bonython Park in Adelaide and Wellington Square in Perth in Australia — but without afterparties. Laneway Festival 2025 Afterparties Saturday, February 8 — The Brightside, Brisbane, with STÜM, DJ Ivan Berko, nate sib and Cyber DJs Sunday, February 9 — Oxford Art Factory, Sydney, with RONA., Fcukers, DJ Ivan Berko, Loosie Grind and BEMAN Friday, February 14 — The Night Cat, Melbourne, with RONA., DJ Ivan Berko, nate sib and Laneway Festival's DJs Laneway Festival 2025 Dates and Venues Thursday, February 6 – Western Springs, Auckland / Tāmaki Makaurau Saturday, February 8 — Brisbane Showgrounds, Brisbane / Turrbal Targun Sunday, February 9 — Centennial Park, Sydney / Burramattagal Land & Wangal Land Friday, February 14 — Flemington Park, Melbourne / Wurundjeri Biik Saturday, February 15 — Bonython Park, Adelaide / Kaurna Yerta Sunday, February 16 — Wellington Square, Perth / Whadjuk Boodjar [caption id="attachment_975321" align="alignnone" width="1920"] Harley Weir[/caption] Laneway Festival 2025 Lineup Charli XCX Beabadoobee Clairo Barry Can't Swim BICEP present CHROMA (AV DJ set) Djo Remi Wolf Olivia Dean Eyedress Skegss STÜM RONA Hamdi Joey Valence & Brae 2hollis Fcukers Ninajirachi Julie Girl and Girl + Triple J unearthed winners [caption id="attachment_975961" align="alignnone" width="1920"] Guido Gazzilli[/caption] St Jerome's Laneway Festival is touring Australia in February 2025. Head to the festival's website for further details and tickets. Afterparties are being held at the fest's east coast stops — with tickets on sale for Sydney, Melbourne and Brisbane's events now. Laneway festival images: Charlie Hardy / Daniel Boud / Maclay Heriot / Cedric Tang.
Looking for a rainy day activity? Here are five. Five of the most electric and immersive exhibitions to hit Aussie shores, and they're all happening this winter. From 100 artworks by Picasso to a showcase of MoMa works — featuring Dalí, Andy Warhol and more — and a field of 3000 flowers to an electric ode to the radical artists of post-war Germany, it's all happening down under. The only catch is that they're spread across the country, so keep an eye on cheap flights or plan an epic road trip and hit them all up. It'll cost you much less than flights to Europe, but will still transport you to an alternative world — whether that's New York, post-war Germany, a fictional flower-filled land or Alice's Wonderland.
