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Movies, dining and things to do / Spokane and North Idaho

No sweet something, ‘Cake’ rises above its faults

By the time you read this — assuming, of course, that you do read this — the movie "Cake" will have closed at AMC's River Park Square Cinemas. Apparently no one wanted to see Jennifer Aniston in a role where she wasn't hanging out in an apartment with her New York friends. Or something.

I reviewed the movie anyway for Spokane Pubic Radio. And, as it turns out, "Cake" will open at the Magic Lantern next Friday, Feb. 6. So you still have a chance to see it on a somewhat big screen. My review follows:

Imagine, if you can, what pain feels like. I don’t mean the physical pain of, say, a paper cut. Or the emotional pain caused by, say, not getting a promotion you were expecting. No, I mean real pain.

The kind of pain that is all-encompassing, the kind that physically makes every movement feel as if your bones are encased in razors digging deep into muscle tissue you didn’t even know you had. The kind of emotional pain that wakes you up at night and haunts you with regret.

That’s the kind of pain Claire Bennett feels. Every day and every night, every waking moment. And, as played by Jennifer Aniston, she understandably isn’t dealing with it well. Claire, whose finespun scars serve almost as pain-gang body tattoos, is the focus of the movie “Cake,” a film directed by Daniel Barnz that examines Claire as she trudges through her every-day existence.

The trudging involves her getting thrown out of a pain-support group for her bad attitude, specifically making snarky remarks about Nina, a former member who has committed suicide. It includes her abusing both legal and medical protocols to score pain-killers and anyone around her who tries to offer help, from her ex-husband to her physical therapist to her ever-faithful housekeeper Silvana (played by Adriana Barraza). Most tellingly, according to Patrick Tobin’s screenplay, it includes an attendant drug haze that not only has Claire communing with Nina – who, you’ll recall, is dead – but also seeking out Nina’s husband Roy (played by Australian actor Sam Worthington).

The problems presented by much of this are obvious. Fantasy sequences are hard to pull off, and Barnz – even when his film’s phantom is played by an actress as engaging as Anna Kendrick – doesn’t quite manage to rise above a coy sensibility to achieve full dramatic effect. Besides never making clear exactly what happened, Tobin’s script has Claire reaching out to Nina’s husband, which is mere plot device: Concerned about his young son, and still grieving over his own loss, a real Roy would be unlikely to subject himself to the emotional machinations of someone like Claire – even if she were played by Jennifer Aniston.

Worse, though, is the relationship between Claire and Silvana, which casts actress Barraza into the traditional Hollywood role of faithful – if, at times, perkily spicy – Latina servant. Which, when you think about it, is actually insulting.

What makes “Cake” work as well as it does has to do with Barnz’s sense of pacing, his ability to frame shots effectively and to meld smoothly from one sequence to the next. And then there’s the acting, from Worthington’s befuddled grief to Barraza’s ability to put character in a cliché. Most of all there’s Aniston, proving once again that she’s far more than Rachel Green, the comic foil she played on the ever-popular sitcom “Friends.”

“Cake,” which played for a single week at AMC River Park Square, is slated to open next Friday at the Magic Lantern. Even given the film’s faults, I have to admit I liked “Cake.” And that, film fans, is as painful as my film-critic confessions get.

Friday’s openings: Big thrones and Oscar shorts

Fans of George R.R. Martin are going to like Friday's movie openings. Along with the standard releases, a special "Game of Thrones" program will premiere.

Friday's mainstream openings are as follows:

"Game of Thrones" (IMAX only): This special event is both a look back at the last television season (the last two shows) plus a preview of the upcoming season. One question: Which major character is Martin gonna kill off next? 

"The Loft": Five guys pose as players and share a secret loft. Then, uh-oh, someone leaves a body in the bed. And it wasn't George R.R. Martin.

"Black or White": Kevin Costner plays a rich guy who fights to keep custody of his mixed-race granddaughter. Soon to play on the Hallmark Channel.

"A Most Violent Year": Oscar Isaac ("Inside Llewyn Davis") plays a New Yorker struggling to keep his business going despite … well, he does live near New Jersey. (Note: An earlier version of this post misidentified Oscar Isaac.)

 And at the Magic Lantern:

The Oscar nominees for Live Action and Animated Short Films: Five films in each category means showings that are, uh, long on quality.

So go on, now. Go see a movie. Or two. And enjoy.

Spokane Film Project: Fans of good film

One of the things I most enjoyed about seeing movies in college was the post-screening arguments.

  • What the hell was Bergman thinking? (Who knows?)
  • Why did Hitchcock movies so often feel so fake? (Because he cared more about effect than affect.)
  • Was the monolith in Kubrick's "2001: A Space Odyssey" meant to symbolize something? (Don't overanalyze the mystery.)
  • Was John Sturges' "Magnificent Seven" merely a ripoff of Kurosawa's "Seven Samurai"? (Uh, no.)

So that's why I was happy to engage with the guys behind The Spokane Film Project podcast: From left to right in the above photo, Shaun Springer, Jason McKee, Juan Mas and Tom Dineen (Brandon Smith not pictured). Each of these guys is a filmmaker and film fan first, which made for a refreshing hour-plus-long conversation, ranging from the movies of Paul Thomas Anderson to why it's important to see classic film — and why Seth Rogen and James Franco are ruining movies. And more.

You can access the podcast by clicking here.

I want this to be a Louis C.K. kind of day

I just read an email that the comedian Louis C.K. sent out announcing cancellation of his Tuesday night show at New York's Madison Square Garden. It seems a "historic" storm is threatening the Northeast, and he's afraid of the potential harm the tempest may pose to the fans who are coming to see him. "So," he says. "No show."

C.K. is one of my favorite comics. The guy might use profanity a bit too much for some people's tastes, but that's never bothered me (just ask anyone I've ever worked with). What I love is his ability to hit straight at the heart of the human condition, to reveal a common truth about humanity — whether that truth involves narcissism, hypocrisy or outright stupidity — and do so in a self-effacing, humorous manner.

Take this skit. Or this one.

I particularly like the closing line of his email: "Take care of yourself and don't be a jerk to people." I think that's as intimate and honest as you can get. And it's something I try to practice in my own life.

Of course, I fail. Often. The other night at a crowded book reading, the organizer came through counting open seats. When he discovered that two separate chairs in my row were free, one of which was to my immediate right, he politely asked me and my brother — who were sitting on the aisle — to move in. I, a little too abruptly, said, "No." My brother and I had arrived a half hour early, had chosen our seats carefully, wanting to be on the aisle so that we could make an early exit if we wanted (while disturbing as few others as possible). The young guy looked at me curiously, but just proceeded to another row. And I immediately felt bad.

Worse, a couple that was sitting to my right, moved one seat to their right, thereby turning the single separate seat into a double. I turned to them, thanked them, and said, "You've much more accommodating than I am." The woman, without looking at me, said, "I try to be."

So … I wish I could say that I enjoyed the next half-hour's reading. And I'd be lying if I didn't admit that some part of me did. The young author read well, explained herself well and was poised, open and enthusiastic in her efforts to answer the several questions audience members posed to her. Even the one I asked.

But that was only a small part of me. A much larger part kept reliving the whole experience — the request to switch seats, my refusal, the silent disapproval I felt from the other couple — over and over. I found myself stuck on a loop where I kept thinking that I should have talked about my brother's emotional fragility, about my own inherent sense of claustrophobia, about the irritation I felt at being asked to alter a situation that I had made special effort to set up. And then I chastised myself for being weak, for not having the strength to let the whole thing go, for feeling anger at having to explain myself in the first place.

And here it is, three days later, and I'm still meditating about the whole incident, still unable to let it go.

Until I read that quote from Louis C.K., a guy whose talent rests in the exercise of reminding us that we're all just human, that we make mistakes, and that we just need to be nicer to one another.

So I'm going to go out in public today. I'm going try to take care of myself. And I'm going to do my best to avoid being a jerk to anyone.

That seems likes a human thing to do.

Below: Just a warning, the Louis CK clip embedded below is NSFW.

‘American Sniper’ hard to critique as mere film

When reactions to a film are all over the place, less attention is typically paid to the film itself than to the issues surrounding it. Such is the case with "American Sniper." Following is my attempt, which I wrote for Spokane Public Radio, to critique what director Clint Eastwood has put on the screen

Reactions to “American Sniper,” Clint Eastwood’s adaptation of the late Chris Kyle’s 2012 memoir, can be split into two basic political camps: Those who see Kyle – the former Navy SEAL sniper who served four tours in Iraq and is officially credited with 160 kills – as an American hero. On the polar-opposite side, some commentators condemn Kyle as a flag-waving killer. As with pretty much everything else in today’s America, the truth likely rests somewhere in the middle.

Here’s the problem for a movie critic: How do you judge a movie such as “American Sniper” when politics won’t get out of the way?

Well, let’s try. First of all, Eastwood’s film is one of his more technically proficient achievements. Whether we’re following Kyle as a boy being taught to cowboy up by his discipline-minded father, Kyle as a SEAL sniper lining up a target in the streets of Fallujah, or Kyle as a husband and father coping with post-combat stress during a backyard barbecue, “American Sniper” is firmly grounded in place. Each scene, especially the war sequences shot in Morocco, inserts the viewer into a situation that looks and feels authentic.

Then we have the acting. Having added 40 pounds to his frame, Bradley Cooper is no longer the pretty boy of such films as “The Hangover” and “The A-Team.” Having worked with a vocal coach, he manages to effectively impersonate Kyle’s native Texas drawl. Required throughout the film to show a range of emotions, Cooper succeeds, proving believable as a modern American gladiator, as a man torn between duty to country and his own family, and as a man capable both of cuddling his infant daughter and of at least being willing to shoot an Iraqi child who poses a threat to U.S. troops.

I place “being willing to shoot an Iraqi child” in quotes because, in contrast to “American Sniper” the movie, Kyle in his book makes no such claim. Which encapsulates the movie’s biggest flaws. That Eastwood would show Cooper’s Kyle actually gunning down a young boy, and then the boy’s presumed mother, serves no purpose that I can see. In his book, Kyle claims to have shot a grenade-carrying woman alone, “the only time,” he wrote, “I killed anyone other than a male combatant.”

And the movie’s contrivances don’t stop there. Kyle is portrayed as engaging in a mano-a-mano struggle with an enemy sniper, a Syrian and one-time Olympic marksman. Kyle is shown making his longest kill and then being saved during a sudden, and convenient, sandstorm. Ignoring the fact that the only characters who express doubt about the U.S. mission in Iraq end up dead or, as with Kyle’s Marine-Corps brother Jeff, simply disappear, the movie’s outright inventions do tend to emphasize a sense of drama. Yet they feel unnecessary – and they overshadow the movie’s true value.

Which, based on my own political viewpoint at least, involves showing what horrors we require American soldiers to engage in and what lingering nightmares those duties instill in the souls of even the hardiest of today’s warriors.

Sarah Hulse creates a haunting elegy in ‘Black River’

As the father of a young woman who is working as a film editor/producer in New York, I understand the pride a parent feels when his or her offspring does something creative. Especially when that work receives critical acclaim.

That's why I'm so happy for my former Spokesman-Review colleague Gil Hulse. I have some clue as to what he is feeling over the kudos his daughter, Sarah Hulse, is receiving on the publication of her novel — her first — "Black River." The younger Hulse will read from her book at 7 p.m. Friday at Auntie's Bookstore.

Following are some comments about "Black River":

From the Washington Post: "(T)he possibility of solace, if not redemption, hangs tantalizingly close in this tough, honest novel by a surprisingly wise young writer."

From The Guardian: "Hulse believes that grace happens in a look between two people, or a moment of holding back. It’s a powerful elegy to the knowledges we bear and the silences we hold."

From Publisher's Weekly (whose reviewer clearly was thrown off by Hulse's byline "S.M."): "From the bluegrass theme to the Western rural setting, Hulse handles his (sic) story like a pro."

From Kirkus Reviews: "Profound issues addressed with a delicate touch and folded into a strong story populated by wrenchingly human characters: impressive work from a gifted young artist."

So, don't miss this sterling literary debut, a young author's presentation of what is universally being acclaimed as a finely crafted first novel. Oh, and be sure to congratulate her father.

CdA Symphony goes to the movies

The Coeur d’Alene Symphony is borrowing from the silver screen for its first concert of 2015, with songs from movies including “Frozen” and “The Hobbit.”

This year the members of the Coeur d’Alene Youth Orchestra will perform with the symphony, and the St. George’s School Chorus will provide vocals for “Mamma Mia” and “Skyfall.”

The symphony’s January concert is typically one for the family, said Steve Sibulsky, a symphony board member. “It’s usually fairly light-hearted,” he said.

“It’s just a fun family concert, if you like movies come enjoy a different approach to movie music,” he said.

But it’s not a singalong, so don’t be ready to “Let It Go.”

Though, “they probably could if they wanted to,” Sibulsky said of children singing along to “Frozen” songs. “I don’t think anyone would think any less of them.”

Youths 17 and younger can receive a free ticket to the concert with a paying adult. Tickets must be reserved by phone by Thursday. Call (208) 660-2958.

What: Family Fun at the Symphony, Movie Edition

Where: Salvation Army Kroc Center, 1765 W. Golf Course Road, Coeur d’Alene

When: 7:30 p.m. Friday or 2 p.m. Saturday

Tickets: $27 adults, $21 seniors, $16 children and students, available at www.cdasymphony.org or by calling (208) 660-2958.

Limerick writers, sharpen your 2015 pens

When I still taught as an adjunct instructor at both Whitworth and Gonzaga universities, I urged students to treat Wikipedia as a mere beginning spot for research. As my wife likes to say, Wikipedia is a tool, not a source.

But even as a tool, it's sometimes questionable. For example, I was looking up the term "limerick" this morning on the Wikipedia site. Why? Because, as we have in the past, Spokane7 is going to hold a Saint Patrick's Day limericks contest. Beginning today, we will be accepting entries in The 2015 Spokesman-Review Limerick Contest through March 6.

Our 2015 theme? “Once upon a Time in the Inland Northwest,” which invites limerick enthusiasts to create original works that recast classic fairy tales, Grimm's Brother stories or traditional folk tales (Bigfoot, anyone?) in traditional limerick form boasting — and this is all-important — a local reference.

Entries can be submitted online at  www.spokane7.com/limericks_2015/, by email to contests@spokane7.com, by mail or drop-off at The Spokesman-Review, 999 W. Riverside, Spokane, WA 99201.

At least three prizes will be given in both adult and youth categories, each including gift certificates provided by Auntie’s Bookstore and The Spokesman-Review. Top entries will be invited to read their submissions at a special Auntie’s St. Patrick’s Day event in mid-March (date to be determined).

So start writing those limericks. But if you go to Wikipedia to see what a limerick is, pay no attention to the line that describes "clean limericks" as a "periodic fad and object of magazine contests, rarely rising above mediocrity."

Oh, Wikipedia, how sadly ye have treated us. Hmmm, maybe there's a limerick there somewhere.

Luna founders leave an enduring foodie legacy

When I moved to Spokane  in 1980, dining out in Spokane for my then-family usually meant ordering Mexican food at Señor Guillermo's (in the Valley), ordering Chinese food at Peking North or eating whatever I could at the downtown Onion Bar & Grill. Given my dietary restrictions (I was then a vegetarian), I avoided most restaurants that catered to the steak crowd. We loved going out to breakfast, though, sometimes at the old St. Regis (where my daughter could color on the paper tablecloths), sometimes at Knight's Diner (when it was at its former site in the parking lot of the General Store).

But it's no big secret that, overall, Spokane in the '80s was a gastronomical backwoods. These days I can name a half dozen Spokane restaurants that could compete in either Seattle or Portland. But it took time, following Expo '74, for a consciousness regarding fine dining to take hold here.

One of the big leaps in that consciousness came because of the married couple William and Marcia Bond. A story in today's Spokesman-Review reveals that the Bonds, owners of the South Hill eatery Luna, are selling the place that they have owned and run since 1992. And while the story assures us that the new owners — Aaron DeLis and his fiancee, Hannah Heber, along with his parents Frank and Julie DeLis, all of Spokane — will continue with Luna's tradition of fine dining, we should recognize just how important the Bonds have been to Spokane's sense of good-food consciousness.

The story runs down the Bonds' specifics, where they came from, how they came to open Luna, how the place not only raised the city's expectations about fine-dining but also about helped educate many of us about the virtues of pairing food with wine. It doesn't say that the Bonds were also active with the former Contemporary Arts Alliance, which was the group that founded the long-running Spokane International Film Festival. And I'm sure the Bonds were involved in many other things as well.

What I want to do here, though, is simply recognize just how much their Luna has done for Spokane. Since it opened in 1992, it's always been one of the city's finest dining establishments. It helped raise expectation of what good food was, something these days most Spokane residents take for granted.

So thanks, William and Marcia Bond. You made a difference.

Friday’s openings: Oscar don’t eat no ‘Cake’

As the weeks progress into the new year, fewer and fewer of the best films of 2014 will open. We may not get some of the best foreign-language films for months, and even then only if the Magic Lantern manages to pick them up. Meanwhile, the dregs of last year, along with the first few films of 2015, continue to open.

Depending on schedule changes, Friday's mainstream openings are as follows:

"The Boy Next Door": A newly divorced single mother (Jennifer Lopez) has a brief affair with the title character and — shocker — comes to regret it. J-Lo needs a new agent. "Enough" with the threatened-women plots, already.

"Cake": Jennifer Aniston plays a woman dealing with chronic pain whose situation worsens when a member of her support group commits suicide. Some observers had predicted Aniston would earn an Oscar nomination, but her friends let her down.

"Mortdecai": Johnny Depp plays the character, created by writer Kyril Bonfiglioli, who is a blend of art dealer and roguish solver of mysteries. Anybody notice that, in the trailers, Depp is impersonating Inspector Clouseau?

"The Principle": This documentary puts forth the theory that four centuries of science are wrong, that the Earth may be far more important to the solar system — not to mention the universe — than previously thought. Cue Galileo eye roll.

"Strange Magic": Based on a George Lucas story, this animated feature pits goblins, elves, fairies and imps in a battle over a powerful potion. It all happened a long time ago, in a galaxy far, far away.

And at the Magic Lantern:

"Little Accidents": A boy's disappearance causes problems in a coal community already rocked by a mining disaster. Hmmm, I thought the coal miner had a daughter.

Take in the art of nature Friday at Kendall Yards

Above: Artist Melissa Cole.

Marshall Peterson is a photographer whose larger interest is in promoting arts in Spokane. As such, his latest project involves an art show that will be on exhibit from 5-8 p.m. Friday at Kendall Yards. "Under the Influence of Nature … New Work by Melissa Cole" will be on display at 1206 W. Summit Parkway (Adams Alley).

A native of Oregon, Cole has shown her artwork in galleries from Alaska to Florida. She written more than 30 children's natural history books with her husband, Brandon, a wildlife photographer.

Click here to obtain more information on Cole and her work.

‘Selma” is a bit of hard U.S. history

I've already written about how "Selma" actor David Oyelowo (Oh-yeh-low-woe) got shortchanged by the people who nominate acting performances for Oscars. Following is the full transcription of the "Selma" review that I wrote for Spokane Public Radio:

About a half hour into “Selma,” Ava DuVernay’s exploration of a notable chapter in the U.S. civil rights movement, I wanted to get up and leave. Not because of anything that DuVernay had done. It was simply because, having lived through that era, I knew what was coming. And I didn’t want to have to experience it yet again.

It was in March 1965 – the year I graduated from high school – that a consortium of local and national civil-rights groups gathered in Selma, Alabama. Their aim was to win the vote for back citizens, legal rights that were being denied for reasons ranging from literacy tests to outright physical intimidation – even murder.

On March 7, several hundred protesters attempted to march from Selma to Alabama’s capital, Montgomery, only to be confronted by state troopers, county sheriffs and a host of deputized local whites wielding clubs and whips. Images from that confrontation, which led to dozens of injuries, were broadcast all over the world – and served as a testament both to the courage of people such as Amelia Boynton and a future Georgia Congressman, John Lewis, and to the determination of Alabama officials such as Gov. George Wallace that such a demonstration would not take place.

Yet two days later another group, this one led by Martin Luther King, started a march. This time, the police stepped aside. But King, not trusting that the way was safe, turned back. Finally, on March 17th, with President Lyndon Johnson having provided U.S. troops as security, some 8,000 marchers took to the road. When the group entered Montgomery on March 24th, more than 20,000 people were present to hear King deliver one of his most famous speeches.

DuVernay captures all this, plus the surrounding drama involving the infighting – or negotiating, if you will – between the various acronym-named groups representing the civil rights movements’ various factions. Her main focus, though, rests naturally on King. And, yes, she alters some timelines, makes judgments regarding motivation – especially involving Johnson, who is viewed as having a contentious relationship with King – and much of the dialogue is no doubt dramatized.

But the essence of what DuVernay gives us feels authentic. She puts her talented cast in positions that, for the most part, avoid big, melodramatic moments. She also avoids making King into anything more than what he was: a courageous, committed man with human frailties the FBI didn’t hesitate to exploit.

If British actors Tom Wilkinson and Tim Roth are less effective as Johnson and Wallace, respectively, DuVernay more than makes up for that by exploiting the obvious talents of another Brit, David Oyelowo as King, not to mention Carmen Ejogo as Coretta Scott King, Stephan James as John Lewis, André Holland as Andrew Young and many others – including Oprah Winfrey. Oyelowo, in particular, captures the quiet power, and occasional hesitance, of a man who would die at an assassin’s hand barely three years later.

Which is another of many sad stories of American history I am loathe to relive.

Oscar nominations once again miss the mark

As time has gone by, I've grown less and less enamored with the Oscars. By which I mean the annual orgy of self-congratulation that the Academy of Motion Picture Arts and Sciences sponsors.

The event used to be my Super Bowl, my Final Four, my Olympics, my … enough with the sports analogies. You get the idea. I used to gather with a small group of friends, make drink-fueled bets and scream and high-five the room based on who won what (and who gave the worst acceptance speeches).

But no more. It may because movies, overall, have become so much … well, less. It may because I have become ever more — hard as this may seem to believe — cynical. And impatient. And disinclined to let myself get carried away by the magic of movies, mainly because there is so much less about them that is capable of carrying me away.

There it is, though. And I doubt anything is going to change for 2015. The Oscar nominations just came out and here are my reactions:

1. Only eight nominees for Best Picture. I was never a big fan of the Academy's expanding the long-held practice of nominating five movies for the top award. But once they expanded it to 10, which they did in 2009, then they should keep it. "Foxcatcher" and "Unbroken" are certainly as deserving of Oscars as, say, "The Imitation Game" or "The Theory of Everything."

2. No Best Actor nomination for David Oyelowo ("Selma"). As much as I like Steve Carell, I would have given that spot to Oyelowo. Carell pulled off a good performance, but it seemed as much about makeup as anything. And I've been open about how shallow the film is about just who any of the "Foxcatcher" characters are and what motivates them. Oyelowo, for his part, virtually channeled Martin Luther King.

3. Mark Ruffalo over Channing Tatum for Best Supporting Actor. I guess the argument here is that Tatum was more a lead actor than supporting, but think back to 1995 and John Travolta and Samuel L. Jackson, two actors with an equal amount of screen time, yet Travolta was regarded as lead and Jackson supporting. Oscar does what it wants, regardless of logic. Let me just say that Tatum's performance, devoid of makeup, is riveting. And Ruffalo? Meh.

4. No Best Director nomination for Ava DuVernay. As much as I like Wes Anderson, his "Grand Budapest Hotel" is basically the same film he has been directing for the last decade. And it depends on a terrific, nuanced performance by Ralph Fiennes. Even if you think Angelina Jolie's "Unbroken" is the work of a "minimally talented spoiled brat," you can't say the same of DuVernay, whom I would have voted for over Anderson or Morten Tyldum ("The Imitation Game").

5. No Animated Feature nomination for "The Lego Movie." Yes, it was product placement. But that was part of the satire. One of the funniest, cleverest, most biting examples of satire the year had to offer … yet no nomination. Yet "How to Train Your Dragon 2" gets mentioned? This is the Citizens United syndrome in action.

I could go on. No Documentary Feature nomination of "Life Itself"? No Editing nomination for the single-take-imitator "Birdman"? Nothing beyond Adapted Screenplay and Costume Design for "Inherent Vice"? But I've made my point.

Neil Patrick Harris is set to host the Oscars broadcast. I'd prefer Tina Fey and Amy Poehler. Better yet, Ricky Gervais.

Tastemade Seattle treats Kelly to a tasty burger

Though the passes through the Cascades are problematic this time of year, some of us are still drawn west. To Seattle, mostly, where it's always fun to find new places to eat. The one person I lean on when it comes to the best Seattle eats is Leslie Kelly, my friend and former colleague at The Spokesman-Review.

Leslie has held a number of different food- and wine-related gigs in Spokane, Memphis and Seattle And her latest involves Tastemade, a site (and mobile app) that attempts to clue foodies (and the rest of us) in to what is gastronomically adventurous (and tasty) around a number of U.S. cities.

Click here to check out Leslie's look at Zippy's Giant Burgers in Seattle's Georgetown district, a mostly industrial area that Wikipedia tells us though "surrounded on all sides by industry and major transportation corridors, Georgetown retains a good number of residences and businesses."

Leslie produced the video, part of what her new job is. So if you have any suggestions about places she should investigate, let her know through the Tastemade Seattle Facebook site. Or just go on the site and check out places you should investigate yourself.

I definitely plan to.

Magic Lantern to show Oscar shorts Jan. 30

If you're a fan of the Magic Lantern — and most lovers of alternative cinema are — you need to know that Spokane's only movie arthouse won't be opening anything new on Friday. But in the same message, ML manager Jonathan Abramson announced that on Friday, Jan. 30, the theater will open the 2015 Oscar-nominated live-action and animated shorts.

The 2015 Oscar nominations themselves will be announced this coming Thursday.

Below is a trailer for the 2014 live-action Oscar winner, "Helium." (And that's the animated winner, "Mr. Hublot," up above.)

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