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