That she did this on her own (without paid assignment) and at a time when street artists were considered criminals makes her work even more risky and remarkable. This aspect of her life forms the backbone of the film but it’s far from the defining factor. Martha, now in her mid-seventies has remained unconventional and still totally involved in documenting humanity in the world around her.

The scenes where she risks injury and arrest to capture street art show that she has also lost none of her fearlessness or trust from the artists themselves. When you see Martha in her ramshackle office with file cabinet after file cabinet of photos, you can’t help but wonder how many more powerful images she captured that have yet to see the light of day.

Martha: A Picture Story is a joyous celebration of art, following one’s own ambitions, seeing beauty in the everyday and never following convention. That the world is slowly catching up with the impact of her work and giving her some much deserved recognition is fantastic. Even with the increasing accolades, she remains iconoclastic and true to herself.
Rob Hudson
www.facebook.com/UmbrellaEnt

That she did this on her own (without paid assignment) and at a time when street artists were considered criminals makes her work even more risky and remarkable. This aspect of her life forms the backbone of the film but it’s far from the defining factor. Martha, now in her mid seventies has remained fearless, unconventional and still totally involved in documenting the humanity in the world around her.

The film is a joyous celebration about art, following one’s own ambitions, seeing beauty in the everyday and never following convention. That the world is slowly catching up with the impact of her work and giving her some much deserved recognition is fantastic. Even with the increasing accolades she remains iconoclastic and true to herself.

Don’t miss your second chance to catch Martha: A Picture Story when it plays on Tuesday, October 8 at the New Farm Cinema.
Rob Hudson
www.biff.com.au

As she journeys deeper into this raw New York City subculture, she begins to understand the true meaning of friendship as well as her inner self.

Skate Kitchen is opening at the Elizabeth Picture Theatre this Thursday – January 17!
www.facebook.com/SkateKitchenFilm

The announcement comes along with the release of the duo’s latest single – the thumping two-step and club-ready brass of ‘Leave The Light On’. The song, which premiered on Zane Lowe’s Beats 1 show, is the follow up to the captivating lead single ‘Hold Me Close’ and it’s follow up track ‘Nighttime Hunger’ – both of which deal with the complexities of love set to a backdrop of lush electronic beats and garnished with seamlessly intertwining harmonies.

NPR’s All Songs Considered says ‘Hold Me Close’ “unfolds with disarming intricacy,” and praises, “the splendor of its deliberate harmony”, while NPR Music also named Overcoats one of its favorite discoveries at SXSW last year, and the duo ranked #3 on NPR’s Listeners Poll of favorite new artists of 2016.  One such listener hailed Overcoats for, “The chills they give me; the fact that I can’t look away when they perform; their complex and irresistible harmonies; the vulnerability to their words and the dance-y beats they put behind them.”

Overcoats is comprised of former college roommates Hana Elion and JJ Mitchell, who co-wrote all twelve songs on YOUNG. The two were drawn to each other when they first met as teenagers in 2011, finding connection in a love of diverse musical styles, and forging a closeness that verges on sisterhood. Both members of Overcoats describe the first time hearing each other sing as an epiphany: the harmony of their voices leading to personal, individual discovery.

YOUNG weaves a tapestry of crystalline vocals with soaring synths and rich bass lines, and showcases a striking range for the duo. While their seamless vocal interplay and contemplative lyrics remain at the core of their sound, YOUNG is also rich with experimentation and sonic surprises.
www.facebook.com/thisisovercoats

From acclaimed director Stephen Frears (Philomena, The Queen), Meryl Streep stars in the true story of Florence Foster Jenkins, a New York heiress and socialite who obsessively pursued her dream of becoming a great singer. Convinced of her own talent, the voice Florence heard in her head was beautiful, while to everyone else it was hilarious and awful. Her husband and manager, aristocratic English actor St Clair Bayfield (Hugh Grant), was determined to protect his beloved from the truth. But when Florence decided to give a public concert at Carnegie Hall in 1944, St Clair knew he faced his greatest challenge yet. Funny, moving and featuring a brilliant lead performance by Meryl Streep, Florence Foster Jenkins is as exuberant and charming as the irrepressible diva who inspired the film.

Competition will be drawn 04 May 2016, winners will be notified by mail.

Having long ago transcended their lo-fi bedroom project roots in favour of lush soundscapes and dreamy atmospherics, 2014 has been a huge year for The Antlers who in June released their fifth studio album, Familiars, to not unexpected fanfare. Pitchfork heaped praise on the release, gushing, “Familiars is the latest satisfying effort from a band that continues to reward those listeners who give them the attention their elegant, secretly weird music deserves”, while The A.V. Club offered, “With this rewarding album, The Antlers take the band’s wounds and find glimmers of redemption and hope”.

The Antlers too have been touring non-stop around America since Familiars hit the shelves, and with an extensive European tour slated for this coming October/November should also be firing on all cylinders by the time they hit Australia in February!

The Antlers 2015 Australian Tour
Brisbane – Wed 11 Feb 2015 – Brightside
Sydney – Fri 13 Feb 2015 – Oxford Art Factory
Melbourne – Sat 14 Feb 2015 – Melbourne Recital Centre
Perth – Sun 15 Feb 2015 – Perth Arts Festival
www.antlersmusic.com

Mexican writer and director Alejandro González Iñárritu has delivered a story inside a story about a past his use by date movie star, Keaton, who previously reaped the riches and empty adulation that went with his role of playing the big screen superhero Birdman.  He is seeking redemption (artistically and humanly) by writing, directing and starring in his own Broadway play.

Alejandro uses music masterfully as the first three quarters of the film is set to a drum solo and not the usual film score music. This drum solo, with its odd punctuations and time signatures has the effect of putting you on edge and never letting you get comfortable. This also applies to the great work of the actors. Keaton is brilliant with all of his ticks and nervous affectations (including the voice in his head that comes from his alter ego Birdman). Emma Stone is also great as the hot mess bottle blonde daughter and Edward Norton sizzles as well as a Broadway actor that take method acting to new heights.

The line between reality and fantasy has never been more lusciously disregarded as Birdman takes on a staggering number of acting clichés as it tells its story. The acting and directing is consistently superb and surprises wait at almost every turn. This is the kind of film that gets the year off to a great start.
Rob Hudson
www.birdmanthemovie.com

Taking away the often times bombastic soundscape that heavy use of outboard gear allows gives band mainstays Sasha Markovic and Kana Kamitsubo the opportunity to create a world of both introspection and intimate appeal. These are songs that invite you to get inside them, like the feeling of wrapping yourself up in a warm blanket on a cold winter’s night.

The band’s duo core is supplemented by a plethora of guests that further expand the scope of the proceedings. Dewa Budjana and Anthony Mullin’s guitar work and Wen Chang’s violin are just a few of the stellar additions and add further textural revelations.

The version of Free’s Wishing Well is particularly enlightening and their reinvention of such a familiar melody with strong piano chords and subtle plucked and bowed notes is startling. So weather it’s the wide open west expansion on Sound Of M, the classical gas take of Deep Purple’s Burn or the swing sway of North, this is a work of constant surprise and engagement.

Being truly progressive relies on an open-minded approach where there are no expectations that can’t be ignored and no compositional leaps that can’t be cleared.  Reinvention or revelation, Kai is inviting in both extremes.

Rob Hudson
www.yagull.com

It’s a sign of the expertise at work here that the 180 minute long film literally flies by. It’s also helped along by Leonardo DiCaprio’s most manic performance yet. If you thought he was full on in Django Unchained, he ramps it up ten fold here. Quite a few of the support cast members also turn in career defining roles. This includes Jonah Hill, who get the mix of powerful and pathetic just right and Aussie soap star Margot Robbie’s clothing optional performance that proves her place on the big screen.

A number of critics have taken Scorsese to task for glorifying all the drug use and sexist behavior. They must have been watching another film because never has a film showed so vividly how this kind of hedonist lifestyle fuelled by debauchery and excess leads to empty and hollow lives, big money or not. If you read about the real world characters from this period in Wall Street’s history it might even be considered tame by comparison.

In the 365 days that have just gone past (2013) it was a year in film that set a high water mark for both great films and great performances. Even in this crowded company, The Wolf Of Wall Street stands out and should be included in anyone’s list of must see movies.

Rob Hudson
www.thewolfofwallstreet.com