Black Panther

After a meteorite struck the African nation of Wakanda centuries ago, its inhabitants began using the super-strong metal contained inside, vibranium, to transform the country into a technological powerhouse, something it keeps hidden from the rest of the world. The country’s king has also served as its protector, the superhuman (via consuming a sacred herb) Black Panther. Following the murder of his father, T’Chaka (John Kani), T’Challa (Chadwick Boseman) is ready to step into this role. He has the support of tribal leaders, his sister Shuri (Leticia Wright), a technological genius, and the Dora Milaje, an elite group of female warriors. While T’Challa ponders what kind of king he will be, his rule is threatened from several directions. M’Baku (Winston Duke), leader of the isolated mountain Jabari tribe, wants to rid Wakandan leadership of its technophilia and return to traditional ways. Ulysses Klaue (Andy Serkis), a weapons dealer wanted for committing a terrorist attack, is threatening to sell stolen vibranium on the black market. And Erik “Killmonger” Stevens (Michael B. Jordan), a highly trained U.S. combat veteran, sees Wakanda as his destiny. For T’Challa, confronting these threats means confronting both his country’s and his family’s past.

Though theorized for the past two decades, a Black Panther film became a reality in 2018, and with it came waves of hype and backlash. Contrary to the former, it’s not bullet-proof, but contrary to the latter, it’s a damn good movie.

Credit starts with director and writer Ryan Coogler. Though best known for 2015’s successful Rocky spinoff Creed, his debut – 2013’s Fruitvale Station – is both criminally overlooked and a portent of great things to come. That movie offered a frank look at the tragic end to a tragic life while Creed explored the complicated legacies of fathers and the sons they leave behind. Both themes come bubbling to the surface in Black Panther, but neither feels stale or repetitive. Like James Gunn’s Guardians of the Galaxy, Black Panther shows that it is possible for a director to develop a personal vision while still fitting within a creatively refereed shared universe.

Coogler also deserves praise for streamlining decades of Marvel Comics source material. He avoided both the cringe factor of earlier stories (wherein M’Baku took the guise of Man-Ape. Seriously) and the pretentious ponderousness of Ta-Nahesi Coates’s more recent run. The resulting story is one that is accessible to those who have never picked up a Black Panther comic yet still remains true to the titular character’s essence.

It is as a stylist, however, where Coogler arguably does his best work, at least in this outing. With one notable exception (more on that later), Black Panther is an aesthetically dazzling film. The natural beauty of the Wakandan landscape is paired with the high-tech grandeur of its hidden cities. A chase sequence early in the film is fluid and exhilarating, and one-on-one fights (T’Challa’s rite-of-passage to the throne) are appropriately brutal without looking the least bit gratuitous. Ludwig Gonarsson’s score evokes traditional African rhythms, and the costuming contains cues from several of the continents many distinct cultures.

For the most part, the cast does not let this vision down. Boseman is known for such spirited performances (think James Brown) that it is easy to mistake T’Challa’s calm for woodenness, but that is not the case. He comes across as conflicted yet guarded, pensive rather than (as many superheroes) wallowing in angst. Wright nearly steals the movie from him as Shuri, playing the tech-savvy princess as a sort of irreverent Q to her brother’s James Bond. As Dora Milaje general Okoye, Danai Gurira (The Walking Dead) is a formidable presence who convincingly juggles opposing loyalties. Martin Freeman’s CIA agent Everett Ross acts as an audience surrogate/comic relief, but thankfully, he is merely out of his depth rather than blitheringly incompetent as otherwise the time spent on him would drag the film down. In terms of time spent, arguably not enough is given to some big-name talent here. Forrest Whitaker’s Zuri (an elder shaman), Angela Bassett’s Ramonda (the queen mother), and especially Lupita Nyong’o’s Nakia (T’Challa’s former girlfriend and a spy who works abroad) all feel a touch underdeveloped.

Among the antagonists is a trio of highly engaging albeit very different performances. Duke’s M’Baku gets a surprising number of funny lines, and his character is far deeper than the reactionary sore loser that he first appears to be. Sporting an Afrikaner accent and a sonic cannon for a hand, Serkis seems to be having the time of his life. He plays Klaue as a giggling, garrulous, detestable loon, and his shameless overacting gives the character a love-to-hate quality. Jordan, the DeNiro to Coogler’s Scorcese, turns in an impressively multi-layered performance. Killmonger is at various times a supremely clever troll, an emotionally wounded orphan, a fearsome and merciless warrior, and a visionary despot. Frustratingly, however, his quasi-sympathetic point-of-view is undermined by being wedded to a megalomaniacal plan that likes of which we’ve seen in films of this genre too many times before.

Speaking of clichés, for a supposedly groundbreaking film, Black Panther has quite a few to go around. One plotline sees T’Challa and company embark on an oft-imitated Bond/Mission Impossible-style mission in Korea. It serves a narrative purpose, but it also seems like a minor misstep. A more noticeable act of repetition is the final battle that sees protagonist and antagonist face off using similar equipment, something that had begun to grow stale around the time of 2015’s Ant-Man and hasn’t gotten any fresher since. What is surprising – though not in a good way – is how poor some of the animal CGI appears. Given the film’s budget and otherwise polished appearance, dream panthers and war rhinos should not look this bad.

Despite its current Rotten Tomatoes score, Black Panther is not the equal of The Dark Knight or The Avengers in terms of craftsmanship. But ala Guardians of the Galaxy and Wonder Woman, it is a movie that challenges audience expectations of what a superhero movie can be. Visually captivating, complex, and competently acted and directed, it, like Wakanda itself, should not be underestimated.

8.25/10

Antonia's

Located at 101 N. Churton Street in downtown Hillsborough, Antonia’s serves Italian cuisine for dinner Tuesday through Sunday. There is a full bar, drink specials on Wednesdays (half-priced wine) and Thursdays ($5 martinis), and occasional live music. Food specials change regularly, and private dining for events is available, as is limited outdoor seating.

Antonia’s is a charming eatery that checks most of the boxes for a great dining experience. The food is delicious, the service is attentive, and the pricing, while not cheap, does not instill regret. It is, however, both a small (albeit handsomely appointed) space and a popular one, so you may find yourself nearly elbow-to-elbow with a neighboring table (if you are able to get a table). Fortunately, this is the only real blemish.

The menu here pays homage to the classics while still offering a few departures. Bruschetta, an antipasto platter, and lasagna Bolognese can all be found here, but you can also build your own pasta dish, go vegetarian or gluten-free, or treat yourself to a steak. Many of the ingredients are sourced locally, including meats from Greensboro’s sainted Giacomo’s.

For our first visit, my wife and I opted for a starter of pork meatballs in a parmesan truffle cream sauce, sausage with polenta, and a squash cannelloni (on special). The meatballs were quite tasty, and the sauce, while rich and buttery, was not as heavy as expected. The polenta was cooked perfectly and paired well with slightly sweet sauce and fresh-tasting vegetables (not to mention nice spicy sausage). The pasta’s sauce was creamy, and the dish was not overwhelmingly sweet. We followed up with an order of tiramisu – decadent – and my wife raved profusely about the Lady Godiva, a chocolate liquor-infused coffee.

Carrie provided friendly and attentive service throughout the meal, and one of the owners (presumably) could be found making her rounds and chatting with her regulars. Our total came out to $60 pre-tip, which for an appetizer, two entrees, a dessert, and a spiked coffee, was certainly fair.  

Italian restaurants are not a rarity by any means, but those that execute as well as Antonia’s does seem to be headed that way.

8.25/10

Jimmy's Famous Hot Dogs

Located at 370 S. Churton Street in Hillsborough, Jimmy’s Famous Hot Dogs specializes in hot dogs but also serves burgers, chicken, fish, and milkshakes. It is open for lunch and dinner seven days a week. Carryout catering is available in the form of tailgate specials.

This is the first Hillsborough location of Jimmy’s, which originated in Durham. It has the look and feel of a retro-style fast-food chain a la Freddy’s or Hwy 55, but it is, so far, strictly a local(ish) operation. As with other eateries in that vein, Jimmy’s is somewhat kitschy but it is at least clean. Counter staff are polite, and food prep is quick and efficient.

As hot dog places go, Jimmy’s is low-key and no-frills. Do not come here expecting pretzel buns or exotic toppings. Yet this does not mean that there is no variety to be found. Dogs are pork or Nathan’s all-beef, and they can be prepared N.Y. style (mustard and sauerkraut), Cowboy style (jalapenos, chili, and cheddar cheese sauce), plain, or all the way (mustard, chili, slaw, and onions).

For my first visit, I went with a #1 combo: two dogs (all the way), a drink, and fries. The dogs were tasty and satisfied a craving. The crinkle-cut fries, while not terrible, were unimpressive. It was hard to argue with the price charged, a mere $6.09.

Hillsborough is not known for super-affordable dining options, so Jimmy’s fills a need. It isn’t fancy, but it’s good for a quick bite.

7.5/10

Rearn Thai Restaurant

Located at 5120 West Market St. in Greensboro, Rearn Thai Restaurant serves Thai cuisine for lunch (Monday through Saturday) and dinner (Monday through Sunday). Patio seating is available.

If you go by everything before your first forkful, it is easy to see Rearn Thai as a top-notch Asian eatery. It is almost certainly Greensboro’s best-looking Thai establishment. The interior is clean and well-lit. Light woods and overhead tapestries lend character, and there is plenty of space.

Moreover, Rearn offers a fairly extensive menu. In addition to the expected curries, soups, and noodle dishes, you’ll find seafood specialties (i.e. crispy softshell crab) and Heavenly Trays, multi-dish samplers that seem like Thai versions of Indian thalis. Many of the dishes are available with a choice of protein ranging from vegetables and tofu to chicken, pork, or beef to seafood. Spiciness can be customized too.

Unfortunately, the food isn’t on the same level as the aesthetics. An order of pork dumplings was plated nicely but lacked depth of flavor. An order of beef with basil leaves, on the other hand, had nearly the opposite problem. The beef came drenched in an unappealing river of sauce (with a side of rice to act as a dam). However, the sauce delivered all the right tasty, savory notes, there was plenty of basil, and the dish was prepared to the requested medium spiciness. Then again, some of the beef cuts were a bit on the chewy side, a problem shared by my wife’s beef with snowpeas and asparagus. The execution was all-around hit-or-miss.

At the very least, Rearn’s pricing is in-line with the competition. Our beef dishes were $11 a piece (vegetarian is less, seafood is more), and the portion sizing is respectable. Service is efficient and a bit taciturn though not rude.

With a well-kept interior but a somewhat indifferent kitchen, Rearn calls to mind a dethroned king, a once-dominant restaurant that hasn’t kept up in the face of competition. This isn’t to say that you’re in for a bad meal here but rather that there is no shortage of better options.

7.25/10 

Uncommon Type

Tom Hanks released a collection of typewriter-themed short stories last year. No, this is not a joke. While actors trying their hand at fiction is nothing new (see James Franco), the results are often unbearably self-indulgent (see James Franco). Hanks, fortunately, shows enough poise and restraint to avoid embarrassing himself, and Uncommon Type is a respectable, if very uneven, debut.

In many ways, this book mirrors its author’s acting career. Hanks got his start as a comedic actor who later shined in prestigious dramas and has since done everything from voicework to inane high-budget thrillers. So too it goes with Uncommon Type where romantic comedies (“Three Exhausting Weeks”) mingle with harrowing war dramas (“Christmas Eve 1953”) and hard-luck immigrant tales (“Go See Costas”). Each story includes a typewriter (some more prominently than others), and several characters reappear throughout. There is also a recurring interlude, “Our Town Today with Hank Fiset” that offers a veteran newspaperman’s broadsides against modernity. It makes for breezy local color, but it’s also clearly filler. And while Hanks’s range is impressive, the collection’s lack of focus will frustrate those who found a favorite and wished for more in that vein.

This dilettantish quality, coupled with prose that rarely dazzles, is a letdown, but Hanks compensates with a strong command of tone. He is able to evoke nostalgia for old-fashioned Rockwellian Americana while also maintaining a sly, gently satiric edge. Should you opt for the audiobook, the author’s narration is an added perk.

Uncommon Type is unlikely to inspire in readers the same love of old typewriters that Hanks has, and the actor should definitely not quit his day job. However, the collection is surprisingly readable with enough bright spots to offset the parts you wish you skipped.

7.5/10