Classifieds

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

ACROSS
1 *Where deliveries
may be left
9 Adorn in relief
15 First three of ten
digits
16 Bad guy
17 *Airport pickup
18 State with
conviction
19 “It’s __ cause”
20 *Modest garment
22 Extra-play qtrs.
24 Influenced by, in
recipes
25 July baby, maybe
26 *Hiker’s pouch
31 Storm winds
33 Have yet to pay
34 NFC South team
35 Part of rpm
36 Whipped cream
amount
38 Musical sequence
found at the starts
of the answers to
the starred clues
40 Authoritarian
figure
44 Chair part
46 Balderdash
47 Poetic tribute
48 Volunteer’s offer
51 *Infant’s dietary
prohibition
54 Buck’s mate
55 Sun Devils of the
Pac-12
57 Afternoon social
58 *Breaking point
62 Giant
66 Where it
originally was
67 *History book
chart
69 Had to have
70 Cordial with a
licorice-like flavor
71 Prone to avarice
72 *Words of
admonishment

DOWN
1 Swimmer Torres
with 12 Olympic
medals
2 Pitcher Hershiser
3 Wine lover’s
prefix
4 Exposes to the
cops
5 Absent-minded,
to a Brit

6 Front-of-bk. list
7 Red-coated
cheese
8 Prefix with 
scope
9 Text alternative
10 Many a text
11 Get some rays
12 “The Hairy Ape”
playwright
13 Yes or no
follower
14 Brief arguments
21 Divided terr.
23 Cramp, say
26 Weather
condition in the
final scene of
“Casablanca”
27 Belt maker’s tool
28 Opposite of
paleo-
29 Flight
coordinators:
Abbr.
30 Light cigar
wrapper
32 Part of a ring
35 __ point:
embroidery 
stitch
37 Groceries
quantity
39 “u r a riot!”

41 Menagerie
42 Excitement
43 Like the bull in
the Chicago
Bulls’ logo
45 __ peanuts
48 In neutral
49 Temporary
wheels
50 Tenant
51 California’s 
Big __
52 Can’t stand

53 Didn’t hit the
books?
56 Hit the books
59 It has its highs
and lows
60 Minimally
61 Skid row regular
63 Jackson 5
brother
64 Voting no
65 Discontinued
depilatory
68 Part of rpm: Abbr.

By C.W. Stewart
©2016 Tribune Content Agency, LLC
02/03/16

02/03/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 3, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

4, 5 OR 6 BEDROOM HOUSES
1119 S. Forest ‑ May or September
1019 Packard ‑ September 
$2800 ‑ $3500 based on number of ppl
 Tenants pay all utilities. 
Both have parking and laundry. 
Showings M‑F 10‑3; 24 hour notice 
required. www.deincoproperties.com
734‑996‑1991

TEMPORARY RETAIL SPACE 
Street level store front, on EU by SU, 
UM Campus. Call 860‑355‑9665 or 
campusrentalproperties@yahoo.com

IDEAL SMALL OFFICES/STUDIOS

2nd Flr UM Campus‑ Short or Long 
Term Leases. Call 860‑355‑9665
campusrentalproperties@yahoo.com

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 !

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: 
344 S. Division $835/$855 
610 S. Forest $870 
1 Bedrooms: 
508 Division $925/$945
2 Bedroom: 
 1021 Vaughn (1 left) $1410
 
*Fully Furnished 
*Parking Included 
*Free Ethernet 
(* Varies by locations)

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

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

4 BEDROOM HOUSE 
NORTH CAMPUS/HOSPITAL 
1010 CEDAR BEND ‑ $2400 + utilities
PARKING & LAUNDRY 
734‑996‑1991

6 BEDROOM FALL 2016‑17
Central Campus House
335 Packard ‑ $3800 + Utilities
Parking, Laundry, Lots of Common area
www.deincoproperties.com 
734‑996‑1991

THESIS EDITING, LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net 

ARBOR PROPERTIES 

Award‑Winning Rentals in Kerrytown, 

Central Campus, Old West Side, 
Burns Park. Now Renting for 2016. 
734‑649‑8637. www.arborprops.com

DOMINICK’S HIRING FOR spring 

& summer. Call 734‑834‑5021.

WORK ON MACKINAC Island 
This Summer – Make lifelong friends. 
The Island House Hotel and Ryba’s 
Fudge Shops are looking for help in all
areas 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

SERVICES

FOR RENT

SUMMER EMPLOYMENT

HELP WANTED

‘Lucifer’ ascends 

By SAM ROSENBERG

Daily Arts Writer

In the Bible, the devil is 

described as a red-colored, horned 
being with a pitchfork and a malev-
olent spirit. But 
in pop culture, 
the 
devil 
has 

taken on many 
more distinctive 
appearances. Al 
Pacino 
played 

Satan disguised 
as the evil head 
of a law firm in 
the 1997 thriller 
“The 
Devil’s 

Advocate.” 
Actor and comedian Jason Sudei-
kis parodied the Biblical figure in 
several Weekend Update segments 
on “Saturday Night Live,” wear-
ing a cartoonishly bright red devil 
outfit and talking about invent-
ing every terrible attribute of the 
Internet. In the 2013 apocalyptic 
comedy “This Is The End,” the 
devil was depicted as a gigantic, 
CGI demon that butt-fucked Jonah 
Hill. This year, the devil is once 
again taking a new form, this time 
as a womanizing British nightclub 
owner named Lucifer Morningstar 
(Tom Ellis, “Miranda”) in FOX’s 
mystical crime dramedy “Luci-
fer.” And it may just be the best on 
screen portrayal of the devil yet. 

Adapted from the character of 

the DC Comics series “The Sand-
man,” “Lucifer” transcends its 
familiar police procedural for-
mat by employing sleek visuals, a 
charismatic lead and stylish pro-
duction values. Bored with ruling 
the underworld, Lucifer decides 
to live in Los Angeles (the “City 

of Angels,” get it?) and success-
fully manages an upscale night-
life hotspot called Lux. But after 
witnessing the death of his close 
friend, beloved pop star Deli-
lah (AnnaLynne McCord, “Nip/
Tuck”), Lucifer seeks to punish 
her killers — as well as the rest of 
the human scum on Earth — with 
the help of LAPD Detective Chloe 
Decker (Lauren German, “Chi-
cago Fire”). The premise sounds 
very conventional and somewhat 
derivative, but given its comic 
book roots, “Lucifer” is bound to 
boast some enthralling material.

Though most of the script is 

bland, there are some moments 
of captivating dialogue, espe-
cially with Lucifer and Detective 
Decker. The two have a fun banter 
and the sexual tension between 
them is evident, but what’s even 
more alluring about their rela-
tionship is how Decker is immune 
to Lucifer’s telepathic ability of 
uncovering 
people’s 
deepest, 

darkest secrets. This is what 
keeps Lucifer — and the audience 
— intrigued, and it’s arguably the 
strongest aspect of the series thus 
far. “Lucifer” ’s incredible alt-rock 
soundtrack is also surprisingly 
apt for the show; it includes songs 
like Beck’s “Devil’s Haircut,” Cage 
the Elephant’s “Ain’t No Rest for 
the Wicked” and The Black Keys’s 
“Sinister Kid.”

At times, however, “Lucifer” can 

be scattershot and tonally uneven. 
The camera captures some beau-
tiful shots with unconventional 
angles, but the choppy editing 
stagnates the show’s pacing. Addi-
tionally, the show doesn’t seem 
so sure of what genre it wants to 
stick with; it shifts uncomfortably 

from comedy to thriller to drama. 
While Ellis makes a few clever, 
snarky quips, some of the suppos-
edly “funny” parts of the show are 
cringeworthy, particularly in the 
scene in which Lucifer seduces 
Delilah’s therapist Linda (Rachael 
Harris, “Suits”). Unfortunately, the 
action sequences aren’t spectacu-
lar either and far from thrilling, as 
they utilize the slow-motion effect 
to a fault.

But unlike other darker and 

sillier versions of the Devil in TV 
and film, “Lucifer” and its pro-
tagonist are much more developed. 
Ellis brings both the sex appeal 
and pathos for a character who’s 
a notoriously cruel, unforgiving 
force against the most sinful and 
depraved of people. He’s similar to 
David Tennant’s sinister Kilgrave 
from Netflix’s “Jessica Jones,” 
except with a little bit more empa-
thy and likability. Underneath 
Lucifer’s smug confidence (he’s 
immortal, after all), his sympathy 
for Decker and refusal to live in 
the underworld again give him an 
emotional edge. Even the striking 
Lauren German brings energy and 
skill to her role as Detective Deck-
er, which could have been another 
cookie-cutter cop sidekick.

Considering its genre and con-

tent, “Lucifer” may draw compari-
sons to other supernatural/crime 
TV shows, like the CW’s “iZom-
bie” or FOX’s “Sleepy Hollow.” 
When juxtaposed with the light-
hearted cleverness of “iZombie” or 
dark aesthetics of “Sleepy Hollow,” 
“Lucifer” is a second-rate program. 
But once it learns to find its footing, 
“Lucifer” can hopefully join the 
high ranks of those two shows and 
the rest of television programming.

B+

Lucifer

Series Pre-
miere 

Mondays 
at 9 p.m.

FOX

TV REVIEW

FOX

Still looking at your nudes.

‘Hours’ falters, sinks

FILM REVIEW

By RACHEL RICHARDSON

Daily Arts Writer

The moment I realized that I 

wanted to be captivated by some-
thing other than Chris Pine’s allur-
ing blue eyes, I knew something 
was 
terribly 

wrong. This is 
not to say that 
the true story 
behind 
“The 

Finest Hours” 
isn’t 
compel-

ling, but more 
that it is sadly 
submerged.

“The Finest 

Hours” depicts 
four U.S. Coast 
Guard members braving a treach-
erous storm to save 32 men strand-
ed off the Massachusetts coast on 
The SS Pendleton, an oil tanker 
split in half by the raging waves. 
The painfully slow exposition 
establishes the romance between 
Coast Guard captain Bernie Web-
ber (Chris Pine, “Supermansion”) 
and Miriam (Holliday Grainger, 
“Lady Chatterley’s Lover”). Once 
the USCG crew finally gets on the 
water, the pace speeds up nicely, 
bouncing between scenes featur-
ing the Pendleton’s engineer, Ray 
Sybert (Casey Affleck, “Inter-
stellar”) and Webber aboard the 
CG-36500 rescue boat. Both have 
their foibles: Webber too strictly 
adheres to the rules, and Syb-
ert’s got this intense fear of being 
authoritative. Needless to say, no 
one actually expects either to suc-
ceed except Sybert’s father and 
Miriam, but that’s what makes the 
happy ending all the more satisfy-
ing.

Visually, it’s a decently stunning 

maritime film. The camera move-
ments are sleek but still give the 
effect of a ship violently tumbling 

in the waves. All too soon, these 
once impressive shots and com-
puter graphics become nettle-
some. There’s an extremely clever 
shot where the camera acts as a 
messenger, following a command 
as it’s passed along from the ship’s 
top to bottom. Just a few scenes 
later, the motion is repeated. 
Cinematographer Javier Aguir-
resarobe also relies too heavily on 
placing the camera in the wind-
shield and front facing window 
of the CG-36500 in an attempt to 
make viewers feel like they’re rid-
ing along with the characters. 

Pine and Affleck both give com-

mendable performances. Their 
subtlety adds a sense of realism; 
they recognize that the men did 
it for the greater good because it 
was their duty, not because they 
foresaw their efforts displayed on 
the big screen. Moments focused 
on these two strictly executing 
their missions are what keep the 
film afloat, as they temporar-
ily provide the true story (with a 
lifejacket, of sorts). Unfortunately, 
just as the desired story begins to 
surface, it’s deluged with murky 
subplots.

Most annoying is the romantic 

one. If its purpose is to help create 
pathos for Webber, it was redun-
dant — Pine’s natural charisma 
and ’50s drawl already accom-
plish that. Furthermore, the epi-
sodes of Miriam disrespectfully 
talking to Webber’s superiors and 
inappropriately acting like she’s 
the only person who will suffer 
if the CG-36500 doesn’t return 
bog down the film, only serving 
to increase our yearning for the 
historic rescue sequence. Her pid-
dling struggles, like her car gen-
tly sliding into a snow bank and 
losing her coat for a few minutes, 
seem utterly inappropriate.

Then there’s the abundance 

of archetypes, starting with the 
flawed hero. I don’t know if the 
real Bernie Webber actually had a 
tragic rescue mission before Pend-
leton, but it’s distracting in the 
film, especially when it’s frequent-
ly addressed yet skimpily devel-
oped. Both crews are composed of 
tropes: the Pendleton consists of 
the cheery, singing chef, the scared 
youngster, the rough old man and 
the pugnacious man who revels in 
making life difficult for everyone 
else. Webber’s team doesn’t appear 
much better: there’s the inexperi-
enced ship maintenance man, the 
man who holds a grudge against 
Webber for his previous mission 
and the amiable team player.

This profusion of tropes coupled 

with the overbearing romance 
sink the film into a sea of predict-
ability. Of course the fearful deck-
hand must take a valiant leap of 
faith, and something unfortunate 
happens to the jolly old chef. All 
the romantic buildup caused me 
to anticipate Miriam acting as the 
light (both literally and figura-
tively) that guides Webber home 
far earlier than I wanted to.

As this aforementioned end-

ing approached, everyone in the 
audience started gathering their 
belongings, and one gentleman 
had already meandered into the 
aisle. Then, side-by-side photos 
of the cast and those they por-
trayed slowly graced the screen. 
Written text accompanied the 
images, succinctly explaining the 
characters’ lives after the historic 
event. All the hustle and bustle 
in the theater suddenly subsided 
and the man returned to his seat, 
intrigued. When the lights flick-
ered on, everyone remained seat-
ed, eloquently demonstrating the 
fascination with real people and 
true stories, not the superficial rec-
reation.

C+

The Finest 
Hours

Walt Disney 
Pictures

Quality 16

ALBUM REVIEW
Sia shines on ‘Acting’ 

By SAM ROSENBERG

Daily Arts Writer

Even after a nearly 20-year long 

music career, Sia Furler is just 
starting to become a pop sensa-

tion. Before she released her first 
successful solo hit “Chandelier” 
and concealed her face from the 
public 
with 

her 
signature 

black-and-
blonde wig in 
2014, Sia was 
just an indie 
songstress, 
writing tracks 
for 
Christina 

Aguilera 
and 

singing 
lead 

vocals for acid jazz outfit Zero 
7. She had released five solo 
records, two of which made the 
U.S. Billboard 200 but failed 
to reach acclaim. However, her 
sixth album, 2014’s underrated, 
chart-topping 1000 Forms of Fear, 
paved the way for Sia not just as a 
songwriter but as an experienced 
musician making her way to the 
top. With her newest record This 
is Acting, Sia is embracing this 
newfound superstardom while 
retaining her deft songwriting 
abilities with 12 vigorous tracks.

Many of the tracks off This is 

Acting were intended for other 
musicians, but Sia hones her 
groundbreaking vocals and maxi-
malist production to transform 
each song as if it were her own. 
1000 Forms of Fear reflected the 
pain and loneliness of Sia’s past 
experiences 
with 
depression, 

alcoholism and drug abuse. In 
contrast, This is Acting boasts 
an overarching optimism that 
sounds both authentic and liber-
ating. On the piano-laden opener 
“Bird Set Free,” Sia howls, “And 
I don’t care if I sing off key / I 
find myself in my melodies.” It 
sounds corny, sure, but with the 
Australian singer’s impeccable 
vocal range, it’s impossible to not 
get chills. The record’s recur-
ring theme of persistence against 
adversity continues in “Alive,” 
another spine-tingling ballad and 
“Unstoppable,” an empowering 
confidence booster perfect for 
exercising at the gym or a random 
dance party in your bedroom.

Greg Kurstin — Kelly Clark-

son collaborator and renowned 
pop producer — provides the 
infectious beats of the ecstatic 
“Move Your Body,” the dancehall-
infused “Cheap Thrills” and the 
hip-hop heavy “Sweet Design” 
— arguably the album’s strongest 
track. Of course, there are some 
bumps in the road, particularly 

with the middling throwaway 
“Footprints” and the sluggish “One 
Million Bullets,” which ironically 
was the only song on This is Act-
ing not intended for another art-
ist. Yet even on songs that fall flat, 
Sia manages to add some flavor 
using her powerhouse of a voice. 
“Reaper” suffers from being a for-
mulaic ballad, but regains some 
energy through Kanye West’s 
production. The synth-pop jam 
“House on Fire” is lukewarm, 
until Sia soars when the chorus 
hits and the production switch-
es from tepid to sparkly. The 
heart-wrenching 
penultimate 

track “Broken Glass” starts out 
bland, but Sia’s two powerful 
key changes save the song from 
sounding stationary. Sia briefly 
returns to a place of brokenness 
and despair on the album closer 
“Space Between.” But instead of 
regressing into pessimism, Sia 
sounds more emancipated than 
ever.

It’s interesting to think about 

what these songs could have 
sounded like had they been 
recorded by their original per-
formers. “Bird Set Free” had 
been rejected three times, first 
by “Pitch Perfect 2” producers 
(who favored Jessie J’s anthem 
“Flashlight”), then by Rihanna 
and finally by Adele. “Alive” was 
also initially intended for Adele’s 
25, but didn’t make the cut, even 
though Sia co-wrote the song 
with Adele and indie pop art-
ist Tobias Jesso Jr. Rihanna also 
rejected “Cheap Thrills” and 
“Reaper.” Some sources specu-
lated “Unstoppable” was meant 
for Demi Lovato’s Confident, 
another pop record that, like 
Sia’s, channeled happiness and 
buoyancy while escaping past 
negative experiences. Regardless 
of how these songs could have 
sounded, Sia crafts This is Acting 
so meticulously and effortlessly 
that you forget about what could 
have been.

With the right balance of elec-

tric club bangers and poignant 
power ballads, This is Acting hits 
the ground running at lightspeed 
and doesn’t stop until the very 
end. For those who think Sia 
reached her peak with “Chan-
delier,” you could not be more 
wrong. At 40 years old, Sia is just 
getting started, and This is Act-
ing proves that she still has some 
tricks up her sleeve.

B+

This is 
Acting

Sia

RCA Records

6A — Wednesday, February 3, 2016
Arts
The Michigan Daily — michigandaily.com

