A Light Through The Fog

Photo credit to Pamela Littky

Album: Rainier Fog

Artist: Alice in Chains

Release Date: August 24, 2018

 While it’s easy for most bands to get lost in the fog that is post-2000 rock music, Alice in Chains still manages to break through and rise to the top, even almost 30 years after their inception. As suggested by the title, Rainier Fog — the band’s sixth album overall and third with their current line-up — pays homage to Seattle, the city they helped put on the musical map and the journey they’ve taken since then. Despite being long in the tooth, the band still delivers one of their finest performances.

 As is somewhat obligatory when writing an Alice in Chains review, this is not the same band that topped the charts in the early ‘90s. That group went on an extended hiatus in 1996 after the release of their self-titled album while vocalist Layne Staley dealt with his addiction. After Staley’s death in 2002, the band reformed in 2005 for a benefit concert with William DuVall replacing Staley and Mike Inez taking over on bass, before the band began touring once again in 2006. The two versions of the band are worth noting because the “new” Alice in Chains are based as much in metal as they are grunge, which, stylistically, makes the two line-ups almost incomparable.

Rainier Fog wastes no time setting its tone, with the album’s first single The One You Know leading off the album with guitars blaring through the speakers like sirens warning you of the impending storm. The heavy, bass-centric riff carries you through the rest of the track. Jerry Cantrell uses the signature dual-vocal attack he pioneered with Staley, and with the help of DuVall, takes the listener along the eerie song about things not always being as they appear.

The title track takes listeners on a blast from the past, as Cantrell recounts what it was like coming up in the Seattle music scene, all too fitting on an album that is their first recorded in their home city in 22 years. Despite the trials and tribulations that the band has gone through, this still manages to be about as upbeat of a song as you can expect from Alice in Chains.

The album hits a high point with its third track, Red Giant, a political power anthem that, thanks to Cantrell’s deft songwriting, never comes across as such. The song doesn’t shy away from taking shots at the current political climate but set to Rainier Fog’s catchiest groove it never feels like something being forced at you.

In what was a staple of bands and albums from yesteryear, Alice in Chains chose not to overly front-load the album. They first give listeners’ ears a bit of respite from the thudding, heavy distortion with Fly, a mostly acoustic song about the curveballs life throws at you from a band that knows all too well how tumultuous life can be. Following up is Drone, what can be described only as an obscure love song and one long time fans are sure to earmark a favourite, as it sees the revival of what most have — ironically — referred to as drone-rock. The album does hit a bit of a lull in the middle, with Deaf Ears Blind Eyes feeling like a song the band could never figure out how to make more than it is, and Maybe, a reflection on Cantrell’s current life that never loses heart but does get lost amongst the rest of the songs.

The album’s final crescendo starts off with So Far Under, a break-up song with riffs that are as sludgy and mucky as a bad relationship itself, that stands with Red Giant as a high point of the album. Never Fade is a track that is sure to draw some divide from listeners, as it jumps back and forth from the distinctive 90s sound that loyalists are sure to love, to an entirely new sound during the chorus that is sure to drive that same crowd away. It has the cleanest sound of any song on the album and holds its own as a solid, worthwhile listen. The album leaves us with All I Am, a melancholy epic that clocks in at over seven minutes and sees Cantrell return to his vintage vocal stylings.

It is never easy for a band to appease all of their fans—especially a band that took an over decade-long hiatus and now sees itself with two very different fan bases who have come to expect two different sounds. Their 2009 return album Black Gives Way to Blue made an obvious statement about who this new Alice in Chains is. 2013’s The Devil Put Dinosaurs Here saw the band take more of a “return to our roots” stance. Their latest album, which succeeds in combining both those elements, may be the band’s strongest album since their revival. From front to back, the album stays an entertaining listen throughout, with the high points soaring and the few lows there are never actually dropping below “average”.

Rainier Fog is a shining beacon that all music fans should set a course towards.

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Alex Lough

Once described as “The perfect amount of straight forward”, Alex is a 2nd-year student in Algonquin College’s Professional Writing program, with hopes of becoming a screenwriter in the future.

Avengers: Infinity War Review

Avengers: Infinity War is the knot tying together all of the storylines from the Marvel cinematic universe. The Avengers and The Guardians of the Galaxy, along with Spiderman, Doctor Strange, Loki, and The Black Panther have united to save not only Earth, but the universe from the villainous mad titan, Thanos.

Photo courtesy of Marvel Studios

The first and most outstanding beg for praise the film offers is its unique perspective. Unlike every other Marvel movie, the focal point is the villain, Thanos. Too often, the villains of not only Marvel movies, but all movies are only given screen-time at the end of the film when they face their demise. Infinity War flips this notion on its head by not only showing the audience the film from the perspective of the superheroes on their quest to stop Thanos, but also Thanos on his quest to destroy half of the living universe. What also sets Thanos apart from other villains is his surprisingly diplomatic nature. Throughout his encounters with the superheroes, Thanos’ prerogative is only to do as much damage as he must, using the power of his deadly infinity stones sparingly. While his ultimate goal is to destroy half of the universe’ population, he doesn’t exhibit the traits of the typical sadistic villains like Killmonger from Black Panther or Ultron from Avengers: Age of Ultron. Their only concern was with causing the greatest amount of pain possible to those they sought vengeance against.

Marvel’s character definition and delineation, since their birth with the first Iron Man movie, has been consistently superb, and Infinity War is no exception. Despite only having a run time of two hours and forty minutes, all featured characters exhibited their classic defining traits. The audience saw Tony “Iron Man” Stark’s classic witty sarcasm, Spiderman’s timid yet brave nature, Hulk’s unprecedented rage, and Thor’s godly power. Not only does Marvel successfully incorporate the bouquet of Characters in full, but also in unison. The superheroes’ personalities mesh beautifully and realistically. The lack of character development is completely forgiven by the fact that Marvel accomplished this in preceding films. It is clearly implied that all prior character-development in each of the characters’ past films leads up to Infinity War as their final test or trial. The only exception to my forgiveness in this regard is Thanos. Thanos is well defined and given razor-sharp delineation, but his character development or at least, an explanation for his origin is desperately needed. Although we see that he’s more than a heartless mad titan through flashbacks, the reason for his nature and philosophy isn’t explained to a proper degree. Given that his worldview plays a crucial role to the plot, I would expect far more clarity with regards to how it came about.

To dedicated Marvel fans and those who’ve seen any of the Guardians of the Galaxy movies, Thanos’ power is obvious. However, anyone who isn’t familiar with Thanos would likely underestimate his threat to the universe, assuming he’ll inevitably be overcome by the heroes as all villains are. Infinity War wastes no time in demonstrating to the audience that Thanos is clearly an exception to the rule. The plot following the exhilarating introductory scene moves at a desirable pace, but lacks diversity. Without a doubt, Infinity War satisfies its audience at the surface level with its seemingly endless yet visually impressive fight scenes and action, but somewhat fails to satisfy the audience’s deeper need for emotional elicitation. The only scene with an evocative dimension is a flashback depicting Thanos’ relationship with his young adopted daughter, Gamora. Aside from this, the conflict in the film’s plot remains strictly physical.

As every Marvel movie does, the cinematography and use of CGI in Infinity War raises the expectations for their competition. All CGIs looked flawless not only while still, but in battle as well. Far too often, when a film featuring CGI is paused or slowed down at certain points, failure in the CGI implementation becomes clear. The sharp-eyed audience member might catch a break in the animation. On the other hand, Infinity War’s CGI animation proves robust, even when colliding with non-CGI film elements such as live actors or props. Furthermore, Marvel uses subtle yet effective camera-shot angles to the film’s advantage. Thanos is consistently shot from a low angle looking up, whereas the heroes are shot from a high angle looking down. Such camera work subliminally suggests Thanos is in a position of dominance over the heroes. Otherwise, Thanos’ appearance is visually unintimidating; certainly no more intimidating than Hulk.

Marvel’s Infinity War is refreshing, thrilling, beautiful, and tragic all at once. But most importantly, it’s the final stroke to the masterpiece Marvel has been painting since 2008. Whether you’re a seasoned Marvel movie aficionado or just want to experience the most anticipated movie of 2018, you’ll be well justified in giving Avengers: Infinity War a few hours of your time.

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Sam Gagnon

Sam's niche analytical style of writing spans across a plethora of passions. He's debunked high protein myths, offered us an objective deconstruction of the success of eSports, and has written several elegant reviews of best-selling movies. Sam now looks forward to offering his insights to the things that make us shiver.

Seventeen Moments With Death

Photo courtesy of Andrew Crowley

Maggie O’Farrell has crafted a thought-provoking, original memoir that provides an insightful look into the life that she has lived and survived (seventeen times.) Each chapter acts as a self-contained essay, detailing individual events that nearly saw her sliding off the mortal coil. This memoir was particularly striking because it strayed from the traditional chronological format that most favour. Instead, this book leaps from year to year, moving forwards and backwards fluidly. Her identity is the key point in each chapter and the reader can watch as she develops, changing from a child to a mother, and back again.

Its seventeen chapters are varied in length and contain beautifully-written encounters with death. One of the most powerful elements of this memoir is that each event is honest, raw and relatable, but never sensationalized. The memoir genre is typically an attempt to capture the past in an authentic voice so as to connect with the reader. O’Farrell does this by exposing her feelings during each of the events, and her feelings after surviving death.

This memoir is centered around the idea of death. O’Farrell believes that near-death experiences are not extraordinary but rather mundane. The life afterwards is extraordinary because it provides opportunities. The trauma imposed by each event is something meant to be handled and learned from. She visibly grows from each encounter, moving towards her life potential.

One of the most unique elements of this memoir were the illustrations which preceded each chapter. Chapters with titles like “Neck” and “Cranium” offer insight into how the near-death encounter physically affected O’Farrell. Black and white illustrations of the human anatomy are paired with these headings, further connecting the reader to what experiences lie ahead. This is especially clever because it helps ground the writing while providing some structure in a story that is non-linear, rather than progressing in a chronological method. O’Farrell tends to get lost in her lyrical writing, resulting in sentences getting bogged down with descriptive but repetitive words, so the chapter headings and illustrations were useful items as they helped provide clarity to the reader.

Her opening chapter provides an insight into the life that O’Farrell is so often robbed of. At age 18, she is stranded on an isolated hiking path in the mountains with a man. As a female, this chapter is particularly alarming because of how relatable it is. O’Farrell admits to having taken self-defence programs in anticipation of an encounter like this, and she also admits to it not being enough. The man is a predator, stalking her and attempting to lure her off the trail but she manages to evade him. Her police report to the local station becomes a joke to authorities until the man is found guilty of having murdered a different woman a few days later. This chapter is extremely relevant for many women. Her opening chapter doesn’t just tell the story of her close encounter but fixates on the death of another, establishing her own mortality to the reader.

This book was written to be more than just a memoir. It is a gift to her daughter, who was born with severe allergies that make it a necessity to remain close to a hospital at all times. Her daughter experiences life “without protection.” This memoir shows that life finds a way.

O’Farrell has lived a chaotic life. The title “I Am, I Am, I Am” is inspired by Sylvia Plath, known for her own numerous (and intentional) brushes with death. Despite each event, O’Farrell does not become cautious and hesitant. Instead, she accepts the inevitable approach of death and lives brightly, moving towards new opportunities. Her life does not end, but rather it is something that is appreciated and valued. This memoir is meant to connect with others, share experiences and reveal that death is a mundane affair, not one worth waiting for. 

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Rachel Small

Rachel Small is not small and she writes a bit. She crawled to life one night after midnight in the basement of a bookstore.

Literary Classics Culture Creativity

Author Theodora Goss
Photo Courtesy of Matthew Stein Photography

The Strange Case of the Alchemist’s Daughter is an enjoyable read with lots of character, from the plot to the characters themselves. Theodora Goss has written a fantastic piece of literature: a mash-up of different science fiction classics with a twist of fantasy and threaded with mystery.

The story begins with Mary Jekyll, whose mother has recently succumbed to illness. Instead of an inheritance, however, Mary is left to chase a fourteen-year-old mystery as the reward money entices her with a way out of poverty. As she unravels each clue, she encounters Diana Hyde, Beatrice Rappaccini, Catherine Moreau, and Justine Frankenstein; daughters of wayward scientists connected to the mysterious Société des Alchemistes. Together the girls embark into the streets of London: investigating murders, chasing potential suspects, and uncovering the truth about their fathers.

Aside from a bit of an introduction, after chapter one the plot gets right down to business; no dawdling. Its storyline runs at a quick and even pace, which kept me involved and interested throughout the course of the novel. The main characters are sassy and intelligent, with enough individuality to keep you attracted to the story yet maintaining traits that can enable the reader to personally identify with the characters and have a relatable experience.

The book is written as though the girls are writing it themselves. They each have their own dialogue outside of the plot, interacting with prominent voices that bridge the narrative from beginning to end. Together, they comment on the events taking place or reflect on things that have already happened to them (as a way of foreshadowing). While I was able to enjoy this, I can see it being potentially jarring for other readers. It isn’t that these breaks in plot come out of nowhere, but that this narrative style isn’t common and I understand that other readers may not appreciate deviating from the main story. Personally, I found that the external commentary enhanced the flavour of the novel, making it stand out amidst others I’ve read and providing me with a richer experience.

The interactions between the five girls reminded me of how I interact with my closest friends, with each character portraying key parts of their personalities. They all have a slightly sarcastic tone to their narration that my friends and I share with each other, such as when the girls refer to themselves as monsters — to quote page 4, “I have paused to show you Mary staring into the mirror because this is a story about monsters. All stories about monsters contain a scene in which the monster sees himself in a mirror.”

Admittedly, I found a lot of the plot twists predictable, yet all were still enjoyable as the story unravelled itself. All of the loose ends tie up neatly and in a timely manner. They are left dangling long enough to keep you interested and then wrapped up to reveal another mystery without overstaying their welcome and underestimating the intelligence of the reader. I do find that the sections where the girls tell their personal backstories to be a bit lengthy, but at the same time, it makes sense as they are each writing their own part of the novel.

Ludgate Hill BY gUSTAVE dORé

I always have fun engaging in stories that make me research. I love learning new things, so I immediately turn to Google when I am curious or haven’t heard of something that was mentioned. I made good use of it as I was reading this book: for various definitions, nineteenth-century fashion, maps of London and such.

Goss’s novel is heavily structured around real-world classic works of fiction, from the characters to the world they inhabit. The reader doesn’t need to read these stories to understand the plot; I had a basic knowledge of them and still understood all that was happening. In fact, it intrigued me enough to look into them and learn more. It is interesting to see how other works can culture creativity.

Overall, Theodora Goss has provided us with a solid read. The Strange Case of the Alchemist’s Daughter was entertaining, witty, and a unique experience compared to other novels I have read in the last few years. It now holds a special place on my shelves, where I can see it and eagerly anticipate reading the sequel.

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Michelle A. Bonga

Michelle is an aspiring writer and editor. She is currently in her second year of the Professional Writing program. She hopes she’s doing something right. She finds writing about herself in the third-person to be quite strange.

She is also known as Michelle A. from the student blog, Voices in the Attic, which can also be found here on Spine.

‘Norm MacDonald Has a Show’ Fails to Break the Norm

Image courtesy of Netflix

Everything you need to know about Norm MacDonald Has a Show is right there in its title: it’s a show, and Norm MacDonald is in it. But apart from MacDonald’s name, there isn’t much to get viewers to start watching and keep them watching. More disappointingly, there’s not much to make them laugh either.

So Norm MacDonald has a show, but what kind of show is it? Netflix — its producer — lists it as a “Talk Show,” which is technically right. MacDonald invites guests, often other comedians, to talk just about anything they want. Note how I make no mention of “interviewing,” though. Unlike other talk shows, MacDonald isn’t interested in the usual rigmarole of the genre or hosting the show in any sensible fashion. Instead, he launches into topics at random and gleefully sees where they lead. Sometimes they lead to extemporaneous and engaging talks, with some laughs thrown in. But most of the time they go absolutely nowhere, with guests often looking offstage at producers and wondering aloud what’s going on.

This makes one think that Norm MacDonald Has a Show isn’t a talk show at all but a satire of one. And anyone familiar with MacDonald’s brand of anti-humour wouldn’t be surprised. His entire career has been based around the same kind of sparseness found in the title of the show. Very often his comedy has been described as “so bad it’s good,” but this isn’t for a lack of effort on his part. In fact, MacDonald is at his funniest when you can’t tell if he’s joking.

Image courtesy of Netflix

While on the surface he might appear stupid, constantly saying “Ya know?” and carrying himself like a country bumpkin, this charade only belies a scary fast wit and incredible self-awareness. The only indication of this might be a grin or a chuckle when he knows he’s duped someone, or the glint in his eye as he looks into the camera, assuring those watching that he knows what they’re thinking. This Andy Kaufman-esque performance has endeared many fans and made him something of a cult icon in the comedy world. Put simply, MacDonald is usually smartly stupid. But in Norm MacDonald Has a Show, he just seems stupidly stupid. Gone is any sense of the underlying intelligence that has characterized his career.

It’s hard to figure out how this happened though. It’s not like MacDonald has been out of the industry and returned to Netflix a shell of his former self. MacDonald has been busy since 2013 with Norm MacDonald Live—a podcast and a spiritual predecessor to this new Netflix show—where he was sharp, focused, and funny as hell. And though MacDonald Has a Show follows the same exact format as Norm MacDonald Live, the shows couldn’t be more different. One is animated and light-hearted, while the other is stilted and purposeless. 

One possible reason for this change may be because of working for Netflix and the pressures associated with being one of the coveted “Netflix Originals.” Maybe because the previous Norm MacDonald Live was a niche product, MacDonald never had to pander to a larger audience. But on Netflix, he may have had to follow his producer’s advice and tone it down, although toning down Norm MacDonald rids him of all of his appeal. MacDonald thrives when he has the freedom to say whatever he wants, no matter how abrasive or immature. Without this he is left playing interviewer, which is something he is so awful at that he even admits it himself during the show.

Is there anything that redeems Norm MacDonald Has a Show? Well, with MacDonald not acting like his usual self, the burden of carrying each episode is left with the guest. Naturally, this is a grab-bag: veteran comedians like David Spade and Chevy Chase are able to keep things funny and light. But with non-comedians like the musician Billy Joe Shaver and actress Jane Fonda, the show varies between periodically chuckle-worthy and physically painful.

Looking back, Norm MacDonald Has a Show had no lack of potential. The show-runners must have recognized the promise in the show’s central host, hence the literal and upfront title of the show. Unfortunately for most viewers, just the fact that Norm MacDonald has a show isn’t that exciting, and also leaves people wondering if Norm MacDonald even deserved a show at all.

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Matthew Montopoli

Matt is in his second year of Algonquin’s Professional Writing program. He enjoys writing, editing, reading history and philosophy, and not talking about himself.

James Comey's Stories Fascinate and Uplift

Photo courtesy of Andrew Harrer/bloomberg via Getty Images file

Imagine sitting face to face with President Donald Trump when he asks for your loyalty. How would you respond? When former FBI Director James Comey faced that very scenario, he could hardly believe what he was hearing. It’s just one of many exciting stories in Comey’s first book: A Higher Loyalty: Truth, Lies, and Leadership.

Whether prosecuting mobsters and Martha Stewart (yes, really), serving as Deputy Attorney General for the Bush administration in the tense years following 9/11, or serving as FBI Director until being fired, Comey’s stories offer wisdom, suspense, sadness, and humour. Above all, they demonstrate Comey’s belief in longstanding principles like dedication to truth and the courage to admit when you’re wrong.

During Comey’s senior year of high school, one night changed his life forever. It was October 28, 1977. The Ramsey Rapist, known for his dozen attacks, was still on the loose. At home on a Friday night in Allendale, New Jersey, just south of Ramsey, were James and his younger brother Pete. The Ramsey Rapist likely thought that Comey’s sister was home (fortunately, she was not) when he broke in, armed with a gun. Comey was sure he was going to die but, with a bit of ingenuity and a lot of courage, he and his brother escaped physically unharmed. The psychological effects, however, would be long-lasting (he kept a knife in his room for years afterwards!).

“Slowly it dawned on me that I wasn’t going to be a doctor after all. Lawyers participate much more directly in the search for justice.”

— James Comey

photo courtesy of al drago/the new york times

Although Comey said he didn’t know it at the time, that night would indirectly influence him to pursue a career in law enforcement. Before jumping into law, however, Comey was studying to become a doctor. At med school, he took a course in the religion department and learned of the philosopher and theologian Reinhold Niebuhr. Niebuhr’s writing on justice resonated with a young Comey.

“Slowly it dawned on me that I wasn’t going to be a doctor after all. Lawyers participate much more directly in the search for justice.”

During an apprenticeship working as an aide to a federal judge in Manhattan, Comey attended court cases and got a glimpse of prosecutors at work. In one case, the defendant was Anthony “Fat Tony” Salerno, the boss of the Genovese crime family in New York. As Comey recalls, “I was struck by lightning. ‘This is what I want to do with my life,’ I thought.” Comey hated bullies and being a prosecutor gave him the opportunity to protect people from bullies of all stripes, including members of the New York Mafia. By interrogating mobsters, Comey learned that loyalty to the “family,” or La Cosa Nostra (this thing of ours,) could lead people to lie and even murder.

It’s hard not to be reminded of the Mafia when reading about Comey’s private dinner with Trump and his startling request for loyalty. The attention to detail in this scene is superb. Comey describes the menu (it included shrimp scampi and vanilla ice cream for dessert) and the tense moment when Comey and Trump lock eyes while Comey decides how to respond to this most unsettling request. I felt like I was in the room with them, witnessing a pivotal moment in history.

photo courtesy of scott kowalchyk

Some people may object to Comey’s sensational story-telling, like his describing the white skin under Trump’s eyes, presumably from wearing tanning goggles. However, as Comey explained on The Late Show with Stephen Colbert, he was trying to make the book entertaining for the reader. I suspect that Comey’s years of explaining complex cases to juries helped make him an adept story-teller — I felt like I was reading a novel.

If you’re worried that James Comey merely heaps praise on himself, rest assured that he expresses regret too, like the time at boarding school when he became the bully he so despised, helping trash another student’s room. He also describes how, during the 2016 U.S. presidential campaign, he agonized over his decision to publicly disclose the reopening of the Hillary Clinton email investigation, especially since he had already publicly declared the case closed. Many Democrats blamed that decision for Clinton’s defeat. I still disagree with Comey’s decision, but I now understand how he came to it and how hard it was.

Comey admits that he had initially resisted the idea of writing a book on ethical leadership as it can come across as sanctimonious. But he later decided that the current political climate was so extraordinary, and the risk to longstanding institutions like the Department of Justice so severe, that he couldn’t stay silent. It may seem that principled leadership in Washington is a thing of the past, but Comey brilliantly makes the case that a “higher loyalty” still exists. His book will convince even the hardened cynic that some people still value integrity over expediency.

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Alex Dempster

After graduating from Ryerson University in 2009, Alex spent many years trying to figure out exactly what he wanted to do in life. Eventually he decided to focus on writing. He spends his free time following the latest political news and cheering on the Toronto Blue Jays.

Cloudy with a Chance of Quesadillas

If you’re planning on eating at Ahora, be sure to bring an appetite, a good attitude, and a GPS. My partner and I walked up and down Dalhousie, confused and hungry, searching for a restaurant we were beginning to suspect didn’t exist. Finally, after ten minutes of aimless wandering, we discovered a nondescript door that led either to a magical realm or Ahora. It turned out to be the latter.

Located in the heart of downtown Ottawa, we stepped over the threshold, trading the clamour of weekend clubbing for a corridor enveloped in silence. A plaque tacked to the wall displayed a glowing review from 2004, making us wonder what the quality had been like since then. At the far end of the hallway, disappearing around a corner into shadow, was a flight of rickety steps. Stomachs grumbling, we risked the troublesome descent.

At the bottom, we entered a whirlwind of noise and colour. Immediately, we were greeted by a host with a pleasant persona who led us past a maze of tables to our own in the back corner. We felt cramped, Ahora being a small square dining room packed with bodies (I won’t even bother getting into the details about my expedition to the bathroom). And it was loud—very loud—yet it was not a cacophonous drone, but a lively buzz of chatter and laughter. A vibrancy trembled throughout the restaurant. Each guest appeared in good spirits, enjoying themselves and the swell of ebullient energy.

The menu boasts a large selection of food from nachos to burritos to enchiladas. What Ahora lacked in proper accessibility, it makes up for in accommodating certain dietary restrictions, offering numerous vegetarian and gluten-free options. While we waited for the server, my partner and I were left to observe our surroundings more closely. It seemed like a rainbow threw up all over the place. Every inch of wall is painted in bold contrasting colours. Art is hung sporadically along all major walls. A tad overwhelming, it is fair to say that each individual piece is beautiful and consistent with the theme of flowers and farm animals.  

We continued to wait for our server, Ahora testing our patience, forcing us to sit through a confusing mix of traditional Mexican music, David Bowie, and Justin Bieber. Eventually, we realized guests were expected to place their order at the cash register. Our displeasure at not having been told this earlier quickly evaporated thanks to the cashier’s incredibly friendly service. While we waited, we were treated to a variety of free salsas. Admittedly, I’m not the biggest fan, but even so, I slurped up the mild salsa as quick and lip-smacking as a smoothie.

Our meals arrived before I could do much damage to my Corona. I eyed the Quesadilla Suprema with interest. The criss-crossing grill marks on the toasted pita teased my taste buds. With that first bite, my mouth exploded with such magnificent flavours my tongue would’ve applauded if it could: tender chicken cooked with the perfect amount of char, rice nicely seasoned, black beans for an extra punch of protein, and the side of chips reasonably salted. Sour cream was a dollar—a revelation that found me making a second trip back to the cash—but it was money well spent, adding a perfect layer of creamy moisture to the quesadilla. Being a messy affair, I resorted to a knife and fork, but that was all a part of the fun promised by those already enjoying their meals when we arrived. 

Equally pleased, my partner’s Mex-Vegetariano Burrito was stuffed to near bursting, packed with chicken and crunchy vegetables, and the salad consisting of crisp lettuce doused in a sweet vinaigrette. With so much food, we were surprised that our bill came to only thirty dollars.

Though it was an evening of ups and downs—from searching the side alleys of Dalhousie to climbing back up those creaky untrustworthy stairs—it is hard to deny that Ahora offers a fun dining experience with incredibly priced meals of high quality. Such highlights overshadow any minor issues, making it a place I’d recommend to anyone looking for an exciting night out in Canada’s capital. And that’s not the Corona talking!

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Nathaniel Neil Whelan

Nathaniel has an M.A. from Carleton University and is currently enrolled in the Professional Writing program at Algonquin College. An up-and-coming author, he lives in Ottawa with his partner and pet cat Susie-Bear.

A Disappointment To Marvel Studio Movies

COURTESY OF MARVEL STUDIOS

Note: This review contains spoilers!!

Ant-Man and the Wasp is a shocking letdown compared to all other Marvel Movies. It does not live up to the fully-loaded action movies of the Marvel Cinematic Universe, especially to previous entry Ant-Man. The trailer presented the action that would be coming, but the movie did not live up to expectations. On the other hand, the introduction of Wasp and Ghost was interesting and intriguing, the choice of songs and costume design was well done and Hannah John-Kamen’s acting as Ghost was exceptional. Whether you decide to watch the film after this review is up to you, but don’t expect the full Marvel experience.

Ant-Man and the Wasp is about Hope van Dyne (Evangeline Lilly) and Hank Pym (Michael Douglas)  in search of a way into the quantum realm so they may save Hank’s wife, Janet van Dyne (Michelle Pfeiffer,) who has been stuck there for 20 years. But after a bump in their plan, they need the help of Scott Lang (Paul Rudd) to locate her. They must fight against time, the police and a new enemy to get her back. The film is based on the Marvel Comic characters Ant-Man and Wasp, and directed by Peyton Reed.

COURTESY OF MARVEL STUDIOS

The biggest drag of the film is the lack of action. If you are one to watch the movies in order, Ant-Man — one movie that I would recommend — contained a full platter of action that enhanced the best parts of the movie. For this to be a sequel to that amazing movie is upsetting. There are only a few scenes with action and all of them contain John-Kamen as Ava Starr, also known as Ghost. This makes sense since she is the main superpowered antagonist, but there should be much more action when the other main characters are running from a black-market dealer and the police. It does not make sense that John-Kamen’s character triggers the action; all characters should be planted in the fights. The film’s action does not live up to the spectacle of the rest of Marvel Cinematic Universe.

That being said, the movie is not without merits. Christophe Beck, the composer for Ant-Man and the Wasp, created exceptional work. Each song is meant for a specific time in the movie and pulls the viewers further into the plot—in particular, the song “World’s Greatest Grandma,” which mostly played when Scott Lang plays with his daughter Cassie. The song is a variation of Ant-Man’s theme song — which sounds like an old fashioned spy theme song — and enhances the imagination that is to occur in their play date. With this song and all the others, every instrument is deliberately chosen to entice the viewers and let them connect with the characters.

The director’s choice of costume design is quite different but also inspiring. In most movies, especially those done by Marvel Studios, the main characters (the superheroes) are dressed in so much colour: Captain America’s red, white and blue suit; Iron Man’s bright red and yellow suit of armor; even Hulk’s green skin and purple pants. However, this film doesn’t follow those rules. Most of the main characters, with the exception of Scott Lang’s Ant-Man, are wearing darker colours, whether it’s suits or just everyday clothes. This is fascinating because the only bright colours are found in connection with the quantum realm, which really emphasizes those aspects. In the end, the colour scheme may be different to others but it works perfectly for this film.

COURTESY OF MARVEL STUDIOS

Lastly, John-Kamen’s acting is remarkable in this film. She brings her character to life with the pain and suffering that is needed. With her character’s background, John-Kamen’s Ghost is in pain throughout the whole movie and she maintains this performance admirably. She acts the part amazingly and I would suggest viewers see this movie just for her performance.

To conclude, the action that is expected for the Marvel Cinematic Universe is not found in this movie, but if you don’t associate it with Marvel Studios, the film is quite ingenious. The songs are chosen perfectly for each scene, the costume design is different and flawless, and Hannah John-Kamen is amazing. So now it’s your decision: will you choose to watch the movie that does not live up to Marvel Studios’ action-heavy movies, or will you choose to watch a movie that is coloured differently, sung beautifully and acted spectacularly?

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Marli Jago

Marli is an aspiring writer in the Professional Writing Program. On the off chance that she isn’t writing, she is playing card games, reading, or hanging out at the nearest Tim Horton’s with her friends.