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Island City Brewing Company has plenty of personality

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By Sara Tiradossi

Simplicity and uniqueness are at the core of the new Island City Brewing Company’s philosophy.

Simple in design and original in beer choices, the brewery has been a venue for Winona residents, since it opened on 65 E. Front Street on Friday, March 17.

I was able to attend the brewery on a Thursday afternoon; at a time people decide to buy a beer after work, as a study break or to just relax.

Colton Altobell, owner of the brewery, welcomed me and offered me a beer of my choice. With his short but right to-the-point description of each beer, I picked the one I thought I would enjoy the most, called the ‘High Forest.’

While we were chatting, I also noticed four posters hanging by the taproom that characterized each beer. It definitely helped me to make my choice.

The beers at the brewery are full of personality – whether it is a light or dark ale.

Altobell said the original idea was to offer a range of flavors that would allow both beer lovers and beginners to find their own favorite drink.

“We create a variation of styles, unique to our brewery,” he said.

Their choice of flavors tries to meet seasonal demands too. At this time of the year, Altobell said it is more appropriate to offer lighter beer, compared to a fall season that will see darker color in prevalence. To him, it feels instinctual to make these considerations.

Since the opening, the IPA style beer, the current most popular style of beer, has been the most consumed at the Island City, Altobell said.

I thought the detailed menu guided customers through their decision. The beers are divided into styles, alcohol by volume content, availability, malt and hops and there is also a description for each kind, with suggested food pairings.

The menu referred to Latsch Local as a California Common style of beer, with firm, grainy maltiness and caramel flavors that give it a fruity taste. Altobell said Latsch Local is a light ale with a cold press coffee flavor in it.

Typically, coffee beer is darker but the one at the brewery is lighter. I could taste the coffee right away, and the beer afterwards. It was an unusual experience for me, and I through the two flavors did not go well together.

The Lost Compass beer is an IPA style, with an alcohol by volume content of 5.2 percent, a northwest pale malt and different kinds of hops. The beer is described as balanced, layered with depth and character, releasing something new with each sip. I liked it more than the first one, and thought it left a strong sour flavor in my mouth.

The third choice, and the one I picked, is the High Forest, a red ale style beer, light in alcohol and calories, with an alcohol by volume content of 3.5 percent and pilgrim hops. The description said the beer emerged on the idea of the color red, and the red ale delivers “supreme refreshment in the simplest way possible.”

Sometimes, I find myself having a hard time finishing a whole beer, but the red ale was definitely simple in flavor and easy to drink.

For the last choice, the Moonlight White, Altobell warned me I would taste a bitterness flavor.

Traditionally, Altobell said this beer is served with fruit or herbal syrups for added sweetness and complementary flavors. The bitter flavor, he added, comes from the hops, which give aroma to the beer.

The beer is a Berliner Weisse style, with an alcohol by volume content of 5.6 percent, pilgrim hops and wheat malt. It is described as a northern variation of the white beer style enhanced with complex flavors of stone, fruit and citrus.

Half of beer drinkers like the Moonlight White and half do not, Altobell said.

I had a chance to try the last beer with an additional cranberry juice flavor, and I thought it was too sweet with the extra flavor.

“It just depends on how you’re feeling. This is supposed to be a fun experience,” Altobell said.

When someone comes in the brewery, Altobell said he talks to the customers and tries to recommend a kind they would enjoy. Sometimes, people change their minds on a specific flavor, as they explore their options.

After sampling the beers, I was glad I chose the smooth, simply flavored red ale.

Half way through my beer, I watched Beertender Jovy Rockey serving customers at the counter and cleaning up the empty beers on the tables. Beer glasses of all sizes were set on the back shelves of the taproom, which Rockey kept filling as customers were coming and leaving.

When Altobell was thinking about a name for his brewery, he wanted to conjure a positive connotation and said Island City connected with the history of Winona, which used to be referred to as the Island City.

In the past, Winona was home to a brewery called Bub’s Brewing Company, Altobell said. It closed in 1969, and later the building was turned into an antique store.

“Breweries have always provided a product local people can enjoy,” Altobell said. “It’s deep rooted in Winona’s history.”

Growing up in town, Altobell was aware of the needs of the population, and thought Winona would be a perfect place to open a brewery because beer is a well-consumed product in the area.

He said a varied population of students, locals and tourists who pass through town would enjoy local products. By talking to a few residents in Winona, he saw the opportunity to do something different and create a place for gatherings and events.

Before starting the brewery, Altobell ran a youth summer camp for 10 years in Northern Minnesota, where he connected with his partner Tommy Rodengen, who had been involved in the brewery business for a while. After camp, Altobell worked in the Twin Cities in a few breweries.

While he was defining his business plan with Rodengen, Altobell said they had a complementary skill set that would work well if they started a business together. The two spent six months doing market research and finding the equipment they needed.

“Where Tommy had learned the brewing process, I picked up more on the operations side and the tail end of the brewing process, packaging and carbonating,” Altobell said.

One of the biggest issues was finding a place that was spacious enough to fit all the tanks where beer is produced and a taproom. The building itself, he said, has a lot of character on its own. His team tried to expose the building back to its roots and make it a warm and welcoming environment.

With the renovation, Altobell said he was able to put together with his partner a space that conveyed both a sense of antique with the wooden tables and the use of bricks, but also a sense of strong place in Winona.

“I wanted to feel connected to the history of beer and brewery of the town,” Altobell said.

The wood and the soft light are additional details to make the space feel more comfortable. Some people play cards while others study or spend time with friends.

“We didn’t have a specific mindset,” Altobell said. “We wanted to create something that would fit.”

When I first walked in, almost every table was full. The light was filtering through big square windows that afternoon, warming up the room. Soft music playing in the background was a lovely addition that allowed guests to talk while enjoying their beers.

An hour later, the tables were all taken, requiring some guests to stand by the taproom. A couple of young men were playing cards while a group of five people sat down the longest wood table in the center of the room. An older man who was part of the group said they had just left a funeral, to explain why they were wearing black.

The design of the room was balanced and logical: the owner made all of the uses of a brewery fit in one space. While workers produce the beer at the end of the room, guests in the taproom taste the final product of that work.

The space gave me a sense of order and cleanliness. There were a few small vases on the windowsills and the right amount of tables for both customers and workers to easily move through the room.

I was also caught by the well-thought proximity of the bricks with the adjacent wall that showed a hand painted map of Winona. It made the entryway look more inviting. The contrasting vibrant red tones of the bricks and the warm tones of the wall seemed like a perfect combination of colors to convey that sense of antique, and relaxation.

It seemed to me as if I was brought back in time.

When I went back to the brewery on a Friday night, the atmosphere was different. More than 50 people were talking. Some were standing and others were sitting in groups. In the back of the room, I noticed a buffet and some cupcakes and later found out most of the people were celebrating a birthday.

Customer Irina Holahan said it was her second time visiting the brewery and she had already tried all the beers. On Friday, she was with her husband and a group of friends from work, who had not been to the brewery before.

“I can really find myself here. I like that it’s different from the typical bars downtown,” she said. “Winona needed a change.”

Customer Bradley Larson was at the brewery on a weekend and said he wanted to play some games but the room was busy and he was not able to use them.

Larson added the brewery could have offered food options, and he thought there were not enough choices of beers.

“They only have four as of now, but I would expect that to change as they gain a better footing, especially during fall and winter, at a time different types of beers are brewed,” he said.

That brought me to thinking small food options could accompany the beers and make the experience even more pleasing.

Because it was more crowded than Thursday, waiters were collecting empty glasses and washing them non-stop through the night. Some customers were placing their empty glasses with a pile that had accumulated on the end corner of the counter of the taproom.

As Altobell was going over the brewing process, he said beer is made with four basic ingredients: water, grain, hops and yeast. From those four ingredients, it is possible to produce an endless variety of products, he said.

Altobell said beer making requires a lot of treatment and his team is careful with all steps of the process, such as water treatment, boiling and fermentation. When the grain has been milled, mixed with hot water and the sweet wort has been separated from the grains, fermentation begins. During this step, the yeast will convert the sugar into alcohol and carbon dioxide. Carbonation will then naturally occur from fermentation.

Island City Brewing Company Cellarman James Scudamore is in charge of parts of the brewing process, such as the monitoring of the yeast and fermentation. He has helped Altobell since October, when they were renovating the place.

“I enjoy working with the guys. I’m always open to new ideas and experimentation,” Scudamore said. “It’s nice to be able to work in this environment.”

Four people work on the production site, he said, and six on the taproom.

The taproom is Winona’s space to use for meetings, artists and music events, Altobell said.

Without a TV in the room, Altobell wants his brewery to become a place where people can commune with each other, talk, study and relax. The music is quite low, similar to a coffee house in a way, he said.

Through April, the brewery will be a venue for Mid West Music Fest and have more music on the weekends during daytime.

During the following months, Altobell plans to expand his choices of beers to eight and create an established landmark place in Winona. His hope is to be able to distribute the beer in liquor stores, bars and restaurants and expand his mark out from Winona in nearby areas as well.

Altobell said, “We have the capacity to brew a big volume of beer, more than we can consume.”

The Island City Brewing Company is an ideal place for a town that welcomes a great beer culture.

Beertender Jovy Rockey pours beer from a tap at Island City Brewing Company on Thursday afternoon, while customers order their beers.
Customers at Island City Brewing Company drink a glass of beer on Thursday afternoon in downtown Winona. The brewery opened on Friday, March, 17 on 65 E. Front Street.
At Island City Brewing Company, the beer that customers enjoy is produced from the tanks in the back of the room.

 

Film Review

Postmodern Violence in “John Wick: Chapter 2”

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By shattering conventions left and right while sticking to what made the first film so breathtaking, “John Wick: Chapter 2” is a stream-of-consciousness arthouse action film where the story, visuals and character blend together in visceral ambience.

It’s not often a film comes around that feels unique to the core, especially when looking at action flicks. After years of bland matinee-tier films like “Taken” and “A Good Day to Die Hard,” American action films have become somewhat of an anomaly in the cinematic world.

Thankfully, there’s John Wick. With style to spare, a minimalistic plot, and some of the most beautifully directed fight scenes ever put to celluloid, “John Wick: Chapter 2” proves without a doubt that arthouse action is still alive and well.

Keanu Reeves stars as ‘John Wick’ in JOHN WICK: CHAPTER 2. Photo Credit: Niko Tavernise

“John Wick” was one of 2014’s most surprising releases, seemingly coming out of nowhere. Starring Keanu Reeves during a relative career slump, with first-time directors and a February release date, expectations were low.

When it was finally released, the film caught many a critic off guard. Instead of a campy and low quality cash grab, audiences were given an ultra-modern, neon-drenched and fluid action masterpiece.

For the sequel, Reeves reteamed with director Chad Stahelski and writer Derek Kolstad to double down on the first film’s successes and blow the world of John Wick wide open.

The first film established John Wick (Keanu Reeves) as an emotional and relatable character, but it did so through his backstory and psyche. Typically, the best action heroes are the ones that audiences can project themselves onto. John McClane in the original “Die Hard” is a perfect example; a charismatic hero who acts based on understandable reasoning and who is shown to be both physically and emotionally vulnerable.

Wick, on the other hand, is a brooding hurricane of an action hero, tearing through endless waves of enemies like an untouchable force of nature.

Unlike many action stars, Reeves’ acting style is simplistic, understated and borderline emotionless. While this would normally be a death sentence in the genre, “John Wick” thrives on it. Wick’s deadpan stares and subtle humor mesh well with how the series is developing, more reminiscent of characters like Ryan Gosling’s refined roles in “Drive” and “Only God Forgives” than the boisterous and grizzled protagonists of modern blockbusters. Like much of the rest of the film, Reeves performance is minimalistic yet thoroughly impactful. As Reeves’ former stunt double, Stahelski knows how to push him to his limits, and by focusing on the unconventional, Reeves is given a chance to shine once again.

Keanu Reeves stars as ‘John Wick’ in JOHN WICK: CHAPTER 2. Photo Credit: Niko Tavernise

This destruction of stereotypical tropes and techniques plays into the style of the film as well. For one, “John Wick: Chapter 2” borrows a great deal from the recent neon noir film movement, with a visual style similar to films like the aforementioned “Drive,” “Only God Forgives,” “The Guest” and even a bit of “Blade Runner. Eminently modern, the film plays with stark contrasts between its grimy underworld and the crisp refined lighting of New York City, a dichotomy illuminated through visuals.

There are some homages to other flicks as well, particularly Japanese New Wave pieces like “Tokyo Drifter.” There are connections to its predecessor, of course, but Stahelski seems to have found his groove for where this franchise is heading, both in storytelling and visual flair. The clearly established stylization gives the film its own unique identity, which is always welcome.

Ruby Rose stars as ‘Ares’ in JOHN WICK: CHAPTER 2. Photo Credit: Niko Tavernise

“John Wick: Chapter 2” is a master class in cinematic composition. The combat is manic and rapid, but it has a smooth sense of style. There’s no uncomfortable Bourne-esque shaky cam or Matrix-style slow motion to be found here. Instead, the film is shot in a fluid, borderline ethereal manner. Every punch and broken bone is visceral and impactful, with each motion fusing together like a kinetic symphony. One sequence, filmed in a gallery of mirrors ala “Enter the Dragon,” smashes all normal action cinematic conventions, abusing the perspective of both the audience and Wick himself.

For all the neck snapping and pencil stabbing the film delivers, there are a few small quirks. Some of the fistfights play very similar to one another, with one in particular dragging on far too long, and Wick’s seemingly super-powered fighting style could be played down a bit to give some real tension and worry for viewers. That said, Wick feels markedly more at risk this time around, and the vast majority of the fights are filled with visual splendor.

Riccardo Scamarcio stars as ‘Santino D’Antonio’ in JOHN WICK: CHAPTER 2. Photo Credit: Niko Tavernise

In storytelling, this film gets a bit tricky. Shying away from the more personal and emotionally driven story of the first film, “John Wick: Chapter 2” feels like a postmodern version of an action film, with the story taking a back seat to the technical and choreographed marvels of the film’s exquisite action sequences. There is a plot, with John Wick on another quest for vengeance after he is forced back into the world that he strives to leave, but it’s barebones at best.

Screenwriter Derek Kolstad instead uses small clues in the environment and additions to the lore to expand the world of the film tenfold. The first film laid the groundwork for John Wick’s world, introducing a secret society of assassins governed by a “code,” but not much was explained. Here, that statement still rings true, with a caveat.

Instead of going out of his way to explain everything about the inner working of the shadow government, Kolstad gives audiences more questions to ponder. For instance, who is the high council? What is the marker and why are they used? Who really runs the show? One moment, Wick is fighting in a crowded train as passengers look on in uncanny relaxation, as if this is just par for the course. The next, he’s running through an empty New York City street. Everything feels slightly off and unbelievable, but there’s a definite sense something bigger is going on that still has to be revealed.

This approach to storytelling and world building is unique, but it may be lost on some viewers. Plot holes abound, but it feels as though the points are absent to make audiences think and try to piece together what’s really going on. It is narrative postmodernism, abandoning all notions of concrete storytelling to instead create an ambient world of mystery and questions. While some may find it jarring and underdeveloped, I argue “John Wick: Chapter 2”’s stylistic identity owes everything to its minimalism; a stream-of-consciousness film where the story, visuals and character blend together in visceral ambience.

Santino Di’Antonio (Riccardo Scarmarcio) and Ares (Ruby Rose) in JOHN WICK: CHAPTER 2. Photo Credit: Niko Tavernise

This leads to another important point. While the first film was a self-contained piece, “John Wick: Chapter 2” is an exercise in expansion. Midway through the film, Santino D’Antonio (Riccardo Scamarcio) puts out a massive contract on Wick and sets the stage for an assassin Battle Royale. However, this plot point is only acted on once, and then pushed to the wayside for the climactic showdown between Wick and D’Antonio. The gravity of the contract lingers, and you’re left wondering when all these assassins will take their shots.

Luckily, the final scene shows Winston (Ian McShane), the owner of the New York City Continental Hotel, demonstrating his influence over the assassins as they turn silently, in full knowledge of what is to come. It sets the stage for the final chapter, which may be the biggest one yet.

That comes at a cost to the film at hand. Franchise films are known to have one foot in the future and one in the present, constantly clashing between future set-ups and the current narrative. “John Wick: Chapter 2” suffers from this flaw, with the main narrative acting more as a means to an end than a self-contained plot.

That’s also what makes the film unique. The story falls into the background to let audiences feel the world this time around, as the veil slowly lifts on the world’s mysteries.

“John Wick: Chapter 2” is the kind of unexpected masterpiece that helps the film industry grow. By shattering conventions left and right, and instead focusing on both narrative and minimalism, Stahelski and company have proved their mastery for modern art-house action.

A vast circulatory mélange of movement and sound composed with deft hands, “John Wick: Chapter 2” is a postmodern masterpiece of action filmmaking.

Film Review

The Effervescent Joy of “La La Land”

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A gorgeous love letter to Hollywood and the dreams that keep the industry alive, “La La Land” is escapism at its finest.

If there is one thing that defined the early years of Hollywood, it would be the movie musical. After the advent of sound technology, film studios embraced the new development to produce some of history’s most acclaimed musicals, including “Singin’ in the Rain,” “Meet Me in St. Louis,” “An American in Paris” and “42nd Street.”

Now, in the 21st century, director Damien Chazelle has crafted a new film that can be added to the list. “La La Land” is more than just another musical. Chazelle’s film modernizes the genre while, with its sweeping musical numbers and breathtaking final sequence, keeps in line with its roots. It is a gorgeous love letter to Hollywood, Los Angeles and the dreams that keep the industry alive. Effervescent and engrossing, “La La Land” is escapism at its finest.

The film begins on a vast highway of deadlocked traffic, as a young woman in a bright yellow dress breaks out into song. The camera swings through the organized chaos of the dance number as drivers and passengers jubilate and twirl across the screen. Colors shine amid the frenzy, with stark reds, blues and yellows weaving a bright tapestry of visual splendor.

The cast of LA LA LAND. Photo Credit: Dale Robinette

As the cast sings “Another Day of Sun,” the first of many fantastic musical pieces in the film, “La La Land” telegraphs what is to come. It draws viewers into this escapist world of song and light while showing the dichotomy of the city itself. Even these drivers, amidst crammed unmoving cars, see the potential for beauty and success in the City of Stars. In essence, that’s what the film is about.

This is only Chazelle’s second feature, and it showcases his personal style and ideals. His first film, 2014’s “Whiplash,” became a quick critical darling and, in this reviewer’s opinion, was the best film that year. An intimate flick involving a young drummer and the constant struggle to better oneself, “Whiplash” cemented Chazelle as a lover of jazz, the lives of artists and the language of cinema.

“La La Land” doubles down on those concepts, beginning with the existential conflict of the artist’s dilemma. At its core, the film is both a tale of love between two struggling artists and how dreams are meant to be chased, even amid constant setbacks.

Sebastian (Ryan Gosling) and Mia (Emma Stone) are the living embodiment of the Hollywood dream, but not entirely in the sense one would expect. Unlike the quick success expected among the Los Angeles crowd, the two keep failing in their own right. To put it simply, they’re relatably human.

Sebastian (Ryan Gosling) and Mia (Emma Stone) in LA LA LAND. Photo Credit: Dale Robinette

Sebastian is a self-taught jazz pianist who is stuck playing simple songs as a restaurant musician, and Mia is just another ambitious actress amidst a sea of seemingly identical actresses. Both have dreams they strive to realize, with Sebastian hoping to open his own jazz cafe and bring jazz back into the forefront, while Mia wishes to act on the big screen. Yet, dreams are often easier said than done, even for people with incredible talent.

Their struggles and eventual romance are enchanting and relatable, acting as a surprisingly unglamorous backbone to a story many would associate with fame and celebrity. They fail like us, try like us and change like us. “La La Land” tells a story of real people and how their lives can come together and just as easily fall apart.

Shedding the clichés of films like “The Notebook,” Gosling has come into his own lately with stellar roles in “Drive,” “Blue Valentine” and “Place Beyond the Pines.” Here, however, he falls back to his romance roots while proving his development over the years. Perhaps his acting is a little predictable at times, but he displays great aptitude for grounding what could have been a cheesy and insufferable role.

Emma Stone, on the other hand, turns in one of her finest performances to date, which has been recognized by everything from the Golden Globes to the Screen Actors Guild Awards. Stone is constantly evocative and dynamic, yet she channels a sort of blissful simplicity that feels both fresh and wholly nostalgic.

The only problem with “La La Land” involves its supporting cast. Keith (John Legend) is the only side character who is even close to developed, with everyone else serving as either one-off plot devices or extra flair in the background.

That said, “La La Land” doesn’t try to tell us the story of a community, but of two people, and that is more than enough.

“La La Land” is proving itself with a record 14 Oscar nominations – a feat accomplished only by “Titanic” and “All About Eve” –  but not just for acting and plot. This production was made for people who love films. From visuals down to music, the film oozes style.

Figure 1: “La La Land” was awarded 14 Oscar nominations at the 89th Academy Awards, more than any other 2016 film.

Cinematographer Linus Sandgren delivers the best work of his career in “La La Land.” The color work is astounding, with splashes of light and hues bouncing off one another in every way imaginable. Several sequences take on a more stage-musical style, as Sebastian and Mia dance and sing in front of vast painted backdrops and emotive dance ensembles.  Every shot pops off of the screen.

Of course, visuals aren’t enough for this kind of film. Musicals live and die by their music, and composer Justin Hurwitz delivers. Hurwitz previously partnered with Chazelle on “Whiplash,” bringing classic jazz back into the forefront of cinema. Here, that style is expanded and improved, blending the trademarks of musicals and even a bit of pop sentimentality. Trumpets blare, drums crack and the audience is sent through a renaissance of improvisational jazz compositions.

Sebastian (Ryan Gosling) and Mia (Emma Stone) in LA LA LAND. Photo Credit: Dale Robinette

The most important distinction “La La Land” deserves comes from Chazelle’s flawless balancing act between realism and escapism. While breaking out into song and dancing through clouds is rarely associated with realism, the film feels like it exists in our world. The set pieces and extensive montages give a luminous and fantasy-laden look into the minds of Mia and Sebastian. It’s a modern musical through and through, set in an era of smartphones and electric cars, which it handles by being both grounded and eclectic.

Chazelle’s film is more than just one of the best movies of the year; it’s the beginning of something fresh. “La La Land” is not just a modernization of the movie musical, but a modernization of the love story itself. It’s a fantastic and relatable tale of the volatility of human life and love, and the ability for one’s passions and ambitions to shape them. With its masterful approach to music and visual language, “La La Land” is a film for the ages.