Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Short one at the
bar?
4 Flabbergasts
8 One taking up
slack?
13 Landlocked
African country
15 Thread bits
16 Running bowline,
e.g.
17 Prepare to take off
18 Mediterranean
landmark
19 Dessert that just
sounds wrong
20 Cuisine to swear
by?
23 __ orange
24 Trail follower
25 Downed a link,
say
26 Traps for 15-
Across
28 Caught porgy
and bass
30 Ice __
31 Feuding house of
Verona
35 Site of a
mortician’s
monopoly?
40 Swift output
41 Café freebie
43 Charmingly retro
46 Rejects
49 Link for Ludwig
50 Believes
54 Actress Graff
55 Ode to a
Nightingale?
58 Shock source
59 Bit of concert
memorabilia
60 Quinoa
alternative
62 Latin stars
63 New Yorker
cartoonist Peter
64 Rent-__
65 Drives off
66 Linking device
67 Med. care option
DOWN
1 Fake it
2 “We’re on!”
3 Green shelter?
4 “Hard __!”:
captain’s
command
5 Baker’s neighbor
in “Into the
Woods”
6 Jaded state
7 Barren
8 Shopper’s mecca
9 Dire destiny
10 Cosmetics giant
11 What you will
12 Landed, with “in”
14 Gloomy air
21 Shocking
swimmer
22 Sailor’s ability
23 __ roll
27 Sovereign symbol
29 Bygone muscle
car
32 Small juice
sources?
33 Ace
34 Org. with subs
36 Prefix for a
lifesaving “Pen”
37 Mosquito Coast
country
38 Reaction to
suddenly
becoming flush?
39 Concerned
parent’s
installation
42 Employment
43 Mandated
amounts
44 Remove, as
bindings
45 Expands, as a
deck
47 Sales meeting
metaphor
48 Conservative
leader?
51 Outlet for one’s
thoughts
52 Densely
populated area,
briefly
53 Spirit
56 Emperor famous
for playing an
instrument that
hadn’t been
invented yet
57 Wind in the
reeds
61 Ranch closing?
By John Lampkin
©2016 Tribune Content Agency, LLC
01/08/16
01/08/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, January 8, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
ARBOR PROPERTIES
Award‑Winning Rentals in Kerrytown,
Central Campus, Old West Side,
Burns Park. Now Renting for 2016.
734‑649‑8637. www.arborprops.com
APARTMENT ON A horse facility.
New one bedroom, 15 min from main
campus. Must be an accomplished horse
person. Light farm and horse work and
farm sitting in exchange for rent.
Email all inquiries to jchaconas@ccim.
net
NEAR CAMPUS APARTMENTS
Avail Fall 16‑17
Eff/1 Bed ‑ $750 ‑ $1400
2 Bed ‑ $1050 ‑ $1425
3 Bed ‑ $1955
Most include Heat and Water
Parking where avail is $50/m
Many are Cat Friendly
CAPPO 734‑996‑1991
www.cappomanagement.com
! NORTH CAMPUS 1‑2 Bdrm. !
! Riverfront/Heat/Water/Parking. !
! www.HRPAA.com !
2, 3 & 4 Bedroom Apts @ 1015 Packard
Avail for Fall 2016‑17
$1400 ‑ $2700 + gas and water; Tenants
pay electric to DTE; Limited parking avail
for $50/mo; On‑site Laundry
CALL DEINCO 734‑996‑1991
5 BEDROOM APT Fall 2016‑17
$3250 + $100/m Gas & Water + Electric
to DTE, 3 parking spaces no charge
1014 V
aughn #1 ‑ multilevel unit w/ carpet
CALL DEINCO 734‑996‑1991
1, 2 & 3 Bedroom Apts on Arch
Avail Fall 2016‑17
$1050 ‑ $2500 + electric contribution
CALL DEINCO 734‑996‑1991
2016‑17 LEASING
Apartments Going Fast!
Prime Student Housing
761‑8000
www.primesh.com
Efficiencies:
726 S. State 1 Left $785
344 S. Division $835/$855
610 S. Forest $870
1 Bedrooms:
726 S. State 2 Left $1125
508 Division $925/$945
2 Bedroom:
1021 Vaughn $1410
House:
934 Dewey $2595
*Fully Furnished
*Parking Included
*Free Ethernet
(* Varies by locations)
WORK ON MACKINAC Island This
Summer – Make lifelong friends.
The Island House Hotel and Ryba’s
Fudge Shops are looking for help in all ar‑
eas beginning in early May: Front Desk,
Bell Staff, Wait Staff, Sales Clerks,
Kitchen, Baristas. Housing, bonus, and
discounted meals. (906) 847‑7196.
www.theislandhouse.com
1 & 2 Bedroom Apts on Wilmot
Avail Fall 2016‑17
$975 ‑ $1575 Plus Electric to DTE
Coin Laundry Access, Free WiFi
Parking Avail $50‑$80/m
CALL DEINCO 734‑996‑1991
YOGA AT THE Zen Buddhist Temple,
1214 Packard St. Teacher experienced
with
all
levels
of
Yoga,
6
week
session
be‑
gins Tuesday, Jan 12 at 6:30 pm. Those
new to yoga should come 15 min early.
(734) 761‑6520.
6 BEDROOM House May 2016
1119 S. Forest ‑ $3900 plus utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
734‑996‑1991
THESIS EDITING, LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net
FALL 2016 HOUSES
# Beds Location Rent
6 1019 Packard $4200
4 852 Brookwood $2600
4 1010 Cedar Bend $2400
Tenants pay all utilities.
CAPPO/DEINCO
734‑996‑1991
FOR RENT
SUMMER EMPLOYMENT
SERVICES
6 — Friday, January 8, 2016
Arts
The Michigan Daily — michigandaily.com
‘Point Break’ misses
the point and breaks
By MATT BARNAUSKAS
Daily TV/New Media Editor
Remakes are nothing new in
Hollywood. Some of the greats,
like Alfred Hitchcock and Cecil
B.
DeMille,
have
even
remade
their
own
works.
But
there’s
something
depressing
about the cur-
rent
remake
movement
presently
ensnaring the cultural landmarks
of the ’80s and ’90s. In attempt-
ing to adapt the excesses of these
eras to the modern day, filmmak-
ers have decided that sucking all
the energy out of these films is
the best course of action — drain-
ing all shades of fun until the new
version is as dull and colorless as
their desaturated visuals. “Point
Break” is a continuation of this
disappointing trend, following in
the footsteps of films like “Total
Recall” and “RoboCop.”
The original “Point Break”
is far from a work of genius. It
edges into the ridiculous, but
it fortunately cast future icons
of the time including Keanu
Reeves (“The Matrix”), Pat-
rick Swayze (“Dirty Dancing”)
and, for better or worse, Gary
Busey (“Lethal Weapon”). The
memorable cast paired with the
high-energy filmmaking of the
then on-the-rise Kathryn Big-
elow (Oscar winning director of
“The Hurt Locker”) elevates the
film into the memorable terri-
tory of cult classic. However, the
remake is a dour affair of little
entertainment value filled with
weak, flat characters and ideas.
Following former extreme
poly-athlete Johnny Utah (Luke
Bracey, “The November Man”),
“Point Break” sees its protago-
nist join the FBI after a tragic
motorcross accident claims the
life of his friend (Max Theriot,
“Bates Motel”). When a series of
high stakes heists perplexes his
superiors, Utah theorizes that
the perpetrators are attempting
the legendary “Ozaki Eight,” a
series of extreme sports trials
meant to honor nature. Going
undercover,
Utah
immerses
himself within a radical group
of athletes and eco-warriors,
led by Bodhi (Édgar Ramírez,
“Deliver Us From Evil”).
While “Point Break” keeps
the same overall story of its pre-
decessor, the filmmakers fail to
breathe new life into the char-
acters. Bracey continues the line
of Australian, Sam Worthing-
ton/Jai Courtney types that
grow increasingly bland with
each
new
incarnation.
His
Utah is formulaically brooding
as he tries to find his place in
life between the wildness rep-
resented by Bodhi’s crew and
the structure of the FBI, sig-
nified by the figure of Pappas
(Ray Winstone, “The Depart-
ed”). Bracey never sells this
inner conflict, mainly because
screenwriter
Kurt
Wimmer
(who wrote the underwhelm-
ing “Total Recall” remake)
never gives him any opportuni-
ties. Utah just gets swept up in
whatever side is convenient, his
attachment never truly devel-
oping for either of the causes.
Meanwhile, both Bodhi’s crew
and the FBI struggle to make
any impression. Wrapped in self-
seriousness, the two groups are a
drag to be around. The extreme
athletes are a boring bunch with
hardly any distinguishable char-
acteristics between them. Instead
of personalities, every member
just spouts the same pseudo-
philosophical
rhetoric
about
finding balance, pursuing their
“line” and protecting the Earth.
Early on when one member dies
snowboarding, it becomes hard
to remember which one he was
or even his name — he had blonde
hair … I think his name was
Chowder? Oh well, let’s skip to
the next party scene so we can get
some generic product placement
and attractive women dancing.
Winstone hardly does any
better, trying his best in a
thankless role that amounts to
being a gruff veteran with no
other personality traits outside
of occasionally putting Utah in
his indecisive place. Ramírez is
the only actor to at least make
an impression with his role, but
even his talents can’t lift the
leaden preaching of Bodhi.
The film tells the audience
how connected characters are
instead of developing these rela-
tionships organically through
genuine interactions. This fail-
ure is most egregious in the
romantic subplot between Utah
and Samsara (Teresa Palmer,
“Warm Bodies”), who only seem
to talk to each other in broad
platitudes — at least the pair
look pretty, if that’s any consola-
tion.
Like its other remakes, the
characters take themselves far
too seriously in “Point Break,”
robbing them of any relatabil-
ity or humor. They’re shallow
cutouts who go to fight clubs
and flip off the camera with a
scowl, all in the name of being
gritty. Every line is delivered
with a straight face and no self-
awareness of their own ridicu-
lousness. At one point, Bodhi
declares “The only law that mat-
ters is gravity” — he must have
never learned about the laws of
thermodynamics or any other
laws of physics. The line is so
unaware of its own absurdity
it becomes laughable. Because
“Point Break” is so engaged in
its own self-importance that it
forgets to have fun with itself, its
over-the-top moments become
even more unbelievable.
These problems are all really
unfortunate, considering the
stunt work in “Point Break”
is actually quite impressive
and employs some of the best
extreme sports athletes per-
forming on location. However,
Director Ericson Core (“Invinci-
ble”) never elevates these scenes
to reach their full potential. It’s
hard to invest in these high-
wire acts of daring when the
characters that are performing
them in the film are so forget-
table that you can’t remember
or don’t care what happens to
them, forming scenes that are
dramatically empty and devoid
of momentum.
With its energetic source
material and solid stunt work,
“Point Break” has no right to
be boring, but it somehow finds
a way to become increasingly
dull and unexciting as it slogs
through its nearly two-hour
runtime. Whether it’s dimen-
sionless characters or a need
to weigh down every scene
with overt seriousness, “Point
Break” is a joyless labor to get
through. Instead, go see a film
like “Creed,” “The Force Awak-
ens” or “The Hateful Eight”
— productions that use ideas
from their predecessors in new,
engaging ways instead of drain-
ing the life out of them. Or just
buy the original “Point Break” —
it’s on sale on Amazon.
WARNER BROS.
Which one is Gary Busey?
D+
Point
Break
Warner Bros.
Rave & Quality 16
The year’s
longest GoPro
commercial.
Misplaced focus
in ‘Danish Girl’
Eddie Redmayne
film not the story
we deserve
By REBECCA LERNER
Daily Film Editor
In 2015, the transgender com-
munity had more exposure in
the mainstream media than ever
before.
This
representation
wasn’t
always
positive — there
was the horri-
bly disrespect-
ful transgender
reveal of the
sociopathic
A
of “Pretty Lit-
tle Liars” and
the superficial
view of trans issues brought up
by Caitlyn Jenner’s reality show
“I Am Cait” — but there has also
been realistic and positive repre-
sentation in the recent film “Tan-
gerine” and the television shows
“Transparent” and “Orange is
the New Black,” which more
accurately portray the transgen-
der experience.
“The Danish Girl” contributes
to this mixed representation of
the
transgender
community.
Directed by Tom Hooper (“Les
Misérables”), the film is a beau-
tiful yet superficial depiction of
the life of a transgender pioneer.
The film’s protagonist, the
Danish painter Einar Wegenar
(Eddie
Redmayne,
“Jupiter
Ascending”), struggles with “the
mistake of nature” that made
him a biological man instead of
the woman he truly is, a dan-
gerous identity to claim in the
1920s. From our first glances of
him brushing his fingers over
racks of dresses and gently fix-
ing his wife’s lipstick, it is clear
that Einar is drawn to the tac-
tile sensations that come from
a traditionally feminine experi-
ence. When his wife, fellow art-
ist Gerda (Alicia Vikander, “Ex
Machina”), needs him to don a
dress, heels and stockings so she
can finish a painting, Einar has a
visceral reaction to the feminin-
ity of the materials.
Einar’s experimentations with
the flexibility of his gender start
as a joking game with his wife. It
begins with him wearing Gerda’s
camisole under his outwardly
masculine attire, but becomes
much more serious when his
wife dresses him up entirely in
women’s clothes, his wife’s friend
christens him with the name Lili
and Lili goes to a party in the place
of Einar. As Lili, Einar becomes
who she was meant to be. With
Gerda’s unwavering support, Lili
seeks sex reassignment surgery —
the first person to attempt it. After
meeting with several doctors and
being diagnosed with schizophre-
nia and other mental illnesses,
they finally find an understanding
doctor willing to discuss the pos-
sibility of surgery.
“The Danish Girl” fits in per-
fectly with the rest of Hooper’s
directorial repertoire, with its
beautiful pastels and elegant
establishing shots of Denmark
and Paris reminiscent of his
other works. The movie itself is
well done and affecting, but its
story focuses more on the cis-
gender protagonist, Gerda, than
Einar’s transition to Lili. This
isn’t to say that Gerda’s narrative
is unimportant, as the emergence
of Lili and the loss of Gerda’s hus-
band is a traumatic and compel-
ling storyline. But even the film’s
title, when said in the movie, is
referencing Gerda as “the Dan-
ish girl” in Paris. It makes one
wonder whose story this movie is
actually telling.
The film has also faced back-
lash for its employment of a cis-
gender actor, Redmayne, in the
role of a transgender person.
While Redmayne performs admi-
rably and will surely be nomi-
nated for a myriad of awards for
his role, it’s a shallow interpreta-
tion of an incredibly meaningful
event in the life of a transgender
person. His interpretation of Lili
is lovely and sad, but superficial in
its attempt to show the emotions
behind the new identity.
“The Danish Girl” tells the tale
of two transformations — that
of Einar to Lili and that of Gerda
from happily married to single.
Unfortunately, the prominence of
Gerda’s arc indicates that while
the story that’s there is beautiful
and imaginative, audiences may
have to wait before a transgender
narrative can be the first priority.
B+
The Danish
Girl
Focus
Features
State Theatre
FILM REVIEW
FOCUS FEATURES
“Will I get another Oscar for this?”
FILM REVIEW