Film

Films reviews, festivals, cinemas and trailers

Jordan Peele: “Can you make a horror movie where white people are the bad guys?”
Film

Jordan Peele: “Can you make a horror movie where white people are the bad guys?”

With Get Out, Jordan Peele has become the most successful debut director in US box office history. We meet the comedian-turned-horror filmmaker to talk about the tricky race politics behind his sensational film

Essential Kurosawa: Selected by David Stratton

Essential Kurosawa: Selected by David Stratton

Catch up on some of the all-time jewels of Japanese cinema

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Film lovers can watch films for $6 on Kino Cinema's 30th anniversary
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Film lovers can watch films for $6 on Kino Cinema's 30th anniversary

To celebrate their three decades in Melbourne CBD, the arthouse cinema will be selling movie tickets and snacks at 1987 prices 

Spanish Film Festival

Spanish Film Festival

It's been a very strong year for Spanish cinema – here's what, and who, is coming to Melbourne in April

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Guides for Melbourne movie lovers

See all of our latest film reviews
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See all of our latest film reviews

Check out the latest releases in Australian cinemas, all reviewed by Time Out critics

Upcoming film festivals in Melbourne
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Upcoming film festivals in Melbourne

Attention movie buffs: add these excellent Melbourne film festivals to your diary

The best outdoor cinemas in Melbourne
Film

The best outdoor cinemas in Melbourne

Catch cult classics, new releases and family favourites under the stars in Melbourne.

Top ten Aussie films to scare off tourists
Film

Top ten Aussie films to scare off tourists

A sweaty handful of movies making Tourism Australia's job that little bit harder

Film screenings and events in Melbourne

Films in cinemas now in Melbourne

Raw
Film

Raw

This shocking feminist horror thriller will test the strongest of stomachs

Time Out says
  • 4 out of 5 stars
Berlin Syndrome
Film

Berlin Syndrome

There's style and eroticism but not much suspense in Cate Shortland's abduction drama

Time Out says
  • 3 out of 5 stars
Their Finest
Film

Their Finest

This witty, sophisticated and unexpectedly sober romcom pays tribute to wartime filmmaking 

Time Out says
  • 4 out of 5 stars
Colossal
Film

Colossal

Anne Hathaway impresses in this brilliant genre-melting wry comedy from Spaniard Nacho Vigalondo that's part indie character study and part monster movie

Time Out says
  • 4 out of 5 stars
CHIPS
Film

CHIPS

This reboot of the '70s cop show about LA highway patrolmen is soul-crushingly unfunny

Time Out says
  • 1 out of 5 stars
See more films in cinemas now

Movie lists you'll love

The 100 best comedy movies
Film

The 100 best comedy movies

The 50 best family movies
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The 50 best family movies

The 50 best romantic comedies
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The 50 best romantic comedies

The 100 best horror movies
Film

The 100 best horror movies

The 100 best romantic movies
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The 100 best romantic movies

The 100 best animated movies
Film

The 100 best animated movies

The best cinemas in Melbourne

Cinema Nova
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Cinema Nova

Melbourne's largest arthouse movie complex also hosts regular films events, special screenings and festivals

Lido Cinemas
Film

Lido Cinemas

An arthouse complex complete with a jazz bar, rooftop cinema and Huxtaburger

The Astor Theatre
Film

The Astor Theatre

A single-screen Art Deco theatre with a program of new and classic films in 35mm, 70mm and digital

Coburg Drive-In
Film

Coburg Drive-In

One of Melbourne's last remaining drive-ins, this is a cinematic experience brimming with nostalgia

The Sun Theatre
Film

The Sun Theatre

This pint-sized Art Deco cinema counts Quentin Tarantino among its legion of film-loving fans

Upcoming film releases in Australia

Rules Don't Apply
Film

Rules Don't Apply

Sphinx, playboy and Hollywood legend Warren Beatty, now 79, has used his fame to direct and produce a clutch of daring movies, all of which would have languished without him. Heaven Can Wait (1978) is the kind of impeccable verbal comedy that was going out of style during the dawning era of the blockbuster; Reds (1981) and Bulworth (1998) are examples of the studio machine put to radical political purposes. Even Dick Tracy (1990) is the most unusual thing Madonna ever agreed to be involved with. It may be that Beatty was born to play Howard Hughes, the billionaire mystery man and womaniser who might be described with the same terms above. But the star’s long-gestating passion project, Rules Don’t Apply, has a few unfortunate strikes against it – not least of which is Martin Scorsese’s epic 2004 biopic, The Aviator, which covers similar ground. For his original script, Beatty turns to collaborator Bo Goldman, himself steeped in Hughes lore after penning the off-kilter 1980 comedy Melvin and Howard. In its own impressive way, Rules feels crazier than any previous Hughes film: Beatty leans into the germophobe’s wildness, flinching at the presence of children, refusing to answer questions and – most disturbingly – conducting his affairs from behind a curtain like some ominous figure from a David Lynch nightmare. Distractingly, Beatty foregrounds the romance of two young people: a secretly talented starlet under contract to Hughes (Lily Collins) and a clean-cut limo driver with

Time Out says
  • 3 out of 5 stars
Things to Come
Film

Things to Come

This delightful film from French filmmaker Mia Hansen-Løve (Eden, Goodbye First Love) is her first built around a genuine star. Isabelle Huppert gives a typically intelligent and low-key performance as Nathalie, a Parisian philosophy teacher and writer who we meet at a point of personal and intellectual crisis. Her conservative school-teacher husband, Heinz (André Marcon), announces he’s leaving her for his mistress just as their two kids are growing up and fleeing the nest. Meanwhile, her flamboyant elderly mother (Edith Scob) is difficult and unwell. In Nathalie’s profession life, her publishing house has little use for her anymore and her favourite former student, brooding free spirit Fabien (Roman Kolinka), is retreating to an anarchist collective in the mountains. Things to Come could hardly be more French if it declared itself a republic and took up the accordion. It’s steeped in the rhythms and talk of liberal bourgeois metropolitan family life and unfashionably unafraid of ideas – all set to the background of a truly lived-in near-contemporary Paris (Sarkozy is still President) with brief detours to Brittany and the foothills of the Alps. It echoes Hansen-Løve’s previous films in her delicate approach to the passing of time and her sensitivity towards life’s expectations and disappointments. She’s a filmmaker who tends to identify strongly with one lead character, drawing us closely into that person’s life and thoughts, and Huppert is more than up to the job, deliver

Time Out says
  • 4 out of 5 stars
Get Out
Film

Get Out

White suburbia is the scariest place of all

Time Out says
  • 3 out of 5 stars

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Alluvial Restaurant
Restaurants Book online

Alluvial Restaurant

At Alluvial Restaurant the past never feels far away. You’ll find the dining room located between Collins Street’s Rialto and Winfield buildings, both of which were built in the 1890s during the twilight years of Melbourne’s gold rush; the former is designed in Venetian neo-gothic style. Once a laneway, Alluvial Restaurant is now a soaring glass atrium, running all the way from Collins Street to Flinders Lane. Look up, and you’ll notice floors of five-star hotel rooms that once served as wool and wheat stores. Look down, and you might miss another of Alluvial Restaurant’s secrets: beneath the floorboards is the original bluestone cobbled laneway. While Alluvial Restaurant embraces its history, there is nothing passé about chef Tijn Bremmers’ menu, which takes inspiration from Melbourne’s many diverse cultures and brings them to life using local produce, fresh herbs from the hotel’s rooftop garden and honey harvested from their rooftop beehives. Start with finely sliced kingfish ceviche, topped with thin ribbons of cucumber and flanked by button-sized dollops of zingy lemon gel. Seafood lovers will also jump on the squid ink linguine – heirloom tomatoes and crayfish butter providing a rich sauce to the fat tiger prawns. Moreton Bay bugs come adorned with flavoursome crisp chicken skin, along with mild, melt-in-your-mouth pumpkin ravioli. And those crunchy, smoked paprika fries with garlic aioli? Follow your instinct and order them. When it comes to choosing a wine from the 1

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Here's what it's like to try opera for the first time
Theatre

Here's what it's like to try opera for the first time

Opera is one of our most revered forms of culture. But with great reputation comes a high intimidation-factor. At Time Out, we’re lucky enough to have seen plenty of operas, so we know it’s not all valkyries in horned helmets and heavy breast armour. But we also know not everyone has been so lucky. Like Shakespeare, The Iliad and The Odyssey or Jane Austen, opera has worked itself so deeply into our pop-cultural imaginations that most of us can probably recognise Bizet’s ‘Habanera’ aria, or the twisty plotting of Cosi Fan Tutte without necessarily knowing where it came from. Given this sense of familiarity, we figured that for most people, seeing a famous opera for the first time will feel more like reconnecting with an old friend than meeting someone new. To test the theory, we gathered together four young creative types, with very different backgrounds, from three different cities, with one thing in common: they’d never been to the opera as an adult. We brought them all to Sydney for Opera Australia’s production of Puccini’s La Boheme and filmed the results.   Melburnian Ali Barter may make grungy guitar pop now, but the Girlie Bits singer is also a classically trained soprano. As a kid, she’d actually appeared on stage in an opera, but she’d never seen one performed before. “I imagine I’m going to be blown away by their technical ability,” she told us before the show. True to her word, she came out impressed. “Just their breathing ability… it was incredible. Now I kn

Cabaret the Musical
Theatre

Cabaret the Musical

Transport yourself to the last days of bohemian hedonism in pre-Nazi Berlin when Kander and Ebb's great musical Cabaret comes to the Athenaeum Theatre. The Melbourne run will see Paul Capsis take on the role of the louche Emcee of the Kit Kat Klub, and Chelsea Gibb playing the Klub's star attraction, Sally Bowles.  Expect plenty of jazz hands, skimpy costumes, feather boas and famous numbers such as 'Willkomen', 'Money (Makes the World Go Around)' and 'Don't Tell Mama'. Choreography is by Kelley Abbey and musical direction by Lindsay Partridge.  If you really want to make a night out of it, make sure you book one of the Kit Kat Club Tables, which will have you seated front and centre, right up in the action. Find out more about Cabaret the Musical.