Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Cavern effect
5 Cornfield call
8 “Frozen” studio
14 Amorphous mass
15 “Say again?”
16 Mercedes-Benz
sedan line
17 Disapproving
cries from
bleacher “birds”
18 Prefix with meter
19 “I do” setting
20 *Ornamental
flower with
clustered blooms
23 Wall St. index
24 Steeped brew
25 Badlands bovine
29 “Green Eggs and
Ham” guy
31 Marshmallow-
filled snack
33 “I do”
36 *Blab about one’s
romantic life
39 Brainchild
41 “Dancing With
the Stars” move
42 Law school
newbie
43 *Luxury car until
the 1930s
46 Like deadpan
humor
47 Bringing up the
rear
48 Tail movement
50 “Speak up!”
51 Had a meal
54 Comment from
Fido
57 *Former PBS
science show
with a fruit in its
title logo
61 African desert
64 Beat it
65 Body support for
the end of 57-
Across, in a Swiss
folk tale suggested
by the ends of the
answers to starred
clues
66 Online form entry
67 __-fi
68 Ireland, in poetry
69 Sonnet features
70 1930s N.L. home
run king Mel
71 __ avis

DOWN
1 Flows back
2 Kids’ party
performer
3 Twaddle
4 Think constantly
about something
5 Food on the trail
6 Review of
books?
7 Unbroken
8 Tenth: Pref.
9 Crane who fled
the Headless
Horseman
10 Hit very hard
11 Snooze
12 Peoria-to-
Cincinnati dir.
13 French
designer’s
initials
21 Shipbuilding
wood
22 Hedy of
Hollywood
26 Use up cash
27 Persian Gulf
ship
28 Nice __: prude
30 Teeny parasites
32 At the minimum
setting
33 “Goodness me!”

34 Twin Cities
suburb
35 Like a run-down
motel
37 Go after, as a
mosquito
38 Elton John’s title
40 Linked while
walking, as
friends
44 Circle of friends
45 H2O, to a
toddler

49 Burrowing
rodent
52 Sculpted figure
53 Put into law
55 “The Marriage of
Figaro,” e.g.
56 Knack
58 Rolls of money
59 Agitated state
60 Funny Dame
61 Big __, California
62 Hearth remains
63 “Yo!”

By John Lampkin
©2015 Tribune Content Agency, LLC
03/10/15

03/10/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, March 10, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, March 10, 2015
Arts
The Michigan Daily — michigandaily.com

ALBUM REVIEW
Madonna embraces 
her ‘Rebel Heart’

By CHRISTIAN KENNEDY

Daily Arts Writer

Madonna’s newest LP, Rebel 

Heart is a monster. It consists 
of 14 songs, five iTunes bonus 
tracks and six 
more 
bonus 

tracks 
on 

the 
physical 

CD. That is 
25 
songs, 

compromising 
a 
90-plus-

minute 
experience 
loaded 
with 

some serious beats, five-star 
collaborations, a lot of “bitches” 
and 
an 
auto-tuned 
infant. 

Much like the hearts of mere 
mortals, Madonna’s newest LP, 
Rebel Heart has four distinct 
chambers that keep it beating: 
the cocky, the boring, the filthy 
and the impassioned.

This is Madonna’s 13th (yes, 

13th) studio album. At this point 
she has proved herself over and 
over again, and has the right 
to a song such as “Bitch I’m 
Madonna.” The beat mixes hip-
hop, funk and EDM and knows 
exactly when to drop and when 
to let off. This track also features 
another mystifying Nicki Minaj 
cameo 
(follow-up 
to 
2012’s 

“ Give Me All Your Luvin’”). 
Madge furthers her confidence 
streak on “Unapologetic Bitch,” 
“Iconic” and “Veni Vidi Vici.” 
“Unapologetic 
Bitch” 
mixes 

fighting words with a bohemian 
beat; it’s certainly an odd mix, 
but the rolling bongos dull the 
edge of otherwise in-your-face 
lyrics. To bring “Iconic” and 
“Veni Vidi Vici” to the next level, 
she enlists the help of Chance 
the Rapper and Mike Tyson on 
the former and Nas on the latter. 
Tyson opens with “I’m the best 
the world has ever seen … ” 
before Madonna comes in with 
an OK chorus. “I-can. I-con. 
Two letters apart” is clever, but 
in reality the lines don’t come 
off as natural. This track finds 
its footing in the echoes that 
follow of “iconic” and “ironic.” 
“Veni Vidi Vici” (Latin for “I 
came. I saw. I conquered”) 
recounts her career. She deems 
herself fearless and provocative 
— cheers to you, Madge. Nas 
echoes her sentiments with his 
own story; his verse is good and 
leads back to the chorus with 
some well-placed gunfire, but 
overall it’s distracting.

Madonna certainly has a lot to 

say about herself, but a handful 
of Rebel Heart tracks come out 
way beneath her. “Hold Tight,” 

a drum-backed love song, seems 
to echo sentiments of other 
tracks in a repetitive monotone. 
The two final tracks on the 
basic album package, “Inside 
Out” and “Wash All Over Me,” 
are forgettable as well. These 
tracks are honestly boring. The 
choruses don’t invite a listener 
to join in, nor do they present 
something worth listening to 
without that catch. “Autotune 
Baby” is frustrating to say the 
least. The infant wailing in the 
background offers no twist, 
just simple annoyance, similar 
to that of a baby crying. These, 
as well as bonus-bonus tracks 
“Beautiful Scars” and “Queen,” 
are 
the 
slumps 
among 
an 

otherwise uplifting, reflective 
and tantalizing album.

As 
seen 
by 
Madonna’s 

Givenchy-sponsored ass flash at 
the Grammys, she isn’t afraid of 
getting down n’ dirty. The first 
somewhat-risqué track, “Body 
Shop,” is a mess of innuendo. 
Clapping and a single drum back 
a mixed metaphor of doing the 
dirty/getting your car serviced. 
Some lines are so subtle, it’s 
hard to tell what she’s really 
singing about — I’m not sure if 
she’s looking for sex or if she 
just has a really fucked-up car. 
But no fear, she brings all the 
tricks out on “Holy Water” and 
“S.E.X.” “Holy Water,” which 
was produced by Kanye, may 
be the oral-sex anthem of 2015 
(if there’s such a thing? I don’t 
know, but there should be). It 
almost sounds like a “fuck you” 
to Kim Kardashian between the 
lines, “Bitch, get off my pole” 
and “Yeezus loves my pussy 
best.” So, if you really want to 
know if it tastes like holy water, 
you know who to ask. 

Any subtlety that may be 

present in “Holy Water” or 
“Body Shop” is thrown out of 
the bedroom on “S.E.X.” The 
deep synths that are present 
throughout the track set the 
mood, and it quickly moves 
from semi-vanilla-headboard-
breaking-sex 
to 
something 

darker. Following a dark cackle, 
string instruments take over 
for the synths, and Madge 
lists off a string of sexually 
charged phrases (“raw meat” 
and “golden shower” included). 
In short, these songs are hot. 
The beats and lustful delivery 
of lyrics work to make listeners 
sweat in their seats.

Beyond the passion for sex, 

there’s a passion for life and 
love, — a forum for where she’s 
most infectious. The number-

one, “Living for Love,” opens the 
album with that tinge of auto-
tune present throughout Rebel 
Heart. The chorus, “I’m gonna 
carry on,” stands just above 
the rest of the track’s elements, 
creating a cloud of reassurance, 
which really anchors the track 
as an empowerment anthem. 
That, 
combined 
with 
the 

grinding 
post-chorus 
synth, 

creates an impeccable pop song. 
In a somewhat similar fashion, 
“Ghosttown” allows a snippet of 
silence before the chorus breaks, 
and it’s that short transition 
from the piano-assisted verse 
into 
the 
bold 
chorus 
that 

really 
highlights 
the 
track 

among its neighbors. Finally, 
“Joan of Arc” is her down-
to-earth 
masterpiece. 
Her 

vulnerability speaks volumes, 
as it’s surrounded by sex and 
uncontrolled 
confidence. 

The message is simple: words 
hurt, and they even hurt the 
queen of pop. A single guitar 
supports her until the chorus 
comes 
in 
and 
she 
proves 

there’s strength in embracing 
vulnerability. Production and 
delivery take what would be 
a self-deprecating track and 
transform it into a powerhouse.

Finally, 
there 
are 
tracks 

that transcend any category 
imaginable. 
The 
dubstep 

inspired “Illuminati” is a club 
banger, and nothing less. The 
baseline begs to be moved 
to and the constant name-
dropping is simply lurid fun. 
The 
Super 
Deluxe 
Album’s 

closer, “I’m Addicted,” begins 
slowly, but soon blossoms into 
an amazingly catchy chorus, 
completed with rhymes and 
an infectious guitar rhythm. It 
succeeds at bringing together 
25 tracks worth of journey into 
a final track. The albums other 
feat is its title track. “Rebel 
Heart” is simply stunning; it’s 
retrospective, but also looks at 
the future with optimism. Her 
critics will say she’s desperately 
clasping at her youth, but 
“Rebel Heart” and Rebel Heart, 
for that matter, show that she 
recognizes the growth that she 
has experienced over her past 
13 albums, and that she’s where 
she wants to be.

Rebel Heart relies on its three 

chambers of confidence, sex 
and passion to pick up the pace 
of its lacking fourth chamber. 
And like any heart, it needs 
more than its four chambers 
to keep it beating; It needs 
something greater. Rebel Heart 
has that something greater.

A-

Madonna

Rebel Heart

Boy Toy Inc.

FILM REVIEW
‘Shadows’ bites into 
vampire pop culture

By CONRAD FOREMAN

Daily Arts Writer

The 
exposure 
that 

documentary films can give 
to an underrepresented group 
can 
change 

the 
dialogue 

surrounding 
important 
issues. 
The 

college 
generation 
would 
best 

remember 
this 
from 

“Super 
Size 

Me,” the 2004 
exposé on fast 
food from Morgan Spurlock. 
Playing for a limited time at 
Ann Arbor’s State Theatre is an 
equally important documentary 
from the minds of brilliant 
New Zealand comedians Taika 
Waititi (“Boy”) and Jemaine 
Clement (HBO’s “Flight of the 
Conchords”).

“What We Do in the Shadows” 

follows three flatmates, Viago 
(Waititi), Vladislav (Clement) 
and Deacon (Jonathan Brugh, 
“How to Meet Girls from a 
Distance”). The trio’s dynamic is 
much like that of any group that 
lives together. They argue over 

chores, help each other select 
outfits and provide a support 
system based on camaraderie. 
There’s one wrinkle — Viago, 
Vladislav and Deacon are all 
vampires, aged 317, 862 and 183, 
respectively. Along with their 
8,000-year-old fourth flatmate, 
a newly turned vampire, and 
everyone’s 
favorite 
human, 

Petyr (Ben Fransham, “30 Days 
of Night”) the vamps navigate 
the hardships of everyday life 
for the undead.

The film points out that 

immortality isn’t all it’s cracked 
up to be, especially when it 
comes at a cost. Vampires not 
only fear burning alive from 
any exposure to sunlight, but, 
whether they like it or not, they 
must feed on human flesh for 
sustenance. This is especially 
problematic when Viago can’t 
avoid a main artery in the neck, 
leading to quite the messy 
dinner.

Vampires 
find 
themselves 

disadvantaged in more mundane 
ways as well. Just like any of us, 
when the gang wants a night on 
the town, the most important 
decision to make is what they’ll 
wear. Their decision-making 
is more difficult than ours, 
though, because of vampires’ 

inability to create a reflection; 
they must rely completely on 
their flatmates’ guidance. Once 
they finally make their way 
downtown, their entrance to 
any nightclub is often blocked 
by the necessity for them to 
receive an explicit invitation 
before entering.

“What 
We 
Do 
in 
the 

Shadows” 
succeeds 
because 

the production perfectly toes 
the line between realism and 
ridiculousness. 
This 
starts 

with the cast, highlighted by 
Waititi and Clement, but with 
exceptional 
performances 

from every player. The special 
effects, shockingly real at times 
and cheesy at others, also work 
to create the seriously silly 
tone.

“Shadows” takes vampires, 

a concept with prevalence and 
resonance in pop culture, and 
de-glamorizes them, de-roman-
ticizes them. It shows that vam-
pires need companionship just 
as humans do, and that immor-
tality can be as excruciating 
as it is enriching. More than 
anything else, the film shows 
that what they do in the shad-
ows, while not as abnormal or 
demonic as one might expect, is 
certainly hilarious.

A

What We 
Do in the 
Shadows

State Theater

Madman 

Entertainment

FILM REVIEW
‘Chappie’ falters

By NOAH COHEN

Daily Arts Writer

Some movies are good despite 

being obviously bad. With Hugh 
Jackman (“The Wolverine”) and 
Die Antwoord’s 
Yolandi Vi$$er 
and 
Watkin 

Tudor 
Jones 

headlining, 
“Chappie” was 
supposed to be 
one 
of 
those 

movies. 
It’s 

weird, has comic appeal, has a 
uniquely Johannesburg cultural 
flavor, hosts penetrating philo-
sophical questions and sob-worthy 
reels. But it fails where a crappy 
movie isn’t allowed to fail: It isn’t 
enjoyable to watch, and it doesn’t 
leave the audience with good feel-
ings. It’s a minstrel show of vio-
lence followed by a wild stab at 
creative A.I. storytelling that may 
be compelling depending on how 
stupid you are, but at that point it 
doesn’t matter.

Cross your fingers and pray that 

“District 9” wasn’t Neill Blom-
kamp’s “Sixth Sense,” because he’s 
on a familiar downward spiral. 
Strangeness, as it’s leveraged in 
action movies, is a delicate partici-
pant and can’t be tonally dominant 
without subverting the action. 
Seating strangeness in the fore-
ground of “Chappie” puts too 
much stress on a script not coor-
dinated to juggle the shallow 
with the deep. This brings us to 
Hugh Jackman.

Hugh Jackman doesn’t know 

how to be a bad guy. He doesn’t 
have it in him. Compare his roles 
in “X-Men Origins: Wolverine,” 
“Swordfish” and “Real Steel.” 
Jackman can play a Byronic Hero, 
but he’s never had the emotional 
complexity to withstand the moral 

tidying in “Chappie.” Jackman is 
a chest-hair champion; when he 
tries to be a baddie, he just reads 
the script louder and goes harder 
in the paint. No fresh angles on 
the warmonger archetype are 
addressed here.

Dev Patel (“Slumdog Million-

aire”) plays an amazing Dev Patel. 
In fact, it’s doubtful that anyone 
could play Dev Patel as well as Dev 
Patel. Truly inspiring work. A+. The 
best acting is no acting. This brings 
us to Die Antwoord.

Die Antwoord (Afrikaans for 

“The Answer”) is a band and per-
sonality-cult composed of Watkin 
Tudor Jones, stage name “Ninja” 
and Anri du Toit, stage name 
Yolandi Vi$$er. Their stage perso-
nas are borderline psychopathic, 
and they play these exact stage 
personas in “Chappie.” Even their 
names in “Chappie” are their band 
stage names. Their band’s music 
plays in the background multiple 
times. The level of influence these 
two non-actor actors have over the 
whole production of “Chappie” 
is ridiculous and surreal. It’s as if 
the movie was written to accom-
modate the off-set antics of these 
two cast members. If anything is 
extraordinary about this film, it’s 
the power Die Antwoord wields 
over it.

One arguable plus to this mis-

take of a science-fiction is that 
“Chappie” is littered with refer-
ential and insane gimmicks. Rub-
ber chickens, “He-Man,” ninja 
stars and Anderson Cooper play-
ing Anderson Cooper in his debut 
acting role. No kidding. Google 
Anderson Cooper and Control-
F on “filmography.” This is the 
first movie to which he’s lent his 
incredible professional reputation.

“Chappie” is “Wall-E” fucked 

up beyond recognition. You love 
Chappie himself and you hate the 
world he’s born into. This film por-
trays South Africa as a sprawling, 
morally bankrupt, tech-hub trash 
heap. I want to accuse “Chappie” 
of cashing in on the American per-
ception of Africa as a savage place, 
but Die Antwoord is as authenti-
cally South African as you can get, 
without actually being Zulu.

Honestly, this movie would 

have been way cooler if Chappie 
had been raised as a Zulu, instead 
of a cheap Zef meme. Remove 
all the poorly-acted antagonists 
and let’s have that movie instead. 
Die Antwoord is the answer to a 
question Hollywood never asked, 
and “Chappie” is cut from the 
same cloth, a buckshot attempt at 
comic steampunk. For each note it 
strikes true, it gruesomely muti-
lates two others. It’s a feel-bad 
flick, overall.

C-

Chappie

Rave & Quality 16

Columbia Pictures

COLUMBIA PICTURES

Bro-bot.

