Avatar

It’s 2154 and the RDA Corporation is attempting to colonize the planet Pandora in order to extract a valuable mineral. The humans encounter resistance from the blue-skinned Na’vi natives, which they hope to overcome using avatars – human-Na’vi hybrid bodies under the control of human “drivers.” One such driver is Jake Sully (Sam Worthington), a crippled ex-Marine recruited to take his brother’s place. Sent to infiltrate the Na’vi and learn their ways, it isn’t long before his loyalties are tested.




Believe it or not, the last feature film James Cameron directed before Avatar was 1997’s notorious Titanic. Despite the different settings, his latest and his previous effort aren’t too far apart. Both feature impressive production values, but suffer from overlength, sentimentality and poor screenwriting.



Avatar is, without a doubt, a marvel to look at. Cameron uses CGI to craft exciting battle sequences and bring the Amazon-like terra of Pandora to life. Careful attention paid to developing the culture and language of the Na’vi give them some anthropological heft, despite their cartoonlike appearance.



Unfortunately, the other aspects of the film aren’t operating at the same standard. The acting isn’t all-around bad. Worthington brings conviction and grit to the lead role, while Sigourney Weaver is both empathetic and tough as the lead avatar researcher. On the other hand, Joel David Moore is annoyingly ineffectual as her subordinate and Giovanni Ribisi is a bombastic corporate caricature as the RDA boss. Michelle Rodriguez and Stephen Lang bring the toughness as a fighter pilot and a colonel respectively, but the roles are relatively undemanding.



The worst offender is undoubtedly the script, which manages to be heavy-handed, predictable and painfully obvious. Repeated references to the plunder of Earth and “bug-eating savages” place this at the level of environmentalist/anti-imperialist agit-prop and for a film with deep thematic aspirations, there is a surprising lack of engagement or nuance. It’s also highly derivative – anyone who has seen District 9 will recognize the direction Avatar takes, right on down to the appearance of mechanized combat suits.



As an epic, Avatar fails tremendously. Cameron’s treatment of the subject matter is too superficial and cliché-ridden to deliver a lasting impact. But it still works as basic entertainment and those final combat scenes are pure eye candy. For all the film’s flaws, there is something undeniably satisfying about watching tough, determined characters blast the crap out of each other with high-tech weaponry, Aliens-style. It’s a shame Cameron doesn’t realize this is what he does best.



7/10

The Road

In a post-apocalyptic future, an unnamed man (Viggo Mortensen) must protect his son (Kodi Smit-McPhee) from starvation, the elements and cannibalistic gangs as they make their way through a never-ending wasteland to the coast.

Director John Hillcoat’s (The Proposition) adaptation of Cormac McCarthy’s Pulitzer Prize-winning novel is high on fidelity to the source material and therein lies a significant problem. Both his film and McCarthy’s book are, save for a spark of hope at the end, relentlessly, almost monotonously bleak. As readers, we can process the despair over a period of time, but as viewers we are forced to absorb it all in one sitting



That major caveat aside, there’s a lot here that’s very well-done. Mortensen gives a powerful, desperate performance as a dedicated father. McPhee is annoyingly naïve at times as his son, but it’s a thoroughly believable turn as well. The family’s late mother, shown in flashbacks, was given a larger part in the film and Charlize Theron brings some heft to a largely thankless role. The remaining supporting parts are little more than cameos. Robert Duvall shows up as an old man while Michael K. Williams, better-known as The Wire’s Omar Little, plays another thief.



As game as the cast is, the film wouldn’t work if Hillcoat couldn’t translate the world of the novel to screen. Fortunately, he nails it to a T. McCarthy’s trademark landscapes are all here: miles upon miles of empty gray skies, of ruined vehicles clogging up the highways, of corpses left to rot in abandoned homes. It isn’t pretty, but it’s a sight to behold just the same.



When all is said and done, The Road emerges as a good film, but not an enjoyable one. It will drain you and leave you marveling at what you just saw, but you’ll also be left with little incentive to see it again.



7.5/10

Pho Hien Vuong

Located at 4109-A Spring Garden St., Pho Hien Vuong serves Vietnamese and Thai cuisine including pho (noodle soup), rice, noodle and vegetarian dishes. A $4.95 lunch special changes daily and the restaurant is open on Sundays.

The measure of a bad Asian restaurant is that everything tastes the same. At Pho Hien Vuong, everything is good, but nothing tastes the same. Several pages worth of menu options ensure there’s plenty of variety to be found. In the mood for something light? Try a spring roll. They come fresh (steamed) or fried, vegetarian or with shrimp, with peanut sauce. Want something heavier? Dig into a bowl of pho. The soups come with your choice of noodle (egg, clear or rice) and filling and enough accouterments (cilantro, sauces, bean sprouts, etc.) to allow you to season to your liking.



Thai dishes, such as curries and pad thai, have enough seasoning to please those familiar with the cuisine without overwhelming the palates of newcomers. Other authentic staples include Tom soups, lemon grass dishes and Vietnamese-style ribs.



Prices at Pho Hien Vuong are more than reasonable. The lunch specials, which include rice and a spring roll, are a bargain, and many of the regular entrees run $8 or less. Seafood dishes are less economical, but even the $13 shrimp pad thai isn’t an outrage. Service is satisfactory – the wait staff is prompt, but they don’t rush you — and the atmosphere (plenty of booths, gentle music, a large fish tank) is comfortably elegant. The only real downside to Pho Hien Vuong is its lack of parking. The lot is tiny and fills up quickly, rendering the restaurant virtually inaccessible during the lunch rush.



Like a Swiss army knife, Pho Hien Vuong’s versatility comes in handy in a variety of situations. Whether you have a craving for a particular dish or no clue what you want; whether you’re well-versed with Vietnamese or Thai cuisine or are just starting out, Pho Hien Vuong has you covered.



8.5/10

Bring Me the Head of Alfredo Garcia

When his subordinate knocks up his daughter, a Mexican crime lord (Emilio Fernandez) offers $1 million to whoever can bring him Alfredo Garcia’s severed head. The task of finding the treacherous Garcia is farmed out to Bennie (Warren Oates), a former Army officer turned piano player. With his prostitute girlfriend Elita (Isela Vega) in tow, Bennie sets off to find Garcia, no matter what the cost.




The two most frequently repeated criticisms of Sam Peckinpah are that his movies are misogynistic and gratuitously violent. Both points certainly apply here. The body count soars into double digits and we’re subjected to a near-rape, a brutal interrogation scene and, of course, the titular severed head. All these things make for an unpleasant movie, but not one which should be ignored.



To start with, the diminutive Oates brings both depth and ass-kicking toughness to the lead role (one which was supposedly modeled on Peckinpah himself). Bennie begins the film as a sleazy opportunist, but by the end, it’s clear he’s the moral center, the only one who isn’t chasing Garcia’s head for the money or for simple revenge. Colorful supporting performances include Kris Kristofferson as a menacing biker and Robert Webber and Gig Young as a pair of besuited, station wagon-driving hitmen. Fernandez’s powerful jefe and a few of the minor roles, on the other hand, felt a bit stock.



The film is well-shot too. We get plenty of scenic Mexican countryside, but enough grit (brothels and bars and cemeteries) to create a fuller picture. An iconic sequence of Oates driving en route to collect his reward is an obvious influence on Quentin Tarantino – see the segment he directed for Sin City.



Overall, one’s appreciation of the film will depend on how much the viewer can relate to Peckinpah’s bleak, uncompromising worldview. It’s easy to see the ending as a negation of everything leading up to it, but those final bursts of gunfire are needed to make the film ring true. Supposedly, Bring Me the Head of Alfredo Garcia is the film Peckinpah was most proud of; not surprising given it was the only one not subject to studio interference.



7.75/10

Taqueria El Azteca

NOTE: El Azteca also operates a popular taco truck.

Located at 5605 West Friendly Avenue in the Pyramid Village Shopping Center, Taqueria El Azteca offers margaritas, tacos, burritos, fajitas and other Mexican fare. Tacos are $1 on Tuesdays and Thursdays. Outdoor seating is available.

For tacophiles, El Azteca is Greensboro’s gold standard. They are served up authentic Mexican style, with radish, avocado, cilantro and lime. More than half a dozen fillings are available and you can’t go wrong with most of them. The pastor (marinated pork) is addictively flavorful, while the chorizo has a nice kick. Only the chicken is a bit dry. The tacos are small – don’t expect them to last you more than three bites – but at a $1 each, they are still a good bargain.



El Azteca’s other menu options aren’t quite of the same caliber. Burritos and fajitas can run over $10, depending on the fillings, and are prepared in more of a Tex-Mex style. That isn’t necessarily a demerit and nothing is prepared badly here, but you can find similar food elsewhere.



The restaurant’s waitstaff is friendly and attentive. Drinks are refilled and baskets of chips replenished promptly. Of course, that will only benefit you if you’ve already been seated. El Azteca is not a large establishment and on $1 taco nights, it fills up very quickly. Show up with a group after 6:30 on a Tuesday or a Thursday and you’re virtually guaranteed a wait.



If you like tacos and don’t mind a crowd, El Azteca has the potential to become a local favorite. If you’re in a hurry or are in the mood for something else, however, you may want to rethink your options.



7.25/10

Sticks & Stones Clay Oven Pizza

Located at the intersection of Walker and Elam Aves., Sticks & Stones offers small plates, salads and, of course, pizza. Many varieties of beer are also available, and food/drink specials rotate regularly.

For Sticks & Stones, “local pizzeria” is more than just a geographic identifier – it’s part of a much deeper philosophy. The restaurant prides itself on procuring fresh, often organic ingredients from North Carolina-based farms, markets and creameries. The communitarian approach extends to baking pizzas in wood-burning ovens and using pizza boxes made from recycled paper.



The eclecticism doesn’t end there though. Everything on the menu is named for a Ryan Adams song. This odd touch may delight fans, but will likely confuse, if not annoy, the non-listener. Throw in a sparse-but-intimate ambiance (wood tables/booths and low lighting) and a consistently friendly wait staff and you’re left with an establishment which is anything but forgettable.



The food nearly comes close to matching the distinction of Sticks & Stones’ other intangibles. Pizza topping combinations include everything from fried eggplant, wild mushrooms and caramelized garlic (A Kiss Before I Go, sure to become a favorite) to sopressata, arugula, mozzarella and pine nuts (New York, New York) and, of course, you can always make your own. The local ingredients are high-quality and the flavor combinations work well, though the crust (thick and bland) is lackluster. Salads are bolstered by touches like pumpkin seeds (Peaceful Valley) and honeyed walnuts (Dance All Night).


In keeping with the considerate ethos, Sticks & Stones does not price its way out of the community. Large pies feed three and run $20 or less. That may seem like sticker shock for those used to chain prices, but you get what you pay for. Salads will set you back $4.25 to $7.25 depending on the size and small plates vary considerably.


The biggest drawback here, by far, is the susceptibility toward crowding. Go here on a busy night and expect to wait: for a table, for your food, for your headache to go away (the acoustics here leave something to be desired), et cetera. Of course, that assumes that you can even find parking: the small lot fills up quickly.



As I mentioned in my Mellow Mushroom review, what makes a “good” pizza is largely a subjective affair. So to is what makes a good pizza place. Cozy yet quirk-laden, Sticks & Stones may not be everyone’s cup of tea (or can of sauce, as the case may be), but the fried eggplant alone makes it worth investigating.



8/10

Revolutionary Road

Young professional Frank Wheeler (Leonardo DiCaprio) and his wife April (Kate Winslet) lead a seemingly charmed life in 1950s suburban Connecticut. He hates his job, however, and she feels suffocated by domesticity. Meanwhile, some trenchant and probing observations by a friend’s mentally ill son (Michael Shannon) threaten to shatter their illusion of a happy family once and for all.




It isn’t easy to create a good movie without a single likeable character, but Sam Mendes appears to have done exactly that. Like Mendes’ best-known film, American Beauty, Revolutionary Road is a scathing indictment of middle-class conformity. But while that movie offered at least a glimpse of hope for some of its characters, Mendes’ adaptation of Richard Yates’ novel strikes a thoroughly despondent note. And that is precisely why it works.



There is something recognizable and perhaps even understandable in every one of Revolutionary Road’s characters, yet every character simultaneously courts contempt – necessary if we are to read this as a critique of their lifestyle. DiCaprio and Winslet (the director’s wife) give very solid lead performances which invert their relationship from Titanic. Instead of kindred spirits divided by class, they are a pair of suburbanites who couldn’t be more different. Frank owns up to his responsibilities as a provider, but is afraid to push himself to do something more with his life. April, on the other hand, never lets go of that spark, but is also irresponsible, deluded and selfish.



The supporting parts are similarly unsympathetic. Cast against type, Kathy Bates does the genteel and quietly judgmental family friend/realtor to perfection. Shannon, however, gives a slightly disappointing performance as her institutionalized son, a burned out mathematician. Though nominated for an Oscar, he does little more than deliver tactless and obvious commentary, something which may seem “shocking” to buttoned-up suburbanites like his parents, but not to the audience. Everything he says is spot-on, though hardly riveting.



One of the film’s greatest triumphs is being able to squeeze maximum tension out of minimum action. The visual look of the film – neatly coiffed hairstyles, white shirts and dresses – stands in such contrast to the characters’ inner disarray that it seems like only a matter of time before something ruptures. Even something as innocuous as April making eggs feels like a potential prelude to a blow-up. If there is one qualm about how this tension is handled, it is that the conclusion felt unsatisfyingly truncated. Credit Mendes/Yates for dodging sentimentality, but they could have shown us more and hit us harder. We can take it.



7.5/10

Green Valley Grill

Located at 622 Green Valley Road next to the O’Henry Hotel, the Green Valley Grill offers fine dining, Guilt Free (reduced fat and sodium) selections and an extensive wine list. In addition to lunch and dinner, the restaurant serves brunch from 9 a.m. to 4 p.m. on Sundays and a daily afternoon tea in the O’Henry lobby from 2 p.m. to 5 p.m. Private rooms and catering are available.

Fine dining is as much about the eating experience as it is about the food, and in that regard, the Green Valley Grill comes through. High ceilings and spacious booths ensure that the restaurant never feels crowded, even when it is full. The wait staff is prompt, professional and polite.



Of course, this would mean little if the food was not up to par with the presentation. Fortunately GVG acquits itself nicely. An eclectic assortment of small plates includes everything from high-end burgers (the short rib sliders come recommended) to seafood to flatbreads. The truffle fries are full of zest, while faro, pine nuts and squash put a unique spin on a salmon salad.



The entrée selection is limited and several chef’s features rotate regularly. The traditionalist will be comforted by the presence of such staples as loin of lamb, steak (New York strip or filet mignon) and roast chicken. Those looking for an international bent can go for the jagerschnitzel (German breaded veal cutlet) or the paella (saffron rice with seafood and sausage), the latter of which is seasoned to perfection.



Portions are reasonable – you won’t go hungry, but don’t anticipate leftovers. If you do have room afterwards, be sure to take in a dessert. Like the rest of GVG’s fare, there’s a good balance between traditional (an apple tart and crème brulee) and inventive (white chocolate cheesecake and the Nutty Irishman, a frozen cake/cream/coffee concoction). You really can’t go wrong in either direction.



Needless to say, food of this quality will agitate your wallet while mollifying your stomach. Small plates and salads are in the $11-$12 range, entrees go from $19 to over $30 and desserts run between $6 and $7. Dinner for two can easily put you out half a c-note and lunch/brunch is barely less costly.



As a hotel restaurant, the Green Valley Grill has an unspoken obligation to convention: it must appeal to guests and travelers of the simplest tastes. It takes up this mantle well while still finding plenty of room for creative flourishes. This deft balance makes it one of Greensboro’s premier dining spots for special occasions, as long as you have the dough.



8.5/10

The Long Goodbye

Published in 1953, Raymond Chandler’s classic crime novel continues the adventures of private detective Philip Marlowe. Here, Marlowe befriends Terry Lennox, an emotionally and physically scarred drunk with a crumbling marriage. Lennox calls on him for a ride to the airport one night and Marlowe soon finds himself in the thick of a murder investigation. Not one to stay out of trouble for long, he soon becomes entangled with another alcoholic – the writer Roger Wade – and his attractive wife. It isn’t long before Marlowe suspects Lennox and Wade had more in common than a drinking problem.

Hardboiled detective fiction, of which Chandler was a chief purveyor, is a veritable minefield of tropes, types and clichés. Femme fatales, crooked cops, menacing gangsters, caricatured ethnic sidekicks and gratuitous cigarette smoke are but a few staples and they all show up in The Long Goodbye. The familiarity of these elements begs a question: is a mystery with so little mystery still worth reading?



The answer, in the case of The Long Goodbye, is a resounding “yes.” Though crime novels are by necessity plot driven, Chandler does a great job with characterization. You can see the stock origins of a lot of the minor players (the servant Candy in particular), but the main characters are fairly well-developed. Unlike his contemporary Sam Spade (unbelievably and effortlessly slick), Marlowe is complex and thoroughly human. He talks and acts tough, but he is also subject to injury, inadequacy and doubt. Similarly, Lennox and both Wades walk a morally ambiguous line in that they are devoid of neither sympathy nor malice.



Chandler also succeeds at sustaining tension. The Long Goodbye weighs in at 316 pages, but is remarkably taut with very little filler. It takes several pages to establish its narrative footing and it ends on a rather abrupt note, but everything in between is expertly paced. The prose is surprisingly crisp too – descriptions are neither purple nor threadbare.



Though sex-and-murder laden, The Long Goodbye is not the literary equivalent of a popcorn movie. Chandler uses Marlowe and Co. to explore the nature of power, truth and corruption and he does it without making us feel like we’re being lectured. There are a few places where Marlowe comes off as annoyingly self-righteous in his quest to defend Lennox’s good name, but if he didn’t believe so thoroughly in what he was doing, we probably wouldn’t care enough to read about it.



In the 50-plus years since its publication, The Long Goodbye has been the subject of parody, reinvention and critical acclaim (or, in the case of Robert Altman’s 1973 film adaptation, all three at once). It is, however, a book which can stand ably on its own two feet regardless of the printing date or the mythic reputation of the author.



8/10

Trivia Night at The Green Bean Coffehouse

Located at 341 South Elm Street in downtown Greensboro, The Green Bean offers coffee, tea, beer, baked goods and live music. Trivia night is held every Monday at 7:30 p.m. The cost to participate is $3 per person and half of all money raised goes to charity.



Metaphorically speaking, trivia is a pickup game of basketball for smart people. You see someone taking jump shots and practicing their spin moves and you wonder if maybe you can do better. Sometimes, you’ll find out that you can. Other times, you’ll end up flat on your ass.



Hosted regularly by Alex Howell, trivia at The Green Bean covers a lot of epistemological ground. Questions will test your knowledge of history, science, literature, pop culture and more. The question format is equally varied: you may go from listing seven of the top ten largest cities to unscrambling a word jumble trying to spot a flaw with an image on a projector screen.



The breadth of knowledge required to succeed in trivia makes team selection crucial. You can play with up to four other people and you’d better hope at least one of them knows something you don’t. Getting along with your teammates helps too, as internal squabbling and an inability to reach consensus can doom a team to failure.



The biggest enemy, however, is time (though finding a place to sit can sometimes rate a close second). While there isn’t a time limit per question, teams who don’t write down their answers before the next question is called will have a lot of guesswork to do at the end. The game is divided into two rounds of 15 questions each and roughly a third of those questions rely on visual prompts which won’t stay up on the screen for very long.



Trivia, Green Bean-style, can sometimes be a maddening experience. Howell has a tendency to get ambitious with his questions and that ambition has occasionally resulted in no teams picking up a point (identifying out-of-context imagery is notoriously challenging). Further, the difficulty of the questions can vary wildly between the first and the second round. It’s easy to have a decent showing after 15 questions and knock yourself out of contention with a bad second half.



On the other hand, it’s equally easy to walk away with cash in your pocket some weeks. Prize money usually goes to the top two teams and though winning streaks are common, no one is a lock for first. Since you have no way of knowing where other teams stand until the end, your own point totals are of minimal value.



How much enjoyment you get out of trivia night will ultimately depend on your level of patience. If you accept the possibility that you will miss questions you know (or should know) the answer to and walk away empty-handed, you can kill a few hours with friends and feel good knowing your money is going to a worthwhile cause. But if you come to win – as many do – you may leave with a lot of frustration.



6.5/10

Mellow Mushroom

Located at 609 South Elm St. in downtown Greensboro, Mellow Mushroom offers appetizers, salads, pizzas, calzones and a full bar. Drink specials change daily and live music can be found on select Thursdays.

When it comes to pizza, there’s a school of thought that says nothing good can come from a chain. While Pizza Hut and CiCi’s do plenty to bolster that argument, a trip to Mellow Mushroom could leave it in tatters.



Founded in the mid-70s by a trio of college students, the Atlanta-based franchise has grown to include over 100 restaurants in 18 states. Despite the ubiquity, Mellow Mushroom has the feel of a local pizzeria: it’s a sit-down establishment with plenty of seating and more than just pizza, wings and garlic bread on the menu (though, of course, they have those too).



But while a local pizzeria might have a specialty or two, Mellow Mushroom prides itself on creative combinations. The Philosopher pie, for instance, combines steak, Portobello mushrooms and artichoke hearts with three kinds of cheeses and (like all pizzas here) features a whole-wheat crust. A "spiked" sausage sandwich blends beer-soaked sausage crumbles with garlic aoli and two types of cheese.

Both are boldly flavored and easily devourable, but if such flourishes are not to your liking, have no fear: you can also build your own pizza, salad, or calzone. The dozens of available toppings include everything from jerk chicken to tofu and tempeh and it’s likely you’ll find at least one combination you like.



Needless to say, prices vary depending on your level of customization. If you go for a pizza, you’re better of splitting with friends: a large specialty pie feeds four for about $6 per person. Sandwiches and salads come in two sizes and run between $4 and $8. Calzones are slightly pricier.



Like most restaurants, service will vary depending on the size of the crowd. The downtown location ensures that patrons aren’t exclusively college-aged. The ambience works well for families and groups. Dinner for two? Not so much.



It’s impossible to say if Mellow Mushroom offers the best pizza in Greensboro because no two people will agree on what constitutes the “best” pizza (thick crust vs. thin, New York-style vs. Chicago-style). It’s far easier to say that at Mellow Mushroom, you really can’t go wrong.



8/10

The Exorcist

When her 12-year-old Regan MacNeil (Linda Blair) shows signs of demonic possession, her actress mother (Ellen Burstyn) calls upon Fatherr Damian Karras (Jason Miller), a priest who has begun to lose his faith. They are eventually joined by Father Merrin (Max Von Sydow), the titular exorcist who previously encountered signs of the possessing spirit in the Middle East.

Based on a novel by William Peter Blatty, William Friedkin’s 1973 film carries with it the reputation of a horror classic. This, of course, is both a blessing and a curse. Good films often spawn imitators, to the point that what was once ingenious may now seem cliché. And what shocked and terrified audiences in 1973 may have little impact on the post-Saw, post-Hostel audiences of 2009.



That being said, The Exorcist proves itself worthy of its reputation. Along with The Omen, it is one of the pioneering films of the “evil kid” horror subgenre. But unlike subsequent imitators, there is nothing sinister or out-of-whack about the kid in question. Blair’s Regan is disarmingly normal from the start and that’s what lends pathos to her gradual transformation into an unholy terror.



It also helps that the movie has some legitimate shock power. Even though Regan’s supernatural antics (spider-walking down the stairs, spewing green vomit, etc.) have been lodged in popular imagination, you never know what is coming. Friedkin does not rely on sinister music to precursor to trauma (a shame in a sense – “Tubular Bells” is a hauntingly effective theme). Terrifying images are flashed on the screen with no warning at all.



While Eileen Dietz (face) and Mercedes McCambridge (voice) deserve the bulk of the credit for bringing the possessed Regan to life, the primary cast is game as well. Miller (a practicing Catholic) does a great job of fleshing out Karras’ inner struggle, while Von Sydow imbues Merrin with strength and determination in his too-brief screen time. Burstyn is credible as a mother who gains faith while losing hope. Only Lee J. Cobb rang a false note as a sympathetic police lieutenant, likely owing to his advanced age and his penchant for playing scumbags.



For all its disturbing imagery, The Exorcist is still a movie which relies heavily on the power of suggestion. What isn’t shown but only hinted at (a murder, for one) can be just as disarming as what is shown on screen. Though effective, this approach will undoubtedly leave some viewers to wonder what the fuss is all about. Likewise, the overtly religious themes could engender some eye-rolling from a non-theistic audience. But if you accept this film’s central contention – evil can be random and ordinary – you’ll likely find something to latch onto regardless of your beliefs.



8.5/10

Coffeeology

NOTE: Coffeeology has since changed ownership and decor. A more recent appraisal would put it at a 7.75 to 8.

Located at 423 Tate St., Coffeeology offers waffles, crepes, sandwiches, gelato and numerous java- and non-java-based beverages. Soup and sandwich specials change daily.

More so than anything else these days, Coffeeology is a testament to the efficacy of the free market. Founded by a former employee of Tate Street Coffee, the newcomer offers a number of things you won’t find across the street: payment by credit card, an expanded menu and service sans attitude. This isn’t to say that Tate Street is without its merits. Some will be drawn in by the ambience or, barring that, the “recession-priced” cups of Joe. Instead, this is a reminder that competition gives us more choices and should be welcomed rather than dreaded.



Benefits to the local economy aside, Coffeeology has a lot going for it. The beverage selection is extensive. Not only does coffee come in numerous strengths, sizes and flavors (none of which, as a non-coffee drinker, I can vouch for), but you can get hot white chocolate and spiced apple cider (hot or cold) year round.



Like most coffee shops, Coffeeology has the requisite assortment of baked goods, including a respectable selection of cheesecake. But unlike other java-slingers, Coffeeology doesn’t limit itself to dessert. Breakfast is available all day long, making it possible to enjoy banana split waffles at the unlikely hour of 8 p.m. Or, conversely, you can take in a prosciutto and cheese panini in the morning (fresh fruit or chips are your side options).



The gelato is top-notch, which is a blessing considering its scarcity in Greensboro. Traditional ice cream flavors like cookies n cream comingle alongside the custard-like zuppa and other Italian specialties. Free samples make it difficult to decide on a flavor and equally hard to pass up.



The quality of Coffeeology’s potables would mean nothing, however, if they were priced prohibitively. Fortunately, they aren’t. Waffles, crepes and panini run between $5 and $7 and egg sandwiches can be had for less. Several of the desserts and specialty drinks go for more than $3, but for the more economically-minded, beverages can be found for as little as $2.



Free WiFi, pleasant cashiers, outdoor seating and a general lack of hassle all combine to make Coffeeology hard to pass up. Ironically, that very popularity is probably its biggest drawback. Lunchtime crowds make finding an open seat or getting your food quickly a risky proposition. Go off-peak though and you aren’t looking at much of a wait at all.



If it’s proximity to UNCG gives Tate Street a dubious culinary reputation, Coffeeology makes a compelling counterargument. Fine dining it is not, but you’d be hard-pressed to find a better spot in the neighborhood (or in much of Greensboro, for that matter) to grab something to drink or a bite to eat at a random hour.



8.75/10

Trouble - Manic Frustration

Released in 1992, Manic Frustration marks a turning point for the Chicago-based doom metal pioneers. For their fifth album (and final Def American release), the tempos were sped up and the lyrical focus shifted from Biblical prophecy to drug references.

Critically lauded and commercially ignored, Trouble may be one of the most enigmatic bands of the past 30 years. They dressed like hippies, but made a name for themselves carrying on Black Sabbath’s slow and gloomy tradition. Early releases featured strong spiritual themes, while their later work contains a stoner sensibility. Despite being enormously influential on the post-1985 metal scene (Dave Grohl recruited Trouble vocalist Eric Wagner for his throwback Probot project), several of the band’s releases are currently out of print and only available as digital downloads.



Manic Frustration stands out as Trouble’s masterpiece because it perfectly embodies these quirks and contradictions. To start with, it’s as sonically and lyrically diverse an album as you’ll come across. Guitarist Bruce Franklin does his fair share of shredding and riffing on hard-rocking tracks like “Scuse Me,” “The Sleeper” and “Come Touch the Sky.” “Rain” and the album-closer “Breathe…” feature a more relaxed pace and pop-inspired melodies. The band’s newfound emphasis on 1970s-era psychedelica emerges on “Hello Strawberry Skies” and “Mr. White,” while “Fear,” “Tragedy Man” and the title track waver between social commentary and more personal concerns.



All of these disparate elements seem to come together on “Memory’s Garden,” easily one of the best 100 songs I’ve ever heard. A dreamy, Beatles-esque opening gives way to Franklin’s thundering chords while Wagner (who sounds like Robert Plant, Dave Mustaine and Paul McCartney thrown in a blender) eulogizes a dead girl with mournful, majestic urgency.



If there’s one downside to all this variety, it’s that you don’t know how to feel by the time you’ve reached the end. Black Sabbath’s debut album is consistently dark; Led Zeppelin’s is consistently soulful (the first side, anyway), but Manic Frustration is…well…manic. Still, the emotional confusion is a small price to pay for something that rocks this hard with this much purpose. One can only hope that Trouble, along with the similarly-complicated King’s X, will someday get its due.



8/10

Old Town Draught House

Located at 1205 Spring Garden St. on the UNCG campus, Old Town offers appetizers, sandwiches, salads, burgers, pizza, vegetarian dishes and southwestern fare. Food and drink specials change daily, though, as a non-drinker, I can only comment on the former.




Fair or not, being an on-campus bar carries with it a certain stigma. You would expect a campus establishment to serve up food quickly and cheaply to student clientele who value convenience over quality. But in Old Town’s case, those expectations go out the green awning-covered window.



First and foremost, the food isn’t bad at all. The burgers and sandwiches are about what you’d expect from a sit-down place, though the meatloaf sandwich – a house specialty – is well-seasoned and decidedly above par. Ditto the chili, which is great on a cold day, but only available on special. A choice of sides allows the health-conscious to sub fresh fruit for fries and the hummus and black bean burrito should satisfy meat eaters and meat-haters alike. Only the chicken fingers, chewy and flavorless, were a disappointment.



But with better-than-expected quality comes higher-than-expected prices. Burgers and many of the sandwiches will run you $7 and even a basket of veggies or fries costs $4.50. These aren’t outlandish prices, particularly when you factor in the sides, but if you’re looking for cheap, try the food court.



Service and ambience tend to fluctuate. Sometimes, you’ll be surrounded by twenty-somethings; on other occasions, you’ll see an older crowd. On a good day, you can eat outside in the shade. On a bad one, you’ll have to shoulder your way to the bar and shout out an order. The bartenders are reasonably friendly, hard-working and fast on their feet, though there are times when they seem overburdened.



As a place to go with friends after class, Old Town is as good as you can hope for. You can take in a meal without feeling like you squandered your money or punished your stomach. But factor out the convenient location and the flaws begin to show. If you’re going out for a meal, there are certainly better options nearby.



7.25/10

Ravenous

Cpt. Boyd (Guy Pearce), a highly decorated but cowardly Mexican-American War veteran, is assigned to Fort Spencer in the desolate mountains of California. He falls in with a group of misfits under the command of the bookish and jovial Col. Hart (Jeffrey Jones). A stranger named Colqhoun (Robert Carlyle) arrives, having narrowly escaped with his life. Spurred on by Colqhoun’s tale of cannibalism and desperation, the soldiers form a rescue party to seek out the remainder of his wagon train, with disastrous results.



Directed by Antonia Bird, “Ravenous” was marketed as a dark comedy, but it doesn’t really work on that level. The violence is gory rather than slapstick and the exaggerated sense of macabre comes off as convoluted and over-the-top rather than funny.



However, this isn’t to say that the film doesn’t work, period. Blur’s Damon Albarn provides a creepy, tense, sometimes idiosyncratic score. The aforementioned gruesomeness functions as an asset visually. If you’re trying to scare people, it’s better to be disgusting than cartoonish. The blood flows copiously, but it leans more toward chilling than silly.



Performances were a mixed bag. Carlyle overdoes it at times, but is consistently engaging to watch as the enigmatic Colqhoun. The normally strong Pearce turns in a subdued performance in the lead. Boyd is a character who is uncertain as to what he’s really made of and Pearce sometimes seems checked out as a result. Jones nails Hart’s perverse optimism, but it seems out of place in this film, as do comic relief turns by David Arquette and Jeremy Davies as bumbling privates. Neal McDonough fairs better as the only real soldier in the lot, though his screen time is brief. John Spencer, in his final big-screen role, brings the gravitas as Boyd’s skeptical superior.



Read as a commentary on consumerism, “Ravenous” fails because the metaphor is too deeply buried. But as a tonally-confused horror/Western/period piece, it delivers twists, tension and a taste (don’t slay me, pun gods) of entertainment.


7.5/10