As a huge George Orwell fan, it is safe to say I was very interested how the dystopian novel would translate to the stage, and I was by no means disappointed. Shake and Stir’s Nelle Lee and Nick Skubij have successfully adapted Orwell’s tale of Big Brother’s hold on fictitious state of Oceania and are also part of the incredible cast of five which also includes Ross Balbuziente, Hugh Parker and star Bryan Probets, who is mesmerising as the heartbroken dreamer Winston Smith.
It’s the future – well, kind of the future, as it’s basically the same as today only with robot fighting suits and aliens. First we got the aliens, who are slowly but surely taking over Europe; then we created the battle suits so the people fighting the aliens would last more than five seconds. For sleazy PR expert Major William Cage (Tom Cruise) this is someone else’s problem – his job is to sell war, not fight it – until General Brigham (Brendan Gleeson) orders him to join the first wave of the attack and film it for the folks back home. Cage refuses point-blank.
Once upon a time there were two kingdoms. One was full of regular selfish, greedy humans and was ruled by a king who’d come to power on a platform of conquering the other kingdom, which was full of magical creatures. There lived Maleficent (Isobelle Molloy), a fairy who was so kind and good she spent her days complimenting astoundingly ugly monsters and using her magic powers to heal broken tree branches.
Two years ago, we challenged ourselves to reinvent the electric guitar string. The result is the all new NYXL range by D’Addario. These are the strongest set of electric guitar strings ever made. Stronger than any of their predecessors, they settle to pitch faster, and hold pitch better– with wound strings boasting more output and plain steel strings that aren’t so plain.
Do you like time machines? I like time machines, but I guess that is irrelevant to this review. It’s been 17 years since Propagandhi last played in Geelong. When I was first told I was surprised because it felt like it was only a couple of years ago. I then looked in the mirror and realised it really was 17 years since last time – and they have released four studio albums in that time, with only one that I have heard/owned. So the fact was I’d more than likely not know 3/4 of their setlist.
It’s been a long time since Jonathan Glazer’s last film (2004’s Birth) and he didn’t make it easy on himself with this one. Scarlett Johansson plays a woman – she’s clearly some kind of alien (the opening scenes are maybe a birth sequence), but exactly what kind of alien she is isn’t clear – who drives around Scotland in a van picking up and then hitting on male hitchhikers. To film this, Glazer had Johansson (wearing a dark-haired wig and speaking in an English accent) drive around Scotland in a van picking up and then hitting on male hitchhikers.
The debut EP release by Elliphant, aka Ellinor Olovsdotter, is without doubt the coolest sound coming out of Sweden right now. Working with Skrillex, Diplo, Dave Sitek and Dr. Luke, this EP is chock-full of unique dance pop tunes like never before. Unapologetic and full of sass, Ellinor delivers a vocal assault unlike any before. ‘Look Like You Love It’ is the perfect example of this and starts the EP off with a bang.
Director Michael Winterbottom’s 2010 film The Trip was a bit of an oddity. Released both as a six-part television series (in the UK) and an edited-down feature film (everywhere else), it followed comedians Steve Coogan and Rob Brydon (playing slightly altered versions of themselves) around the UK’s Lake District. They visited local restaurants, discussed the lives of poets Coleridge and Wordsworth and did a lot of celebrity impersonations.
For those of us who are impatient beyond means, a slow build can be the most frustrating thing in the world. But for the rest of us, it can be a moment of beautiful contemplation. I, a Man’s debut release, Gravity Wins Again, master these opportunities from start to finish.
While other genres – crime, science-fiction – struggle and die in Australia, horror just keeps on keeping on. For which we should all be grateful: the pop culture future is firmly genre-based and if we don’t have at least some reputation for doing some of it right we’ll be left as the English-language equivalent of, say, Italy: a place that makes decent films that hardly anyone outside their borders bothers with.