Chris Marakovitz

Archive for December, 2011|Monthly archive page

Restaurant Review: Rao’s at Caesar’s Palace in Las Vegas

In Food, Restaurant Reviews, Reviews on December 29, 2011 at 12:52 am

Where it all began- the original Rao's in Harlem.

If you like a certain kind of food- namely old school, east coast style Italian- Rao’s at Caesar’s Palace gets our nod as the best restaurant in Las Vegas. Rao’s has it all- atmosphere, service, and most of all, exquisite food (more on that in a minute). Above and beyond all that, Rao’s has history. It has mystique.

The Rao’s story begins not in Vegas but in the Harlem region of New York’s upper Manhattan. And it begins not in this century, not in the previous century even, but in the century before that. It was in 1896 to be precise that Italian immigrant Charles Rao purchased a small saloon at the corner of 114th Street and Pleasant Avenue and named it Rao’s. With his death in 1909 his sons Louis and Vincent, who were born and raised in the house next door to the saloon, took over Rao’s for themselves.

Slowly, as the decades passed, Rao’s developed such a following in the local neighborhood that a small but growing cadre of patrons maintained standing reservations on certain days. Considering that Rao’s only has ten tables in the entire restaurant, that there is only one seating per evening, and that many existing reservations remain from decades before, it is no surprise that it has become virtually impossible for outsiders to land a reservation. The legend of Rao’s exploded on the New York scene once and for all when New York Times food critic Mimi Sheraton published an ecstatic review in 1977. No longer was Rao’s a hidden gem for those in the know. Now, all of a sudden, it was one of the most sought after- and elusive- dining destinations in all of New York.

In this regard, food lovers everywhere rejoiced with the opening of a second, much larger Rao’s at Caesar’s Palace in Las Vegas. The design and atmosphere of the Vegas Rao’s certainly can’t match the history and soul of the New York location but it has one key advantage- you can get a table here. And most importantly of all, the food, by all accounts, is exactly the same as the food served at the original location. Which is to say that the food at Vegas Rao’s is delectable. Mouth watering. Old school Italian dishes with a distinctive twist that you won’t soon forget.

Whether you’re visiting Rao’s for a romantic dinner with your significant other or in a large group, family-style, with shared dishes, is the way to go. Start things off with the wonderful Antipasto Della Casa (for two- priced at $29), featuring prosciutto di parma, mild sopresata, roasted bell peppers, mixed olives, buffalo mozzarella, sliced tomatoes, grana padano and gorgonzola cheese over dressed arugula. Swing into the main course with a pasta side dish topped with Rao’s unmistakable signature marinara sauce ($23). Made with san marzano tomatoes, this sauce is truly bursting with flavor, the type of flavor where you can literally taste the quality and freshness of the ingredients. It would be criminal not to pair your pasta with a side of Rao’s traditional meatballs in that same wonderful sauce ($16 for two- they’re not small). If you wanna work some veggies into the mix, check out the Peas & Prosciutto, an ideal complimentary dish ($15).

Also distinguishing itself in the pasta section of the menu is the Orecchiette with Broccoli Rappe and Sausage ($26). If you’re wondering what orecchiette is, it’s a somewhat rare and (if you ask me) vastly underrated circular pasta. The name derives from the word orecchio, Italian for “ear,” because orecchiette bears a passing resemblance to a small ear. Either way, it works beautifully in this dish alongside sweet Italian sausage and broccoli rabe, all sautéed in a delightfully flavored extra virgin olive oil. This dish exemplifies what lifts Rao’s above the masses of ho-hum Italian eateries: interesting variations on traditional dishes and perfectly constructed recipes executed with the finest ingredients.

Moving on to the entrees, two of the more memorable offerings include Uncle Vincent’s Famous Lemon Chicken ($26) and the Steak Pizzzaiola ($48). The first of these consists of quartered charcoal broiled chicken served in an excellent lemon sauce. As for the Steak Pizzaiola, it’s a pan-seared 17 oz. prime shell steak sautéed and topped with bell peppers, button mushrooms, onions, and those same san marzano tomatoes that the marinara sauce is based on. Vegas is full of steak houses that talk a good game, but few, if any, serve a steak as perfectly charred and flavorful as this one. The novelty of the pizzaiola style makes for an excellent pairing with the meat itself. More traditional steak lovers who view this pairing with initial skepticism may find themselves pleasantly surprised if they approach with an open mind.

In these cases, and across the menu, Rao’s serves up consistently memorable dishes that are beautifully flavored but always subtle, never overdone. The atmosphere is about as charming as it gets in a casino location. Indeed, the hardwood floors and moderately sized separate rooms seem far removed from the rows of slot machines and blackjack tables that sit outside and around the corner. The jukebox- a legendary component of the New York Rao’s- sets the tone here as well, with plenty of Sinatra, Johnny Mathis and the like wafting through the air as you finish up another great meal with an after-dinner drink (grappa anyone?) and a healthy slice of creamy tiramisu.

Movie Review: Shame

In Movie Reviews, Movies, Reviews on December 28, 2011 at 11:55 am
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Fassbender should've got an Oscar nod.

Brandon (Michael Fassbender) would seem to have it all- good looks, a sweet bachelor pad in Manhattan, and a solid career. But you can tell from the first frame that this ain’t about wish-fulfillment. On the contrary, this is a near-great movie for the same reason that Entourage and Californication are a joke. Admittedly, if those shows could be accused of peddling unrealistic fantasies of the excesses of the successful single guy, Shame might well be accused of moving a tad too far in the opposite direction. The film is downright obstinate in pursuing its dark vision, excessively so in the case of one final twist that detracts from an otherwise brilliant and disturbing study of modern sex addiction.

Even with that flaw, this remains a powerful movie experience that more often than not bears a shocking ring of truth. Steve McQueen’s direction is stylish without being overstated, establishing and maintaining a consistently eerie tone. His vision of New York, with its darkened streets, gray skies, and sleek interiors is matched every step of the way by a powerhouse performance from Fassbender, who fornicates his way through the city like an L-train moving from chilliness to the far reaches of despair. Fassbender and co-star Carey Mulligan, as his emotional ragdoll of a sister, reverberate off of each other perfectly, expressing a common sense of personal horror from opposite ends of the psychological spectrum.

The film hints at some sort of childhood trauma at the root of Brandon’s affliction, but such an explanation hardly seems necessary in a hyper-sexualized society where getting it on is increasingly detached, or even at odds with, the pursuit of deeper human connection. It is the exploration of that cultural fact, much more so than Brandon’s personal background, that gives the film its real power and meaning.

While it might be tempting at first to compare Shame to a film like  Leaving Las Vegas , with Fassbender using sex as opposed to drink as his chosen method of self-destruction, a more apt tonal comparison might be Carnal Knowledge, with its explosive depiction of the disaffected modern male chasing skirt right off the deep end. Indeed, if Entourage and Californication are like the pop culture equivalent of Charlie Sheen- highly entertaining but ultimately whacked to the point of being unrecognizable- then Shame is like a humorless version of 70’s Jack Nicholson, slowly unraveling, losing his shit, backing off into dark corners that scare us precisely because we know they’re real.

-CM

CD Review: Gorillaz, Plastic Beach

In Music on December 19, 2011 at 4:34 am

Back in the 80’s a year like 2010 would have been imagined mostly in terms of jet-powered backpacks, robotic house servants, interstellar space travel, perhaps some sort of “beam me up” mechanism, basically one big, happy orgy of technology-propelled human contentment. Well I’m still waiting for my jet-powered backpack. In the meantime, I’m noticing that the “future” isn’t all it was cracked up to be. Turns out our natural resources are not inexhaustible after all. We’ve got pollution issues, energy shortages, mind-numbing commercialism on one end and shameless exploitation of human labor on the other. As for technology, it has its advantages, sure, but some would say it’s having troubling effects on old school human interaction. Okay, so here’s the good news: Gorillaz is part of this future as well and they’re here now with their third album, Plastic Beach, a sprawling modern musical collaboration, eclectically sourced yet tightly focused, sonically ambitious and legitimately poetic, not just a “concept” album but a sustained artistic statement about the major themes of our times. The “plastic beach,” it seems, could be a massive floating island of garbage in the middle of the ocean. Jamie Hewlett’s cover artwork shows the plastic refuse rising up into a mushroom-cloud shaped mountain which supports some sort of tacky architectural monstrosity that might well occupy the hills over the Malibu coast. A superficial show of wealth built on the most questionable of foundations. I wouldn’t wanna be gridlocked on PCH when it all comes crashing down. But if I was I’d very likely be listening to this album.

Plastic Beach may not be as emotionally resonant as LCD Soundsystem’s The Sound of Silver and it may not be quite as musically ground-breaking as Radiohead’s Kid A, but it’s in the ballpark, and that’s saying something. Like those two modern masterpieces, Plastic Beach, for all of its identifiable influences, sounds like the future. Damon Albarn, the musical maestro behind Gorillaz, creates complex but sneaky-catchy electronic soundscapes and balances out his technology-heavy approach by bringing in some of the world’s most distinctive human voices. Snoop Dogg kicks it off on “Welcome to the World of the Plastic Beach” and is followed by a parade of world class vocalists like Mos Def, Bashy and Kano, De La Soul, Gruff Rhys, Lou Reed, Bobby Womack and the Japanese singer Yukimi Nagano. On “Superfast Jellyfish” De La Soul and Gruff Rhys offer a hilariously funky take on fast-food consumption. Nagano stands out on a pair of great duets with Albarn including the dreamy “To Binge,” which sounds like space age bachelor pad music for Leonard Cohen fans. Former Clash guitarist Mick Jones makes a notable appearance as well, laying down a stellar intro to “Plastic Beach.” And then there’s Albarn himself taking the reins on some of the album’s best tracks, including “Rhinestone Eyes.” Through it all, the album takes an uncompromising look at everything from environmental degradation to sweatshop workers to the impact of technology on human relationships. On “Broken” Albarn sings, “It’s by the light/Of the plasma springs/ We keep switched on/All through the night while we sleep…And the space has been broken/Broken/ Our love/ Broken.” But there’s a notable strain of optimism as well. For all the technological prowess of Albarn’s sound, there’s always a human voice straining to break through, none more human than Bobby Womack, alone on “Cloud of Unknowing,” when he sings, “Every satellite up here is watching/But I was here from the very start/Trying to find a way to your heart.” Turns out the future isn’t about jet-powered backpacks after all. It’s about trying to get back to where we started.

-Chris Marakovitz

MARAKOVITZ.COM

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