Dinner at the Center of the Earth

For more than a decade, Prisoner Z has been housed off the books in a covert prison in the Negev Desert, his only company a lone guard. An American by birth, Z was formerly an Israeli Mossad operative who later betrayed his adopted country. He bides his time writing letters to The General, the man who sentenced him to his fate and the only one who can set him free. He is unaware that the General is in a comatose limbo, trapped by his memories, largely unresponsive to the outside world, and watched over by his trusted confidant Ruthi, who happens to be the guard’s mother.

Nathan Englander’s 2017 novel is an ambitious book, equal parts captivating and frustrating. It’s an existential character study that wears the trappings of a historical spy novel, engrossing in its complexity yet nearly undone by a contrived ending and by leaving too much off the page.

Dinner at the Center of the Earth alternates between several different times, places, and viewpoints. The “present-day” (actually, 2014) chapters reveal a codependent relationship between guard and prisoner (an odd, co-dependent friendship) and mother and son (the latter cannot fathom the former’s fanatical devotion). The “past” chapters take us to 2002 where Z falls for an Italian-Jewish waitress in Paris (to be named Shira in later chapters) as his espionage career unravels. Other past chapters focus on Farid, a Palestinian ex-pat living in Berlin whose life is upended when he meets a Canadian businessman. The quick movement from one perspective to another will alienate some readers, but for those who are willing to keep up, this structure sustains the story’s momentum by drawing the audience to a point where past and present converge.

Englander also takes care not to stereotype his characters. The General is Ariel Sharon in all but name, and the novel does not shy away from confronting the controversial legacy of his long and bloody military career. However, it also shows the affection he had for his family and the veneration he inspired in those such as Ruthi. Contrastingly, Farid is shown in a relatively sympathetic light, but the dark path that he takes is not excused let alone exalted.

In light of this character development, however, Z comes across as a weak protagonist both inside and outside of the story. Within, Shira continuously points out his deficiencies as a spy and his mother his inadequacies as a son. For us as readers, he comes across as a naïve fool too easily swayed to take up one cause and then another. Were Englander to show more of him working his way from A to B and B to C, he would be both more believable and worthier of taking up so much of the book’s focus.

Given the novel’s content and tone, the title seems completely out of place, as is the incident it refers to: a romantic rendezvous between Shira and a Palestinian mapmaker in a tunnel beneath disputed territory. Their relationship is supposed to serve as a counterpoint to Shira’s years-ago (but not forgotten) relationship with Z, but whereas the book’s other parallels seemed more organic, this one is clumsily forced, and the distracting build-up to it makes the latter quarter of the book something of a letdown.

In The Dinner at the Center of the Earth, Englander bites off more weighty concerns (questions of culpability, the efficacy of vengeance, etc.) than his trim 250-page-book can effectively chew. It's an admirable attempt but one that comes across as underdeveloped.

7.5/10

Scratch Handcrafted Donuts and Fried Chicken

Located at 1220 Battleground Avenue in Midtown Greensboro, Scratch Handcrafted Donuts and Fried Chicken offers its namesake items as well as breakfast and lunch sandwiches and coffee drinks. It is open from 6 a.m. to 3 p.m. daily, and specialty donuts rotate regularly.

The brainchild of Buddalicious Food Truck owner Jimmy Chhay, Scratch is Greensboro’s first chicken-and-donut shop. Given that the city lost both Rise and DonuTime in recent months, its arrival is fortuitous. It also brings a breakfast option and a lower-priced lunch alternative to the Midtown stretch of Battleground. However, neither novelty nor proximity will keep a restaurant afloat in the long run. Fortunately, Scratch has several indicators that point to staying power.

For starters, the selection here is commendable. Regular donut flavors range from simple glazes to pb&j and maple bacon to fritters. Breakfast sandwiches come on your choice of a biscuit, a donut bun (unglazed), or a glazed donut. Chicken is available in dry or wet flavors that evoke Southern (BBQ or buttermilk ranch) and Asian (Siracha honey or Korean) influences.

For my first time out, I went with one of the specialty donuts (caramel macchiato) and a fried chicken, egg, and cheese sandwich on a donut bun. The execution wasn’t flawless, but there was more good than bad. The donut’s icing was deliciously sweet and delivered both of the expected flavors. The donut itself tasted fresh though it was not especially remarkable. The breakfast sandwich was substantially bigger than a McMuffin clone, and the donut bun, though odd at first, held everything in place nicely. The chicken was a thin cutlet, crisply breaded and surprisingly moist. The sandwich as a whole, however, was frustratingly dry, and the establishment should definitely consider offering sauces and/or spreads as add-ons.

Scratch’s pricing won’t leave you feeling gouged. The donuts are mostly either $1.25 or $1.75 (only apple fritters run more). Breakfast sandwiches start at $1.50 with one topping included and 50 cents for each additional topping ($2.00 if that topping is fried chicken). For the quality and quantity, those rates are tough to beat.

Though Scratch is minimally decorated – unadorned tables and bare brick walls – it isn’t an eyesore. Seating, for a donut shop, is more than adequate. The counter staff seemed a bit harried at times, but no one was rude, and food came out relatively quickly (a sign by the menu advises patrons to expect a fifteen-minute wait on fried chicken orders).

All told, Scratch is no Rise, and there is room for improvement, but there are definite high notes, and its concept is one that does more than just sound good on paper. For anyone with an eclectic donut itch, Scratch is worth a try.

8/10

Liberty Oak Restaurant & Bar

Located at 100 W. Washington Street in Downtown Greensboro, Liberty Oak offers upscale cuisine for lunch and dinner Monday through Saturday and a brunch menu on Saturdays. There is a full bar, food and drink specials rotate regularly, and patio seating is available. Reservations are recommended.

Liberty Oak is a venerable name within Greensboro’s dining scene, and it isn’t hard to figure out why. The restaurant goes back several decades, and its current location – the historic Vernon Building – is convenient to just everything downtown. Add to that the restaurant’s potentially revitalizing acquisition by chef Kristopher Reid, and all the ingredients are here for Liberty Oak to continue to thrive. Unfortunately, the actual dining experience falls short of realizing this potential.

First, the good: Liberty Oak has a fantastic menu. Apps include the ever-popular dynamite shrimp and a selection of ravioli that rotates daily while dinner offerings feature new interpretations of classics (i.e. buttermilk fried chicken with a tropical fruit and black bean salsa and a chipotle glaze) as well as several permutations of risotto. Options run the gamut from entrée-sized salads and vegetarian plates to 10-ounce strip steaks with two sides.

For the most part, the kitchen executes well. The salmon in my wife’s salad was grilled perfectly, and the accompanying citrus vinaigrette was bright and tangy. My seafood risotto carbonara was nicely plated and seasoned and featured sizeable shrimp as well as a welcome hint of sweetness from the corn. However, the risotto was al dente verging on undercooked and not as creamy as expected.

Liberty Oak recently received an interior remodel, and though the palette isn’t terribly exciting (lots of tans and beiges), this isn’t a bad-looking space (though my wife was convinced that it smelled like an old school). Staff are courteous and service is efficient if a bit distant.

When it comes to pricing, however, Liberty Oak’s reach definitely exceeds its grasp. Entrees run in the twenties, which puts Liberty Oak in Undercurrent/Print Works/Green Valley Grill territory. Unfortunately, compared to those establishments, Liberty Oak lacks the precision, creativity, and depth.

If a walkable downtown location is important and bang for your buck is not, then Liberty Oak offers a chance to enjoy a mostly satisfying meal in a historically significant venue and experience what was probably once the best restaurant in Greensboro. These days, however, there exist better options.

7.5/10

Star Wars: The Last Jedi

Pursued through space by the nefarious First Order, the Resistance faces dwindling fuel and a leadership crisis. Former stormtrooper Finn (John Boyega), mechanic Rose Tico (Kelly Marie Tran), and droid BB8 travel to resort planet Canto Bright to recruit a master codebreaker who will allow the Resistance to disable the First Order’s tracking device. They are aided by ace pilot Poe Dameron (Oscar Isaac), whom General Leia Organa (Carrie Fisher) recently reprimanded for his recklessness. Meanwhile, former scavenger Rey (Daisy Ridley) has journeyed to remote Ahch-To to recruit Jedi master Luke Skywalker (Mark Hamill) to the Resistance’s cause and learn more about her burgeoning Jedi abilities. Luke, however, wants nothing more than to be left alone as he is still stung by the defection of his nephew Ben Solo (Adam Driver) to the dark side. Now, as the First Order operative Kylo Ren, Ben uses his psychic link to Rey to try to win her allegiance while she does the same to secure his.

For all of George Lucas’s half-baked ideas and for all of the valuable contributions made by others (his ex-wife/editor Marcia, screenwriter Lawrence Kasdan, and producer Gary Kurtz especially), Star Wars films have, for the most part, been a continuation of a story Lucas began telling forty years ago. Even 2015’s The Force Awakens, a Lucas-free affair helmed by J.J. Abrams – owed an obvious debt to 1977’s A New Hope. The eighth episode in the series sees not only a new writer/director (Rian Johnson, best known for Brick and Looper) but one who would dare take the franchise in a different direction. This, of course, raised the ire of longtime fans, for whom such deviations are heresy. Factor out such allegiances, however, and The Last Jedi is still a divisive film: beautifully shot and convincingly acted but poorly plotted and clumsy in its messaging.

At two-and-a-half hours, The Last Jedi is the longest Star Wars film to date, but it does not have the feel of a long movie. It’s a fluid film that maintains tension and excitement throughout. Spacecraft combat, chase sequences, and hand-to-hand fights make for lively viewing. From the creepy caves of Ahch-To to the blood red mineral deposits of the planet Crait, there are some striking visuals. Johnson complements this rich palette with a preference for practical effects and puppetry rather than conspicuous CGI. Were it not for a ridiculous shot of Leia using Force powers to twirl through space, this would easily be best-looking Star Wars film to date. John Williams’ music remains as fitting as ever.

While Johnson thrives as a director, his writing very nearly sinks this film. Not since Dawn of Justice has an otherwise credible big-budget affair been this badly plotted, and a large chunk of the problem boils down to misplaced priorities. The Finn/Rose sidequest to Canto Bright comes across as a waste of time when the codebreaker they retrieve (Benicio Del Toro in an underwritten role) proves not all that he cracked (pun intended) up to be. Instead, it not only pads the film but also plays as a flimsy pretext for tossing in broadsides against economic exploitation and animal cruelty. This is still more that can be said for the needless conflict between Poe and awkwardly introduced Resistance Vice Admiral Holdo (a purple-haired Laura Dern, who is given more to work with), a point of contention that could have easily been avoided had Holdo filled Poe in on her plan when he asked. Frustratingly, Johnson chose these threads as worthy of emphasis while deeming an explanation for the First Order’s sinister Supreme Leader Snoke (voiced by Andy Serkis) surplus to requirements.

Johnson also likely won few admirers by transforming Luke from a triumphant symbol of hope into a bitter and scared old man. However, this decision actually pays off: it adds an edge to Luke’s do-gooder character that was previously missing, and it gives Hamill a chance to do more actual acting. Though best known for his voicework these days, he proves up to the task. He’s in good company: with the exception of Del Toro (who, again, had very little to work with), most of the cast puts on a good showing. The late, much-missed Fisher gives one hell of a final performance as Leia, imbuing the ex-princess with both steely resolve and well-timed sarcasm. Isaac and Boyega continue to grow their characters as Poe learns some measure of restraint while Finn gains the willingness to lay his life on the line for a cause. The Rey-Kylo dynamic continues to fascinate, and both Ridley and Driver do a great job of projecting inner anguish.

Like its predecessors, The Last Jedi offers annoying kid-friendly critters. This time, they take the form of porgs, a type of big-eyed bird. The best that can be said is that the audience isn’t the only one suffering in their presence: they are a thorn in Chewie’s side throughout the film, something that is played for laughs. Speaking of humor, The Last Jedi consciously plays it up at times. It’s a great deal more conspicuous than the improvised Han Solo quips of yore. Sometimes, it works (Luke acknowledges that Rey’s home planet is pretty much nowhere); in other places, it feels forced.

At one point in The Last Jedi, Kylo comes to the conclusion that the only way for him and Rey to find a way forward is to destroy what remains of the past. At first glance, Johnson seems all too comfortable with that notion, but by the end, The Last Jedi has sewn hope for the future, both in story and out. It is unfortunate that getting there was such a contrived, if exhilarating, mess.

7.75/10

One Fish, Two Fish: A Poke Joint

Located at 370 East Main Street in Carrboro, One Fish, Two Fish offers poke bowls and other Hawaiian cuisine for lunch and dinner daily. Limited outdoor seating is available.

One Fish, Two Fish is the latest from Goose Hospitality, the group responsible for nearby The Shoppe Meatball Bar and Esperanza (formerly Calavera) Empanadas and Tequila. Though a bit more limited in some ways, One Fish, Two Fish is nevertheless another feather (pun semi-intended) in Goose’s cap.

Poke – seasoned raw fish cubes – is the star attraction here, and it is given the Chipotle treatment. You can choose from greens, noodles, and several kinds of rice as a base, from tuna, salmon, shrimp, chicken, pork, or eggplant as a scoop, and then add one of ten different sauces as well as toppings (too many to list) to your heart’s content. Of course, if this proves too daunting, you can also opt for a pre-set option (such as the Island Classic, the Spicy Tuna, or the Vegetarian Bowl) instead. Wonton chips, tuna nachos and tacos, Hawaiian shaved ices, tropical teas and sodas, and kombuchas round out the offerings. For those not into raw fish, there are still quite a few options.

During my first visit, I went with the Muliwai Bowl ($10.95): salmon, yuzu kosho sauce (apple-cilantro-mint), wasabi peas, cucumber, edamame, avocado, radish, onion, and masago on jasmine rice. They were out of salmon at the time (boo), so tuna served as its replacement. The fish was fresh (thankfully), the bowl was colorful, the accompanying wonton chips added a welcome crunch, and the flavors balanced nicely, delivering hints of spicy, salty, tangy, and sweet. That said, those flavors were definitely more subdued than anticipated. The bowl was hardly tasteless but it was not as bold as it should have been.

Fresh ingredients and a multitude of possibilities make One Fish, Two Fish well worth a repeat visit. It may take some trial-and-error to find the perfect combination of sauces and toppings, but this place’s potential merits continued experimentation.

8/10

Shogun Japanese Restaurant

Located at 2645 North Main Street in High Point, Shogun offers Japanese fare for lunch and dinner seven days a week. Lunch specials are available as is all-you-can-eat sushi. A semi-private room is available for large groups.

High Point is home to a surprising number of Japanese eateries, several of which begin with S (Shogun, Sake, Shinko Grill, etc.). Given this near-ubiquity, any one of them would have to be especially good or especially bad to stand out. Shogun is neither though it does offer decent food at reasonable prices.

Housed betwixt a T-Mobile and a Mario’s Pizza, Shogun is easy to miss from the outside. The inside does no more to command attention. It’s dated and dimly lit though clean and presentable, and sushi bar seating exists as an option if tables fill up.

Shogun’s menu rounds up the usual suspects: miso, gyoza, tempura, yakisoba, udon, hibachi dishes, and sushi (sashimi, nigiri, and a decent assortment of rolls). If you are in search of novelty fusion, you have come to the wrong place.

My wife and I opted for a char-grilled steak and a house udon (vegetables, shrimp, scallions, and chicken) respectively. The steak was marinated in a pineapple-ginger-soy combination that lent plenty of flavor, was cooked to order, and came with an appealing assortment of vegetables. The udon was comfortingly hot on a cold day though the broth was very mild and the dish was light on shrimp.

Pricing left no room for complaint: both dishes were $9.95 and provided a lot of food for the money. The proprietress was very nice though not particularly easy to understand.

Shogun isn’t somewhere one should go out of the way to visit, but for those in the area, it’s a worthy lunch option.

7.5/10

The Punisher

In the course of waging a war on the criminals responsible for killing his family, Force Recon Marine veteran Frank “The Punisher” Castle (Jon Bernthal) stumbles across a criminal conspiracy involving drug trafficking and extrajudicial military killings overseen by high-ranking CIA operative William Rawlins (Paul Schulze). Frank is aided by David “Micro” Leiberman (Ebon Moss-Bachrach), a presumed-dead former NSA analyst-turned-whistleblower and ex-Navy corpsman Curtis Hoyle (Jason R. Moore), who runs a support group for veterans. Another friend from the service, Billy Russo (Ben Barnes), has founded a private military firm whose operations are threatened by Frank’s quest for vengeance. Meanwhile, DHS agent Dinah Madani (Amber Rose Revah) is running her own investigation that puts her on a collision course with both Frank and the conspirators alike.

Since debuting in the 1970s, the Punisher has been a divisive character not only among comic book fans but among comic book writers. Some treat him as a fundamentally decent family man who was pushed by tragedy to resort to extreme methods; others portray him as a brutal psychopath who happens to be pitted against even worse people. Despite this controversy, Bernthal won much-deserved acclaim for his depiction on season 2 of Daredevil, and so a solo Nextflix series seemed like as much as a safe bet as could be made for such a violent character. While this show has a far narrower appeal than that of Luke Cage or Jessica Jones, it is far from mindless sadism. Tough yet topical, The Punisher serves up character depth and moral dilemmas with its expected gore.

Because Castle has never been one to stray from using lethal force, developing lasting plotlines and recurring characters has not been easy despite The Punisher’s longevity. However, rather than go the all-original route (a la the little-loved 1989 Dolph Lundgren movie), showrunner Steve Lightfoot borrowed when he could, pulling in characters from the comics’ regular continuity and adults-only MAX imprint. He also wisely gave the setting an update: Castle was originally a Vietnam veteran; here, he and other former servicemen are haunted by what they saw and did in Afghanistan. Add surveillance state concern, gun control advocacy and opposition, and the media’s glorification of violence to the show’s thematic mix, and suddenly we’re in quite a bit deeper than “Frank shoots bad guys.”

But of course, Frank still shoots plenty of bad guys. Bernthal humanizes Castle by showing him to be more than just a killing machine. He is, at varying times, a grieving husband and father with a massive guilt complex, a snide and sarcastic New Yorker, and a helpful and protective presence in the lives of Micro’s family (albeit for less than altruistic reasons). Once he picks up a gun (or a knife or a hammer), however, he becomes a growling mass of deadly rage.

It helps that he has some strong personalities (and strong performances) to play off of. Schultz plays Rawlins as a self-serving sadist, a man with no qualms about framing the murder and torture that he orchestrates as being in the national interest. Russo is a more complicated case. In the comics, he was a hot-tempered Mafia thug whom Frank disfigured and made an archenemy out of. Here, he comes across as more calculating and not without honor though still a ruthless operator. As Madani, Revah more than holds her own. She plays the agent as resourceful, tough, determined and fair, and her Persian-American identity is never exploited for cheap filibustering. On the other hand, Moss-Bachrach’s portrayal of Leiberman strikes an odd note. In the comics, Microchip was a scheming fat bastard whose partnership with Frank was of the love-hate variety. Here, as an Edward Snowden stand-in with a familial concern that parallels Frank’s, he is a lot more sympathetic though arguably not as interesting.

As with other Marvel Netflix shows, The Punisher is a slow build at times. The extent of the conspiracy doesn’t become apparent until several episodes in, and a side story involving a disturbed young vet in Curtis’s support group comes to dominate some of the run time. That said, the last few episodes are as tense as peak Daredevil, and there are high emotional beats (the presumed-dead Micro seeks a reunion with his family, Madani copes with loss and betrayal, etc.) to match the shootouts and fisticuffs. True to form for Marvel Netflix properties, there are also unpleasant post-combat medical scenes though this time Rosario Dawson’s nurse character is nowhere to be found.

The Punisher requires a strong stomach, but beneath the agro surface gloss is a character-driven show that offers a grim yet vital look at a war-affected violence-inundated society that rightfully distrusts its corrupt authorities. Sound familiar?

8/10

Peru's Chicken

Located at 3050 Valley Avenue in Winchester, Virginia, Peru’s Chicken offers South American fare for lunch and dinner seven days a week. Family-sized chicken meals are available, and free delivery is available for orders over $20.

Winchester is a regular lunch stop on journeys back to Greensboro from New Jersey, and we are always looking for new places in the area to try. Well-regarded and specializing in a cuisine we can’t find at home, Peru’s seemed like a good bet. In some regards, it was.

Situated in the back of a plaza, Peru’s is easy to miss, but the craving-inducing smell of cooking chicken will let you know you’re in range. Peru’s is small and spare though more colorfully appointed than many hole-in-the-wall joints. It’s a counter service establishment, and though the staff were not overtly rude, they definitely did not seem thrilled to be there.

Peru’s menu features various permutations of chicken (white meat and dark meat platters, sandwiches, burritos, etc.) as well as a nice assortment of sides (yuca, plantains, rice, and beans in addition to the requisite fries). My wife and I went with chips and guac, a side of plantains, a burrito, and a mixed bowl, and a horchata. The $3.25 chips and guac were an absolute joke: a small portion of guac, a very thin salsa, and chips that seem like they came from a warehouse store. Avoid. Thankfully, everything else proved to be much tastier and made with greater care. The plantains were maduros (sweet fried), and a good rendition thereof, the horchata was refreshing and not cloyingly sweet, and the salsa that accompanied the chicken was a coarse homemade variety, fresh-tasting and vastly superior to what accompanied the chips. The chicken was the real star though: juicy, flavorful, and filling. It is also quite affordable: the mixed bowl (pulled chicken, salsa, and rice) and the burrito (pulled chicken, rice, beans, lettuce, salsa, and sour cream) were both approximately $7, and a large horchata was only $3.

Peru’s may have a few rough edges, but if you stick to the chicken, you will leave here satisfied.

7.75/10

Skylark Diner & Lounge

Located at 17 Wooding Avenue off of Route 1 in Edison, Skylark Diner offers globally inspired diner fare for breakfast, lunch, and dinner seven days a week. Food specials change daily, and online ordering is available.

Skylark is in some ways the embodiment of the New Jersey diner experience and in other ways a subversion of it. The veritable army of bustling blue-clad servers and the large menu are hallmarks of Garden State eateries of this sort, but the elevated cuisine and elevated prices set Skylark apart. There exist both better and worse (and certainly cheaper) diners aplenty, but Skylark’s international focus sets it apart.

Like many Jersey diners, the exterior and parts of the décor seem like they haven’t changed since JFK roamed the White House. But Skylark plays retro-futuristic to its competitors’ retro, sporting a look that would be right at home in The Jetsons. Seating is plentiful, which is a plus given that this place gets quite busy.

Despite the eatery’s reputation, Skylark does offer a number of diner staples. You can still get a cheeseburger, a Greek salad, an omelet, and a BLT here. However, it just so happens that you can also get tuna tostadas, lobster mac and cheese, a salmon kale-quinoa salad, a bulgogi pork chop, and Guinness-braised short ribs as well. While this may seem like a lot of posturing – and while Skylark isn’t going to beat out steakhouses and good Asian joints – the concept wouldn’t have worked for as long as it has if the kitchen didn’t have a clue.

Among these myriad options, our group settled on a baked spinach, artichoke, and cheese dip, an Argentine baguette (sirloin, onions, and lettuce with a chimichurri sauce), and a Basque breakfast sandwich (chorizo, egg, manchego, and piperade on ciabatta). The food was a bit uneven. In the plus column, the dip was warm and satisfying, the meats were not overdone, and both sandwiches were bursting with flavor – the chimichurri sauce was a very nice touch. In the minus column, the Basque sandwich was a bit dry, a side of Mediterranean chickpea salad was disappointingly bland, and a side of fruit salad included some questionable-looking grapes (which, to Skylark’s credit, were replaced).

Skylark sports elevated prices to match its elevated cuisine, but even then, it isn’t exactly thievery. Our dip ran $9 and the sandwiches (with one side apiece) were $11and $9 respectively. Servers are polite and professional though they seemed hard-pressed to keep up with the restaurant’s busyness at times, and the wait for food reflected that volume.

Not Your Ordinary Diner is Skylark’s motto, and it fits. The ambitious menu outclasses other diners by far and the food delivers on flavor. However, uneven execution and immodest pricing keep Skylark from soaring high.

7.5/10

Cool Springs Fish Bar & Restaurant

Located at 2463 South State Street in Dover, Delaware, Cool Springs Fish Bar & Restaurant specializes in seafood. It is open for dinner Tuesday through Saturday. There is a full bar with a cocktail menu, and food and drink specials rotate regularly.

Seafood restaurants (of the non-fried variety) have a thin margin for error, so the fact that Cool Springs has lasted nearly twenty years says something in and of itself. While no one will accuse this place of being trendy – or cheap – the food is plentiful and generally well-executed.

A bland white building in a plaza, Cool Springs doesn’t exactly command attention from the road. The inside is quite a bit nicer though: clean, well-lit, and with just enough personality to stave off boredom.

The menu here is a bit of a throwback with crab imperial, flounder Meuniere, crab cakes, steaks, and chops among the offerings. There is something to be said for comfort in familiarity though, and the specials change often enough to ward off ennui. Our group of four split a fried calamari starter, two of us opted for the shellfish pan roast (shrimp, scallops, clams, mussels, and a lobster tail with lemon thyme cream sauce) over linguine, and the other two went with a stuffed salmon and a fried flounder (both on special), respectively.

The food did not disappoint. The calamari were crisp and golden brown and lacked both greasiness and chewiness. They were a bit bland, but a squeeze of lemon and a dollop of the accompanying sauce took care of that. The entrees came with a nice assortment of mixed vegetables, and they did not lack in flavor. Neither, for that matter, did the pan roast’s sauce, which the linguine soaked up well. The ratio of seafood-to-carb was favorable, and while the lobster and shrimp were enjoyable, the scallops were a clear standout. One of the clams was not cleaned properly (not cool, Cool Springs), but that was the only hitch in an otherwise quality meal. Should you save room for dessert, the bread pudding and its decadent sauce are winners as well.

Though Cool Springs provides a good amount of food for the money, it is no bargain, even by seafood standards. The pan roast was $25, and most of the entrees are in the $20s. Cathy, our server for the evening, was experienced and personable, and wait times for food seemed about normal.

Cool Springs occupies the unenviable position of being too costly for a regular haunt yet not quite refined enough for an occasion destination. Despite this, it offers tasty seafood and even better desserts for those who are willing to spend.

8/10

New River Taphouse

Located at 1716 Pleasure House Road in Virginia Beach, New River Taphouse serves American fare for lunch and dinner. There is a full bar with a cocktail menu, and food and drink specials change regularly. Patio seating is available, and there is occasional live music.

Whilst traveling, my wife and I stumbled into New River Taphouse after our intended lunch stop turned out to be closed during lunch hours. Intentional or not, New River proved to be a fortuitous find as food and service both exceeded expectations.

New River shares its shopping center lot with several other businesses, so parking can be a bit of an adventure. Should you luck into a convenient space, a handsomely appointed space awaits. The wood-and-brick interior is clean, crisp, and well-suited to the restaurant’s concept, as is the menu. New River’s take on the dressed-up pub is hardly novel, but unlike many a failed venture, there is variation without excess. Apps include nachos and wings and various fried things, there are four different kinds of mac and cheese, pizzas and burgers and sandwiches make use of stout braised pork, IPA candied bacon, and challah buns, and for those in the market for something more substantial, a ribeye and filet mignon two ways are up for grabs.

Of these offerings, my wife and I were drawn to the cherry bomb, fish tacos, and crab cake sandwich. The cherry bomb consisted of cherry peppers stuffed with prosciutto and cream cheese, breaded, flash fried, and served with a fire roasted red pepper sauce. It was the perfect combination of spicy, tangy, crispy, and sweet. The fish tacos tasted fresh, and the accompanying mango salsa delivered bright citrus flavors. The crab cake was a respectable size, and the loose patty indicates that New River did not cut corners on the crab-to-bread ratio. Only the bland slaw (should have gone with fries) was a disappointment.

The bill for this meal proved surprisingly affordable. Our app ran $8, and the tacos and crab cake sandwich were $11 apiece, side included. Even the priciest item on the menu – a 12-ounce ribeye with mashed potato and vegetable – goes for a mere $22.

New River is also both well-staffed and well-managed. Servers are friendly and attentive, and there were enough of them to cover the restaurant’s volume of patrons. Food arrived promptly and at the proper temperature.

American pub fare sometimes gets a (sometimes deserved) bad reputation, but New River Taphouse shows that it can be done well, without pretense or gimmickry, at a reasonable price.

8/10

Justice League

Thousands of years ago, Steppenwolf (voiced by Cirian Hinds) led an army of Parademons from the planet Apokalips in a failed effort to conquer Earth. He was thwarted by the combined forces of humans, Atlanteans, Amazons, Greek Gods, and Green Lanterns. His three Mother Boxes – sources of immense power – were distributed among the humans, Amazons, and Atlanteans for safe keeping. Following the death of Superman (Henry Cavill), Steppenwolf senses and opportunity and returns to Earth to reclaim the Mother Boxes and finish what he started. To stop him, Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) recruit a team of empowered individuals, including Atlantean heir Arthur Curry/Aquaman (Jason Momoa), speedster Barry Allen/The Flash (Ezra Miller), and technopath Victor Stone/Cyborg (Ray Fisher). Though brought together by a common threat, the would-be heroes agree on little, including whether or not to use the Mother Boxes to their own advantage.

DC Comics may have a decades-long history of iconic characters, but recent attempts to translate that mythology to the screen have largely been met with disappointment. Poor pacing, inane plotting, and an overly grim tone have been the prime culprits though the well-deserved success of Wonder Woman gave hopes that a reversal of fortune is possible. Sadly, Justice League does not rise to that film’s level, yet it also does not commit the worst sins of its predecessors. It’s an uneven movie, praiseworthy in some regards, cringeworthy in others. However, given both the anticipation and the gargantuan budget, it is hard to see “adequate” as anything other than disappointing.

In fairness, Justice League suffered from quite the troubled production. Director Zack Snyder had to step down during post-production to grieve for the loss of his daughter, leaving Joss Whedon (who helmed cross-company equivalent The Avengers) to fill in. Between being ousted as director of a solo Batman film and facing allegations of sexual harassment, the already-polarizing Affleck attracted even further controversy. And everything from re-shoots to composer changes (Danny Elfman subbing in for Junkie XL) to digitally removing Cavill’s moustache nearly sank the film before it even opened.

Despite the burden of these negative expectations, Justice League manages to get quite a few things right, starting with several of the performances. Gadot remains the perfect Wonder Woman, an uber-capable demigoddess and world-toughened idealist who hasn’t lost her heart. Meanwhile, Affleck’s Batman seems to have regained some of his as he is considerably less brutal in this outing though, true to most modern interpretations of the character, is still driven to a disturbing degree. Fisher, a relative unknown, deftly plays Cyborg as both philosophical and bitter regarding the erosion of his humanity. Amy Adams isn’t given much screen time as Lois Lane and she deserves more characterization than merely “Superman’s girlfriend,” but she is credible as a journalist who has lost her nerve. And though his role in the film is even smaller, J.K. Simmons at least has the look and demeanor down for Batman ally Commissioner Jim Gordon.

Justice League also feels like a less excessive and more measured film than several of its predecessors. Batman v. Superman was a drawn-out affair with a now-clichéd city-destroying CGI-soaked final battle; Justice League eschews that in favor of brisker pacing and less taxing fight sequences. Yes, the film overuses slow-down effects (as did Wonder Woman), and certain things still look ridiculous (underwater battles, The Flash’s running, etc.), but the overall execution is tighter and less bombastic, and the film balances its urgency and what-have-we-done introspection with humor and at least some semblance of fun. Elfman’s score also makes good use of each hero’s motifs (including his own famous Batman score) in key places rather than trying to ape Hans Zimmer’s work.

For all of these bright spots, however, there are blemishes aplenty. Though Miller supplies some much-needed levity, his version of The Flash – an empowered young science nerd awed by the chance to join a superhero team – seems cribbed from Tom Holland’s winning take on Spider-Man. Miller’s cinematic Flash also does not compare favorably to Grant Gustin’s more rounded television counterpart. Thanks to 1970s cartoon corniness, Aquaman has existed in public imagination as a joke hero who talks to fish. Justice League actively engages (by having characters as if this is one of Arthur’s abilities) and deconstructs (by casting the muscular Momoa) this image. And yet, the veneer of leave-me-alone surliness is rather short-lived, giving way to a combat-happy sea bro, a still-goofy, if more imposing take on the character. While Hinds does a fine job with Steppenwolf’s voicework, the character is underwritten and not particularly interesting. He exists because the League needs a unifying threat to face, and the filmmakers (wisely) did not want to squander Darkseid right away in such a role.

A similarly lackadaisical approach can be found amid the film’s plotting. The stated reason for Steppenwolf’s return (Superman’s death has left the planet vulnerable) leads viewers to wonder what the would-be conqueror was doing when Kal was still an infant on Krypton. Speaking of Superman, his resurrection functions as the epitome of a non-surprise, easily predicted and only delayed to the extent that it was to prevent the film’s conflict from being resolved too easily. As a director, Snyder has a refined (if somewhat divisive) visual style; as a writer, he and collaborator Chris Terrio should leave the task to more capable hands.

Given these faults, it would be easy to write Justice League off as another cynical cash grab. After all, despite the huge budget, there is merchandising potential aplenty, the team-coming-together narrative leaves the door open for character crossovers in future DC films, and a post-credits scene foreshadows the next movie in DC’s shared universe. And yet, if that was all that Justice League was designed to do, it does more than it needs to. Some credible performances and a long-missing sense of restraint aren’t enough to wipe away the specter of failure but they do at least suggest that the higher-ups at Warner Bros. can learn from at least a few of their mistakes.

7.5/10

Mark's

Located at 616 Dolley Madison Road in Greensboro, Mark’s offers upscale drinks and dining using local ingredients. It is open for lunch and dinner Monday through Friday, dinner only on Saturday, and closed on Sunday. There is a full bar with a cocktail menu, and private dining is available.

Situated in a converted house across the street from the Quaker Village shopping center, Mark’s is easily overlooked, but it shouldn’t be. Owner/chef Mark Freedman claims 40 years of experience, and it shows in what comes out of the kitchen.

Though a small space, Mark’s is handsomely appointed. Vibrant art adorns the dining room walls, and there’s a homey yet elegant feel. This would make for an enjoyably cozy environment were it not for the room’s acoustics. Conversations at nearby tables tend to sound louder than they are.

Mark’s menu offers a variety of apps, salads, small plates, and entrees with enough potential to render decisions difficult. My wife, who had a fried chicken craving, was freed from this dilemma, but I was torn between salmon with black butter, duck confit, or shrimp with lobster ravioli before finally settling on the latter. Good food takes time, so we knew we would be in for a bit of a wait. Thankfully, fresh bread and olive oil kept hunger at bay.

When they finally did arrive, both dishes were nicely plated, and they tasted even better than they looked. The shrimp were cooked perfectly, the lobster and mascarpone ravioli were addictively good, and the tomato cream sauce was rich and complex. The fried chicken was not only moist but more flavorful (some kind of pan sauce?) than most renditions of the bird. It paired well with boursin mac (shells) and cheese and mixed vegetables. Execution was spot-on across the board.

Mark’s servers are polite and attentive, and they seem dedicated to making sure that you are having a good meal. Mark himself will also make the rounds, which was a nice touch.

As to be expected, the food here isn’t cheap, but it is in-line with other Greensboro establishments of this caliber. The fried chicken came out to $18 while the shrimp and lobster ravioli were $26. While the former was a respectably sized portion, the latter ran rather small.

Mark’s may not be the first name that comes to mind for a celebratory meal, and it's definitely a small-scale operation, but on taste alone, it belongs in the conversation.

8/10

Thor: Ragnarok

Haunted by visions of Asgard in ruins, Thor’s (Chris Hemsworth) search for answers brings him into a series of confrontations with the fire demon Surtur (voiced by Clancy Brown), his treacherous brother Loki (Tom Hiddleston), their father Odin (Anthony Hopkins), and, finally, Hela, the goddess of death (Cate Blanchett). Exiled to the remote planet Sakaar, Thor is captured by a former Asgardian Valkyrie-turned-bounty hunter (Tessa Thompson) and made to compete as a gladiator at the behest of the Grandmaster (Jeff Goldblum), the planet’s despotic ruler. It is here that Thor hatches a plan to retake Asgard from Hela, provided that he can survive.

There has been a strange dichotomy within Marvel Studios during the past few years. The Captain America and Avengers franchises, while still full of dazzling superhero battles, have embraced topicality and pseudo-realism, playing heavily with the idea that comic book characters would be responsible for untold havoc if unleashed on our world. At the opposite end of the spectrum, Guardians of the Galaxy and Ant Man have forsaken both the sermonizing and the dramatic heft to deliver irreverent, wacky fun. Amid this landscape, the Thor films have always been an odd fit. Between Hopkins and directors Kenneth Branagh and Alan Taylor, they had the pedigree needed for the former approach yet the aesthetics have always been rooted in the latter. The results have been mixed: exciting to a degree yet thoroughly unremarkable. But with Ragnarok, the third film in the franchise, a Thor movie finally has a chance to be something more than an also-ran.

Ragnarok breaks sharply with its predecessors in several areas. New director Taika Waititi is best known for quirky comedies, and he brings such a sensibility to this film. Between that and the cast’s newfound leeway for adlibbing, Ragnarok is not only funnier but more of a free-flowing, less predictable affair. The film also does away with Thor’s earthbound supporting cast, reduces his Asgardian allies the Warriors Three to a brief cameo, and plays to returning characters’ strengths by not overusing them. Hiddleston’s Loki is allowed to do what he does best – connive – without it becoming tiresome since he is in no position to take over as the film’s main villain. Hopkins’ Odin, hammy and bombastic in his first outing, is allowed to show a more contemplative side, which gives the film a bit of otherwise missing pathos.

Blanchett more than capably takes on that theatricality, playing Hela as a cross between a corrupted Galadriel (her elven Lord of the Rings role) and an evil Disney queen. It’s a testament to her excellence that Blanchett can out-ham Hopkins, don a ridiculous headdress, and still come across as more menacing and memorable than many a recent Marvel foe. However, she is not the only newcomer to make a mark. Thompson’s Valkyrie, a hard-drinking cynic, may be a departure from the source material, but this interpretation allows for the character to have an arc. Goldblum’s Grandmaster is a sadistic, smarmy, yet oddly genial cosmic MC while director Waititi gives voice to Korg, a perpetually chipper rock monster competing as a gladiator.

While adding to the supporting cast (spoiler alert: Mark Ruffalo returns as Bruce Banner/The Incredible Hulk) takes some of the pressure off of Hemsworth, he still handles both the changes and the demands of the role with assurance, delivering equal parts charisma, overconfidence, petulance, bravery, and rage. This film gives him a new look – say goodbye to the long hair and hammer – which helps keep the character fresh. However, the film treats as revelatory the idea that he has not been using his powers to the fullest extent, something the audience largely took for granted.

As with previous Thor movies, Ragnarok is visually unrestrained, and magic and monsters make their way into several of the action sequences. What sets Ragnarok apart, however, is the musical accompaniment. Mark Mothersbaugh’s spacy, synth-driven score is surprisingly inspired, and the film also makes very appropriate use of Led Zeppelin’s Viking-themed “Immigrant Song.”

Though an otherwise refreshing film, when Ragnarok disappoints, it disappoints in very conventional ways. As with Suicide Squad, the film has its green-clad villainess spend entirely too long massing her forces in order to give the heroes something to do in the meantime. And while giving the Hulk more dialogue (in classic Hulkspeak, no less) and screen time allows for more characterization, it also demystifies the character quite a bit. Here, he’s less singularly terrifying threat and more super-strong childish jock.

Still, for the third film in a franchise that has sometimes felt like an afterthought, Thor: Ragnarok is a surprising – and welcome – improvement. Funny, fluid, and fast-paced, it stands firmly on its own two feet while also moving us one step closer to the next Avengers film.

8.25/10 

The Cowfish Sushi Burger Bar

Located at 4208 Six Forks Road in the North Hills area of Raleigh, The Cowfish Sushi Burger Bar offers salads and sandwiches, half-pound burgers, traditional sushi, and “burgushi” fusion rolls along with a build-your-own option. There is a sushi bar, a drinks menu with cocktails and spiked shakes, and an outdoor seating area. Slider specials rotate weekly.

This place is ridiculous, in the best sense of the word. A madcap fusion of East and West, kitschy youthful exuberance and serious eats, The Cowfish is an unforgettable experience if a sometimes overwhelming one.

First, a caveat: despite multiple seating areas and plenty of space, this place draws a crowd. Show up on a Saturday night, and you will face a long wait. When you check in and put your name on a waiting list, your party is assigned a cartoon fish with a terribly punny name that appears on a screen behind the hostess stand. You’ll get a text when your table is finally ready.

Given the volume, The Cowfish is as loud as you would expect it to be. At least the tables aren’t too close together, which is a welcome relief. Red walls adorned with colorful pop art and an aquarium in the center of the dining room give this place a distinctive aesthetic. Sedate it is not, but that isn’t what one should expect when dining here.

The Cowfish’s menu is impressively varied, almost intimidatingly so. Appetizers set the pace for the rest of the menu, offering Asian (edamame, togarishi shrimp), American (parmesan bacon truffle fries), and somewhere in between (crab Rangoon dip). The burgers include lamb (Mediterranean or Vindaloo) and bison as well as beef, and some of the topping combinations indulge in chorizo, pork belly, and even a full-pound Elvis-themed variant (peanut butter, fried bananas, and bacon). On the sushi side, there is a similar flair for the eclectic though classic sashimi, nigri, and rolls are also offered. Speaking of flair, the truly adventurous can go all-in for a burgushi such as a Ric Flair-inspired bison/fried green tomato/feta roll topped with jalapenos and chipotle aoli or a filet mignon/portobello/lobster roll.

The servers here are well-trained to navigate this river of insanity and will gladly run down the menu and offer recommendations. Service here isn’t what I would deem quick, but it is response enough given the volume, and it comes with an outgoing attitude that matches The Cowfish’s motif.

My first visit was in the company of my wife and two friends, and we went with the crab Rangoon dip as a starter. It was addictively cheesy with a nice parmesan crust, and the accompanying wonton crisps scooped it up without breaking. Wanting to try a little bit of everything, I followed up with a Fusion Specialty Bento Box: slider of the week, four pieces of a sushi roll, sweet potato fries, Thai cucumbers, and edamame. The slider was a tasty goat cheese/Thai sauce combo, cooked to order and well-seasoned. For the half-roll, I went with the Mark’s Roll: tuna, jalapeno, cream cheese, and scallion, coated in panko, and topped with Japanese mayo and siracha. It tasted fresh and had a good balance of hot, salty, and sweet. The sweet potato fries and sea salt edamame were both good but not outstanding. The Thai cucumbers proved to be the real star among the sides: refreshing with a nice bit of spice.

Given that everything else about The Cowfish seemed outsized in one way or another, it was no surprise that they do not skimp on portions here. Our one appetizer fed four without shortchanging anyone, and I could have easily gotten two full meals out of the bento box had I not devoured the cucumbers and sushi wholeheartedly on the first go-around. Pricing is consistent with the quantities and ingredients offered, which is to say not cheap but not exorbitant by any means. Our app was $11 and my bento box was $16.  Many of the burgers and rolls run in the mid-teens. Since we mentioned that we were visiting for my wife’s birthday, The Cowfish also comped us a slice of very nice – and very dense – chocolate cake.

If you are seeking a quiet meal or a quick one, cross The Cowfish off your list. Ditto if you are a traditionalist to the extent that fusion concepts leave a bad taste in your mouth. But if you are open to trying some unique combinations in a fun environment (and willing to wait to do so), The Cowfish is sure to make for a memorable meal.

8.25/10

NC Wine, Cheese, and Chocolate Festival

Located at the Lafayette Village shops, the second annual iteration of this event promised tastes of locally made wines, cheeses, and chocolates as well as live entertainment.

Though a fine idea on paper, this proved to be one of the worst run events I ever attended. Event organizers clearly oversold tickets, which resulted in problems from the start: namely, a lack of onsight parking. Thankfully, the weather of the event date (Saturday, October 14) wasn’t unpleasantly hot, so walking a quarter mile from parking to event wasn’t the ordeal that it could have been.

The next mistake was that the event site was not big enough to accommodate an event of this size and scope. Picture, if you will, a series of small, upscale shops surrounding a central courtyard. The admissions line snaked outside the shops and was routed into the shopping center’s business offices before spilling out into a chokepoint and then, finally, the courtyard. The courtyard itself contained a handful of vendor tents (two to three wineries, one chocolatier, one cheese person, one milkshake person), which resulted in massive, snaking, criss-crossed lines and many disgruntled attendees.

Lastly, the cost of admission ($26.50 per ticket at an early-bird rate) provided a poor value. Attendees received twelve sample tickets, which wouldn’t have been a problem had not the wineries offered such small pours.

Despite the chaos and disappointment, not everything at the Wine, Cheese, and Chocolate Festival was a bust. The chocolate-covered bacon was delicious as was the smoked gouda, Chatham Hill winery offered a nice peach wine, and a number of the vendors seemed quite genial.

All told, however, this “festival” had little to recommend it. It seemed less a chance to celebrate local food and drink and more a cash grab and cynical ploy to drive up business in Lafayette Village. A bonus penalty goes to the organizers initially scrubbing negative reviews from the event’s Facebook page (several are currently visible on the organization’s Facebook though).

3.75/10

Blade Runner 2049

Synthetic human “replicants” are designed for slave labor, but after repeated uprisings, their production is banned. By 2049, Niander Wallace (Jared Leto) has circumvented the ban by creating a new series of (supposedly) completely obedient replicants. One of them, “K” (Ryan Gosling), works as an LAPD “blade runner” tasked with hunting down and “retiring” older models. But when K discovers evidence that replicants are capable of reproducing, his loyalties are tested. His commanding officer (Robin Wright) wants the evidence destroyed to prevent a civil war, Wallace wants to harness the reproductive abilities for his own purposes, and K wants to find out the truth.

Though it’s hard to fathom given its outsized influence, the original Blade Runner was not a well-received film when released thirty five years ago. This can be chalked up to a combination of studio interference (including a terrible voiceover and altered ending) and being ahead of its time. In contrast, 2017’s much-anticipated sequel has received both more creative liberty (as the nearly three-hour run time attests) and more immediate praise despite being, in many ways, a lesser film.

It should be noted, however, that “lesser” does not equate to “bad,” especially when given such an iconic measuring stick. For instance, 2049 is one of the more visually impressive films of recent memory, surpassing even the original. It retains the dark, crowded, neon-infused cityscapes and adds to it an exploration of the ruined world around Los Angeles. San Diego is a ruinous garbage dump, Las Vegas is a golden irradiated desert, and elsewhere, snow falls like ashes. Hans Zimmer’s score evokes the futuristic tones Vangelis used in the original film but with the tension ratcheted up at key moments of discovery (Zimmer has proved to be a master of this).

Though original director Ridley Scott gave up his chair for a producer’s role, his replacement, Denis Villenueve (known for Prisoners and Sicario) has proven himself more than capable. 2049 is a tightly controlled film that doesn’t feel its length due to an absence of lags and clutter. Returning screenwriter Hampton Fancher penned a script that makes a few of its turns predictable while still allowing for some misdirection and suspense (The emergence of a certain group toward the end is a blatant sequel hook but ultimately a forgivable one).

On the other side of the camera, Gosling gives a credible performance as the competent yet conflicted K, Sylvia Hoeks radiates unstable menace as Wallace’s enforcer Luv, and despite having far less screentime this go-around, a returning Harrison Ford gives arguable a better performance as Deckard, the now ex-blade runner touched by loss. In smaller roles, Leto gives another singularly creepy performance as Wallace, a ghoulish blind visionary while Dave Bautista continues to expand his acting range as a haggard yet still formidable replicant ex-combat medic-turned-farmer. The only character to really strike a false note was Joi, K’s holographic A.I. girlfriend, but that had less to do with Ana de Armas’s wide-eyed benevolence than it did with the way the character was written. Though she frames it has her own evolution/actualization, Joi’s role throughout the film is to continue to support K in various capacities, a rather sexist take on becoming more real.

Despite the richness of the scenery and (most) performances, 2049 lacks the depth and complexity that it deserves. The original film trafficked in moral ambiguity: Deckard was not a noble or particularly competent hero, rogue replicant Roy Batty had a conscience and a reasonable goal (survival) despite his violent tendencies, and replicant creator Dr. Tyrell, for all of his amorality, was an avuncular presence. In contrast, K is both more effective and more heroic, Luv is loyal yet psychopathic, and Wallace is an overtly sinister and megalomaniac. Beyond lacking complex characterization, 2049 also feels thematically underdone. The original asked some very pointed questions about what it means to be human; here, we’re entreated to explorations of “real” vs. “created,” but perhaps because so many conversations have taken place in the past thirty five years, it doesn’t feel nearly as profound.

Blade Runner 2049 is an aesthetically dazzling film with strong performances to match the high production values. However, it frustratingly never digs as deeply as it needs to.

8.25/10