ACROSS 1 Wife of 25-Down 5 Flipping burgers, e.g. 10 Victorious shout 14 Sylvester’s speech problem 15 Now, in Nuevo León 16 Nixed, at NASA 17 Corrosive stuff 18 Be homesick (for) 19 Country legend Tennessee Ernie __ 20 Gradually exhaust 22 Helpful staffers 23 Amiss 24 Nag 26 Embarrassing slip-ups 29 Bottom-line red ink 32 “That’s all she __” 33 Bear shelter 35 Infamous vampire, familiarly 36 One’s self 37 Salon task 40 Korean carmaker 41 Like Lady Godiva on horseback 43 Author __ Stanley Gardner 44 Upright 46 Darkest lunar phase 48 Some school uniform parts 49 Salon task 50 Part of a progression 51 Corned beef solution 53 Ogden Nash specialty, and a hint to this puzzle’s circles 57 Count for something 58 Cooper of shock rock 60 Pre-euro Italian money 61 Sign of the future 62 German thanks 63 One of seven for Julia Louis- Dreyfus 64 Skin growth 65 Ice cream helping 66 “Slammin’” slugger Sammy DOWN 1 Imperfection 2 Grain in some cakes 3 Where billions live 4 Rising air current 5 City VIPs 6 Like taffy 7 Cusack or Crawford 8 Bobby of the Bruins 9 Outlaw 10 Shortstop’s realm 11 Furniture maker, e.g. 12 “Puss in Boots” baddie 13 Signaled yeses 21 Geeky type 22 Singer Garfunkel 24 Derogatory 25 Husband of 1- Across 26 “Miracle on 34th Street” actor Edmund 27 Pick a fight (with) 28 Restaurant reviewer 30 Superdome NFLer 31 Tons 33 “SNL” producer Michaels 34 Piercing tool 38 13 popes 39 Teamed, as oxen 42 Highly respected 45 Baby bottle parts 47 __-man band 48 Meryl of “The Iron Lady” 50 Great, in show biz 51 It may be furrowed 52 “__ Lama Ding Dong”: doo-wop hit 53 Sot 54 Wheels for the well-heeled 55 Akimbo limbs 56 “Divine Secrets of the __ Sisterhood” 58 Magazine fillers 59 Fond du __, Wisconsin By Ed Sessa ©2016 Tribune Content Agency, LLC 03/22/16 03/22/16 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Tuesday, March 22, 2016 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com ! 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Now that the power-hungry psy- chos have been deposed, we’re going to install a central gov- ernment that doesn’t divide people based on categories so lurid and inane they could only come from a childish dystopian thriller, right? And next, we’ll send a small envoy outside the wall, because blindly remain- ing inside a city and forbidding everyone to leave for no appar- ent reason is crazy, right? Whatever. The trials for the dethroned Chicago govern- ment thugs begin. The trials turn into executions. The Fac- tionless have done away with the defunct Faction system of government, and without neat little categories, Chicago has fallen under mob rule. Johan- na (“Octavia Spencer, “Snow- piercer”), former leader of the “Amity” faction (read: the obvi- ous good guys), sees everything going to hell and wants to rein- state the Factions so people stop killing each other. She takes charge of the dissenters and names them the “Allegiant,” as in, allegiant to the old system of government. So now, Evelyn and Johanna sit down at a table with a handful of their top advi- sors, including Tris, de-facto leader of the former “Daunt- less” — despite being cute, sixteen and apparently well- shampooed — and they all dis- cuss how they can preserve the infrastructure, prosperity and humanity of their tiny nation, right? Instead, they all pull out guns. Including the former members of Amity. Tris, our hero, cares deeply about the people of Chicago. So she speaks up and tells every- one they’re being stupid, right? She tells her boyfriend’s mom that violence isn’t cool, right? Nah, she’s out. She escapes the walls of Chicago with Four, her brother Caleb (Ansel Elgort, “The Fault in Our Stars”) and a couple other eye-candy party members. They’re greeted out- side by the Real Government, who tell us that Chicago is a big genetic experiment and that everyone in dystopian Chi- cago is merely a specimen in a hyper-sophisticated breed- ing terrarium overseen by the Bureau. Apparently, human genetic modification caused a nuclear apocalypse and Chi- cago is an attempt to get the human genome to revert to an au naturel state. A minute of nonsensical scientific justifica- tion later and we’re mostly cool with this status quo. David (Jeff Daniels, “The Newsroom”), the head of the Bureau, tells Tris that the “Divergent” (i.e. her- self) are everything the experi- ment has been looking for. Tris is upset that everyone she’s ever known is currently killing each other, and asks David to inter- vene in the experiment. David, the biggest liar who’s ever lied, says, sure, honey, just come with me and I’ll talk to the Council, who are the Real Bosses. Meanwhile, the Bureau has Four suited up, skimming the post-apocalyptic hellscape for settlements. He descends upon one with a hundred other Bureau meatheads and witness- es the Bureau taking children back to its not-irradiated tech castle. They leave the parents of the kids to die out there, or in some cases, shoot the parents themselves. Then they wipe the kids’ memories. They seem to have the technology to com- pletely de-irradiate people, but they rip the families apart any- way. No explanation. This isn’t one of those moral cliffhangers that turns out to have a twisty- but-reasonable explanation. It’s just insane. They fly around saving starving, irradiated kids whose families have no weap- ons that could possibly pierce their personal force fields, and yet they tote giant guns and screw the parents for no iden- tifiable reason. This is top-shelf nonsense. So Tris goes to the Council, finds out that David is a liar, and hightails it back to Chicago to save her people. Four has already tried this, but he was remarkably ineffective, so his rebel-turned- dictator mom locked him up and now Tris has to save him in addi- tion to stopping the war. Only now, David wants to mass-wipe the memories of everyone in Chicago with the same memory- wipe gas he’s been using on the settlement children. Why is he suddenly cool with intervening in his own experiment to save lives? No idea, but if there were ever a good reason to mind-con- trol an entire city, it would be to stop ongoing genocide. Tris isn’t cool with this, however. She saves Four and they blow up the gas machine. The kids save the day, except for that geno- cidal war that’s still going on. But we’ll get to that in the next movie. The last moral lesson in this movie is that violence solves problems and nuclear unmanned drones are an awe- some idea. Tris’s crew puts a bomb in an unmanned craft, sets it on autopilot and sends it back to the Bureau. The last scene in the movie is the crown jewel of unintentional Holly- wood irony. Tris and her homies watch their drone-nuke blast the Bureau to smithereens from the edge of Chicago, while Tris’s overdubbed voice explains the importance of working together and eschewing constructs that divide and hurt people. I mostly blame the main writer, Noah Oppenheim (“The Maze Runner”), but frankly, no one involved with this movie has any excuse. This whole fran- chise is The Hunger Games on a bad acid trip. My IQ has dropped twenty points and my soul needs a shower. Let Chicago burn. I’m done. SUMMIT ENTERTAINMENT So ~this~ is the secret life of the American teenager. FILM REVIEW FILM REVIEW ‘Home’ depicts a somber New York Re-release of 1977 experimental film shows a cold Big Apple By DANIEL HENSEL Daily Arts Writer 1977 was New York’s year in film. Between “Annie Hall” and “New York, New York,” cinema’s two unabashed New York- lovers, Woody Allen and Martin Scors- ese, released their love let- ters to the city. That same year, Belgian experimen- tal filmmaker Chantal Aker- man (“Jeanne Dielman”) released her ode to the city: “News from Home,” shown on Wednesday at the Ann Arbor Film Festival in a new 16 mm print that was mak- ing its American debut. “News from Home,” simply enough, is 85 minutes of Akerman reading aloud letters sent to her from her mother when she lived in New York in the early 1970s. Essential- ly, we read what she was reading. And we see what she was seeing, too. Each shot is a meticulously crafted slice of New York life. Akerman’s New York is far from idyllic. Rather, it’s cold and empty. Its residents seem unwel- coming and always on the move. Akerman was all of 21 when she moved by herself from Belgium to New York. For a young woman alone in its streets, the expanse of New York is at once captivating and terrifying. Akerman refuses to romanticize. She is document- ing. From the first shot of the film, a narrow corridor, only slightly wider than an alleyway, with an occasional pedestrian or car pass- ing, it’s clear that Akerman wasn’t living as a tourist in the city. She was, instead, a quiet resident, observing the character and char- acters of the “real” New York. At times dark and eerie, and at times whimsical, Akerman shows us the daytime (and occasional night- time) New York of Sidney Lumet and Woody Allen, Martin Scors- ese and Spike Lee. The letters from Akerman’s mother are our only characters. Each letter reprimands Chantal for not immediately responding, describes some bit of minutiae in the older Akerman’s every- day life, or requests that Chantal spend some of the money she has sent. Time seems to slow as the film progresses, with the space between each letter widening and widening. Towards the beginning, the letters come frequently, and her mother’s nagging is, frankly, annoying. And yet, as time passes, we begin to miss the letters. The New York scenes can grow repeti- tive, or even mind-numbingly boring, that we begin to cling to something new. For a later por- tion of the film, in which Aker- man is driving along the coast of Manhattan, looking inward to the city, seconds, minutes, hours seem to pass until when we next hear from the mother. Perhaps, for Akerman, the thrill of inde- pendence died after a few weeks or months, and the painstaking ache for contact from loved ones grew and grew. To the extent of determining whether the film captures Aker- man’s experience in New York from 1971 to 1972, “News from Home” is impossible to judge. The film is miniscule in its aim — to capture one person’s emotions and city experiences over the course of year — yet could stand in to represent the New York immi- grant artist experience of the 1970s, or perhaps even the entire immigrant experience. And yet, it never seems like a complete depic- tion of her time there. Where does she live? What does she do daily? How do people treat her? In the film, everyone is going somewhere — walking, driving and riding the subway. We rarely see a destination, a place where people have arrived. Even Times Square — the ultimate New York tourist spectacle — is reduced to its corresponding subway stop. Perhaps this is how Akerman perceived the New York experi- ence — always on the move, never stopping at a destination, only endless ambition. Whether that determination is to be respected or detested is never addressed. The experience is left up to end- less interpretation, but only Aker- man knows the answers. A- News from Home Ann Arbor Film Festival Michigan Theater F Allegiant Summit Enter- tainment Rave & Quality 16