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 ! 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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