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    Deliman Satisfies

    Crowd-pleasing movie starring Houston's deli king defines real comfort food

    Eric Sandler
    Feb 28, 2015 | 11:30 am

    Houston has a starring role in the documentary Deli Man, which debuted at the River Oaks Theatre Friday. Ziggy Gruber, the "Delimaven" behind Kenny & Ziggy's New York Delicatessen Restaurant in the Galleria area, stars in the movie, which examines the role delis played in Jewish culture during the 20th century.

    Through interviews with celebrities like Larry King, Jerry Stiller and Fyvush Finkel, Deli Man documents the rise of deli culture beginning with Jewish-German immigrants in the 1850's and kicking into high gear when Eastern European Jews came to America in the 1880's and 90's.

    According to the movie, certified kosher delis peaked in 1931 at over 1,500 in the five boroughs of New York alone — an astonishing number that doesn't include New York's suburbs or kosher-style establishments that served both meat and dairy. Interviews attributed part of delis' success to their ability to provide Jews with a taste of home (goulash, offal soup) while also serving up new dishes like corned beef sandwiches that never existed in Europe.

    Recruited by real estate developer Lenny Friedman to come to Houston in 1999, Gruber says that at first he considered the city to be "like Deliverance for Jews," but Kenny & Ziggy's quickly found an audience.

    Commentary from deli owners and their descendants, many of whom are second and third generation delimen like Gruber, document the central role that restaurants like the Carnegie Deli, Stages Deli and the 2nd Avenue Deli played in people's lives. Whether celebrating a birth, mourning a death or any family occasion in between, Jews turned to delis for comfort and sustenance.

    After World War II, Jews migrated to the suburbs and deli culture withered. Between assimilation and the destruction of Eastern European Jewry during the Holocaust, not much new blood came into the deli business. Today, only about 150 kosher or kosher style delis exist in the entire country.

    In addition to this look at deli culture and history, the movie provides some insight into Gruber's life. How he, as a third generation deliman, entered the business under the tutelage of his grandfather at the age of 8 and never looked back.

    The movie documents that Gruber attended Le Cordon Bleu in London for culinary school and was headed on a fine dining path when he attended a deliman's convention in New York and changed paths to enter into the family business. Recruited by real estate developer Lenny Friedman to come to Houston in 1999, Gruber says that at first he considered the city to be "like Deliverance for Jews," but Kenny & Ziggy's quickly found an audience.

    Gruber's brother describes him as "married to the deli," but Deli Man has a romantic side. The movie follows Gruber's budding relationship with Mary McCaughey. One of the movie's final scenes is their wedding in Hungary at the same synagogue where Gruber's grandfather became a bar mitzvah. The Grubers recently became parents with the birth of their daughter, Izzy.

    "The reality is I’m always the same way," Gruber says. "What you see is what you get. If you follow me around, this is who I am."

    At a party to celebrate the premiere Wednesday night, Gruber tells CultureMap that he's very happy with the way he's depicted in the movie. "The reality is I’m always the same way," Gruber says. "What you see is what you get. If you follow me around, this is who I am."

    Gruber's marriage and the rise of two new delis, Caplansky's in Toronto and Wise Sons in San Francisco, help end the movie on an upbeat note. Deli culture may never exceed its Depression-era peak, but, with stewards like Ziggy Gruber, Jews and Gentiles alike will always have access to corned beef, knishes and matzah ball soup.

    Gruber's immediate future as it relates to Dubrow's New York Grill, his concept for the former Sorrel Urban Bistro, has been stalled by a landlord dispute. Asked for a status update, the deliman is polite by succinct. "We’re just letting our attorney handle the whole thing. That’s all I can talk about, but we’re very confident," Gruber says.

    Whatever the future holds, Deli Man is a worthwhile watch. Just don't go hungry. Or, if you do, have plans to eat immediately after.

    Full disclosure: The author's mother contributed money to the production, and she is thanked in the credits.

    Ziggy Gruber celebrates the premiere of Deli Man at the River Oaks Theatre.

    Ziggy Gruber Deli Man premier
    Photo by Troy Fields
    Ziggy Gruber celebrates the premiere of Deli Man at the River Oaks Theatre.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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