Spider-Man: Brand New Day

 

After causing his girlfriend MJ (Zendaya) and best friend Ned (Jacob Batalon) to forget all about him in order to keep them safe, Peter Parker (Tom Holland) dedicates himself to protecting New York City as Spider-Man. He earns admiration and respect but also feels the pain of loneliness. It isn’t long before a pair of new challenges find him. First, his body begins to mutate in response to stress, granting him new abilities that he can’t fully control. Next, a powerful telepath (Sadie Sink) is determined to break into the Department of Damage Control, no matter how many minds she has to hijack to do it.

 

Despite the success of Tom Holland’s previous three Spider-Man films, a fourth was still a risky proposition. 2021’s No Way Home is a tough act to follow, and the actor had previously talked about stepping away from the role. Other Marvel movies to get a fourth installment – Thor: Love and Thunder and Captain America: Brave New World failed to impress. While occasionally burdened with story and pacing problems, Brand New Day does more than enough to justify its existence.

Destin Daniel Cretton, who previously helmed Shang-Chi and the Ten Rings, takes over for Jon Watts behind the camera and generally shows a good feel for the material. Early scenes of Spider-Man swinging past buildings feel plucked from the hero’s popular Playstation game. While there is a paucity of dazzling moments (a battle involving Hand ninjas notwithstanding), the film’s action still feels fluid.

Holland does some of his best work yet in the title role. He delivers a more somber take on Peter, who is grappling with literal and figurative growing pains. However, he avoids the angsty excesses of Tobey Maguire and Andrew Garfield at their worst, and still musters the occasional wisecrack. Zendaya and Holland married shortly before the film’s release, and she imbues MJ with everything from bewilderment to scorn to empathy as she learns the truth of what happens to her and Peter. Their Odessey co-star Jon Bernthal brings the Punisher to the big screen, and while the character feels a bit softened for this go-around, Bernthal plays Frank well enough for it to not seem like a betrayal. Sink, to the surprise of no one, plays Jean Grey, in one of the darker versions of the character that isn’t possessed by an alien entity. Though positioned as an adversary, her motives render her sympathetic and complex.

Unfortunately, Brand New Day suffers from attempting to accommodate so many different characters and flattens quite a few of them in the process. Trammell Tillman is largely forgettable as Damage Control’s new director despite having a sizeable role. And though Michael Mando waited nearly a decade to don the Scorpion suit – he debuted as criminal Mac Gargan in 2017’s Spider-Man: Homecoming – he gets little in the way of screen time or characterization here. This, sadly, recalls the way that Homecoming squandered Bokeem Woodbine, another actor acclaimed for his television work, in an underdeveloped role as the Shocker.

Narratively, Brand New Day is inconsistent. The emotional stakes are high, and the presence of a threat that Peter, at first, cannot seem to find adds a refreshing new dimension. However, the conflict’s resolution feels overly reminiscent of Thunderbolts, and the film plays fast and loose with its own mythology (namely, relative to its depiction of the Hulk). Whereas previous Spider-Man movies also clocked in over two hours, Brand New Day, unlike its predecessors, felt as if it could have been a good fifteen minutes shorter.

Though buoyed by Holland’s performance and a mature look at the toll of heroism, Brand New Day is still more episodic than transcendent. However, it points to a franchise that is trying to regain its bearings rather than one that is creatively dead.

Down Home Deli Spot

 

Located at 1102 West Fairfield Road in High Point, Down Home Deli Spot serves soups, sandwiches, and salads. It is open 11-8 on weekdays, 11-12 on Saturday, and closed on Sunday. Online ordering is available. Soups change daily.

This quaint family-owned spot gets a lot of mileage out of personability. It occupies a small space that is equal parts casual and colorful. The menu offers a mix of hot and cold sandwiches, soups, salads, wings, and a few desserts. While the meats are Boar’s Head, the soups are homemade.

Craving an Italian sandwich, I went with Down Home’s rendition: the Heart Attack (salami, capicola, pepperoni, and provolone with all the toppings). The folks here are friendly, and my sandwich was ready for pickup after only a few minutes.

I’d be lying if I said this was one of the better Italian sandwiches I’ve had – the bread and the cheese were pretty pedestrian – but it was well-dressed, tasty, and filling. At $10 for an eight-inch sub, it was also priced right.

Down Home Deli Spot isn’t the kind of place I’ll go out of my way to return to, but for anyone looking for an alternative to a chain eatery in southern High Point, it’s worth looking into.

Motor City

 

In 1977 Detroit, blue-collar ex-con John Miller (Alan Ritchson) looks forward to starting a new life with Sophia (Shailene Woodley), but her jealous gangster ex-boyfriend Reynolds (Ben Foster) has other ideas. To get Sophia back, he frames Miller for a crime, sending him to prison and on a quest for revenge.

Director Potsy Ponciroli’s stylish action film weds a standard revenge plot to an approach that is anything but. Motor City’s dialogue is minimal to the point of near-nonexistence while its soundtrack – mostly 70s rock – is omnipresent. This calls to mind Walter Hill’s “rock opera” Streets of Fire, but it’s a grittier, bloodier affair. To be certain, it’s gimmicky, and some of the pantomiming does get to be a bit much. However, for two thirds of the movie, it works surprisingly well.

A lot of that success comes down to some smart choices. The music aids the visual storytelling as do the period details (retro clothes, retro cars, everybody smokes). It also helps that the cast’s prior work helps to shade their characters in the absence of dialogue. Foster has played plenty of twitchy, vicious lowlifes while Ben McKenzie, notable as James Gordon in Gotham, again takes up the mantle of an honest cop on a corrupt force. For his part, Ritchson sells both anguish and cold fury. There's also the added amusement of Detroit native Jack White playing Christmas music on a piano. 

Unfortunately, Motor City’s magic does not last forever. The final third devolves into excess and cliché. As the stakes escalate, so too does the mayhem, albeit in a cartoonish, pull out all the stops way that undermines the more grounded drama that preceded it. A time-skip ending featuring dubious old-age makeup doesn’t help matters.

While Motor City’s premise and unevenness limit its appeal, when it works, it’s pulpy, propulsive fun.

Rustic Barn Restaurant

Located at 10372 Martinsville Highway in Danville, Rustic Barn Restaurant serves Asian fusion cuisine. It is open from 12-9 on weekends, 3-9 Tuesday-Friday, and closed Mondays. Online ordering is available.

Housed at the end of a highway strip mall outside of Danville, Rustic Barn is neither rustic nor a barn. It is, improbably, a fantastic Asian fusion restaurant. Yes, you read that right.

The idiosyncrasies do not stop with the name. Inside, The Rustic Barn offers an intimate space with low lighting and some interesting décor: random photos of locomotives adorn the wall. The menu skews Thai albeit with some Japanese dishes (gyoza, teriyaki, yaki udon) and a few (a burger, a steak and potatoes) that fit the establishment’s rurally suggestive name.

The proprietor, Jeb, is gracious and accommodating as well as a showman who likes to joke with his guests. His promise of “everything fresh, everything homemade” is a lot to live up to, but the kitchen here has the chops to deliver on that promise.

Our group went with a pair of starters (crab rangoons and gyoza), a pair of curries (roadhouse and green), and a pair of noodle dishes (yaki udon and pad Thai). Everything was attractively plated and delicious. The rangoons were hand-formed into delicate shapes and contained plenty of filling while the gyoza were nice and crisp. My entrée was the roadhouse curry: the house version of Massaman. A hearty dish, it boasted thick-cut vegetables and a rich sauce done to the desired (a little bit spicy) level of heat. Prices are moderate (entrees start in the upper teens), but portions are plenty filling.

 

Given how many Danville restaurants were closed on a Sunday evening, I count myself lucky that The Rustic Barn was not among them. If you come here seeking country cooking, you’ll be confused and perhaps disappointed. But if you know what you’re getting yourself into, the combination of personable service and tasty food in an offbeat location makes this the epitome of a hidden gem.

The Odyssey

 

Odysseus (Matt Damon), King of Ithaca, reluctantly leaves home to support the war efforts of Agamemnon (Benny Safdie) and his brother Menelaus (Jon Bernthal) against Troy to force the return of the latter’s wife, Helen (Lupita Nyongo). After Odysseus engineers a plan that leads to the sacking of Troy, he and his men take a slower route home. Along the way, they encounter monsters that threaten their survival and tempt the wrath of the gods. Meanwhile, Odysseus’s wife, Penelope (Ann Hathaway) fends off many suitors in his absence, hoping for his return while their son Telemachus (Tom Holland) seeks news of his fate

Given the scope and scale of his last movie (2023’s Oppenheimer), it seemed fitting that Christopher Nolan would turn his attention toward a mythological epic. He delivers adroit, suspenseful visual storytelling and gets a lot out of his talented cast, but some of his creative choices leave the film feeling a bit hollow.

As with the director’s prior work, Nolan’s attention to detail and choice of composer make for a spectacle that commands our attention. From the chaotic combat of battle-ravaged Troy to the lonesome beauty of  Ogygia, The Odyssey is visually diverse enough to offset any tedium that might otherwise arise from watching dudes sail aimlessly for three hours. Ludwig Gonarsson’s score is arguably the tensest put to a Nolan film, which, given Dunkirk and Oppenheimer, is saying quite a lot. When paired with the gruesome design of Polyphemus the Cyclops and sickening transformations that the witch Circe (Samantha Morton) brings about, The Odyssey plays like a horror film at times, a counterbalance to its more somber and sentimental moments.

The biggest bone of contention is not Nolan’s craftsmanship but rather the modern sensibility he brings to the source material. This goes beyond casting choices (the subject of inane complaints from Internet trolls), contemporary idiom, and American accents and extends to the film’s themes. Damon’s Odysseus is haunted by the atrocities of war, which will resonate with post-Vietnam, post-Iraq/Afghanistan Americans but also plays as anachronistic given the setting. The gods, central figures in myth, are reduced to peripheral presences, save for Odysseus’s recurring visions of Athena (played by Zendaya). The overt call for human beings to treat one another better, while channeling the classical importance of "guest-friendship," seems more a palliative for our current sociopolitical situation than anything  else. Collectively, these moves are akin to putting on a costume that looks splendid but just doesn’t quite fit right. And yet, if Nolan didn’t bring something novel to the table, this latest version of an oft-told tale might have lost its raison d’etre. To Hades if you do, to Hades if you don’t.

Fortunately, the cast makes for a fairly effective diversion from this bit of disappointment. Hathaway breathes fire into what could have been a one-note “grieving (de facto) widow” role. Robert Pattinson makes for a love-to-hate villain as the slimy, conspiratorial suitor Antinuous. John Leguizamo, handed a rare straight dramatic role as loyal swineherd Ememaus, showcases range that he rarely gets to put to use. Casting the Harvard-educated Damon as the smart guy among the Greek forces makes sense on a meta level, and he certainly brings anguish and conviction (to say nothing of an unintentionally funny Boston accent) to the role, but the absence of Odysseus’s trickster qualities really flattens the character.

All told, The Odyssey is a rousing, eminently watchable film whose pointed stabs at contemporary relevance sometimes remind us of what it could have been.

The Gathering Table

 

Located at 5635 Riverdale Drive in Furnitureland South in Jamestown, The Gathering Table offers sandwiches, salads, and flatbreads. It is open from 11:30 a.m. to 4 p.m. every day except for Sunday. There is an outdoor dining area, and online ordering is available. Specials change weekly.

Despite the strong positive reviews The Gathering Table received, I felt a bit uncertain about stopping here for lunch. Though IKEA’s banging Swedish meatballs are an example to the contrary, one can be forgiven for thinking that dining options at a massive furniture store will get by on proximity and convenience. I was also not looking to shop for any furniture, and while The Gathering Table advertised itself as open to all, would I stick out like a sore thumb amid furniture folks?

Fortunately, these concerns were largely for nought. The Gathering Table is spacious and nicely appointed with lots of light, some foliage, and, fittingly, comfortable seating. Though there were few patrons when I stopped by, it wasn’t dead enough to raise any eyebrows.

The menu here is bistro fare with a good assortment of light and fresh options. I went for an Italian sandwich on focaccia though the steak and bleu salad and the chicken and pesto flatbread were strong contenders as well. At under $15 with chips and a drink, the sandwich represented a decent value these days.

The cashier, likely still in training, was very nervous, but thankfully, he had the support of the rest of the staff. The Gathering Table’s kitchen definitely knows what it’s doing, and it turned around orders quickly.

My Italian sandwich was shockingly good. The bread was warm and soft, and they didn’t skimp on the meats (ham/salami/pepperoni) or cheese (fresh mozzarella). The vegetables (greens and tomato) added a refreshing crispness while the oil and vinegar supplied a bit of tang. This was honestly one of the best non-Giacomo’s Italian sandwiches of recent memory.

Perhaps because of its location, The Gathering Table tends to fly under the radar. However, it’s a more than worthy lunch option for anyone in the Jamestown area, furniture shopper or not.

Supergirl

While celebrating her 23^rd birthday off-planet, Kara “Supergirl” Zor-El (Milly Alcock) encounters young Ruthye Knoll (Eve Ridley), who attempts to enlist her in her quest for revenge against Brigand leader Krem (Matthias Schoenaerts), who murdered her parents. Though disinclined to help at first, Supergirl soon finds herself drawn into the fray, racing against the clock to save one of her closest companions.

For the past fifteen years or so, DC’s cinematic offerings have been uneven (to put it charitably). If Supergirl is anything to go by, that’s a trend that shows no signs of changing under James Gunn’s DC Studios watch.

First, the good: for all of the baseless carping over her casting, Alcock does quite well in the title role. She’s positioned as a cynical counterpoint to her nerdy cousin Superman (David Corensweat), and her sloppy, drunken antics bear that out. However, the film’s exploration of her backstory lets Alcock show her range and give Kara depth in the process. The other standout performance arguably belongs to Jason Momoa as the fearsome bounty hunter Lobo (who seems to be having a blast), but his screentime and impact on the story are both negligible. Though the visual darkness sometimes makes the action difficult to follow, Craig Gillespie’s direction is at least energetic, and there are a few eye-popping moments.

That said, Supergirl is narratively weak. Though based on Tom King and Bilquis Evely’s well-regarded Woman of Tomorrow comic book series, Ana Noguiera’s writing is a thinly-plotted hash of cinematic cliches that can’t help but evoke better-made films. You’ll find traces of everything from Mad Max: Fury Road to True Grit and more here. Schoenaerts as Krem is contemptible but forgettable, and the hamminess of the performance works against the character’s menace.  

Warner Brothers has been responsible for so many lackluster-to-dreadful DC adaptations that it’s hard to come down too hard on Supergirl, which at least manages to be sometimes fun. However, it’s both a step down from its immediate predecessor (2025’s Superman) and a plea to get Alcock some better material to work with.