The Bobby Gold Stories

Fresh out of prison (where he earned a fearsome reputation), Bobby Gold (nee Goldstein) reluctantly goes to work as an enforcer for his childhood friend, small-time gangster Eddie. Bobby wants another life for himself, but loyalty and limited options stand in his path. Could Nikki, a sassy chef in the club Eddie owns, be the answer?

Anthony Bourdain is best known as a bon vivant in the culinary world, but he has written fiction before. In fact, 2001’s The Bobby Gold Stories represents his third book of fiction. You wouldn’t know that from reading it though. A raw, clipped narrative, it reads like the work of a new author struggling to find his bearings.

This isn’t to say that Bourdain is a terrible writer per say. An experienced world traveler, he shows a great eye for local color. Whether it’s a busy restaurant kitchen, the New York club scene, or an exotic Asian locale, the settings are brought to life in vibrant, bustling detail. The dialogue is colorful as well and funny at times, though not as consistently successful. While the banter is snappy, its exaggerated profanity seems inauthentic, and there are some laughably bad lines (“He’s not one of us! He’s not a cook!”) along the way.

Perhaps the dialogue would be easier to appreciate if we were given some reason to care about the characters. We aren’t, though, and we are left feeling like we’ve seen them all before. Bobby’s “tough guy with a heart” shtick is old, Nikki’s instant attraction to him is conveniently contrived, no reason is given for the repulsive Eddie being able to hold onto power as long as he has, and the Mafiosi behind it all are walking clichés.

Having predictable characters naturally leads to predictable plotting. While there is no dead weight here, there is also nothing to grip us and no sense of surprise. The novel is presented as a series of short, breezy third-person vignettes that ultimately don’t add up to much. Obviously, Bobby can’t just make changes to his life; that would be too easy. No, in Bourdain’s world, such change has to come from without: a police tip, an encouraging girlfriend, some “missing” money, etc. James Sallis tackled many of these same themes and plot devices in Drive, but he was able to wring a lot more resonance out of a spare style and a familiar narrative.

As a quick read, The Bobby Gold Stories is a page-turner that is just passable enough to not put down. Try as he may to serve up something hard-boiled besides eggs, it is clear from reading this that Bourdain should stick to the kitchen.

5.75/10

The Dark Knight Rises

In the eight years since Batman took the fall for Harvey Dent’s vigilante murders, crime in Gotham City plummeted, and the Caped Crusader’s alter ego, Bruce Wayne (Christian Bale), has lived as a nearly crippled recluse. But when a mysterious masked terrorist called Bane (Tom Hardy) sets his sights on Gotham, Bruce feels compelled to don the cape once more. He is assisted, reluctantly, by his butler/surrogate father, Alfred (Michael Caine), armorer Lucius Fox (Morgan Freeman), police commissioner Jim Gordon (Gary Oldman), and a hard-charging rookie cop, John Blake (Joseph Gordon-Levitt). He also finds himself drawn to two women: influential investor Miranda Tate (Marion Cotillard) and savvy cat burglar Selina Kyle (Anne Hathaway).

Director Christopher Nolan really put himself in a tough position. So impressive, memorable, and acclaimed was 2008’s The Dark Knight that its sequel seemed destined to suffer in comparison. And while 2012’s The Dark Knight Rises is a step down, it is also arguably as good a film as could have been made given the burden of expectations.

Much like its predecessors, The Dark Knight Rises looks and sounds great. Pittsburgh, not Chicago, doubles for Gotham this go-around, but that’s hardly a strike against it. Wally Pfister’s cinematography, whether in the city or in a hellish third-world prison, is as striking as ever. Hans Zimmer (working without previous collaborator James Newton Howard) churns out another score with gravitas although this one can’t help but feel slightly subdued.

Also like the other entries in the series, there is a lot more to this movie than gadgetry and action sequences. The theme, this time, is pain. Everyone in this movie suffers, often both spiritually as well as physically and frequently, unpleasantly. It is the reaction to that pain that sets the heroes apart from the villains. One man’s excuse is another man’s cross to bear.

Given Heath Ledger’s virtuoso rendition of the Joker, this film was destined to suffer from a less memorable villain, but this isn’t due to Hardy’s lack of trying. His portrayal of Bane distills what made the comic book version a great foe: he is both a physical (anyone familiar with the “Knightfall” arc should know what to expect here) and intellectual (cunning, manipulative, and tactically brilliant, unlike the mindless thug of Batman and Robin) threat. His booming, somewhat distorted, very British voice is a bit of a distraction, though.

Among secondary antagonists, the film tips its hat to the animated series and gives us corrupt executive/Wayne rival Dagget. He's oddly Europeanized here and given the first name of John. Like her comic book counterpart, Selina straddles the line between hero and villain. She isn’t given the name Catwoman here (nor even a token cat to own – they could have at least done this much), but otherwise, it’s hard to find fault with her performance. She’s tough, sassy, seductive, and, underneath the criminal veneer, not a bad person. Michelle Pfeiffer will always be Catwoman for me, but Hathaway is a worthy successor for the role. There are additional allies and enemies, but to reveal them would spoil some major plot twists. Let’s just say some people involved in the production were less than honest about who would and would not appear in this film.

Where the film suffers most is in its pacing and plotting. Whereas The Dark Knight never missed a beat, The Dark Knight Rises is a longer, more drawn out affair. The plot is complex and relies heavily on misdirection (as well as a prior knowledge of Batman Begins, not that they don’t give you plenty of flashbacks to remind you). While the conclusion it builds toward justifies a lot of the maneuvering, one couldn’t help but wonder if Nolan and his associates couldn’t have tightened things up a bit. Nevertheless, the last half-hour or so is wickedly intense and gripping. True to form for Nolan, the film throws us a (somewhat predictable but still satisfying) curveball at the end.

Supposedly, The Dark Knight Rises is the last Batman film Nolan will make. Given his penchant for pulling the rug out from under us, I don’t fully believe that. However, if this is truly it, then it’s a fitting conclusion: it cements (quite literally) Batman’s legacy as Gotham’s protector, allows Bruce to pacify some inner demons, and opens some doors in the process. It may not be the ending we want, but it’s the ending we need.

8.5/10

The Devil in the White City

It’s the 1890s, and America is looking to regain some glory after France wows the world with the Eifel Tower. When Chicago is selected as the site for the 1893 World’s Fair, it is up to enterprising architect Daniel Burnham to guide a massive workforce and some of America’s best and brightest minds as he races to meet a tight deadline. Meanwhile, H.H. Holmes, a physician and a sociopathic con man, senses an opportunity to increase his wealth and fuel is perversions.

Though it falls squarely in the nonfiction category, this 2003 offering by Erik Larson reads like a novel. Sometimes, that ends up being a liability: the heavy hand of dramatization can be felt on more than one occasion. But more often than not, it works to the book’s advantage. Even though this is settled history, there is a genuine sense of wonder as massive structure after massive structure is designed and erected (check the stats for the original Ferris Wheel) and a genuine sense of tension as Burnham and his collaborators battle big egos, political in-fighting, and the elements to finish on-time. That Larson conveys the human toll (injuries and all) without piercing the veil of majesty about the event is quite an accomplishment.

Of course, the fair is literally only half the story. Larson alternates the progress of the fair with sordid tales from the life of Holmes (as well as occasional snippets from the point of view of mad mayoral assassin Patrick Prendergast). That he avoids graphic detail and leaves much to the imagination makes the murderous doctor all the more chilling. The sheer extent of his manipulation (to say nothing of the number of young women he likely did away with) puts him in comic book super villain territory and makes you wonder how he got away with it for so long. Alas, this is a case of reality being unrealistic and not an exaggeration on Larson’s part: it was only dumb luck (arrest on an unrelated horse theft) that Holmes was caught at all.

The Devil in the White City is rife with names, from Buffalo Bill Cody to a young Frank Lloyd Wright, who helped shape America. It might feel like overkill at times (and, in Louis Sullivan’s case, it might feel like an authorial vendetta), but if nothing else, Larson succeeds in capturing the wonder and the horror of an event that ultimately changed the world.

8.75/10

The Greensboro Dining Guide

In the nearly three years since I started this blog, I’ve reviewed more than three dozen local restaurants. Some have closed, and others have given me reason to reconsider my initial perceptions, but many have, for better or worse, remained as I discovered them. Plenty others remain undiscovered still. Even in economically turbulent times, Greensboro is a treasure trove of dining options. There are scores of restaurants, bars, and coffee shops to suit a wide variety of palates and price ranges. And while choice is often a godsend, it can make Herculean tasks out of simple decisions. “Where do I want to eat?” can be a vexing question to answer when a dozen possibilities are a stone’s throw away. So to cut down the anguish of such a decision, I’ve prepared a “Best of” for those establishments that I’ve had the privilege to review.

Please note that this covers only what I’ve had the opportunity to sample so far, and national chains are excluded. Reviews, when available, are linked. If there is an establishment that you feel merits inclusion on this list, let me know, and I’ll be glad to investigate it.

Enjoy!

Zac

Best Bar Food: Spring Garden Bar & Pizzeria. Combine a neighborhood bar atmosphere with restaurant-quality food, and you get this place. Italian favorites are homemade here, and it shows.

Best Burger: If you have the cash ($14) to splurge, Josephine's Bistro's lamb and beef burger is unbeatable, but for the more budget-minded, Ham’s classic cheeseburger (nee Charlie’s burger) packs a lot of flavor for little price ($2.99 on Tuesdays).

Best Caribbean (review pending): Da Reggae Café. The portions are almost too large to down in one sitting, but with Jamaican favorites and plentiful sides, that’s hardly a bad thing.

Best Chinese (review pending): China Best. This no-frills, takeout-only eatery isn’t gourmet, but it is several steps up from its bland, generic competitors.

Best Coffeeshop: Coffeeology. Plentiful beverage choices, all-day waffles and crepes, and homemade gelato make this a must. For College Hill residents, this doubles as a convenient meeting spot. 

Best Fine Dining: Print Works Bistro. Combine a bright, airy atmosphere with an inventive, expertly crafted menu and pricing that isn’t exorbitant, and you’re left with the Proximity Hotel’s star eatery, a great place to celebrate a big occasion with a great meal. Print Works' sister establishments, Green Valley Grill and Lucky 32 Southern Kitchen, are excellent in their own right, too.

Best Greek (review pending): Mythos Grill. Don’t let the Spartan (pun intended) interior fool you: this place can do a mean gyro.

Best Indian (review pending): Saffron. I’ve only ever sampled their lunch buffet, but it’s a cut above what you’d expect, and a decent value, to boot.

Best Italian: Villa Rosa Italian Restaurant & Grill. You can’t go wrong with this classic Southern Italian eatery. The expansive menu is well-stocked with familiar favorites, and the execution is flawless.

Best Mexican: Kiosco Mexican Grill. Combine a huge menu with friendly service and a kitchen that knows how to season, and your tastebuds will be doing a fiesta. Variable portion sizes are an added plus.

Best Pizza: Sticks & Stones Clay Oven Pizza. While Mellow Mushroom boasts a superior crust, Sticks and Stones takes fresh, local ingredients and artfully arranges them into unique combinations. Potatoes, fried chicken, eggplant, and Swiss chard are among the tasty toppings that have shown up in their pies.

Best Salad: The Scott Avenue. Available at the Lindley ParkFilling Station, this comes with a crabcake, bacon, cucumbers, and roasted red peppers served on a bed of spinach and topped with buttermilk chive dressing. What’s not to like? Even the pricetag ($9.50 for an entrée salad) is palatable.

Best Sandwich: Old Town Meatloaf. A specialty of UNCG’s OldTown Draught House, the homemade loaf on a sourdough roll is melt-in-your-mouth good.

Best Sushi: Sushi Republic. The wide assortment of specialty rolls and elegant yet unfussy atmosphere make this one republic you’ll want to pledge allegiance to. For fresh, flavorful fish, look no further.

Best Taco: Taqueria El Azteca, hands down. The authentic-style pastor (marinated pork) is murderously addictive, but you can get a variety of fillings and Tex-Mex style if cilantro isn’t your thing. They go for $1 a piece on Tuesdays and Thursdays, or you can get them full price from the taco truck on Spring Garden and Chapman at well into the dark of night.

Best Thai: Thai Corner Kitchen. This was a tough call, as Greensboro has plenty of quality Thai cuisine. An expansive menu, helpful servers, and the availability of Groupon/LivingSocial coupons set this High Point Road establishment apart.

Best Vegetarian: Boba House. No meat doesn’t mean no flavor. The Asian-infused salads and entrees of this Tate Street stalwart are tofuriffic for meat-eaters and vegetarians alike.

Best Vietnamese: Pho Hien Vuong. While several other establishments can give Pho Hien Vuong a run for its money in the flavor department, the ambiance, menu variety (they do Thai here too), and food quality offer a winning combination. Now if only it had a bigger parking lot.

Best of the Rest: Don offers a decorative atmosphere and affordable Japanese of the non-sushi variety. Rice and noodle bowls are served sizzling hot with complimentary miso.  Cleopatra’s is home to skillfully prepared Middle Eastern fare (think shwarma aplenty). Toshi’s Café (review pending), in Adams Farm, offers an eclectic blend of sushi, sandwiches, coffee drinks, and breakfast food. Want to mix and match ingredients? Give Zali Mongolian Grill a try. They have everything from seafood and veggies to tacos and frogs legs. 

The Amazing Spider-Man

Teenaged Peter Parker (Andrew Garfield) is a brilliant but troubled outsider who struggles with his parents abandoning him at a young age. His Uncle Ben (Martin Sheen) leads Peter to his father’s former research partner, one-armed Oscorp geneticist Curt Connors (Rhys Ifans). After sneaking off from an Oscorp tour group led by his classmate Gwen Stacy (Emma Stone), Peter wanders into a testing area and is bitten by a genetically modified spider. The spider bite gives Peter extraordinary powers, but with great power comes great responsibility.

It took years for Sam Raimi’s Spider-Man to come to the big screen, so it’s not surprising that this film, directed by the impossibly aptly named Marc Webb, had a rocky production history as well. Initially conceived of as the fourth entry in the ongoing series, it ended up being a complete reboot after Raimi left the project. Given the age (only ten years old) and the quality (solid, despite moments of cheesiness) of the Raimi film, the first question that The Amazing Spider -Man raises is “why?” The easy answer, of course, is money: Spidey is an iconic character, and a new film means a marketing bonanza. But there are deeper reasons that, while not quite rendering the film necessary, at least justify its existence.

First, we need only consider the direction that superhero films have taken in recent years. Both Christopher Nolan’s Batman films and the works that makeup the Marvel Cinematic Universe had taken on an edgy, irreverent, snappily comedic bent. The previous Spider-Man series - and the third film’s tendency to wallow in angst in particular – did not fare well in comparison. The new film, while still quite reserved in some regards, at least represents a tonal shift.

Next, much like the Ultimate universe did for the comics, this film has the opportunity to introduce the character to a new audience. When last we saw him, Tobey Maguire’s Peter Parker had already settled into a career as a crime-fighter and gained a degree of self-assurance. Garfield’s portrayal returns Peter to his lonely science nerd roots, thereby making him an underdog that a new (read: young) audience can more easily identify with. The film also gives us a break from the exhaustive crush-on-Mary-Jane-who-is-later-kidnapped formula (poor Kirsten Dunst) by swapping her out for Gwen, who proves to be a more formidable character (and who came first in the comics anyway).

So the rationale is in place, but how about the execution? Amazing has more than a few things going for it. We get an eyeful of breathtaking city scenery as Spiderman zips from tall place to tall place. The action sequences are competently filmed, and the Lizard (Connors’ villainous alter ego), while a somewhat uninspired foe, at least did not come out looking ridiculous.

The acting also seemed quite earnest this go-around. Garfield successfully brings out all of Peter’s flaws and complexities: the sarcastic quips, the feverish dedication, and the complete lack of social graces (something that he arguably overdoes – the constant stammering around Gwen grows tiresome eventually). Stone and Ifans more than pull their weight, but it is a pair of father figures who practically steal the film. Sheen transforms Uncle Ben from a rather flat good-guy mentor/martyr to a deeply moral man who struggles with the hand (surrogate parent to a kid a lot smarter than he is) that life dealt him. Similarly, Dennis Leary takes the role of police captain George Stacy (Gwen’s dad) and elevates it considerably. Stacy is usually depicted as a benevolent, competent veteran who supports Spiderman’s crimesolving endeavors. Leary maintains the competence, shaves some years off the character’s age, makes the role more physical, and seasons it with his trademark sarcastic bite.

But while there is a lot to like here, the film is not without its faults. While the Spiderman of the comics took decades to unmask, this one can’t seem to keep his mask on for more than a few minutes at a time. Then again, given how silly the costume looks here, it’s hard to blame him. Further demerits go to squandering Sally Field as Aunt May. While the filmmakers get credit for changing up the normal portrayal, they don’t give her enough to do. This woman is supposed to be the source of Peter’s inner strength.

For a movie that did not need to be made, The Amazing Spider-Man acquits itself well on most counts. But while the myriad changes and tweaks freshen a familiar tale, it doesn’t really resonate. The film is good, yes, but hardly amazing.

7.75/10