Sammy G's Tavern

Located at 3800 Tinsley Drive in High Point, Sammy G’s Tavern serves American fare for lunch and dinner. There is a full bar, drink specials change daily, and a brunch menu is offered on Sundays.

Though the name calls to mind a neighborhood watering hole, Sammy G’s is more upscale than the moniker lets on. A sister restaurant to Fratelli’s Italian Steakhouse in Winston-Salem, Sammy G’s does what others have tried and failed to do: it gets the dressed up pub/casual fine dining concept right.

Deceptively spacious, Sammy G’s features several dining areas. One includes a bar and a long communal table while another is a more traditional dining set up. My wife and I got to experience the latter and found it comfortable enough.

The menu here is well-stocked with American staples: wings, burgers, sandwiches, salads, and steaks. There are, however, enough global touches to keep things interesting. The appetizers include a Thai shrimp, a fried calamari, and an Asian seared tuna, risotto is an available side, chicken teriyaki features among the entrees, and several styles of nachos (including lobster and blistered corn for the truly curious) are accounted for. For our first time out, my wife and I split a green tomato starter and followed up with The Sammy G’s (fried flounder, popcorn shrimp, and a crabcake) and the Plum Asian Sirloin, respectively.

A fried green tomato has become one of our litmus tests for new places, and by that measure alone, Sammy G’s passed. Though the slices were smallish, they were crisp and well-coated, and they paired well with the accompanying dab of pimento. The jalapeno bacon jam that came with it brought a nice bit of heat. Plum sauce on a steak seemed like a gamble – would it be too sweet? – but my faith was rewarded. It enhanced rather than overwhelmed the sirloin, and it called to mind a less salty teriyaki. The side of sautéed broccoli that came with it was perfect (seriously, I was left wondering how broccoli could be this good), and the risotto was satisfying if not spectacular. The steak did come out slightly overcooked (requested medium rare, it arrived medium approaching medium well) but not enough to render it unpalatable, and that was the only hitch in an otherwise very good meal.

Said meal was complemented by service that was generally on-point. Wait times for food were minimal, and Brycen, our server, was attentive and polite. Sammy G’s seemed both adequately staffed and well-managed, no easy feat given the amount of restaurant industry turnover.

At first glance, prices at Sammy G’s seem to be in-line with the menu and concept. Entrees start in the mid-teens and run into the twenties for steaks while sandwiches and entrée-sized salads hover in the $10 to $12 range. However, most of the entrees include two sides that can be substituted (including a fries-for-risotto swap) as well as a salad (Caesar or house). Take those perks into consideration, and Sammy G’s is a surprisingly good deal for what is offered.

Given that my previous experiences dining out in High Point have largely consisted of mediocre Asian, it’s safe to say that Sammy G’s is a new favorite for the area. Flavorful food and great service make this place ideal for when a nice meal is sought but a white tablecloth establishment is out of reach.

8.25/10

Who You Selling For

Being fronted by a former child actress invites skepticism, but The Pretty Reckless did a commendable job of establishing its hard rock bonafides across the band’s first two releases. The third album, last year’s Who You Selling For, sees a maturation of the band’s sound but not at the expense of its potency.

The band’s previous release, 2014’s Going to Hell was dripping with rebellion and featured fittingly aggressive lyrical and musical sensibilities. But for however catchy some the songs were, the audacity eventually became one-note. In contrast, Who You Selling For is much more varied. The first two tracks, “The Walls Are Closing In/Hangman” and “Oh My God,” channel Alice in Chains and “Ty Cobb”-era Soundgarden respectively while the third, “Take Me Down,” which plays on the familiar trope of musicians selling their souls for success, would have fit right in on the previous album. However, “Back to the River” delves into Southern blues rock (aided by guest guitarist Warren Haynes) while “Bedroom Window” is melodic, melancholic pop and album closer “Mad Love” channels 70s funk.

This coming-together of diverse musical styles serves as a showcase for Taylor Momsen’s versatility and vocal power, but The Pretty Reckless isn’t a one-person band. Ben Phillips provides competent guitar work, the rhythm section keeps up with the style changes, and Kato Khandwala’s tight production is neither overblown nor underdeveloped. Yes, there are times when the band treats familiar rock themes as revelatory or when it tries too hard to ape its grunge-era forbearers, but its raw earnestness and cross-genre appeal make Who You Selling For a worthwhile listen from a band that continues to grow.

8/10

La Palma

Located at 4623 W. Gate City Boulevard in the Sedgefield Crossing Shopping Center in Greensboro, La Palma offers Dominican and Caribbean food for lunch and dinner.  Food specials change daily, and catering is available.

While Greensboro has Mexican eateries aplenty (one of them, El Mariachi, is right next door), Dominican and other Latin cuisine is largely underrepresented. Thankfully, La Palma, which opened earlier this month, capably fills the void.

La Palma’s pan-Caribbean menu includes starters, soups, salads, sandwiches, platters, and signature dishes. In addition to the more familiar Cuban sandwiches, plantains, nachos, and empanadas, you will find cassava balls, longaniza (Dominican sausage), mofongo (Puerto Rican plantain bowls), and a decidedly different take on lasagna (shredded chicken or beef, pasta strips, cheese, and cream sauce).

For my first visit, I opted for a takeout order of a La Palma sandwich (pulled pork, lettuce, tomato, onion, and sauce with fried plantains instead of bread) and sweet plantains (maduros) as well as a Cuban sandwich with fried plantains (tostones) for my wife. The cashier was friendly, and the sandwiches came out to about $7 apiece with a choice of side included, a very good value given the filling portion sizes.

The food definitely did not disappoint. Though a bit of a mess to eat (plantains don’t hold ingredients together nearly as well as bread), the La Palma featured tender pork and a delicious pink gustosita sauce. The maduros were crisper and not quite as sweet as some that I’ve had, but they still satisfied. My wife rated her Cuban and tostones a definite re-order for future visits.

Sparsely appointed with few tables, La Palma is tidy and neat but probably better suited for takeout. If you go this route, do not expect fast food prep speeds: this food is made with care (in front of your eyes, if you choose to look past the counter) and takes time.

With an enticing menu, reasonable prices, and (so far) very tasty food, La Palma has earned a “Me gustó” as well as several likely returns.

8.5/10

Stamey's Barbecue

Located at 2206 W. Gate City Boulevard in Greensboro, Stamey’s offers country breakfasts and Lexington-style barbecue for lunch and dinner Monday through Saturday. The restaurant has a drive-thru window, and catering is available.

I first tried Stamey’s not long after moving to Greensboro and was very underwhelmed. The location seemed dated, and the chopped barbecue was gray, mushy, and flavorless. For the better part of a decade, I avoided this place and was baffled by the favorable reputation it enjoyed. At my wife’s urging, however, I decided to relent and give Stamey’s another try. While my opinion hasn’t quite done a complete 180, I can definitely admit that Stamey’s is a lot better than I remembered.

An old-school barbecue joint dating back to the 1930s, Stamey’s still cooks its pig over hardwood coals, which is commendable. The interior is, as noted, quite dated, but there is also a bit of folksy retro appeal in that. Though the restaurant draws a sizeable lunch crowd, there is plenty of seating, and while you can try to grab a table, your best bet may be to claim a spot at the counter.

Stamey’s lunch/dinner menu is true to its concept. Selections include barbecue pork or chicken, sliced or chopped on plates, or in sandwich form, with a few sides and some tasty-sounding desserts (including seasonally rotating cobblers) as well. I opted for a barbecue plate – sliced this time – with hushpuppies and slaw. Despite the lunchtime bustle, it came from the kitchen remarkably quickly. The hushpuppies were very good and delivered a nice onion note. The finely chopped slaw was a “red” variety, and while I’ve had some bad experiences with that kind in the past, Stamey’s version thankfully was not vinegar overkill. The pork was definitely more palatable this time. Though still grayish, it was moist and tasted fresh. However, it came very lightly sauced and without any smokiness or depth of flavor. Be prepared to apply copious amounts of sauce to get the desired taste.

Stamey’s servers and cashiers are equal parts friendly and efficient, and the pricing here is downright cheap. A regular sliced plate was only $7 (with two sides included), and a large would have only been sixty cents more. One can get quite a bellyful for $10 here.

Despite their similarities in pork preparation, no-frills ambiance, and local popularity, Stamey’s is not in the same league as Lexington Barbeque, and I would hesitate to rank it above the more-modern Hillsborough BBQ Company, for that matter. But as a Greensboro-based option, Stamey’s ultimately proved to be fast and affordable with decent, if unspectacular, food.

7.5/10

Irie Rhythms

Located at 3252 Silas Creek Parkway in Winston-Salem, Irie Rhythms serves Jamaican cuisine for lunch and dinner Monday through Saturday. Lunch specials rotate daily, and vegetarian options are available.

Billed as Winston meets Kinston, this smallish eatery is easy to overlook. But if you should venture to the plaza across from Hanes Mall, you’ll find plenty of tantalizing options. Ire Rhythms offers both the familiar Jamaican hallmarks (oxtail, jerk chicken, beef patties) as well as a few dishes I haven’t seen (or at least seen prepared this way) elsewhere.

During a lunch visit, I opted for a BBQ Jerk Pork Sandwich. Though the menu lists fries or rice and peas as available sides, be forewarned that the latter is an upcharge. The sandwich was huge, sloppy, and very tasty. It combined the best of tomato-based BBQ (a dark sauce slathered on) and traditional jerk seasonings (an appropriately spicy zing). The fries were so-so, but the small portion of tropical coleslaw (sweetened with orange, pineapple, and coconut) was incredible. Get an extra side of this, and you won’t regret it.

For the quantity and quality of the food, the $8 charged for the sandwich was plenty reasonable. Many of the entrees and lunch specials run in that range though a few (such as curry goat or escovitch fish) are priced in the teens.

Irie Rhythms is sparsely appointed and perhaps for that reason, does brisk take-out business. Despite the volume of customers in and out, the efficient and patient staff had no problem keeping up with the pace of orders.

A pleasing menu, generous portions, and minimal waiting make Irie Rhythms well worth a return visit.

8/10

Spider-Man: Homecoming

In the aftermath of the attempted Chitauri invasion of New York City, salvage company owner Adrian Toomes (Michael Keaton) is contracted to clean up the wreckage, at least until the Department of Damage Control in conjunction with Tony Stark force him off the project. A vengeful Toomes decides to keep the alien technology that he found and has his engineer Mason (Michael Chernus) create weapons and gear to sell on the black market. Years later, Peter Parker (Tom Holland), an empowered teenager who fights crime as Spider-Man, receives an upgraded suit from Stark (Robert Downey Jr.) along with a warning not to engage in anything too dangerous. Eager to impress, Peter uncovers Toomes’ operation, which puts him at risk. At the same time, he must contend with all the pressures of adolescence, including a crush on classmate Liz (Laura Harrier) and scholastic competition from rival Flash (Tony Revolori).

Given his iconic status, it’s hard to see Spider-Man as anything but familiar these days, but when the character debuted in Marvel comics some fifty-plus years ago, that was not the case. Unlike the DC heroes of the day with godlike powers or vast financial resources, Peter Parker was, despite his enhanced agility and strength and formidable intellect, a flawed and troubled character, a parentless outsider raised by his working-class aunt who has to grow into his role as a hero. Years of Spider-Man adaptations have had mixed results in capturing the essence of the character. In Sam Raimi’s Spider-Man trilogy, Tobey Maguire captured both Peter’s geeky awkwardness and Spider-Man’s penchant for quips, but the film’s unabashedly cheesy nostalgic sensibility made it hard to identify with Peter as a modern troubled youth. Andrew Garfield’s turn in two Amazing Spider-Man films had nearly the opposite problem as his angsty take on Peter made the character harder to empathize with, particularly in the sequel.

Enter Homecoming’s Tom Holland, who gives perhaps the most believable take on the character to date. Holland’s version is less an insta-hero (just add radioactive spider bite and webbing) and more of an ascended fanboy, a young man in awe of the Avengers who is enthusiastic about proving himself worthy of permanently joining their ranks. And, as befitting anyone without much in the way of experience or formal training, his early attempts at heroics are awkwardly, sometimes hilariously inept. This realism extends to life outside of the costume as well, as Peter’s constant flaking (to go fight crime) ruins relationships, raises the suspicions of his aunt, and leaves Holland in a nearly perpetual state of wide-eyed panic. It is both jarring to see Marvel’s mascot demythologized to this extent (don’t go looking for any mention of Uncle Ben or lectures on responsibility) and refreshing to see him returned to his roots.

Of course, Homecoming has virtues that extend beyond Holland’s unique and winning performance. Marvel has been rightly criticized for its lackluster movie villains, and Toomes, as played by the perfectly cast Michael Keaton (the erstwhile Batman and Birdman), is a welcome antidote to all of the generic, hammy, would-be world-conquerors inflicted upon us. Whereas the Vulture of the comics is a greedy geriatric, the movie version is motivated primarily by class envy and a desire to provide for his family. Keaton comes across as affable and not without standards yet still plenty damn imposing when he dons the Vulture costume.

Among the supporting roles, Downey shows a more paternal side of everyone’s favorite billionaire playboy philanthropist (who, thankfully, doesn’t hijack the movie as feared), Jacob Batalon provides great comic relief as Peter’s even nerdier friend Ned, and all of the school’s staff – an apathetic gym teacher (Hannibal Burress), a deadpan academic decathlon coach (Martin Starr), and Captain America (Chris Evans) in a series of uber-cheesy pre-recorded PSAs – are humorous high spots. Zendaya also amusingly trolls everyone throughout the film as Peter’s blunt, hyper-observant classmate while Donald Glover (as unlucky petty criminal Aaron Davis) and Jennifer Connolly (lending her voice to an AI that operates Peter’s upgraded suit) make the most of their brief roles. On the other hand, for all the ballyhooed changes to their characters, Marissa Tomei’s younger Aunt May is wasted as the object of sexist remarks and Revolori’s non-jock Flash is still a one-note jerk. Moreover, Bokeem Woodbine, who made for such a complex and interesting villain in season 2 of Fargo, doesn’t get bring much characterization to The Shocker, playing him as standard hired muscle.

On the other side of the camera, Jon Watts’ direction is competent, but there isn’t a huge “wow” factor. He does keep the action moving at a brisk pace without nauseating camera tricks or shameless CGI excess, which is more than can be said for many superhero film directors these days. Michael Giacchino’s score – which includes a funky rendition of the classic Spider-Man theme on strings and an ominous Vulture motif – is a good fit.

The subtitle Homecoming is a screamingly obvious reference to Marvel’s attempt to further integrate Spider-Man (whose film rights are shared with Sony) into an established cinematic universe. Viewed through that lens, it’s easy to be cynical about this film and its intentions. However, thanks to some endearing performances and an unyielding sense of fun, Homecoming ranks among the better Spider-Man adaptations to date.

8/10