I’ve never made any bones about the fact that I’m a lazy bartender who, for reasons of taste and well as convenience, likes to keep my cocktails simple. Still, for this New Year’s weekend edition of DOTW I’m hitting a new high in simplicity and also using the official beverage of the coming holiday as our key ingredient. Make no mistake, however, as simple as it is, this week’s drink is an entirely legitimate and very classic cocktail. It’s also, in my opinion, delicious.
How classic? Well, a variation of it was featured in what appears to be the first cocktail guide published in 1862 and authored by bartender Jerry Thomas, who defined cocktails as containing spirits, sugar, water, and bitters. (This drink lacks only the additional water.)
I first became aware of this particular concoction, I imagine, the first time I saw Claude Rains order one for himself and one for a displeased Paul Henreid in “Casablanca.” I’ve been curious about it ever since, but I only bothered to look up what was in it this year. I only tried it, well, just a couple of nights ago but I immediately fell in love with it. Yes, some might call making a cocktail out of fine champagne gilding the lily, but who can afford fine champagne these days?
The Champagne Cocktail
Champagne or other Brut (dry) sparkling white wine
1 sugar cube
Aromatic bitters
Lemon twist (optional garnish)
Soak a sugar cube in your bitters — Angostura is traditional but I had equally good luck using Fee Brothers Old Fashioned aromatic, which has a slightly gentler flavor — and then place it at the bottom of a champagne flute, if you’ve got one, or a regular wine glass if you don’t. Pour in your champagne, chilled of course. Do not attempt to mix the sugar cube with the champagne as the gradual decay of your sugar cube will actually be adding extra fizz and visual interest to your beverage along with a very, very slight dash of sweetness. If you want, rim the glass with your lemon twist and toss it in. Toast which ever year, old or new, you prefer.
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Classic though it be, I gather from David Wondrich that the Champagne Cocktail has long had detractors who argue that good champagne should be left alone. They probably have a point if you’re drinking a $150.00 bottle of Dom Perignon. I however, was drinking a really not so bad $7.99 sparkling white from Spain — which I dare not call Champagne for fear of offending the French — and I greatly enjoyed the extra flavor, subtle though it be, and the additional fizz.
On that last point, Rachel Maddow informs us that making Champagne cocktails is the perfect way to revive somewhat flat, left-over bubbly. If that doesn’t justify the existence of this fine beverage, I don’t know what would, and it certainly makes it a fine way to keep your News Year’s festivities going for as long as you can manage.
Some of you may remember that this is the song we ran for last year’s pre-New Year’s Eve Friday Video column. What can we say: it speaks to us.
It’s sad that good time rock and roll music has been out of style for nearly a decade. Call it a generational thing, but all of these bands that whine about their feelings…they really did ruin rock music. We miss fun. Please come back, fun.
Happy New Year, everyone. Make sure you live to see the dawn of 2012. Of course, the Mayans say that we’re all dying at year’s end, but don’t you want to be there to see it happen?
Looking back at this year’s slate of films, it would be easy to label it a disappointment. But while 2011 may not have been very memorable, it wasn’t exactly forgettable either. In fact, the biggest problem I came across while compiling my year-end list was that while there were a lot of movies I really enjoyed, there weren’t very many that I loved. That might not be the most encouraging statement to make before announcing one’s Top 10, but it’s the honest truth, and it doesn’t make the movies listed below any less deserving of my praise, even if there are some films missing that you believe should have made the final cut. But that’s why critics love writing year-end reviews; each one is unique to their specific taste, and mine is nothing if not unique. Well, except for maybe my worst-of list, which is filled with movies that I think we can all agree sucked big time.
Though I wasn’t that impressed by Nicolas Winding Refn’s previous films, they have an undeniable visual flair and originality that you don’t see very often. “Drive” took those qualities and applied them to a conventional Hollywood thriller, resulting in a movie that feels much more mainstream without abandoning Refn’s art house sensibilities. The film is as beautifully poetic as it is strikingly violent, while Ryan Gosling (who’s had a banner year between this, “The Ides of March” and “Crazy Stupid Love”) has never been better as the soft-spoken yet brutally intense protagonist. But for as much attention as the film’s graphic violence has received, it’s the opening sequence – an edge-of-your-seat car chase packed with tension so thick you could cut it with a knife – that is without a doubt the biggest highlight. And when a movie can start so brightly and continue to build on it like “Drive” does (thanks in part to fine supporting turns from Carey Mulligan, Bryan Cranston and Albert Brooks), it’s no wonder why so many people love this film.
It’s not every day that you get to see a film before the rest of the world, so I’d be lying if I didn’t admit that being among the lucky few in attendance at the SXSW premiere of Joe Cornish’s “Attack the Block” played a part in my overall enjoyment of the movie. A genre hybrid film with influences ranging from “The Warriors” to “Critters,” Cornish’s directorial debut is a lean, mean sci-fi action thriller that, although it boasts a mostly unknown cast and was made for a fraction of the cost of the average Hollywood movie, is the most fun I’ve had at a theater all year. The young actors are great, the creature effects are even better, and the film is fueled by a relentless, infectious energy that keeps the action moving at a rapid clip. There might have been several alien invasion movies in theaters this year, but “Attack the Block” was the best of the bunch – a fun slice of nostalgic geek cinema that blended action, comedy, horror and sci-fi to create an instant cult classic.
It’s no secret that Diablo Cody has her share of critics, but “Young Adult” proves that she’s more than just a vending machine for the kind of quirky one-liners that initially earned her notice back in 2008 with “Juno.” Thematically darker and more mature than her first feature, the film also feels more personal in its examination of what it means to grow up, providing the perfect platform for Cody’s voice to shine. Blisteringly funny and surprisingly poignant at times, “Young Adult” is so daringly original that its somewhat contentious ending has even divided audiences. But while Cody deserves a lot of credit for taking these risks, it’s Charlize Theron’s performance that brings out the comedy and emotion of the situation, delivering some of her best work as the beautiful but bitchy Mavis. It’s not very easy to make a character like that sympathetic, but Theron pulls it off so effortlessly that it would be criminal to see her name absent from any award ballot.
Just as 2011 is sure to end in a few days, 2012 is equally likely to follow on its heels, which means that the January TCA tour is right around the corner. As such, yours truly is about to be bombarded with the best and worst that the midseason has to offer…and, fortunately, there’s a lot more of the former than the latter. Indeed, there are a couple of shows that the broadcast networks have been unjustly sitting on for almost six months, even though they’re a damned sight better than most of the dreck we got back in September. (Stand up, please, “The Playboy Club.” Or, you know, pick the program of your choice. That one’s just easiest ’cause it was the first to go.) Much as last week found me offering up 11 shows, give or take, that I was sorry to bid adieu to in 2011, this week I’ve pulled together a list of 12 shows that I’m looking forward to checking out in 2012. Keep in mind, however, that I’m basing my excitement either on a rough cut of a pilot or, in some cases, merely on the hopefulness I get when I read about the show. Yes, this does often come back to bite me in the ass, but such is the life of a TV critic. If I’m wrong, I’ll roll with the punches. In the meantime, though, these are my personal picks for what’s looking good in the new year…
The Firm (NBC)
So sayeth the network: Based on the best-selling novel by world-renowned author John Grisham, “The Firm” is a new drama series that continues the story of attorney Mitchell McDeere (Josh Lucas), who, as a young associate 10 years earlier, had brought down the prestigious Memphis law firm of Bendini, Lambert & Locke, which had been operating as a front for the Chicago mob. After a difficult decade, which included a stay in the Federal Witness Protection Program, McDeere and his family now emerge from isolation to reclaim their lives and their future — only to find that past dangers are still lurking and new threats are everywhere. Abby McDeere (Molly Parker), Mitch’s supportive, smart and resourceful wife, who had helped her husband expose Bendini, Lambert & Locke, is excited to start a new life in Washington, D.C., as a school teacher and mom to their daughter, Claire (Natasha Calis). Ray McDeere (Callum Keith Rennie) is Mitch’s charming, yet volatile, older brother whose work as an investigator in Mitch’s office is uniquely informed by his past stretch in prison for manslaughter. Despite a gritty past that stands in stark contrast to that of his Harvard-grad brother, Ray shares one key quality with Mitch – a loyalty that is unbreakable. Tammy Hemphill (Juliette Lewis) is Mitch’s feisty, sexy receptionist whose work life is made all the more tumultuous by her on-again, off-again relationship with Ray. With a personality as arresting as her ever-changing hair color, Tammy is leery when Mitch accepts a deal to partner with a top law practice, as she’s not cut out for the conservative culture of a white-shoe firm.
My take: I literally only just got the pilot episode this morning, so I haven’t had a chance to check it out yet, but the combination of Lucas, Parker, and Lewis has me very intrigued, and the fact that Grisham himself is part of the mix makes me hopeful about the possibilities of where this series could go if it’s given the chance. That’s a big “if,” though, because this isn’t the first time a Grisham novel has made the jump to the small screen. Anyone remember “The Client,” with JoBeth Williams and John Heard? It’s become so obscure that there’s neither a Wikipedia page for it nor even a clip from it on YouTube. Let’s hope “The Firm” gets a better go of it than that.
(Premiere date: January 8, 9 PM; regular 10 PM timeslot begins January 12)
A funny thing happened at the movies this year: absolutely nothing blew me away.
There were things I really liked, but my list of favorite movies is kind of a joke, really. They’re not bad movies (not in my mind, anyway), but there are few, if any, Best Picture candidates in the bunch. Compare that to last year, where six of my top 10 movies were nominated for Best Picture. This time around, that’s just not happening. Just want to lay that out up front.
Worse, there isn’t one movie that stands above the others. I liked my favorite movies equally, more or less. That might sound like a copout, but it’s true. Of the movies I’ve seen so far, this was the year where movies were just sort of…there. Maybe we’ll have better luck next year.
My Favorite Movies of 2011
Margin Call
Selling one’s soul is a popular subject in movies, since no two people are willing to settle for the same amount. “Margin Call” explores the subject on a massive scale, since the ripple effect of the actions of a few will be felt around the world. It’s not a thriller in the traditional sense, but it’s absolutely gripping. Kevin Spacey shines here, as does the ever-reliable Stanley Tucci.
Super 8
It probably helped that I grew up in a small Ohio town not terribly unlike the one in “Super 8″ (though no one used the word ‘mint’ the way Riley Griffiths’ character does here), but “Super 8″ wasn’t merely an exercise in nostalgia; the movie delivered top-notch thrills, well-drawn characters, and the most spectacular sequence of the year with that jaw-dropping train crash. Elle Fanning, meanwhile, put on an acting clinic, and she’s only 13. Wow.
After a terribly disappointing fourth installment in the popular teen death series, New Line does the unthinkable by not only making a fifth “Final Destination” but, horrors (see what we did there?), casting old people as the leads. You know, people who are, like, 30, and even some born in the ’70s, ewww. Who wants to see old people die?
As it turns out, it was a very savvy move. “The Final Destination” was in a tough position in that its predecessor ramped up the death scenes’ difficulty factor (Rube Goldberg would have been proud, then probably ashamed) while maintaining self-awareness. “FD4″ tried to maintain the planned chaos, but it was undone by bad dialogue, poor acting, and too much foreshadowing. From the very beginning, “Final Destination 5″ does two things to separate itself from the previous movie: it casts grown-ups in the lead roles (David Koechner and Courtney B. Vance, holler) and gets serious in a hurry after a premonition on a suspension bridge leads a group of white collar drones to hop off the bus, Gus. Also, there are no bad last lines like “I’ve got my eye on you” (poor, poor Krista Allen), and while a death may be triggered by a chain reaction, the cause of death itself is often something normal (fall, fire). Don’t think they didn’t get creative, though; one of the women suffers a particularly gruesome accident that is impossible not to react to.
This, as you might imagine, does not end well.
They’ve also changed the rules – which is ironic, but for reasons we cannot divulge – when coroner William Blodworth (Tony “Candyman” Todd, returning for a third tour of duty, fourth if you include his voice work in “FD3″) suggests that the survivors can cheat death by killing someone else, a la “The Ring.” It adds an interesting wrinkle, since you get a glimpse of what people are willing to do in order to stay alive. Do not under any circumstances watch the bonus features if you haven’t yet seen the movie, otherwise the big surprise, which is a good one, will be spoiled. Definitely check them out afterwards, though, as you’ll get a glimpse of Koechner adding some of his natural comic flair. A welcome return to form for what was presumed to be a, um, dead franchise.
What do you get when combine organic and bio-tech ingredients with the skin pH and chemistry of the modern man? RAW Skin Care! This isn’t just a white bottle with the word “lotion” on it that you can mindlessly pick up at Wal-Mart — this is a complete facial cleansing system, specifically designed for men who know the difference.
First, I washed my face with the Blue Agave Wash. The cream itself was thick; I used a minimal amount but that wasn’t enough. Some products will foam up and expand, but the RAW did not — it had more of a balm-type texture and quality. Even when I added some water and worked it into my skin, it didn’t lather up too much; it was like a coating which reminded me of the deep cleanse that you get during a facial. After a few minutes of rubbing it in, I could feel my skin begin to open up. The scent was brisk and mentholated, and my skin felt open. I have never used a product with blue agave previously, but in addition to feeling the refreshing burn that menthol provides, this was more soothing and subtle than simple menthol.
When I rinsed it off, it didn’t come streaming off of my face, which is how I knew it was high quality. I had to use a significant amount of water to get it off, and in this regard it felt like a facial peel. Exfoliate is a popular term that gets thrown around pretty loosely, but it really did exfoliate my skin based on the feeling that began to settle in after I rinsed my face off. Initially, I didn’t feel any major difference. But about two minutes later, my skin felt tight and smooth. Not to sound redundant, but it was the feeling you get after a facial where you feel refreshed and wide open.
I have a confession to make. Despite my enormous love of all things sweet and milk fatty, I was fully prepared to bale on what has to be the ultimate seasonal drink. I have to admit there were concerns for my waistline — you guys have no idea how much weight I gained as a child knocking back the carton based non-alcoholic stuff. Also, as I grew older, I usually was disappointed by the spiked nog I’d had at parties. Somehow, the booze always seemed to destroy the cheap and creamy charm of the store bought nog. It was like putting vodka in chocolate milk. (I’d rather have a shot and choco-moo chaser, thank you.)
Still, the real reason I was going to go AWOL on eggnog was that I was simply intimidated. I imagined fresh eggnog to be a very complicated drink to make; a drink that might even force me to break my no-blenders rule. classic drink though it be. The online recipes telling me that I had to start with a 6 or more eggs, separate the yolks from the whites and perform various operations on them only reinforced that assumption.
Then, however, I started Googling “eggnog for one” and a great revelation came to me. Really, all this drink is a raw egg — provisos and disclaimers to come — milk, sugar, vanilla flavor, and booze. I have to say that, even if I have a sentimental attachment for the gooey store bought stuff, this shockingly easy, if slightly messy, home made version beats that all to heck.
So, here goes, the drink recipe I never thought I’d post.
Eggnog
1.5 ounces of your choice of cognac/brandy, bourbon, Canadian whiskey, or rum
1 large egg
1/4 teaspoon vanilla extract
1/2 ounce heavy cream (optional)
2 ounces full fat milk if not using heavy cream; with cream use 1.5 ounces
4-5 teaspoons superfine or powdered sugar
Ground nutmeg (garnish)
1 cinnamon stick (optional garnish)
We couldn’t have picked a better label boss for glam princess Kate Crash if we had tried (and we are using the word ‘princess’ very liberally here) – she’s signed to Joan Jett’s label, Blackheart Records. Two seconds into “Walk My Own Way,” and the comparisons are crystal clear. Crunchy guitars, giant dance-friendly drum riffs, and attitude by the truckload. Heck, just look at her.
We would totally hit that. The catch, of course, is that she’d probably hit us back, hard.
This clip is a fun old school-type guerilla video. We’d let Kate walk any way she wants, as long as it was in our direction. Happy holidays, everyone.
I’ve never made any bones about the fact that I’m a lazy bartender who, for reasons of taste and well as convenience, likes to keep my cocktails simple. Still, for this New Year’s weekend edition of DOTW I’m hitting a new high in simplicity and also using the official beverage of the coming holiday as our key ingredient. Make no mistake, however, as simple as it is, this week’s drink is an entirely legitimate and very classic cocktail. It’s also, in my opinion, delicious.
I have a confession to make. Despite my enormous love of all things sweet and milk fatty, I was fully prepared to bale on what has to be the ultimate seasonal drink. I have to admit there were concerns for my waistline — you guys have no idea how much weight I gained as a child knocking back the carton based non-alcoholic stuff. Also, as I grew older, I usually was disappointed by the spiked nog I’d had at parties. Somehow, the booze always seemed to destroy the cheap and creamy charm of the store bought nog. It was like putting vodka in chocolate milk. (I’d rather have a shot and choco-moo chaser, thank you.)
