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
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734‑996‑1991
TEMPORARY RETAIL SPACE
Street level store front, on EU by SU,
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CALL DEINCO 734‑996‑1991
2016‑17 LEASING
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761‑8000
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Efficiencies:
344 S. Division $835/$855
610 S. Forest $870
1 Bedrooms:
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2 Bedroom:
1021 Vaughn (1 left) $1410
*Fully Furnished
*Parking Included
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(* Varies by locations)
2, 3 & 4 Bedroom Apts @ 1015 Packard
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pay electric to DTE; Limited parking avail
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CALL DEINCO 734‑996‑1991
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CALL DEINCO 734‑996‑1991
4 BEDROOM HOUSE
NORTH CAMPUS/HOSPITAL
1010 CEDAR BEND ‑ $2400 + utilities
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SERVICES
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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