Revival coffee shops, in Alewife and Davis, have that sweet hint of Crema Cafe origins

Though Revival doesn’t have the same 02138 address of Crema Cafe, fans of the defunct Harvard Square coffee shop will enjoy spacious and attractive locations on CambridgePark Drive by the Alewife red line T station and a brand-spanking-new locale on Elm Street where the road funnels into Somerville’s Davis Square.
The folks behind Revival, Liza Shirazi and Steve “Nookie” Postal, met in 2012. Shirazi was a co-owner with Marley Brush, whose father Tom owns Flat Patties and Felipe’s Taqueria; in 2016, Postal was brought in to help run the popular eatery as Marley stepped away from the business. Then came the December 2017 sale of the historic Brattle Building where Crema was located, to North Carolina-based Asana Partners for a whopping $108 million. Shirazi and Postal, uncertain what the new lease rates would be, had already begun planning what would become the Revival Alewife location. Ultimately the rent hike forced Crema out; Asana is replacing it with New York-based coffee chain Bluestone Lane.

But the name “Revival” is coincidence, Shirazi said. “We didn’t know how Crema was going to go,” she said. “We came up with the name when thinking about space and community.”
The Alewife location is in the first level of an office building amid a spare and stark swath of generic corporate buildings. “It was about bringing culture and life back into a place,” Shirazi said. “Plus, coffee and food do provide energy.”
The Alewife Revival opened in June; its Elm Street sister opened just after the New Year. Neither is open as late as Crema – until 5 p.m. weekdays and 3 p.m. weekends in Alewife, and to 7 p.m. at Davis Square after a starter closing of 3 p.m. as the cafe settles in.


They share a menu, with breakfast served all day and a basic but creative lunch menu with a few nods to the old Harvard Square location – namely the Crema Grilled Chicken sandwich with avocado and cotija, a cheese and corn spread. There’s also an ample selection of salads, quiche, made-on-site pastries as well as a kimchi bowl and the pastrami-based “Fake News” sandwich.
The Alewife space, which Shirazi called “family friendly,” boasts a vast parking lot open to customers on weekends (during the week it’s used by tenants’ employees) and has direct access to the bike path extension from Alewife to Belmont. Shirazi commutes from Lexington, where she has a husband also in the food industry and a 2- and a 4-year-old. Postal is a longtime Porter Square resident who owns and runs the Commonwealth restaurant and market in Kendall Square.
The owners have been exploring food and beverage service options outside the traditional long-term leased storefront format: In addition to the Revivals, they run a food and coffee kiosk at One Post Office Square, in downtown Boston. At CambridgePark Drive there is another floor- level space that they plan to operate as a community beer hall called Mothership.



Less interested in right or wrong or justifications than it is about soul and motivation, Craig Gillespie’s sharp, witty “I, Tonya” plays fast and loose as it untangles the messy threads of Harding’s life, from humble origins with a controlling – if not abusive – mother to the fierce competitive could-be and a multitude of poor choices.
Given all that, it’s still an unenviable task to have to take over the reins from J.J. Abrams, the creative wunderkind who helmed “The Force Awakens” and has a reputation for making what’s old trendy and hip again – i.e., the “Star Trek” reboot – but Rian Johnson, who also scripted, proves more than game to go where Abrams has taken the next franchise trilogy, and beyond. To be sure, there’s a lot going on in “Last Jedi”; the gaping absence of Han Solo (Harrison Ford), the elevation of Skywalker back to the fore (Hamill well up to the task), the deeper darkening of Darth Vader successor Kylo Ren (a palpably conflicted Adam Driver) and the Trump-like megalomania of the craggy supreme leader with the silly moniker of Snoke (Andy Serkis doing what he does best: seamless live-action capture) and even Yoda – yes, Yoda. But Johnson, who had so effectively juggled time travel threads folding back in on themselves in the satisfying sci-fi thriller “Looper” (2012), orchestrates it all masterfully, jumping from one far-flung point in the galaxy to the next without disconnect, and with plenty of humor and wit to fill any dead space.
Set in Cold War-era Baltimore, the narrative flows through the mundane life of a demure, mute cleaning woman named Elsa (Sally Hawkins, who lays it all on the line and should be recognized for such a fine effort), who we learn grew up an orphan and was abused as a child. Given all that, Elsa’s got pretty neat digs above a classic nickelodeon (and del Toro has fun with the marquee and features it plays) and works the nightshift at a secretive military installation where all kinds of strange experiments growl and bark from behind steel doors – often requiring a SWAT team of cleaners to mop up the bloody aftermath.
A key narrative device in “Wonder Wheel” are asides to the audience by a hunky Coney Island lifeguard named Mickey (Justin Timberlake) who patrols the shores sometime after the end of the Second World War, as America sits perched on the cusp of prosperity. Hope and prospect seem to be everywhere for everybody, except a merry-go-round operator named Humpty (Jim Belushi, interestingly cast and auspiciously named) and his wife, Ginny (Kate Winslet), a failed actress turned grousing waitress. They’re both on second marriages; he has problems with the sauce, and her preteen son from a previous marriage has an affinity for lighting impromptu fires. There’s also the matter of Humpty’s daughter, Carolina (an ebullient Juno Temple), whom Humpty disowned after she ran off and married a Miami gangster. Shortly into the film Carolina returns, seeking refuge with the desire to go to night school to become a teacher. It makes for a happy reunion until mob heavies from Miami show up looking for their boss’ dame.

As if a Coen influence was not enough, the film stars Frances McDormand, who ruled the roost in the brothers’ masterworks “Blood Simple” (1984) and “Fargo” (1996), for which she won an Oscar. (She’s also married to Joel Coen). Here McDormand plays Mildred Hayes, a steely eyed woman who’s responsible for the three billboards of the film’s overly long title – and something of a bother to the town. Against blood-red backdrops the billboards say “Still No Arrests?”; “How Come, Chief Willoughby?”; and “Raped While Dying.” They concern the death of Mildred’s daughter, which has gone unsolved for months. Mildred blames the town’s beloved sheriff, Willoughby (Woody Harrelson, able to keep pace admirably with McDormand).