The PorterHouse Bar & Grill

NOTE: Despite its shortcomings as a dinner destination The Porter House serves an above-average burger. Burgers are only $5.95 (with one side) on Mondays, and are also available via The Porter House's food truck.

Located at 4608 W. Market St. in Greensboro, The PorterHouse offers burgers, sandwiches, salads, and entrees. There is a full service bar, a different burger special each day, and $5 burgers on Mondays. Dinner entrees are available after 4 p.m.

Don’t be fooled by the moniker. While the PorterHouse does in fact serve steaks, the name comes from the couple who owns the establishment, and it’s far closer to a pub than a steakhouse. There are enough flourishes here to elevate it above typical bar food, but there are also enough inconsistencies to keep it from receiving a glowing recommendation.

The PorterHouse’s menu emphasizes the tried-and-true (steaks, chicken sandwiches, BLTs, pork chops, etc.) with a dash of the unexpected (pulled pork egg rolls). Like Hop’s, The PorterHouse offers boutique burgers with a bevy of intriguing ingredients (You can make your own with jalapeno cream cheese and peanut butter, for instance). Prices are moderate. Sandwiches and burgers run $7-9 and include a side while entrees are priced in the teens

Decked out in dark wood and deceptively spacious, The Porterhouse provides a comfortable atmosphere. Servers are very polite and professional, but the kitchen is not exactly swift. Interestingly, there was a longer wait for food during a lunch visit than there was during a dinner visit with a bigger crowd.

This would be easier to overlook if the food was less uneven. To the PorterHouse’s credit, much of the food appears to be made fresh in-house. Unfortunately, not all of it is made well. An order of fish and chips came with slaw that was bitter and vinegary and fries that were hot but limp. The fish itself was cooked and battered nicely albeit rather underseasoned. On a subsequent visit, I tried chips instead of fries and found them to be an improvement. A burger in the rye (griddle-cooked 8 oz burger with onions, Swiss, and thousand island dressing) came tucked between two very thick slices of bread. While they made the burger seem small by comparison, they effectively held everything together. The burger itself had a good flavor and was not too greasy.

The $5 burger on Mondays makes the PorterHouse worth a return visit for a leisurely meal, and hungry Greensboroians can do far worse on any day of the week. Beyond that, however, there just is not enough to make this place stand out.

7.5/10

Doctor Sleep

Thirty five years after a possessed hotel drove his alcoholic father to nearly kill him in a psychotic rage, Dan Torrance is himself a recovering alcoholic who makes penance as a hospice worker. His psychic powers, which he turned to drink to suppress, are awakened by twelve-year-old Abra Stone, a twelve-year-old girl with powers even greater than his own. As Dan and Abra strike up a telepathic friendship, they become aware of the True Knot, a cult of traveling immortality-seeking pseudo-vampires who kill psychic children to absorb their “steam” and prolong their lives. After Abra “sees” on of their murders, she and Dan must stop the Knot before she becomes the next victim.

Be it the book or the Stanley Kubrick film adaptation, The Shining is synonymous with iconic modern horror. In this long-awaited sequel, Stephen King manages to maintain a strong continuity with the original while simultaneously taking the style, setting, characterization, and conflict in very different directions. Though these departures will disappoint those hoping for more of the same, they make Doctor Sleep a compelling read it its own right.

One major source of The Shining’s trauma was its setting: the haunted, mountainous, snowbound Overlook Hotel. In Doctor Sleep, the Overlook is long since destroyed, but its malevolent specter lingers as a reminder. Much of the action instead takes place in King’s preferred milieu: small-town New England. While this seems at first like a letdown, it actually introduces a different wrinkle of tension – the idea that evil may lurk in the most mundane locales (small towns, RV camps, etc.).

Speaking of evil, King has taken a new approach to conflict as well. In the past, his supernatural antagonists embodied malice for malice’s sake. But here, we are allowed to see the True Knot in a somewhat more sympathetic light. The cultists grieve for one another and experience fear and pain. Conversely, Abra, the nominal deuteragonist, is possessed of a sadistic streak that is chillingly wide. These complexities don’t render the conflict “softer” or really all that ambiguous (a child-abducting vampire cult is still a child-abducting vampire cult), but they do represent a refreshing change-of-pace from the stale black-and-white morality that permeated many of King’s prior works.

Despite the appeal of these supporting characters, the novel is at its strongest when it focuses on Dan. In contrast to his child self, the adult Dan Torrance is a tragic figure, and his descent toward rock bottom and attempt to pull himself back up form the novel’s emotional center. He may have psychic gifts, but he is otherwise plagued by the same doubts and regrets as many of us.

Though it may mark a return to form (of sorts), Doctor Sleep is still far from King’s best work. For as fun as it is to read, there are plenty of chinks in the armor. Like much of his latter-day writing, King’s prose is workmanlike and occasionally slack. A major twist comes across as plausible, but a little too convenient. And while the predictability of the ending can be forgiven, the tidiness with which it is executed is a disappointment. A younger, bolder King would have inflicted more tragedy before wrapping things up.

All told, for a sequel 35 years in the making, Doctor Sleep acquits itself as well as can be expected. It does not top – or even equal – its predecessor, but then again, it isn’t really trying to. Take it as its own tale, and you will find a lot to like.

8.25/10

The Hobbit: The Desolation of Smaug

Accompanied by the hobbit Bilbo Baggins (Martin Freeman), the company of dwarves under the command of deposed king Thorin Oakenshield (Richard Armitage) continues its quest to reclaim the Lonely Mountain and the treasure within from the destructive dragon Smaug (Benedict Cumberbatch). Pursued by vengeful orcs, the dwarves must also deal with the elves of Mirkwood and the men of Laketown, all of whom want a share of the treasure. Meanwhile, their friend and guide Gandalf (Ian McKellen) must leave them to uncover a Necromancer’s sinister plot.

The second of three Hobbit films, The Desolation of Smaug is unlikely to win over anyone who found its predecessor unnecessarily long. Clocking in at 160 minutes, the film perpetuates Peter Jackson’s love-it-or-leave it approach to epic fantasy filmmaking. But those who found An Unexpected Journey at the very least tolerable will likely see this middle installment as an all-around improvement.

Though only a few minutes shorter than the previous film, The Desolation of Smaug passes the time much more quickly due to improved pacing. Giant spiders, giant dragons, elf fights, orc fights, evil spirits, and more create peril at every turn and lend a sense of urgency to the quest. However, this is not action for action’s sake. It shapes characterization as well. As Bilbo continues to use the ring he gained in the last film, he becomes more and more aggressive. And as Thorin gets closer and closer to reclaiming his birthright, he becomes more and more ruthless. While these developments risk turning the nominal protagonists unlikeable, they also provide complexity and set up the third installment fall from grace.

Another upgrade here takes the form of the chief antagonist, Smaug. Whereas the previous film’s orcs were a constant nuisance, Smaug is a menace on a much grander scale. Cumberbatch’s vocal performance is exaggerated at times but on the whole, quite appropriate for the character. Cunning, authoritative, and malevolent, the dragon is entirely believable as a force to be reckoned with. Again, this works to raise the stakes.

Of course, this isn’t a film without blemish. Even with better pacing, it still feels bloated in comparison to the source material. The addition of a romantic subplot involving young dwarf Kili (Aidan Turner) and elvish archer Tauriel (Evangeline Lilly) is nothing if not contrived. And the increased prominence of the Necromancer (aka Sauron) as an attempt to strengthen Lord of the Rings ties is distracting. Overall, however, Jackson and company have not worn out their welcome. If anything, they’ve built considerable momentum for what one can only hope is the final installment.

8.25/10

Pastabilities

Located at 1726 Battleground Avenue, Pastabilities specializes in pasta dishes, but sandwiches and salads are also available. The restaurant offers a full service bar and daily specials. Catering is available as is delivery to a limited area.

Pastabilities may very well be Greensboro’s premier “looks good on paper” restaurant. The menu is enticing, but each of my few visits has been something of a disappointment.

Tucked into a Battleground Avenue shopping center, Pastabilities seems smallish from the outside, but it is deceptively deep. Inside, a wall of wine bottles and tasteful wood trim make for appealing décor, but the charm is somewhat undercut by the close positioning of tables. Even still, noise levels were not insufferable among a dinner crowd.

The biggest asset here is the menu. The pasta-with-a-twist concept may furrow the brows of traditionalists, but for those who want something creative, look no further. Classics like carbonara, cacciatore, and parmesan hobnob alongside various Cajun and Asian-inspired offerings. Want to mix things up? The Four Aces combines linguine, Anduille and Italian sausages, chicken, and shrimp in a mushroom and onion sauce while various dishes incorporate artichokes and pine nuts. And if you don’t see something you like, you can always build your own.

This versatility, combined with above-average service and delicious, fresh-out-of-the-oven bread gives diners every reason to get their hopes up, but within the first few forkfuls that hope is likely diminished. To clarify, the food here is not terrible, merely underwhelming. The Great Sea Caper (linguine, shrimp, scallops, capers, and clams in a tomato clam sauce) was reasonably portioned and adequately sauced, but the clams were tiny and the pasta was limp and overcooked. My companion’s Eggspecially Italian (linguine, peppers, sausage, and onions in marinara sauce) suffered from similar ups and downs. Admittedly, the Cajun-inspired dishes I had tried in the past were not overcooked – and looked great on the plate – but failed to deliver the anticipated big flavors.

At the very least, one can take solace in the fact that Pastabilities does not overcharge for this inconsistency. My entrée and a side salad rang up a reasonable $12.50 while my companion’s dish was a mere $7. You can feed yourself well here for $10 to $12, perhaps too well to enjoy the tantalizing-sounding desserts (Cheesecakes by Alex and various flavored poundcakes).

Despite the punny name, Pastabilities leans closer to tragedy than comedy. The menu, service, pricing, and décor all suggest a winning dining destination, but the food’s failure to impress makes Pastabilities worth only a rare visit at best.

7.5/10

Giacomo's Italian Market

Located at 2109 New Garden Road, Giacomo’s Italian Market offers hot and cold Italian sandwiches and desserts. The restaurant is also a deli and offers homemade meats, cheeses, pastas, and sauces. Catering is available.

To those who grew up with quality Italian cold cuts – capicola, genoa salami, mortadella, and so on – Giacomo’s will feel like home. To those who didn’t, Giacomo’s will be a revelation. The sandwiches are phenomenal, widely surpassing not only most chains but many local sandwich shops as well.

As is true in many cases, the ingredients make the difference. The sandwiches come served on fresh, crusty Italian rolls. The cold cuts are top-notch – the Italian Stallion (genoa/capicola/provolone) and Paesano (marinated eggplant/salami/provolone) are standouts – but the hot sandwiches are not to be ignored. The homemade sausage and peppers is simply beyond compare.

Prices at Giacomo’s run high, but they are not unreasonable for the quality of the food. For $7, you are virtually guaranteed a satisfying sandwich. In addition, the staff are friendly and welcoming. No matter how busy Giacomo’s gets, you won’t run afoul of forgotten orders or snippy attitudes.

The only drawback here is that the establishment is quite small. There are fewer than ten tables in all. That, plus the foot traffic and the delicious display cases to distract you, can make dining in less than ideal.

Whether you are seeking the comforts of home or looking to set a new sandwich standard, Giacomo’s will not disappoint. Your only concern, aside from table space, should be how often you can afford to come back.

9.25/10

Thor: The Dark World

Eons ago, the Dark Elves led by Malekith (Christopher Eccleston) attempted to use a weapon called the Aethir to enshroud the universe in darkness. The Dark Elves were defeated and left for dead. In the present day, as the Convergence - an alignment of the Nine Realms - approaches, physicist Dr. Jane Foster (Natalie Portman) accidently discovers and absorbs the Aethir, awakening Malekith in the process. Now Thor (Chris Hemsworth), prince of Asgard, must save her and both their worlds, even if it means turning to his treacherous brother Loki (Tom Hiddleston) for help.

The first Thor film was arguably the weakest of the Marvel Cinematic Universe's pre-Avengers offerings. Though buoyed by a talented cast, the lackluster script and cartoonish special effects made it fare poorly compared to its cinematic brethren. This 2013 sequel, however, brings the franchise one step closer to parity.

That improvement is no mean feat given the strong continuity with the previous film. Acclaimed television director Alan Taylor (The Sopranos, Mad Men, Game of Thrones) replaces Kenneth Branagh as director, and Zachary Levi stands in for Joshua Dallas as the swashbuckling Fandral. Otherwise, the cast (Hemsworth, Portman, Hiddleston, Anthony Hopkins, Rene Russo, Idris Elba, et. al.) is comprised of carryovers with a few villainous additions (Eccleston and Adwale Agbaje as his chief enforcer).

The biggest change here is not in personnel but in tone. Whereas the first film was a fish-out-of-water story laden with melodramatic angst, this one is on surer footing as a more straightforward action film. That isn't to say that there aren't humorous moments (Kat Dannings is back as Jane's comic relief assistant, and Loki's sharp-tongued sarcasm is put to good effect here) but rather that the lack of pretentiousness makes it easier to enjoy. Given that these characters have had time to develop, we can now be content simply watching them do their thing in dazzling style and at a fluid pace. Of course, the downside of this narrower focus is a plot that is equal parts simplistic and ridiculous, but such may be inevitable given the source material.

As both a character and a film franchise, Thor will never be as iconic as Captain America or as witty as Iron Man, but The Dark World goes to show that when you are looking for a good, old-fashioned dust-up, you should never count out the god of thunder.

7.75/10

Banh Mi Saigon Sandwiches and Bakery

Located at 3808 High Point Road, Banh Mi Saigon Sandwiches and Bakery specializes in banh mi sandwiches and other Vietnamese fare. Bubble teas are also available, and the establishment is open seven days a week.

Whether the result of its downmarket location (beside a High Point Road pool hall) or the public’s unfamiliarity with its primary product, Banh Mi Saigon is one of Greensboro’s best-kept secrets. And were there any risk of this review inspiring a shortage, a secret it would surely remain.

Banh mi is a Vietnamese catch-all for a variety of sandwiches served on baguettes. At Banh Mi Saigon, you can pile on everything from roast pork and ham to beef and meatloaf to vegetarian mock-meat and more. All are made to order and come layered with veggies (watch out for the hidden jalapeno) and amply spread with mayo. No matter which option you pursue, you’re in for a treat. The bread is fresh and the fillings sublimely flavorful. I ordinarily detest liver, but their pork and pate sandwich — #2 on the menu – was a weekly standby all summer long. The BBQ pork (#4) and the grilled meatloaf (whiteboard special) are quite habit-forming in their own right. Among the non-sandwich offerings, the fresh spring rolls are tasty once you bite into them (especially when dipped in the accompanying peanut sauce), but the waxy appearance of the wrap is somewhat off-putting.

Given the quality of the food, it would be easy to expect pricing that belies Banh Mi Saigon’ss location. Fortunately, however, the opposite holds true: prices here are an absolute steal. Most sandwiches and the spring rolls are a meager $3.50 each, a few sandwiches run $3.75, and even the vermicelli bowls don’t run past $8. Consider what $3.50 will buy you at a fast-food chain, and you will marvel at Banh Mi Saigon’s ability to stay in business.

Though there are a few tables and chairs, Banh Mi Saigon is best utilized for takeout. The counter staff are polite and relatively quick, but the barebones interior lacks the ambiance to make dine-in worthwhile.

If you are a world traveler, chances are you have had better banh mi than you are likely to find here. But if you are a Greensboroian on a budget looking for a quick and satisfying meal, this is as good as it gets.

8.75/10 

Taste of Ethiopia

Located at 106 N. Westgate Drive off of W. Market Street in Greensboro, Taste of Ethiopia offers authentic Ethiopian cuisine. The establishment specializes in vegetarian dishes, but lamb, beef, and chicken dishes are available as well as are beer and wine.

Despite Greensboro’s considerable culinary diversity, area residents in search of Ethiopian have had no recourse but to trek out to the Triangle until now. For that reason alone, Taste of Ethiopia is a welcome addition. But make no mistake: this new restaurant’s appeal extends far beyond novelty.

For the uninitiated, Ethiopian cuisine can be daunting. Instead of using silverware, diners are given rolls of spongy injera bread to sop up meats, vegetables, and sauces. Get beyond that, however, and you’re likely to encounter some similarities to certain types of Indian cooking: both are sauce and seasoning heavy and feature lentils prominently.

Having had – and enjoyed – Ethiopian once before, I found that a Taste of Ethiopia did not disappoint but did offer a few quirks and surprises. My companion and I split a $30 dinner combination for two that included lamb tibs (cubed, spiced, and sautéed), beef wot (cubed, sauced, and marinated), and doro wot (marinated and sautéed chicken legs) as well as several vegetable (lentils, peas, collards, etc.) offerings. All of the dishes were well-seasoned though not as spicy as expected. The lamb, beef, and yellow peas were standouts; the chicken was succulent, but not something I would order on its own. The accompanying injera was also served lukewarm, a strange decision until you realize that hungry patrons may not relish waiting for their edible silverware to cool.

A family-owned establishment, Taste of Ethiopia offers an atmosphere that is bright, clean, and (occasionally distracting music aside) quiet and a staff that is friendly, attentive, and unfailingly polite. Portions are generous for the pricetag: entrees run from $10.50 for vegetarian dishes up to $13 for lamb, and our combination dinner could have easily fed one more.

If there is one drawback to eating Ethiopian (here or elsewhere) it is that it can take some time to get through a meal. But if the craving for something different strikes you and your hunger does not overwhelm your patience, Taste of Ethiopia certainly merits your consideration.

8.25/10 

Metallica: Through the Never

While Metallica plays to a sold-out crowd, hapless young roadie Trip (Dane DeHaan) is sent across town to retrieve a mystery item from a disabled truck driver. Along the way, he undergoes a nightmarish journey and must escape the clutches of a mob led by a sinister masked Horseman.

Directed by Nimrod Antal, Through the Never is a tale of two movies. As a concert film, it works wonderfully in showcasing that the 50ish rockers still have it. The band plays its A-material (“Master of Puppets,” “One,” “Creeping Death,” etc.) with aplomb and looks and sounds good doing it. You don’t even need to be a Metallica fan (though it certainly helps) to appreciate it, either: the band plays with enough infectious energy to bring out the headbanger in all of us. Were this the entirety of the proceedings, Through the Never would be a solid hit.

As a concept film, however, it is a dismal failure. First and foremost, its concept is poorly defined. The mob battles the cops, suggesting a vaguely anarchist agenda, but don’t go looking for a coherent philosophical vision here. Nothing in Trip’s journey makes a lick of sense, and that appears to be very much by design. In addition, while there are few dull moments, the utter stupidity and lack of purpose make all the flying fists and fire difficult to enjoy even on a visceral level. Every cool-looking visual serves as a reminder of how little substance there is behind the style.

Alas, because of the constant alternation between the two threads, one must take the bad with the good. That’s a real shame because if the band had either excised Trip’s odyssey entirely or actually bothered to flesh it out, we would be looking at The Wall for the Millennial Generation. Instead, we are left with a frustratingly pointless mess with an above-average soundtrack (which, perplexingly, does NOT include the title song).

6.25/10 

Mediterraneo

Located at 309-A Pisgah Church Road in the Village at North Elm, Mediterraneo offers Italian and Lebanese cuisine. Pasta dishes, pizzas, and sandwiches are among the menu offerings. Lunch specials are available Monday through Friday, and there is limited outdoor seating.

As a concept, a pan-Mediterranean restaurant holds plenty of appeal. Being able to sample the best from Italy, Greece, Turkey, and the Middle East is a food lover’s dream. Unfortunately, Mediterraneo does not live up to the potential of that concept. The menu is predominately standard Italian with a few Lebanese dishes thrown in. The “fusion,” as it is, is mostly in name only.

That said, the food is executed fairly well. An order of linguine with white clam sauce came with lots of fresh clams, and the pasta was cooked perfectly. My companion’s vegetable lasagna was well-sauced with good mushroom flavor (though the spinach was a bit feint). Several other menu items (I’m looking at you, lobster ravioli) seemed like good bets for future visits.

While there are no arguments to be had with the quality, the pricing is another story. None of the entrees come with salads, which made the $14 linguine and clams seem like a stretch. Almost all of the appetizers are priced $7 and up, and that includes offerings as simple as hummus or mozzarella sticks. Quite simply, you aren’t getting enough bang for your buck here.

Should you not let that deter you, you can enjoy Mediterraneo’s cozy ambiance….assuming you can find the place. The restaurant is tucked into a corner of a large shopping center and may take some searching to unearth. It is also a fairly small location (though, apparently, it used to be even smaller) albeit not a crowded one. The pseudo-classical décor (columns, art, faux-marble veneer on the tables) doesn’t mesh terribly well with the burnt orange walls, but at least it isn’t drab. The service doesn’t leave any room for complaint.

All told, Mediterraneo is not a bad place to enjoy a quality meal. Were it situated in a small town, it would probably be a marquee dining attraction. But here in Greensboro, the lack of value and the abundance of other options weigh heavily against it.

7.25/10

Star Trek Into Darkness

After disobeying the Starfleet Prime Directive in order to save Spock (Zachary Quinto), James T. Kirk (Chris Pine) is stripped of his captaincy of the USS Enterprise. However, the demotion proves to be short-lived. When rogue Starfleet operative John Harrison (Benedict Cumberbatch) launches a terrorist attack against Starfleet, Admiral Alexander Marcus (Peter Weller) sends Kirk and the Enterprise crew on a covert mission to take Harrison out.

Set aside what you believe about sequels: J.J. Abrams’ follow-up to his 2009 Star Trek reboot is a superior film in nearly every way. Into Darkness brings back much of the previous entry’s cast, but instead of struggling to find their bearings, they seem more comfortable in their roles. This allows for some back-and-forth banter that fans of the original series will likely appreciate. For the non-fans, Simon Pegg’s Scotty has a larger role, and he steals nearly every scene he’s in.

In addition to the returning stars, Alice Eve shows up as a science officer, and Cumberbatch makes for a chilling, utterly ruthless, yet somehow still sympathetic antagonist. Both characters initially hide behind false identities, and their respective reveals tap into years of Star Trek lore.

While retaining its predecessor’s quick pace and exhilarating action sequences (an Abrams specialty), Into Darkness also adds some degree of gravity to the proceedings. Whereas the plot felt almost perfunctory in the last film, this one tells a more personal story. The stakes are higher, blood is shed, and given the characters’ added depth, there is more reason to care.

Despite these myriad improvements, Into Darkness still falls short of greatness. Whether killing off a character in overly dramatic fashion or bloviating on the value of friendship, the film is often saccharine and ham-handed. It’s also aesthetically vexing: several sequences are obscured by shadows (which suits the title but does little else) or bathed in gratuitous blue light.

For better or for worse, Into Darkness leaves the door wide open for future installments. But while this film did demonstrate considerable improvement, it may very well be the resurrected franchise’s plateau.

7.75/10

Fishbones

Located at 2119 Walker Ave. in Greensboro, Fishbones specializes in fish and seafood dishes. Burgers, salads, and tacos are also available. Fishbones offers a full-service bar, a late-night menu, chalkboard specials, and outdoor seating.

If the intersection of Walker and Elam is a wheel of dining and drinks, then Fishbones is an oft-neglected spoke. It may not boast of quite the same recognition as Sticks n Stones or the Lindley Filling Station, but on food quality alone, it can hang comfortably with, if not outshine, its neighbors.

For a restaurant with “fish” in the name, Fishbones offers a surprising amount of diversity. Thai beef salad, adobo pork tenderloin, Tex-Mex turkey, and a fried bologna sandwich are among the non-piscine menu options. And while a number of these looked tempting, you can’t go wrong by sticking with the ocean’s bounty. The crab soup, a house specialty, was rich and disarmingly spicy (I had expected a smoother, bisque-like soup, but this version is enjoyable in its own right). A snapper on blackboard special tasted fresh, and it was well-paired with fried green tomatoes and a bed of sweet potatoes and greens. My companion’s fried Cajun catfish was light and flaky, and her sides well exceeded expectations. The blackened green beans were smoky and irresistible, the rice and beans were hearty, and the garlic spinach provided a potent kick.

Pricing is quite reasonable for the quality of the food. My companion’s $12.50 catfish was generously portioned and plated; my slightly more expensive snapper somewhat less so. Still, nothing here breaks the bank. Even salmon and tuna entrees top out at $13, and there are plenty of sub-$10 options.

Were this the extent of the Fishbones experience, one could eat here and leave as happy as a clam. However, there is also the ambience to contend with. In terms of décor, Fishbones is essentially an aging bar superficially dressed up with metal fish sculptures. While some find quaint comfort in the well-worn wood floors, there is little of the same to be found in the high stools and closely spaced two-seat tables. Should you opt for outdoor eating, you will have more space but also plenty of traffic (foot and vehicle) to offset it. The servers are generally efficient, but as Fishbones fills up easily, expect slowdowns when busy.

Just like with the other spokes on the dining wheel, the popularity of the Walker-Elam location is both a blessing and a curse. You can expect a lively atmosphere well-suited for a good time among friends, but you can also expect crowding and waits. In Fishbones’ case, you can also expect uncomfortable seating and food that will be good enough to ultimately make it worth your while.

7.75/10 

Now You See Me

Four magicians – illusionist J. Daniel Atlas (Jesse Eisenberg), his ex-girlfriend escape artist Henley Reeves (Isla Fischer), mentalist Merritt McKinney (Woody Harrelson), and sleight-of-hand expert Jack Wilder (Daniel Franco) are hired by an unknown party to pull off a complex scheme. Calling themselves the Four Horsemen, they create a highly popular act, which just so happens to coincide with a series of seemingly impossible high-profile robberies. This attracts the attention of magic debunker Thaddeus Bradley (Morgan Freeman), FBI agent Dylan Rhodes (Mark Ruffalo), and Interpol agent Alma Dray (Melanie Laurent). As the Horsemen’s act becomes more and more audacious and the investigators more and more determined to take them down, questions arise regarding what they are really after.

Caper films are nothing new, but Now You See Me comes across as a refreshingly original creation: an action-comedy-mystery….with MAGIC! Admittedly, a concoction that convoluted sounds like a recipe for failure. And yet because it balances those elements and changes gears quite fluidly, Now You See Me is more often than not a success.

Just as the Horsemen’s act is a team effort, so too are this film’s triumphs. Boaz Yakin’s script is fresh and funny. It drops hints and lays the seeds for numerous twists and turns without ever giving too much away. The lines are engagingly delivered by a seasoned cast. There are no slackers here, but Freeman’s jaded skeptic and Harrelson’s shameless horndog characters stand out. Louis Leterrier, primarily an action director, keeps the film moving. At no point does the film’s momentum grind to a halt.

Where Now You See Me suffers is in its conclusion. The contrived wrap-up resolves some lingering plot questions, but its reveal casts much of the film in a preposterous light. Too many by-chance happenings are passed off as the machinations of a master planner, and the blatant sequel hook is an insult to audiences.

To borrow from the magicians’ lingua franca, Now You See Me offers an intriguing setup and a fun performance but botches the prestige.

7.5/10

The Moose Cafe

Located at 2914 Sandy Ridge Road inside the Piedmont-Triad Farmer’s Market in Colfax, The Moose Café is a “farm to table” restaurant specializing in country cooking. The restaurant is open daily for breakfast, lunch, and dinner. There is a country store on-premises, and a sister location can be found in Asheville.

At first glance, The Moose Café looks like a less corporate Cracker Barrel. The menu screams “country” and you walk by the store upon entry. However, there is much more to this establishment than meets the eye.

For starters, the variety is astounding. We arrived between breakfast and lunch and perused one of each menu, each of which came with an insert for specials. On the breakfast side, you’ll find everything from hearty combination plates (eggs, pancakes, grits, meat, etc.) to omelets and skillets. The lunch selections read like management mugged a Southern grandmother. Chicken and biscuits, pulled pork, fried chicken, collards, and slaw are all accounted for here. No matter what you opt for, you’ll be able to enjoy it with complimentary biscuits and apple butter, both of which taste fresh, homemade, and delicious.

Whatever you pick, you will likely receive lots of it. Portion sizes are plentiful, and the pricing is unbeatable. The lunch plates typically range from $7-$8 and include two sides and cornbread. Each plate easily yields two meals’ worth of food, which may make you feel bad the next time you drop $8 on a sandwich.

The execution here is mostly spot-on. Though “homemade” is often an empty buzzword, the farmer’s market location adds credence to the concept, and several items can be sourced to specific local farms. Plus, your taste buds will do their own convincing. The pulled pork had a pleasantly surprising sweetness, the sweet potato casserole (made from roasted potatoes) was smoky and melt-in-your-mouth good, and the fried green tomatoes were simply but enjoyable. Even the few missteps are forgivable. An oily succotash redeemed itself by packing an unexpected kick and creamy-but-bland cheese grits were nothing some pepper couldn’t fix. The sweet tea, served in glass jars, was the genuine article.

Given the busyness of the farmer’s market when we arrived, service was impressively quick. We were seated with zero wait time, and our food came out earlier than expected. Despite the high volume of patrons, both our hostess and our server were friendly to a fault. The one slip-up – my companion received non-sweet instead of sweet tea – was quickly and apologetically corrected.

Country cooking, perhaps understandably, gets a bad rap, but The Moose Café can make a believer out of you. If you’re at the farmer’s market, it’s a must-stop, and if you aren’t, it’s well worth the drive. What you spend on gas, you’ll save on the leftovers you’ll inevitably have, and your stomach will thank you for it.

8.5/10

Oblivion

In 2017, a group of alien invaders called Scavengers attack Earth. Humanity prevails, but the resulting war makes the planet’s surface uninhabitable. The majority of the survivors have migrated to the space station Tet while a few remain stationed in sky towers to service energy harvesting drones. Jack Harper (Tom Cruise) is one such drone technician. Though he has taken his coworker Vika (Andrea Riseborough) as a lover, he is haunted by trace memories of a woman (Olga Kurylenko) from his past. When Jack witnesses the drones behaving erratically, he begins to realize that there is more to his world than he knows.

Oblivion is the brainchild of Tron: Legacy director Joseph Kosinski, and it owes more than a passing debt to his previous film. The nifty “bubble ship” helicopter that Jack pilots is more than a little reminiscent of a light cycle, especially during the film’s chase and combat scenes. Were that the extent of the homage, there would be no qualms raised. Unfortunately, Oblivion has nary an original idea to offer, borrowing shamelessly from everything from Portal to The Matrix to Independence Day. The resulting patchwork plot is as contrived as it is unoriginal.

Though the cast features some big names, they do not exactly elevate the material. Action veteran Cruise does the requisite running and jumping and bleeding and yelling, yet as a protagonist, Jack is merely adequate and not particularly memorable. An enigmatic, poetry-reciting, gun-toting Morgan Freeman is in good form; unfortunately, his screen time is minimal. Kurylenko and Riseborough at least try to give their characters emotional depth, but the roles are thinly drawn and often illogical. Melissa Leo, sporting an unnerving Texas twang, fares the best as Jack and Vika’s mission control.

Disappointing as it may be, Oblivion is rescued from abject failure by quality aesthetics. At times, it’s a breathtakingly beautiful film, and it offers great visual contrasts: the placid sky, the ruined Earth, the white-clad survivors, and the black-armored Scavengers. French electronic band M83, like compatriots Daft Punk before them, delivers an appropriately epic soundtrack.

On a visual level, Oblivion offers enough to sights and sounds to justify its two-hour existence, but its cliché-ridden story will inevitably remind you that you can spend those two hours watching better films.

6.75/10

Tandoor India Cuisine

Located at 4612 W. Market St. in Greensboro, Tandoor offers a wide assortment of traditional Indian dishes: appetizers, breads, soups, rice, vegetarian and meat dishes, and thali combination platters. There is a buffet during lunch hours, and catering is available.

Saffron remains the go-to name among Greensboro’s Indian restaurants, but it isn’t the only game in town. Tandoor offers a viable alternative at a (comparatively) attractive price.

First, the negatives. Tandoor is located at the far end of a rather sketchy shopping plaza. The décor – light blue walls with pink trim – isn’t the worst you’ll see, but it is dated and stale. The restaurant’s ample seating is also something of a double-edged sword: while you don’t have to worry about being elbow-to-elbow with garrulous diners, the empty tables create a sense of loneliness.

These quibbles aside, there is a lot to like here. You can request food anywhere from mild to Indian hot; medium seemed to strike the right balance. The dishes sampled were well-seasoned, heavily sauced, and generously portioned. Chunks of chicken korma were juicy, and the lamb vindaloo was thankfully none too chewy. Freshly baked naan came in handy for mopping up sauces, and the papadum was downright addictive. Only a bland chicken pakora came in as a disappointment, and not a huge one at that.

Tandoor’s exhaustive 100-plus item menu offers both unexpected surprises (Mango lamb? Crab masala? Biryani with nearly everything?) and compelling values. A $30 non-vegetarian dinner for two included everything listed in the previous paragraph, plus rice, chicken saag, raita, tea or coffee and dessert. That’s a hell of a lot of food for the money. Prices on individual entrees vary, but they top out at $14, and you can find many in the $10-$12 range.

Contrary to some of the negative reviews floating around, service at Tandoor was not a problem at all. Our server was polite and efficient, and the gentleman at the register seemed affable. Lunch might be a different story, but dinner here was a pleasant experience.

Tandoor can’t quite match Saffron’s polish and sophistication, but variety, value, and competent execution make it worthy of your consideration if you are seeking a quality Indian meal.

8/10

Europa Bar & Cafe

Located at 200 N. Davie St. in Downtown Greensboro, Europa Bar and Café offers a full-service bar and a European-influenced lunch and dinner menu. There is a patio with outdoor seating, a mussels special on Tuesdays, and half-priced wine on Wednesdays. A brunch menu is offered on Sundays.

As locations go, Europa’s is tough to beat. The downtown setting is right across from Center City Park and there is plenty of parking nearby. This proximity to the heart of the city goes a long way toward explaining why Europa draws the crowds that it does. Were it located elsewhere, it would probably be struggling to stay afloat.

To its credit, Europa is a good-looking space. The tile-and-wood interior is classy and evokes Old Europe quite nicely. It is not particularly roomy though, and when the restaurant fills up, the acoustics are horrible. The patio is similarly deceptive. You get a great view of the city from outside, but be prepared to pay for it by enduring head-splitting boisterousness.

Europa’s European-influenced menu offers both classics and a few intriguing sounding dishes, but the execution is uneven. A steak au poivre was tasty if a bit understated, but my companion reported her steak (with a flavorful red wine sauce) was undercooked. Both came with frites that were indistinguishable from fast food fries. Fortunately, an appetizer order of grilled chorizo fared better: the bread was fresh and hot, and the dipping sauces (one a pesto, the other a roasted red pepper) were fantastic.

Neither Europa’s service nor pricing were exceptional, nor were they exceptionally lacking. The sub-$15 steak dishes seem like a good deal until the disappointment of the fries sinks in; sandwich and salad pricing (in the $6 to $10 range) was fair. Our server was courteous enough and relatively fast, but he started to appear slightly harried as Europa filled up.

If you keep your expectations in check and arrive early enough, Europa has enough charm and enough options to make for an enjoyable meal. However, the same can be found elsewhere without risking a headache.

6.75/10

The Wolverine

After being forced to kill an out-of-control Jean Grey (Famke Janssen), Logan (Hugh Jackman) has left the X-Men for a life of solitude in the frigid north. He is tracked down by Yukio (Rila Fukashima), the bodyguard and adopted granddaughter of Yashida, a man Logan saved during World War II. Now a wealthy industrial magnate on his deathbed, Yashida offers to take Logan’s healing factor and end his long and lonely life. Though Logan initially rejects the offer, it isn’t long before he finds himself badly hurt and protecting Yashida’s granddaughter and heir Mariko (Tao Okamoto) from the Yakuza and another clandestine threat.

Directed by James Mangold, this latest X-Men spinoff strikes a decidedly different tone than its predecessors. Whereas X-Men: The Last Stand and X-Men Origins: Wolverine were showy, special effects-laden wannabe blockbusters with bloated casts and tepid writing, The Wolverine is a more serious affair, an action/crime/family drama that just happens to have mutants. Overall, it’s a significant improvement.

Credit goes to the men both behind and in front of the camera. Because Mangold doesn’t treat his film like a cartoon, it is harder for the audience to dismiss it as such. There are still plenty of action sequences – including, most notably, a fight atop a bullet train – but they feature sharp choreography in place of sloppy and egregious CGI.

Jackman, on the other hand, is as good as he’s ever been in the title role. Whereas the previous films attempted to soften and romanticize Logan’s character, this take provides depth without sacrificing credibility. Yes, Logan is still haunted by his life of tragedy and destruction, but he’s also ruthlessly determined and given enough rage to complement his regret.

Supporting performances vary. Yukio may look like an anime cliché, but Fukashima plays her with enough self-awareness, wry humor, and (like Logan) regret to transcend appearances. Similarly, Okamoto toughens up Mariko to the point where she is more than just a damsel in distress. As the nefarious scientist Viper, Svetlana Khodchenkova is decidedly more one-note, but the note that she strikes is appropriately terrifying. The male roles aren’t nearly as well-drawn. Hioyuki Sanada plays Mariko’s father Shingen with such obvious malice that it arguably spoils the plot. Will Yun Lee as family assassin Harada shows off some nifty archery skills, but his modern-day samurai shtick has been done before.

The script is similarly uneven. Though heavily inspired by Chris Claremont’s comic book series, The Wolverine is not a literal adaptation. It manages to make good use of the Japanese setting and weave together a tangled family history without becoming too cumbersome. However, the denouement is convoluted and flat, and toward the end, the film lapses into the sort of cartoonish action it had previously avoided.

The Wolverine is both the sixth X-Men film and the sixth time Jackman has donned the character’s familiar claws. Unlike films before and after (next year’s X-Men: Days of Future Past looks to be a grander, more ensemble-driven affair), it lacks big stakes and a big-budget feel; it is a side story through and through. However, it also does an admirable job of salvaging the character and adding to the on-screen mutant mythos.

7.5/10

The Great Gatsby

From a sanatorium, burned-out alcoholic Nick Carroway (Tobey Maguire) narrates his experience in New York in the summer of 1922. Setting out from the Midwest to become a bond trader, he rents a house on the nouveau riche side of Long Island and reconnects with his bubbly cousin Daisy (Carey Mulligan) and her husband Tom (Joel Edgarton), a college friend from an old-money family. They introduce him to jaded golf pro Jordan Baker (Elizabeth Debicki), and he becomes a reluctant witness to Tom’s philandering. Not long thereafter, Nick is invited to the palatial home of his neighbor, the mysterious Jay Gatsby (Leonardo DiCaprio), who entrusts Nick with a weighty secret of his own.

By virtue of theatricality and star power, Baz Luhrmann’s 2013 take on F. Scott Fitzgerald’s classic novel distinguishes itself from prior adaptations, but different isn’t always better. This movie has style to spare and some good performances yet suffers from a hollow core and questionable directorial and scripting choices.

Though unconventionally cast (Indian screen vet Amitabh Bachchan appears briefly as Jewish gangster Meyer Wolfsheim), The Great Gatsby is generally well-acted. DiCaprio has great screen presence in the title role: he is supremely confident yet guardedly insecure. Likewise, Mulligan excels at tapping the sadness beneath Daisy’s flighty exterior, and Maguire gives nondescript Nick some anxious energy. On the other hand, Edgarton, sporting a ridiculous moustache, turns the already insensitive and buffoonish Tom into a virtual cartoon character by pumping him full of endless bluster.

As one would expect given Luhrmann’s (Moulin Rouge) pedigree The Great Gatsby is also a visually striking film. Shot in sumptuous 3D, it features handsomely designed sets and convincing period apparel. The onscreen opulence magnifies the grandeur and excess of Gatsby’s parties while the dim grays of the Valley of Ashes underscore the industrial dumping ground’s desolation.

Unfortunately, other aspects of the production mar the visual splendor. The film’s Jazz Age setting clashes awkwardly with its 21^st century soundtrack. Whether Luhrmann intended to draw parallels between the flapper and hip-hop lifestyles or whether he simply wanted to heighten the appeal to contemporary audiences is anyone’s guess. What is known is that it reduces parts of the film (party sequences in particular) to a third-rate music video and robs it of pathos.

A more grievous shortcoming is a change in the characterization that arguably undermines the spirit of the narrative. Fitzgerald’s book was a pointed critique of the callousness of the rich, and much of what made Gatsby such a tragic character was that he spent so much of his adult life in pursuit of someone who wasn’t worth it. But because the film softens Daisy up considerably (her terrible parenting is excised, for instance), that element is lost, and Gatsby’s tragic appeal is diminished. Thankfully, other changes (such as the addition of the frame story and the downplaying of Nick’s relationship with Jordan) don’t have the same impact.

The Great Gatsby needn’t have been a flawless adaptation to have succeeded as a film, and the strength of the performances elevate it above mere eye candy. But, in fitting mimicry of its subject matter, the lack of depth and the predilection for easy amusement are things that even a huge budget and a grand presentation cannot overcome.

7.25/10

Horns

Ig Perrish is the well-meaning son of a successful musician and the brother of a famous late-night TV host. But when his girlfriend Merrin Williams turns up raped and murdered, he becomes the number-one suspect. A year after the gruesome killing, and Ig is still a free man albeit one with a serious problem. A pair of unsightly horns has grown on his head, and they’ve given him the ability to hear the darkest secrets of anyone he touches. Armed with this newfound power, Ig sets out to find out who killed Merrin and exact revenge.

Joe Hill’s second novel is an odd mix of blasphemous theology, pitch black comedy, Kafka-esque body horror, and gritty noir. Those disparate elements don’t always blend seamlessly, but for the most part, Horns makes for an enticing read.

For a novel that has so many of them, it is fortunate that Hill is a master of moods. When Horns goes for uncomfortable humor – a priest involuntarily confessing to an affair with a grieving widow, a pair of macho police officers duped into confessing feelings for one another, and so on – it’s wickedly ribald. On the other hand, in its more somber moments as the narrative weaves through Ig’s memories of Merrin, it projects a profound sense of loss. And when Ig’s transformation intensifies and he gets closer to the truth, Horns evokes a sense of terror that would make Hill’s father (Stephen King, for those unaware) proud.

Just as Horns showcases many moods, it also offers many perspectives. The nonlinear narrative shifts from present to past (and occasionally from character to character), unlocking a different piece of the puzzle with each new vantage point. While this approach demands patience, it also allows the characters to be known intimately. And in the case of the book’s antagonist, it shines some much-needed light on motivations.

Ironically, the horns themselves might be the weakest thing about this book. As a plot device, the powers they grant are necessary, but the nonplussed reaction characters have to them is frustratingly never explained. Further, the theological awakening that accompanies Ig’s physical transformation – that only the devil appreciates humans for their faults – makes for a muddled message. If everyone has the devil inside him, then why was Ig, of all people, chosen to get the horns?

These minor faults aside, Horns tells a captivating tale in a unique way. The mash-up of genres and the frequent mood shifts will alienate some but will be a hell of a good read for many others.

8.25/10

Cherry Pit Cafe and Pie Shop

Located at 411B Pisgah Church Road in Greensboro, Cherry Pit specializes in pies both sweet and savory. The restaurant also offers soups, salads, sandwiches, burgers, and home-style entrees. Catering is available.

Tucked into the Village at North Elm shopping center, the Cherry Pit exudes a whimsical charm that belies its cookie-cutter surroundings. A grinning cherry logo greets patrons into the small (fewer than a dozen tables) storefront. Inside, signs bearing slogans like “Money can’t buy happiness, but it can buy pie!” spruce up the walls. If the display case featuring a bevy of delectable slices doesn’t put you at ease, then the accommodating, industrious, red-shirted staff probably will.

Given the care that the mom-and-pop owners have put into creating a unique and thoughtful (minus the déclassé plastic silverware) environment, it is a shame that the food is decidedly unremarkable. The menu does offer a decent variety with some intriguing sides, but the execution is uneven. The pot pies sampled (one chicken, the other seafood) had a creamy, flavorful filling but a dry, doughy crust that called to mind an unseasoned biscuit. Zucchini bites had a welcome spicy kick, yet an order of mac and cheese was Velveeta-like and lacked a homemade touch. Still, the amount of food (a pot pie/entrée and two sides for $10) represented a fair value for the price.

Dessert is a different story. The slice of pie sampled – cherry cream cheese – was rich, creamy, and expertly executed. It was also not particularly large, and unlike the meal pricing, the $4+ charged felt like a stretch.

The Cherry Pit is full of character, tasty pie, and good intentions. As it is a new (opened early July) venture, there is still time for the kitchen to raise the bar and hammer out the inconsistencies. Until then, it’s a pleasant enough place when not jam packed but not worth fighting a line for pricey pie, no matter how delectable.

7.25/10

Cosmopolis

Eric Packer (Robert Pattinson), a 28-year-old billionaire currency speculator, rides across New York City in an ultra-high-tech stretch limo en route to his favorite barber for a haircut. Along the way, he takes counsel with various advisers and associates, is sexually rebuffed by his new wife (Sarah Gadon), receives some troubling medical news, encounters protestors and would-be assassins, and risks losing his fortune on the performance of the yuan.

Adapted and directed by David Cronenberg from a Don DeLillo novel, Cosmopolis boasts an impressive pedigree, something that makes its ultimate failure all the more disheartening. DeLillo’s dense works are not exactly film-friendly, but don’t fault Cronenberg for trying. His precise direction succeeds in conveying both the sterile isolation of the rich and the savage chaos of the downtrodden. A deft score by Howard Shore and the indie rock band Metric matches the film’s moods and heightens tension in key moments.

Sadly, that (and a quirky supporting turn by Paul Giamatti as a deranged ex-employee) is all that Cosmpolis has going for it. The script treats the majority of its characters as mere vessels for philosophical meandering about life, class, violence, leisure, etc. As a result, the talents of Samantha Morton (among others) are wasted as lines are delivered awkwardly and robotically by the flattest of characters. Accordingly, Pattinson is wooden in the lead role, likely quite intentionally. While this was undoubtedly intended as a critique of the soullessness of the upper class, it comes off as excruciatingly banal and pretentious at times.

Like the characters’ conversations, the film tends to wander without plot or purpose. Everything that should matter - Packer’s crumbling fortune, the riots, and the threats on his life – is literally pushed into the background as his limo continues on its seemingly never-ending odyssey. Again, this is by design (the rich as out of touch, remember?), but Cronenberg should have realized that it is possible to get a message across. It isn’t until the end when Packer meets his philosophical opposite and things have actually happened that Cosmopolis gains traction, but by that point, it is too little, too late.

Cosmopolis may have been intended as a timely conversation-starter, but its big ideas and stylish presentation are marred by long stretches of off-putting blather.

6.5/10

Gnam Gnam Gelato (MOVED)

NOTE: Gnam Gnam has since moved to 2248 Golden Gate Drive in Greensboro.

Located at 3712-K Lawndale Drive (next to the Fresh Market) in Greensboro, Gnam Gnam Gelato offers gelato, sorbetto, pastries, soups, sandwiches, salads, and more. Beer and wine, daily specials, and catering are available.

If Gnam Gnam was a children’s book, a fitting title would be “The Little Ice Cream Shop That Tried Too Hard.” As the establishment’s name indicates, it specializes in gelato. Gnam Gnam stocks more than a dozen flavors, and those that my party tried – Amarena cherry, caramellate, and coconut – were sweet, rich, and delicious. Better still, all the flavors can be sampled beforehand or converted into specialty dishes (gelato pie, anybody?). As an ice cream shop, Gnam Gnam is a hit.

Unfortunately, Gnam Gnam positions itself closer to a bistro than a specialty shop, and by that measure, additional shortcomings emerge. The space is small and sparsely decorated. There is seating for twenty or so, and only a few lonely pieces of artwork to mute the avocado green walls. The kitchen was also somewhat slow during our visit, but this may be a product of arriving just past opening on a Saturday.

These faults aside, the food and the service are up to par. The sandwich selection (which includes wraps, panini, and gyros) plays it safe, but everything was competently prepared. A Cuban panini was tasty and none-too-dry, and chipotle mayo and avocado added a twist to the typical BLT. Most of the sandwiches run about $7.50 and are served with chips, but the lunch combos are better deals. A half sandwich or panini, salad, and two scoops of gelato cost a mere dollar more. The (presumptive) owner walked around to check up on us during the meal, and the counterperson was friendly and accommodating.

Given the location, ambience, and size limitations, Gnam Gnam isn’t a first-choice lunch destination. However, the gelato is simply too good to ignore.

7.75/10

Slices Pizza Co.

Located at 401 Tate St. in Greensboro’s College Hill neighborhood, Slices Pizza Co. specializes in gourmet pizza and its variants (stromboli and calzone). The menu also includes soups, salads, pasta dishes, and bakery desserts. Slices offers daily lunch specials, catering, and local delivery.

Location isn’t everything in the restaurant business, but it can certainly play a big role in an establishment’s success or failure. From that standpoint, Slices debuted this past year with the deck stacked against it. It is the fourth restaurant in the past five years to try to make a go of the corner real estate on Tate and Walker. Additionally, Slices entered the scene with established competition: venerable New York Pizza sits just across the street.

Despite these unfavorable odds, early indicators are promising. Though some may dismiss the décor as too corporate, the inside of the restaurant looks the best it ever has. A pseudo-chalkboard that runs above the counter offers an informative blurb about the history of pizza while a wall houses tastefully enlarged photos of fresh ingredients. The long counter, with its parade of pies, lets patrons see before they order. If you’re having trouble making up your mind, ask one of the helpful, Italian-accented countermen. They will be glad to let you know what’s in each pie and can offer personal recommendations to suit your palate.

Slices distinguishes itself in a number of other ways, too. The “gourmet pizza” designation lends itself to topping combinations that range from Italian classics (Caprese, Calabrese, and Margherita) to standard specialties (Buffalo chicken, meat lovers, and veggie lovers) to the downright bizarre (hot dog and fries, mac n cheese). All of the specialty slices that were sampled featured quality ingredients and just the right balance of flavors. The Chicken al Pesto, for instance, was dripping with pesto sauce, but the three-cheese blend kept it from being overpowering. The Mona Lisa played creamy goat cheese and a sweet glaze against crispy zucchini and robust eggplant. The crust, while not spectacular, was even and didn’t work against the toppings.

Though the quality of ingredients suggests Sticks n Stones-level pricing, Slices is surprisingly affordable, even by College Hill standards. Specialty pies are $2.50 a slice ($15-$18 for a large pie). A recent lunch special offered two such slices and a drink for $6. Substitute one of those slices for soup or salad or make them both one-topping slices, and you’re looking at a student-friendly $5 lunch bill.

What few drawbacks there are to Slices are easy enough to overlook. The restaurant does not occupy a large space. There are fewer than a dozen tables, yet the environment, with its constant flow of music and foot traffic, couldn’t rightly be called intimate. Also, you may find pizzas on display that aren’t listed on the menu and visa versa.

All in all, Slices has a lot going for it, but whether or not it can survive among the competition remains to be seen. If you’re the least bit skeptical, come try a pie while you still have the chance.

8/10