Cairo Reviews
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CIC: 'Objects in Mirror are Closer than they Appear' Group...
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Rise of the Zombies: Just Awful
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Maestro: High Class Dining at InterContinental Citystars Cairo
Latest Review
There is a 'sublime hysteria' to everyday life, as the curators of 'Desire, Deceit & Difficult Deliveries' by Doa Aly say. Showing in Townhouse Gallery, the exhibition only seems to create a void in which this can easily be forgotten. In a contrived effort to illustrate the obsessive, yearning quality of daily life, through a crowded confused amalgamation of themes – ranging from Greek mythology to medical science – Aly fails in making her art what all good art should be: representational of its themes. The collection comes across as a poorly reworked variation on an old theme, which has been done better elsewhere. The ideas are strong, however, the aesthetics, feeling, and heart required to convey such a principle concept are lacking. Overall, this exhibition is disconnected, hollow, and was ultimately a frustrating experience. The first part of the show highlights four videos meant to tell something of the stories of the Ovid; it would take a great philosopher and historian to see this connection. But then again, maybe this is not necessary. The viewer is confronted with four videos, each in four parts, showing unidentifiable characters engaging in mechanical repetitious motions. It would seem as though the obsessive, repetitious movement of the characters on screen is meant to reflect our own schizophrenic nature, however, the rarefied atmosphere of the gallery and the removed characters, background and motions, make these pieces entirely un-relatable. In an attempt to create perhaps a universal atmosphere, Aly has created an irrelevant display that's devoid of human feeling. This absence of feeling continues on the first floor where an impressive text collage connects the poems of the Ovid with medical texts. Standing alone, this piece would have great strength, but as a bridge between two parts of the exhibition, we can see the artist attempting to create a narrative by force. That said, the first floor does feature some amazing drawings showcasing the artist's talent as well as grasp of the themes presented. The piece entitled 'Roy' offers a splendid conclusion to the exhibition. In this tragic piece we can see what this exhibition could have been. This piece shows a regular, relatable character and rather than underlying the fundamental themes of the exhibition and injecting it with human feeling, this very separate piece serves as a reminder of all that is missing in the rest of this show. We found this show to be a somewhat removed handling of human feeling and lacking in terms of expressive and honest art, which could have better occupied this space.
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When it comes to Cairo restaurants, the city's hotels are usually safe bets for an evening of fine dining. Incorporating the original Palace Al Gezira into its design, the Cairo Marriott Hotel in Zamalek remains one of the most beautiful hotels in the capital. Built in 1869 by Khedive Ismail, and once used as a temporary home to many European monarchs, the intricate neo-classical architecture is still as breathtaking as it once was. Saraya Gallery, a restaurant on the ground floor of the main palace building, is both impressive and dazzling with shining oriental chandeliers, giant golden mirrors, patterned wood wall panelling and intricate plaster work adorning the mile-high ceilings. Such a majestic setting brings on a sense of nostalgia and expectations of a meal fit for a king. Arriving in the evening, our dining experience was accompanied by the sound of soothing – and slightly romantic – live harp playing. Soon after we were seated, the menus were delivered, and we ordered the chef's recommendation of the French onion soup (45LE) for our starter, the 10oz certified black Angus New York sirloin steak (315LE), and the pasta e risotto Tuscany tour (130LE) – a dish that combined three pasta and one risotto preprations. The drinks menu was vast, filled with an infinite variety of imported wines, liqueurs, whiskeys, spirits, cognacs, beer, cocktails and non-alcoholic concoctions. One red berry iced tea (28LE) was ordered, along with a couple of large glasses of Cape Bay white wine (105LE/each). The white wine was served chilled in two enormous wine glasses, whilst the red berry iced tea was slightly tasteless, but we were afforded the chance to sweeten it ourselves with a side of syrup. To start, a complimentary bowl of delicious bread arrived alongside a butter dish. The food took a while to arrive, but all was forgiven when the plates were finally delivered underneath grand silver cloches. The onion soup was covered with a thick layer of stringy cheese which we cut through to reach thinned, flavourful soup with sweet onion pieces and the soggy bread immersed at the bottom of the bowl. The steak, meanwhile, was a colossal piece of quality meat, and happened to be our favourite of the meals. It was perfectly cooked to our medium-rare specifications and the pepper sauce was well balanced, while the side of vegetables remained a little crunchy, but was lacking seasoning. Our second side of parmesan fries was also sub-standard; undercooked with a measly cheese topping. In the creative four-pasta dish, the ravioli all'aragosta, penne all'arrabiata, spaghetti di mare, and the risotto del giorno were each unique, but some more delectable than others. The spaghetti di mare was positively al dente and sported a handful of tasty, fresh scallops and small shrimp, all rolled in a delicate tomato sauce. The penne all'arabiata, served with a generous amount of spicy tomato and basil sauce, was unfortunately undercooked, while the ravioli all'aragosta was vividly flavoured by pieces of lobster and baby shrimp. The risotto, meanwhile, was full of flavour, but the rice was slightly harder than we were expecting, which meant it didn't hold together like most risottos. On a brighter note, though, the rich mushroom and cream flavour was quite moreish. Overwhelmed by the fabulous sounding desserts, we ended our meal on a high note, ordering the chocolate croquant (70LE) to share. Despite the exotic promises of chocolate dacquoise, sable Breton and caramelised hazelnut, it was effectively a delicious log of milk chocolate mousse, with a filling of dark chocolate, covered in coco powder, with a side of scrumptious strawberry compote. We're not sure the quality of all the food entirely justifies some of the high prices; however, Saraya Gallery undoubtedly provides a magnificent setting for a formal dinner, hand in hand with some of the most professional waiters we've been lucky enough to encounter.
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Is love stronger than the laws of gravity? Well, that's one peculiar question that the Argentinean director, Juan Diego Solanas, attempts to answer in newest trippy sci-fi adventure, Upside Down. Upside Down begins with an informative voiceover explaining the story of two parallel planets – Down and Up – that are stationed exactly opposite each other, existing in the same solar system, with shared yet opposing gravity. All physical matter must obey the gravity of the world from which it comes; both planets exert an equal, but opposite, pull and messing with these laws of physics can potentially result in deadly consequences. While Down is poor and rundown, Up is rich and affluent; going Up or interacting with the people from Up is deeply forbidden, and the only thing bridging the two is the sinister company, TransWorld. As a child, Adam (Sturgees) – a hopeful young boy from Down – climbs to the top of Sage Mountain to get close to Up, only to meet the pretty young blonde, Eden (Dunst), from the planet Up. The couple's affections soon blossom; however, they also attract unwanted attention from the authorities. A bloody confrontation occurs, leaving the soul-mates stranded on their own individual planets for the next ten years. The story then moves forward and Adam – who is convinced that Eden is gone forever – is working in a run-down lab, trying to perfect a secret, pink bee pollen ingredient he's inherited; one that allows matter to detect the gravitational fields of both planets at once. Soon, he lands a job at the intimidating TransWorld and finds that Eden is working there as well. However, in order to get to her, Adam needs to fight against strict corporate rules and against the forces of gravity to find his way into her arms again. The concept is definitely unorthodox, but not entirely ridiculous. It's a rather creative concept, yes, but perhaps a little too grand for its own good. The backdrop is not the problem here – it's the story itself. To begin with, this is a tale of star-crossed lovers who will do anything – even challenge the laws of gravity – in order to be with each other. However, their story never really gets a chance to develop, and thanks to a couple of ridiculous subplots and the overpowering presence of their parallel worlds – shot beautifully using CGI effects – it never gets a chance to evoke any sympathy from, or connection to, the audience. Both Sturgees and Dunst share a decent amount of on-screen chemistry, but the characters get a little lost in their parallel worlds. With no real story to work with, Sturgees looks flustered and Dunst lacks the charisma and allure to draw the audiences in. Packing in an enormous amount of visual thrills, Upside Down is quirky, original and pleasing to the eye. However, its overly ambitious approach manages to forsake the heart of the story – or rather, lack thereof.
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Subtlety has never really concerned Australian-born filmmaker, Baz Luhrmann. The man who brought us as Romeo and Juliet and Moulin Rouge is both known and reviled for his dazzling and glitzy visual panache, and the notion of impossible love is forever present as the heart of his largely theatrical and melodramatic productions. Flamboyant and extravagant, The Great Gatsby is visually striking, but when stripped down, has little to offer. The film opens with a depressed and weary Nick Carraway (Maguire) who is being treated for alcoholism. Unable to articulate his thoughts on a man named Gatsby, he begins to put pen to paper under instructions from his doctors. We then flash back to 1922, where Nick, then a bond salesman, moves to the fictional town of West Egg, nearby to his cousin Daisy Buchanan (Mulligan) and her husband Tom (Edgerton). Nick's new home happens to neighbour that of a mysterious and elusive Jay Gatsby (DiCaprio). An enigma to his neighbours, Gatsby perennially throws the most extravagant parties, but the millionaire generally lives his life as a recluse. After discovering that Tom is having an affair, Nick receives an invitation to one of the Gatsby's infamous parties. Once there, Gatsby reveals that he is still in love with Nick's cousin Daisy, after a brief romantic encounter years before. As Nick slowly becomes entangled in the bizarre life of Gatsby, the cynicism and hypocrisy of West Egg's inhabitants drives the characters to great lengths to preserve their own vanity and sense of self-importance. F. Scott Fitzgerald's novel has continually struggled to translate onto the big-screen and previous adaptations have failed to capture the essence that made this the 'Great American Novel'. Disappointingly, Luhrmann's stab at the project has yielded few improvements. The director's trademark approach is extraordinary, and over-the-top doesn't begin to describe the flamboyant visual experience that he creates. But while for the most part it works, the unflinching visual style and the sweeping overhead shots prove to be a little too sensational for what is an intricate and complex plot. However, the biggest downfall is the emotional hollowness of the story. Luhrmann fails to infuse emotional connections between the characters, while the soundtrack – which features everything from jazz and hip-hop to techno and dance – is every bit as awkward as it sounds. Despite Luhrmann's misguided post-modern motions, DiCaprio gives the film depth with an excellent interpretation of the eponymous character's charm and allure. Meanwhile, Mulligan plays her character in a way that maintains her position as the object of desire perfectly; though she too is a victim of the absurdities of West Egg, it becomes difficult to surrender any sympathy to her. Maguire, on the other hand, shines in his wallflower role; although he is guilty of enabling many of the decisions that the characters make, he retains an innocence and naivety that is integral to the plot. All in all, Luhrmann's The Great Gatsby fails to render the novel's grandness in terms of plot, but taken as a whole package, the stylistics make for an entertaining piece of cinema.
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In the summer of 2011, Adham 'Eddie' Zidan, Magued Nagati and former Eskenderella stalwarts, Cherif El-Masri and Aya Hemeda, came together with former Sun City Girls member, Alan Bishop – also affectionately known as the almighty Alvarius B. On the surface, it's an unlikely combination, but Bishop's trademark experimental, and sometimes improvisational, approach to rock and folk has often seen the American dip into the musical stylings of the Middle East and South East Asia. One year later, in 2012, months of riffing and writing culminated in the group recording their eponymous debut album – one that shows the five-strong group to be remarkably established and confident in sound, with a complex grasp of music in its most elementary of forms. 2013 has already proven to be a fruitful year; the release of the album, in both English and Arabic versions, birthed a mini-tour of sorts, with performances at Cairo Jazz Club, 100Copies Music Space and Discord Music Nights, amongst others. The album is drenched in a very particular type of darkness and angst, taking Bishop's deep-seated underground bearing into post-revolution Egypt, and subtle Oriental nuances are threaded into the core of the songs and develop in a very organic way. And although the Invisible Hands have been branded as a psychedelic folk-rock group, the band demonstrates a certain type of versatility that allows them to operate very freely within their brand of music. Opening track, 'The Same', begins with the distant howls of dogs and sirens before launching into an oud solo, of sorts. Ninety seconds in, the track unapologetically throws you into the psychedelia of the Invisible Hands. From then on, the few elements of Oriental music that surface do so with a refinement unbeknownst to local music, most notably via piano in 'Summer Rain' and on violin in 'Death Zoo'. Apart from said Oriental touches, the Invisible Hands also draw inspirations from a plethora of sources. One such example is 'Dream Machine' which reeks of bossa nova, while retaining the underlying murky ambience that runs throughout the whole album. 'Hitman Boy' is treated in a similar way, with the group utilising familiar blues sounds under Bishop's magnetic vocals. All this has contributed to the fact that the Invisible Hands' sound lends itself very well to live performances, and anyone who has witnessed the group in action will attest to that. It is dark, it is menacing, but it has soul. The word catchy is often reviled by musicians, but this is, in no uncertain terms, one of the biggest factors in making the album accessible. 'Black Weather Shoes' makes for a perfect sing-a-long, 'Soma' invites you to twist and we'd challenge anyone to refrain from excessive foot-tapping during 'My Skull'. Importantly, however, there are no gimmicks here, no faux eccentricities and the only one who wears skinny jeans is sassy vocalist, Aya Hemeda. Instead, this is a group whose path is firmly set on producing good music. Though Bishop comes with considerable clout and has unequivocally aided the group in finding a platform, there's an intangible, magnetic energy that fuses the band's output effortlessly into an engaging, reflective and gratifyingly hazy puff of psychedelic smoke.
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Star Trek Into Darkness marks the twelfth instalment in the Star Trek franchise – which dates all the way back to 1966 – and plays as the direct follow-up to the 2009's successful reboot, Star Trek. The film launches into action with a thrilling opening sequence which finds Capt. James T. Kirk (Pine) in deep trouble. In an attempt to save Spock (Quinto) and the natives of Planet Nibiru from a catastrophic volcano eruption, Kirk puts the entire Starfleet in danger by revealing the U.S.S Enterprise's hideout and by interfering with Nibiru's primitive civilisation – prime directives which should never be broken. Even though his intentions were moral, Kirk knows that he's crossed the line. Facing demotion as an executive officer and with Spock reassigned to another ship, Kirk's lofty ambitions look more and more unlikely. Soon, all is forgotten, however, when an act of terrorism shakes London. The man behind the attack – as the Starfleet soon learns – is John Harrison (Cumberbatch); an ex Starfleet agent gone rogue, who has now escaped to the Planet of Klingons. With Kirk and Spock reassigned to the U.S.S Enterprise once again, the crew – which includes ship Helmsman Hikaru Sulu (Cho), Chief Medical Officer Leonard 'Bones' McCoy (Urban), Chief Engineer Montgomery 'Scotty' Scott (Pegg) and Communication Officer Nyota Uhura (Saldana) – are sent on a dangerous mission to capture and eliminate the terrorist. However, their mission – as Captain Kirk and his team soon learn – is not at all what it seems and disturbing secrets soon bubble their way to the surface. Director J.J. Abrams - along with the team of returning writers, Roberto Orci, Alex Krutzman and Damon Lindelof – continues to breathe life into the beloved science-fiction series and his newest addition makes the four year wait for a sequel worth it. It's nothing short of an edge-of-the-seat extravaganza with plenty of excitement to keep everyone – including the non-Trekkies – amused. Aside from the expected action-packed scenes, the writers also manage to find time for more character-oriented threads, which allow the audience to connect just a little bit more to these iconic characters. As far as the die-hard Trekkies are concerned, don't despair; there are plenty of nods to the past and trips down the memory line with references to former characters, locations and weird alien species. Pine seems to be settling into the role of the infamous Captain Kirk pretty well; emotional and driven, Pine possesses the charisma to anchor such an epic. Meanwhile, the terribly talented Quinto is magnetic; his restrained and cold exterior provides plenty of laughs and, at the same time, plenty of stirring moments as we witness significant character growth. Pegg and Urban offer much of the comic-relief, while Saldana unfortunately fades into the background. Most significantly, however, Cumberbatch shows plenty of depth as what is slowly revealed to be a complex antagonist. All in all, Star Trek Into Darkness offers guaranteesd entertainment. As an exhilarating and often moving addition to the franchise, JJ Abrams has proved that remakes, reboots and sequels can still be done well. Good job.
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With the temperature soaring, what could be better than a whole day filled with sunbathing, swimming and snoozing in the sun? Heading away from the busy city centre, the Dreamland Hilton Pyramids Golf Resort in 6th of October City offers a supposedly luxurious day-use package. With the Hilton's reputation preceding itself, we imagined a five star afternoon, along with serenity and tranquillity; sadly our experience didn't quite match our expectations. The beige and brown hotel lobby is fairly uninspiring, to say the least, and would definitely benefit from some modernisation. However, for an attractive 150LE, customers are granted use of their outdoor pool, as well as a meal and a soft drink. It's important to bear in mind that children can use the swimming pool for free – something we were unaware of before our arrival. For 500LE, a group of three people can enjoy both the pool and the spa facilities, including the sauna and steam room. Looking for a day of tanning, we went for the straightforward swimming pool day-use and instead of being shown to the swimming pool by a member of staff, we were ushered back out of reception and waved off in the general direction. When we arrived at the pool, a member of staff placed some soft, clean towels on top of our chosen sun loungers. Unfortunately, the foam mattress itself was too short for the bed – and our bodies – making for a rather uncomfortable sunbathing experience. The swimming pool is by no means large, but it is scenic, complete with bridge, palm tree and waterfall features. There's also a separate paddling pool for toddlers and babies. Of course, attending for free, both pools were busy with splashing and excited screams from crowds of young children, which somewhat disrupted the peace and quiet we'd anticipated. The drinks menu advertises a selection of fresh juices (23LE), non-alcoholic cocktails (28LE) and beer (29LE). Again, our ticket limited us to soft drinks; two canned sodas arrived chilled, alongside glasses filled with ice. The slatted tables between our sun beds were incredibly uneven, which inevitably led to many near-spillages – we'd recommend using the floor instead. The food menu is sufficient for a poolside bar, sporting a small selection of starters (35LE-50LE), pizzas (47LE-54LE), meat dishes (80LE-104LE) and desserts (40LE-48LE). Our food voucher afforded us a choice between the club sandwich (64LE), a baked toast sandwich (46LE), a golf burger (67LE) or a shish tawouk (67LE); we opted for a club sandwich and a burger, which both took a while to arrive. Fortunately, both meals were worth the wait. The club sandwich was a huge creation; imagine double-tiered, white toasted sandwich triangles, packed with fresh salad, chicken, beef, cheese and lettuce. Although the meat was processed, the overall taste was both satisfying and incredibly filling. The burger was also colossal, made from juicy, quality meat and spread with lashings of mayonnaise and flavourful melted cheese encased in a soft, fresh bun. The thinly cut fries which came with both dishes were perfectly cooked and ever-so slightly crispy, leaving us both full and satisfied. The Hilton offers a very standard, basic swimming pool day-use, complete with a good quality lunch, at a decent price. We'd recommend heading over if you don't mind your lazy day being hijacked by hyperactive kiddies.
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La Bodega is a staple on the Cairo restaurant scene. Cairenes of allsorts see the history in its walls and the years gone by. Sounds dramatic, but it's true. Over the last few months, however, rumours have surrounded La Bodega is to close down. So, think of this as an exercise in nostalgia. On the first floor of a grand old Zamalek building in 26th of July Street, La Bodega is a high-ceilinged, warm setting with lots of deep woods and stand-out furniture pieces. With three distinct areas – the restaurant, the bar and a lounge in a closed-off room towards the back – we chose a dining table with a banquet on one side, where our group of six settled in for a laid back meal. The menu is diverse and couldn't really be narrowed down to a single cuisine, with choices such as chicken curry, Algerian couscous with lamb and rabbit a la bourguignon on offer. From the array of appetisers, we chose the beef Carpaccio (55LE), which was thinly sliced and juicy, served with a light dressing drizzled on top. The spicy calamari (42LE) was cooked to a perfect consistency, but was sweeter than it was spicy. A usual hit at La Bodega is the aubergine and halloumi (38LE), and while the ingredients were all there, the dish was unfortunately served a bit cold, which didn't fare well with the cheese. On the other hand, both salads – the artichoke (33LE) and the goat's cheese (36LE) – were vibrant and refreshing, though the dressing on the artichoke was a little on the thick side. We also sampled the mushroom soup (22LE) and French onion soup (21LE); the former was absolutely delicious, being perfectly creamy and full of fresh mushroom flavour. The latter was less enjoyable, though; it was a little too sweet and quite thin. If you're looking for a heartier meal, their beef fillet (95LE) has always been a crowd-pleaser, as is there Chinese style chicken (64LE), while the wide choice of fish dishes are also a safe bet. For dessert, we selected a chocolate soufflé with rum and vanilla ice-cream (30LE). We asked for it without the rum, but regardless, the chocolate pouf of a dessert was probably the downfall of our meal. The whole thing was sloppy, with a suspicious coffee flavour to it. La Bodega of course serves alcohol, where the most expensive bottle of wine, Jardin Du Nil, goes for 230LE. All cocktails are 55LE and beer is about 20LE a bottle, or 46LE for a Heineken draught. While the food faltered in certain areas, dining at La Bodega is generally a very pleasant experience. The service is attentive, while the atmosphere itself is sophisticated yet relaxed. The best thing about La Bodega, however, is the fact that not much has changed over the years, and for that we have always been thankful.
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Every now and then, a film comes along and leaves one completely spellbound and utterly speechless long after the end-credits roll. The Place Beyond the Pines is one such example. Told in chapters, the story opens with the introduction of Luke Glanton (Gosling); a young motorcycle stunt driver working for a travelling carnival. During one of their stops in New York, he bumps into Ramona (Mendes); a girl with whom he'd had a one-night stand with during a previous rendezvous. He soon learns that he is the father of Ramona's son, and despite the fact that she is now sharing a life with a boyfriend, Luke is determined to do his part and find a way to provide and care for them. He quits the carnival and befriends low-end mechanic, Robin (Mendelsohn), who convinces Luke that his stunt-riding skills might come in handy in pulling bank robberies. The decision to venture into the world of crime ultimately puts Luke on the radar of Avery Cross (Cooper); a young police officer, and new father, whose story is focused on in the second chapter. As the two men cross paths, their split-second decisions result in a life-altering moment that will not only have an impact on them, but on generations to come. Director Derek Cianfrance – who had previously worked with Gosling in heavy 2010 indie drama, Blue Valentine – steps up to a much bigger canvas this time and still manages to deliver another incredibly stirring work of art. His carefully drawn world is compelling and unpredictable, and the unnerving and deeply moving score from composer, Mike Patton, only adds to the sense of dread that runs underneath the story's surface the whole way through. The consequences of one's decisions is the primary theme in this grand narrative and Cianfrance – with the penning support of Ben Coccio and Darius Marder – tells it in a way that feels natural and organic. The Place Beyond the Pines has already been tipped for Oscar success, partly due to the fact that Cianfrance has managed to draw out some of the best performances of the year. Gosling – whose previous collaboration with the director proved to be some of his best work to date – is once again effortless, charismatic and utterly captivating. As a man who desperately wants to do the right thing, Gosling evokes an incredible amount of sympathy to his character, while Cooper – who is slowly making his way to Hollywood elite status – delivers another magnetic performance. Even Mendes, in the role of a torn and distraught single mother, is confident, poised and manages to hold her own throughout. Transfixing and poetic, The Place Beyond the Pines is truly one of a kind. Viewers shouldn't be detered by its two-hour-plus running time; great stories like these take time to develop into epics and this is worth every minute.
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Started as a family-run bakery in 1889, Paul has grown into a full sized Boulangerie and restaurant, and has opened up authentically French branches all over Cairo. Most recently, they've opened up – arguably their prettiest establishment – on Geziret El Arab Street, catching the fashionable shoppers from the near-by Lebanon Street. The black and white front gives the shop a modish look, whilst a large window display of baked good tempts the customer up a set of LED lit steps and through their double doors. We love how this Paul has spread their sophistication right up to the edge of the pavement, with traditional lamp-posts, potted plants and a screen across one side. The rustic-chic theme continues with the interior; polished wooden tables and chairs, neutral colours and a black and white chequered floor almost transports you to a quaint Parisian cafe. The waiting staff are pleasant, polite and courteous, always serving ladies first – even getting our hand bag it's own chair – whilst being ready and willing to offer their suggestions from the menu. Soon after we were comfortably seated, a complimentary basket full of fresh, flavourful brown and white bread slices was delivered swiftly to our table, along with a delicious olive tapenade, a pot of butter and olive oil and balsamic vinegar. The menu is a vast array of delicious-sounding dishes, made even more exotic by their French titles. Out of a selection of soups and quiches for starters, we opted for one Soupe a l'oignon traditionelle – or onion soup - (35LE) to share. Much to our delight, it was served in the middle of a cut-out brown loaf, rather than a standard bowl. Unfortunately though, the outside of the loaf was slightly charred, tainting the overall taste of the otherwise delectable rich soup. Bypassing all the sumptuous sounding steak, fish, salads, sandwiches and savoury crepes options, we settled on one poulet roti aux amandes (89LE) and a Gratin de macaroni au poulet (65LE). In English, the poulet was described as roasted almond chicken breast, filled with camembert cheese, whilst the gratin appeared to be a cheesy curried pasta dish, rolled with broccoli and chicken pieces. Considering the prices are slightly on the high side, neither dish looked particularly large, but before long we were struggling to finish them. We couldn't taste a lot of almond in the tender pieces of chicken, although this was probably due to the strong tasting, velvety camembert filling. The side of vegetables were well-cooked, leaving a slight crunch to the carrots, green beans and asparagus, placed alongside a mound of buttery mashed potato puree. The pasta dish was also brilliantly cooked, with a subtle hint of mustard in the creamy curry and cheese sauce. The salad side was fresh and crisp, drizzled with tangy vinaigrette. As for the drinks, there's plenty to choose from; teas and coffees (13LE-25LE), sodas (13LE), iced drinks (16LE-22LE), fresh juices (19LE-25LE) and Paul's signature cocktails (24LE-29LE). We chose one banana berries (26LE) – a fruity mix of strawberries, blueberries, red grapes, banana and fresh apple juice – and an Apple Cooler (24LE), complete with apple, strawberry and orange juice. Both were positively delectable, fresh, fruitful and incredibly satisfying, with the Banana Berries faring only slightly better in terms of flavour. Paul is also known to be a perfect spot for a relaxing cup of tea and slice of cake. A diverse selection of scrumptious cakes, pastries, macaroons and other sweet treats sit behind a sparkling counter, but are also conveniently listed in the menu. Moving away from the chocolate treats, we went for one sharp, bitter-sweet lemon tart, the 'tartelette citron' (24LE), which we certainly wouldn't hesitate to recommend. If you're looking for an fashionable, upmarket, safe-bet for dinner or dessert, we'd recommend heading over to Paul. Bon apetite!
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