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Summary:  An underworld kingpin’s past catches up with him when he returns to London, igniting an explosive chain of events which ends in revenge and murder.

Year: 2021

Cinema Release Dates: 29th March 2021 (UK)

VOD Release Dates: TBA

Country: UK

Director: James Crow

Screenwriter: Adam Stephen Kelly

Cast: Lucy Aarden (Zoe), Danny Bear (Eddie), Rebecca Ferdinando (Janet), Andy Gatenby (Steve), Lexi Gatenby (Young Zoe), Julian Glover (Sebastian), Ricky Grover (Billy), Frank Harper (Richard Morgan), Lee Nicholas Harris (Police Sergeant Harris), Robert Holliday-Evans (Lewis), Ambra Moore (Kate Morgan), Nick Moran (Frank Conway), Billy Murray (John Morgan), Johnny Palmiero (Mickey Dean), Bruce Payne (Damien Osbourne), Andreina Sambucetti (Police Officer Geidtz), Jeanine Nerissa Southcott (Sadie Morgan)

Running Time: 88 mins

Classification: TBC


David and Lee Griffiths Nemesis Review:

Dave’s rating Out Of 5

Average Subculture Rating:

IMDB Rating:

Nemesis (2021) on IMDb

Other Subculture Nemesis Reviews:



Red Stitch is back! Theatre is back! Yes there were still some Covid restrictions in place but last night as I joined 50 or so other people in the familiar territory of the Red Stitch Actors Theatre I finally felt like the Melbourne theatre scene was returning to normal in this what I think I am supposed to call a post-Covid normality.

For Red Stich last year was a write-off, instead of excitedly barrelling towards their 20th anniversary next year their theatres sat idle as Melbournians sat in lock-down. That is why last night, at the Australian premiere of The Cane by Mark Ravenhill, felt like a little celebration because Red Stitch was back and with The Cane they are back with avengence.

One of the things I have loved about Red Stitch over its 19 year history is the fact that it has always been a theatre company that performs pieces of theatre that really ‘mean something’ and that sometimes buck the general ‘thought’ of the world at that time. The Cane certainly fits into those two descriptions remarkably well.

From UK playwright Mark Ravenhill, who has been very popular in the UK theatre scene since his first play Shopping And Fucking was first performed in 1996, The Cane centres around a family unit made up father, mother and daughter. They are estranged but suddenly career motivated daughter Anna (Jessica Clarke – The Menkoff Method) has appeared at her parent’s house early on a Sunday morning as they sit trapped inside their house with an angry mob outside.

The angry mob are there for the father, Edward (Dion Mills – Wentworth), who aside from preparing for retirement from his job as a Public School teacher for 45 years has been dealing with the fallout surrounding the fact that he was the teacher responsible for caning students over 30 years ago. Caught in the crossfire is the mother, Maureen (Caroline Lee – The Dressmaker), who has dutifully been the housewife over all of these years and has never forgiven her daughter for an incident years earlier when she tried to attack her father with an axe.

I think what I found most interesting about the plot for The Cane is the way that it explores ‘woke culture’ and from the laughter and almost cheering from the audience when Maureen says the mob are there “because they are snowflakes” then writer Mark Ravenhill might be onto something. The powerful thought-provoking script here explores the notion that yes things may have happened 30 years ago that would be socially reprehensible now but perhaps the modern day generation have no right to criticise something that was the social norm then especially when they don’t have a full understanding of what being forced to do things like that may have had on the person who had to do it.

As a piece of work The Cane explores that notion brilliantly well and that more than makes up for the fact that the whole Public School vs Academy School rivalry that develops during the play is kind of lost on an Australian audience. You do get a feeling as you watch the play that Edward’s public school system is the ‘good way’ and that Anna’s Academy school system is the ‘bad way’ that centres around corporate greed, but given that this isn’t a topic that has been newsworthy here the way it has been in the UK it certainly doesn’t pack the punch here that it would there.

The sparsely decorated set plays a powerful part to the themes of The Cane. The stark whiteness of the set lends a hand to the bland existence that Maureen feels that her and Edward have lived while the fact that they own very little further enhances the notion the Edward has dedicated his whole life to teaching and that the things that are important to him are hidden away in the attic. My only criticism of the entire production is that the cast ‘changing rooms’ mid-performance seemed a bit redundant as the change of environment did nothing to enhance the story playing out in front of us and if anything it briefly interrupted the brilliant intensity that the production manage to hold up throughout the night.

Ravenhill’s script also allows for some amazing performances from the cast. Jessica Clarke and Caroline Lee shine and easily won over the audience despite the fact that their characters are both cold and stand-offish. Both actresses managed to pull off performances that equally showed the strengths and weaknesses of their characters sensationally well and the keen eyed audience member will also notice their clear facial expressions and glares that they give other characters as they stand in silence at times.

Dion Mills was also sensational as the divided Dion Mills. He is faced with the fact that at times during the performance that audience are going to see him as a ‘monster’ and it is up to him with his performance to try to convince the audience otherwise. As an actor Mills seems to relish playing a character on trial and his performance will stick in my mind for a long time.

For me this felt like an important piece of theatre making a great point about the times that we live in. Mark Ravenhill is now a playwright that I really want to hunt down the work of and explore more of. I love the ‘social commentary’ displayed in The Cane and I love the fact that themes like the family’s relationship are never really resolved in the play… that gives the audience the opportunity to walk away from the theatre not only thinking about the topics discussed but also to answer those questions those themselves. Having seen that Ravenhill has recently worked with Robbie Williams and Guy Chambers and I think am about to head down a rabbit-hole that I am going to enjoy immensely.

If you love intense, character driven theatre then you need to take a trip to Red Stitch to see The Cane. This powerful new work is a great way to celebrate the return of live theatre to Melbourne, so don’t miss it!

The Cane by Mark Ravenhill is on at Red Stitch Actor’s Theatre from 7th April – 9th May 2021.

Stan, Australia’s unrivalled home of original productions, today revealed the teaser and first look images for its upcoming eight-part Stan Original Series Eden – coming soon only on Stan.

To watch and share the teaser, click here:

Featuring a young and diverse cast, Eden was shot in and around the Northern Rivers region of New South Wales and is led by Australian up-and-comers BeBe Bettencourt (The Dry) and Sophie Wilde (Bird),alongside stars Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), TV Week Gold Logie Award-winner Samuel Johnson (Molly) and Christopher James Baker (True Detective).

The mystery of Eden unfolds in an idyllic coastal town, where the disappearance of a young woman triggers a devastating chain of events which lays bare the dark and hidden heart of the community. Long buried secrets are dragged into the open as lives and deeds intersect over one fractured summer and its aftermath.

This complex, multi-generational tale also stars Australian favourites Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (SandoThe Letdown).

An exploration of human relationships through the lens of sex and desire, Eden boasts an all female writing team, led by head writer Vanessa Gazy (Highway), alongside Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People’s Problems).

Created in collaboration by Every Cloud Productions’ Fiona Eagger and Deb Cox, and the creator of the UK cult hit Skins, Balloon Entertainment’s Bryan Elsley, the series is produced by Fiona McConaghy (Stan Original Series The Gloaming) and directed by John Curran (Stan Original Series Bloom), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Janet King). All eight episodes of the series are shot by award-winning cinematographer Geoffrey Hall (Stan Original Series Bloom).

The Stan Original Series Eden is produced by Every Cloud Productions and Balloon Entertainment. Major production investment from Screen Australia in association with Screen NSW. Financed with support from all3media International who is the global distribution partner on the series.

The Stan Original Series Eden is coming soon only on Stan, with further premiere details to come.

Once you walk through the doors of The World Famous Spiegel Tent at Melbourne’s Arts Centre it feels like you have been taken back to the early 1900s  and are at Paris’ famous Moulin Rouge. As you take your seat you are waiting for the performers to take the stage and mesmerise you with amazing feats all while making you laugh – yes as a venue the Spiegel Tent is the perfect venue for brand new show Dumtectives In Cirque Noir.

The show is the brain-child of comedic circus troupe Dummies Corp who have been wowing audiences with shows such as Trash Test Dummies over recent years. But while their previous shows have been family friendly Dumtectives certainly isn’t.

With this show the talented Amy Nightingale-Olsen, Thomas McDonald and Leigh Rhodes step into the world of classic film noir detectives… the only problem is they are not very good the whole ‘being a detective’ thing. That doesn’t stop them stepping in to investigate the murder of an innocent man, who due to a weird chalk-outline drawing may or may not have two penises.

The show itself is a mix of comedy, cabaret and brilliant circus skills. At times while watching the show I found myself thinking about Dracula’s Gold Coast shows…. and I mean that with the best possible intention… every time I go to the Gold Coast I am one of the first in line at the doors of Dracula’s.

Like Dracula’s here the Dumtectives team find the right mix of comedy and circus acts while not forgetting that it is also okay to be a little cheeky. To their credit they do not go over-the-top with the sexual side of things – no, the team purely use it for a laugh, a dick joke here, a person in drag here… just harmless fun really that is guaranteed to make the audience laugh.

As I have already mentioned this is a team that knows how to make the audience laugh – Nightingale-Olsen reaches some terrifying heights and certainly has the crowd opened mouth in awe as she is thrown around the stage throughout the show in various stunning acrobatic moves. Meanwhile Leigh Rhodes steals a lot of the laughs with his brilliant comedic timing while Thomas McDonald is the base of every human pyramid (yes he does the heavy lifting) and show a real flare for slap-stick.

There are so many moments of this show that will have you sitting there thinking ‘wow, how did they do that?’ I am still marvelling at the puppetry skills of David Splatt while the circus skills of the whole troupe left me completely mesmerised throughout the show. That combined with how many times I laughed throughout the night certainly attests to the fact that I had a great night.

Few teams can mix comedy and circus skills together the way that Dummies Corp can and once again they have produced a real winner with Dumtectives In Cirque Noir. This is a show that will leave you stunned at the level of skill required for the performance that is happening right in front of you, and that is further enhanced by the intimate session, and will also have you laughing all night. This is one of the best shows of this year’s festival.

You can book tickets to the show right here –

One of my great pleasures in life is watching British Comedy. As people who will know me will attest to I am a huge fan of the modern day British comedy scene – I am a tragic for shows like 8 Of 10 Cats Does Countdown and Mock Of The Week but what a lot of people don’t realise is that I am also a huge fan of old school British comedy. Even today while my friends pull out shows like Friends or Big Bang Theory I am more at home sitting down to watch Keeping Up Appearances, Birds Of A Feather or Hale & Pace.

It is because of that love of British Comedy that I think I enjoyed the new show Don’t Trust Me I’m A Dentist so much when I got to see it last night at the Melbourne International Comedy Festival. Put together by talented performers Amir Rahimzadeh, known for his work both here and in the UK, and Sharon Heywood, who is known for both her screen and stage work, Don’t Trust Me I’m A Dentist is pure old school British comedy with a modern twist.

Directed by Australian screen legend Roz Hammond (Muriel’s Wedding) Don’t Trust Me I’m A Dentist mixes comedy with tragedy in a way that only the British seem to be able to pull out successfully. The show centres around two main characters Dr Ronnie Ramirez (Rahimzadeh) and his dental nurse Yvette (Heywood). The show chronicles their journey from Ramirez being a fresh-faced young dentist excited to have his own practice into a career that soon shows him the downside of choosing dentistry as a profession.

The story comes together brilliantly well enhanced by both Rahimzadeh and Heywood playing other side characters when they need to – and in fact it is often these other characters that steal the show. It is going to take me a long time to forget about characters that included an old lady flasher, a nymphomaniac chocoholic and an old man who got a little ‘too excited’ while in the dentist chair.

The power of this show though lays in the fact that it can mix comedic moments with that of a tragic story, yes in a sense this show has aspects of Shakespeare all over it. The strength of the writing grouped together by two strong acting performances and a good use of modern technology results in a show that really does bring up some very important topics. It was in the moments after watching this show that I realised that dentistry must be one of the hardest professions going around… imagine turning up to a job everyday where the general consensus in the community is that the person themselves should be feared and is largely hated (if I am completely honest).

Don’t Trust Me I’m A Dentist is an amazing piece of theatre that reveals the brilliance of Amir Rahimzadeh and Sharon Heywood while telling a story that both entertains and makes you think. This is a show that will be enjoyed by theatre lovers and comedy fans alike.

To purchase tickets for the show please go to –

When it comes to comedians that make me laugh I must admit that comedians that are natural story-tellers often have a huge advantage over those that aren’t. Until recently I couldn’t pin-point what it was that made it that way – but recently I was able to put my finger on it… it is because they are more natural with their style and with their delivery.

Last night I was lucky enough to see one of those natural story-telling comedians work their magic in the flesh at The Melbourne International Comedy Festival. That comedian was Kenyan born, but now proud Aussie, Vincent Tshaka who I must admit so far takes the prize for the comedian that has made me laugh the most at this year’s festival.

Tshaka natural story-telling ability won me over from the very beginning and I very quickly came to realise that listening to him talk isn’t like watching a comedian up on a stage it is like sitting down and chatting to a friend… that is just how natural he is.

With his show at this year’s comedy festival – Australianised – Tshaka takes the audience on a laugh filled conversation of what it has been like for him since he arrived in Australia from Kenya. He tells brilliant stories about getting used to fast food in Australia and points out all of those quirky sayings that we have as Aussies that have tripped up over the years – things like “oh yeah, bring a plate.”

When it comes to audience interaction I don’t think I have ever seen a comedian that does it so well as Tshaka. He frequently will ask an audience member a question such as “where were you born” or “are you two married” but he does in such a natural way that it feels like a genuine conversation and the result is the audience feels comfortable – even when he asked a young vegan why she became a vegan you could tell the audience member was completely ease – there were certainly no deer in headlights moments within the audience when he turned his attention to them.

I guess the one thing left to say about Vincent’s show is go and see it now at the Meat Market because it is very obvious that he is the next big thing in Australian comedy. It might take a year or two but I am predicting that Vincent Tshaka will be having his own comedy television specials and be performing at the Arts Centre in the future. This is one show not to be missed at this year’s festival.

To book tickets to Vincent Tshaka’s remaining shows please go to –

MONSTER FEST will celebrate its 10th Anniversary from November 4th-11th at Cinema Nova with seven days of the latest and greatest genre and cult cinema programming from around the world.

Along with World & Australian Premiere screenings, Monster Fest are pleased to reveal the return of Filmmaker Q&As, Panel Discussions and the infamous All-Night Marathon to the Melbourne festival also.

Festival Director Grant Hardie remarked “after a challenging 12 months for us all, we are honoured to be celebrating our tenth anniversary this year, and we are especially looking forward to doing so with all of the Monster Fest fans who’ve made the last 10 years possible.

A limited release of VIP Passes & 5 Film Passes are now available and the first twenty VIP Passes sold will include a complimentary Monster Fest 2021 festival t-shirt.

Entries are now open for Short and Feature Film submissions via FilmFreeway with the first deadline, being the Early Bird Deadline, closing on May 29th.

Thursday 4th of November – Thursday 11th of November 2021

380 Lygon St, Carlton VIC 3053


VIP Passes $220
Mini-Pass (5 Films*) $75

VIP PASS – all access to every screening and event from Thursday 4 November to Thursday 11 November and complimentary Monster Fest 2021 t-shirt for first 20 VIP Passes sold.

*5 FILM PASS – access to 5 films in the program from Thursday 4 November to Thursday 11 November with the exclusion of any programming marked ‘Special Event’.