Lincoln

It’s early 1865, and as the Civil War rages on, President Abraham Lincoln (Daniel Day-Lewis) is determined to oversee the passage of the Thirteenth Amendment, which will abolish slavery. He and his advisors must work around the mistrust of Rep. Thaddeus Stevens (Tommy Lee Jones) and the Radical Republicans, the reservations of Francis Preston Blair (Hal Holbrook) and the Conservative Republicans (who would prefer that Lincoln make peace with the South), and the outright opposition of the Democrats in order for the bill to pass the House. Meanwhile, Lincoln’s relationship with his family remains tense: oldest son Robert (Joseph Gordon-Levitt) is intent on joining the Union Army, but his mother Mary (Sally Field) can’t stand the thought of losing him.

Directed by Steven Spielberg, scripted by Tony Kushner, and boasting a huge cast, Lincoln has the pedigree of a historical epic, but it isn’t one. A more apt title would have been The Thirteenth Amendment: The Untold Story. Indeed, the film is less of a biopic and more of a two-and-a-half hour episode of The West Wing, replete with idealistic speeches, character-establishing anecdotes, and cunning political maneuvering, but absent (save for the opening, a brief but bloody depiction of the Battle of Jenkins’ Ferry) much action.

Despite its myopic narrative focus, Lincoln remains, in most regards, a well-crafted film. The acting is impeccable. Day-Lewis, a meticulous method actor, deservedly picked up a third Best Actor Oscar for his work in the lead role: he skirts the mythology of “Honest Abe” and plays the 16^th president as a powerful, determined, but very conflicted human being. He is surrounded by an equally game cast. Field’s Mary Todd Lincoln is appropriately high-strung, Texan Jones somehow works as the Ohioan Stevens, David Strathairn makes for a principled Secretary of State William Seward, and Gordon-Levitt is (justifiably) indignant as Robert.

Lincoln is also handsomely albeit restrainedly designed. Period detail offers everything including Abe’s stovepipe hat, but this isn’t the type of film meant to wow you with style. Similarly, John Williams’ score is effective, but not one that jumps out at you.

The big question regarding any historical drama is accuracy, and on that account, Lincoln succeeds more than it fails. Yes, there are departures from the historical record — maverick Democrat Clay Hawkins is a composite character and Tad Lincoln is depicted without a speech impediment, for instance – but the Hollywoodization is kept to a minimum. And while the film does offer a decidedly positive depiction of Lincoln, it doesn’t veer into hagiography. He takes note of his own capacity for demagoguery, and he is shown engaging in slick lawyer tricks and what amounts to bribery-by-proxy (albeit for a good cause).

Because Lincoln is less about the man and more about one of many achievements, it is easy to see it as a misguided effort or a wasted opportunity. However, if history is defined by the moments that matter most, the filmmakers captured this one as best as anyone could.

7.75/10

Heavy Rain

The Origami Killer is a child murderer who drowns his victims and places origami figures and white orchids on their bodies. His latest target is Shaun Mars, the son of beleaguered architect Ethan Mars. Ethan had previously failed to save Shaun’s older brother Jason from being fatally hit by a car, leaving him depressed, divorced, and distant. But when Shaun goes missing, Ethan has a chance to redeem himself. He just needs to complete a series of increasingly difficult trials and find Shaun’s location before the boy drowns. Fortunately, he makes the acquaintance of Madison Paige, an insomniac journalist who takes up his cause. Meanwhile, the Origami Killer is being investigated independently by Norman Jayden, a drug-addled, tech-savvy FBI profiler on loan to the local police and by Scott Shelby, a private investigator acting on behalf of the victims’ families. Will any of them be able to stop the killer before it is too late?

Created by Quantic Dream founder David Cage for exclusive release on the Playstation 3 in 2010, Heavy Rain is a mature video game in all senses of the word. Not only does it feature some very dark subject matter, but the path the game takes relies heavily on the choices that the player makes. While this isn’t an entirely novel concept, it, coupled with a compelling story and a distinctive atmosphere, make Heavy Rain stand out.

Thanks to brilliant motion capture and a taut score, Heavy Rain looks and sounds amazing. Not only are characters convincingly rendered, but sound effects and background details are given their due as well. Whether it’s the splink of raindrops or the open window behind you, there is always something to grab your attention. The voice acting is convincing, but not without flaw. French accents occasionally slip though, and Ethan’s overly dramatic yelling of his son’s name has achieved Internet infamy. Still, the cast of unknowns’ effort is admirable.

Heavy Rain’s gameplay alternates between four primary characters, each with his or her own strengths, weaknesses, and challenges to complete. Scott the burly detective, for instance is an adept fighter while Madison the outgoing reporter (who is quite tough in her own right) relies mostly on guile. The alternating perspectives keep the game fresh and give the game time to play out the story’s various angles.

Speaking of the story, it draws liberally from existing cinematic lore without seeming stale. There are elements of Saw and police procedurals here, but the killer and the primary characters are fleshed out enough to transcend cliché. The discovery of the killer’s identity raises a few plotting questions and will understandably frustrate some players, but by that point, you most likely just want to see justice done.

If there is one aspect of Heavy Rain that is more polarizing than the reveal, it is the control scheme. The game is driven entirely by quick time actions: press, hold, or repeatedly tap one or more buttons to perform actions. This is cumbersome at first, but playing the prologue chapter should give you the hang of it. More frustrating is the use of the right analog stick to do just about everything else. While it would make sense to use it to open a drawer and retrieve an important item, Heavy Rain has you rotating the stick in contexts that range from mundane (cooking eggs) to awkward (removing a lover’s clothing).

Heavy Rain is not without blemish, but the positives (story, graphics, sound) far outweigh the negatives (awkward controls and a flair for the overly dramatic). Best of all, the choice-based story branching means that multiple endings are at your disposal. Make different decisions on your next playthrough and see where Ethan, Madison, Norman, and Scott end up. The results, like a lot else in this game, may surprise you.

8.5/10

The Man with the Iron Fists

In 19^th century China’s war-torn Jungle Village, a blacksmith (RZA) sells weapons to feuding clans in hopes of earning enough money to purchase the freedom of his lover Lady Silk (Jamie Chung). When the leader of one of the clans, Golden Lion (Chen Kuan-tai) is betrayed and killed, his son Zen-Yi (Rick Yune) returns from exile to avenge his death. Meanwhile, Jack (Russell Crowe), an Englishman serving as the emperor’s secret operative, arrives to keep an eye on a shipment of imperial gold and monitor the situation.

Directed by the Wu Tang Clan’s RZA (who co-wrote with producer Eli Roth) and “presented” by Quentin Tarantino, The Man with the Iron Fists is a bloody, anachronistic romp that manages to be both severely flawed and a hell of a lot of fun. As an homage to the kung fu movies of the 1970s, it includes loads of fight scenes, some recognizable names from the era (Pam Grier appears briefly as the blacksmith’s mother), and other flourishes that fans of the genre might appreciate. There is also just enough plotting to keep a viewer interested, but make no mistake: this is a style-over-substance affair.

However, as style goes, you could do a lot worse. The period detail is more fantasy than reality, but the costuming is nevertheless quite intricate. Add well-choreographed combat, a surprisingly diverse soundtrack, and violence that is as elegant as it is extreme, and you’d have a hard-time guessing that this is the work of a first-time director.

Unfortunately, RZA is a far weaker presence in front of the camera. The blacksmith fulfills the role of a narrator well enough, but he spends so much of the movie in the capacity of an observer that when he finally makes the transition to action protagonist, it just isn’t convincing. The other performances range from wooden (former pro wrestler Dave Bautista as indestructible assassin Brass Body) to hammy (a villainous, mullet-sporting Byron Mann) with all manner of mediocrity in between. Crowe and Lucy Liu attempt to add credibility, but an unimpressive, cliché-ridden script doesn’t give them much to work with. The film stops just short of having characters shriek “Revenge!” while charging forth with a sword; subtle it is not.

If you can stomach the bloodshed and overlook the weak performances, The Man with the Iron Fists offers lots of flashy combat and a distinctive creative vision. But if you go in expecting much more than a few good fights, you will probably be disappointed.

6.75/10

Cafe Pasta

NOTE: The menu has gotten smaller, so a 7.5 is probably a more appropriate rating.


Located at 305 State Street in northern Greensboro, Café Pasta offers pasta dishes, appetizers, desserts, and Italian entrees. There is a full-service bar, daily specials, and live music on Thursdays and Saturdays. Catering is available.

Café Pasta is tucked amid a cluster of trendy shops and restaurants, so it’s no surprise that it isn’t your parents’ red sauce joint. The atmosphere is modern and comfortable with low lighting and eclectic background music. Though the establishment appears small from the outside, it is deceptively deep, and there is ample table space.

The menu is similarly unpredictable. Though somewhat limited compared to other Italian eateries – it is a single page front and back – it strikes a good balance of classic dishes and modern flourishes. Lasagna, ravioli, and Bolognese hobnob with Cajun penne and neon noodle shrimp. You can also customize and opt for chicken or veal in one of three sauces over your choice of pasta.

All of the dishes sampled were well-executed. The bouillabaisse (a house specialty) featured fresh, succulent scallops and was perfectly complemented  by a light Vongole sauce. Similarly, the heartiness of wild mushroom ravioli was tempered by the smooth, creamy vodka sauce. Playing flavors off of one another is something Café Pasta does extremely well.

Relative to the competition, Café Pasta offers no bargains, but prices aren’t unreasonable. Entrees do not include salads and run from $11 to $18. The portions are adequate though not as generous as some I’ve seen.

Service joins food and ambience to give the eatery a trifecta of high marks. We were greeted upon entry and offered our pick of tables. Our server was personable, attentive, and gave good recommendations. The folks here seem dedicated to making sure that you have a good meal, and it shows.

Light, fresh, and fun, Café Pasta is good for a change-of-pace. There will be times when more traditional Italian still beckons, but this is one alternative that should not be ignored.

8/10

Iron Man 3

After nearly losing his life saving New York City from alien invaders, billionaire industrialist Tony Stark (Robert Downey Jr.) is an anxiety ridden mess who can’t stop tinkering with his Iron Man armor. This puts a lot of strain on his relationship with Pepper Pots (Gwyneth Paltrow), who is also the CEO of his company. Meanwhile, a terrorist leader called The Mandarin (Ben Kingsley) stages attacks across the world and taunts the U.S. with video “lessons,” something that Stark’s best friend Col. James Rhodes (Don Cheadle) insists is under control. When The Mandarin’s attacks hit closer to home, Stark must confront a terrible mistake from his past.

If the wildly successful Avengers represented a “Where do we go from here?” moment for the Marvel Cinematic Universe, then Iron Man 3 answers the question with “Somewhere entirely different.” For the third installment of the Iron Man franchise, Shane Black replaces Jon Favreau in the director’s chair (the latter still appears onscreen as bodyguard Happy Hogan), and the result is a film that is simultaneously darker and loopier. This should come as no surprise to those familiar with Black’s work: he scripted the first two Lethal Weapon films and wrote/directed the underrated Kiss Kiss, Bang Bang (which starred Downey). Here, the franchise’s already snarky dialogue is ratcheted up even further, SHIELD agents are replaced by a precocious childhood sidekick, and a visceral, 80s-action flick “take revenge on the bad guys” ethos reigns supreme.

On paper, many of these changes sound debilitating, but in practice, some of them actually work. Much of the credit for that goes to Downey, who has owned this franchise from day one. He brings the perfect combination of vulnerability, snappy/flippant banter, and audacious tenacity to the leading role, and he allows the film’s message – that Stark is more than just the armor he wears – to ring true. Unfortunately, hammering home that point meant causing the Iron Man suits to malfunction or get destroyed frequently, something that diminishes the film’s cool factor.

Cheadle and Paltrow, returning from the last film, enjoy even better chemistry with Downey this time around and are given more to do. Black’s buddy cop bonafides increase the audience’s investment in these characters and allows the peril they face to rise above mere audience manipulation. Paul Bettany is back as well, and his voicework as Stark’s AI carries with it a humorous touch of doting mother.

Things are considerably less fluid on the villainous side of the equation. The story is a loose amalgamation of the comics’ Extremis arc (in which a virus causes superhuman enhancements at great risk) and assorted Iron Man lore, and many of the characters depicted are strictly in name only. In some cases, this is by necessity: while an undeniably powerful foe, The Mandarin is also an anachronistic Yellow Peril cliché that would not have fit the film’s tone. However, the reimagining of the other antagonists is disappointingly one-note. Extremis co-creator Aldrich Killian (Guy Pearce) is conflicted in the comics; here, he’s the Bond-villainesque head of Advanced Idea Mechanics. Likewise, Eric Savin (James Badge Dale) goes from a cybernetically enhanced anti-hero to mere muscle-for-hire. At least the last film’s bad guy (Mickey Rourke) was tragic enough to be interesting.

A key point that comes up repeatedly in Iron Man 3 is that Stark can now operate his armor remotely. Thus, Iron Man looks exactly the same, but the knowledge that there isn’t a human being inside risking his life diminishes his heroics considerably. The same can be said for this film: it has action, comedy, and talent all-around, but there is something vaguely hollow about the whole experience. That, and there’s no AC/DC on the soundtrack.

7.5/10