Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Arafat’s
successor
6 City near Yorba
Linda
10 Brief responses
to common
concerns
14 Composer of a
seven-movement
work that
excludes Earth
15 Tach count
16 “... even now / __
myself to thy
direction”:
“Macbeth”
17 “What’s My
Line?”
comedian’s craft
brewery?
19 Sail support
20 R.E.M.’s “The __
Love”
21 Heifetz’s
teacher
22 Present
23 Pop diva’s fruit
stand?
27 City of northern
Spain
29 David and Bird
30 American Idol
winner’s
amusement
chain?
34 In a blue state
35 Nile reptile
36 Corvallis sch.
39 Rapper’s
shopping
center
properties?
45 Equally
speedy
48 Forest bovine
49 Guitarist’s cash
register
company?
53 Collate
54 Film on water
55 Toddler’s drink
58 Farm opening?
59 “Whose Line Is It
Anyway?”
comedian’s
flooring store?
61 Número de
Mandamientos
62 Frank of 1950s
Broadway
63 Basketwork
fiber
64 Bone-dry
65 Hwy. crossings
66 Jai alai basket
DOWN
1 “Understood”
2 Windfall
3 Symbol of
happiness
4 Had ambitions
5 Mess
6 Big name in
coffee makers
7 Civil War
signature
8 __ other:
alternating
9 Sancho’s “steed”
10 Pole users
11 Materialize
12 Slate source
13 Burnout cause
18 Squelched
24 Forest’s 2006
Oscar-winning
role
25 35mm camera
option
26 Where the Indus
flows: Abbr.
27 IHOP orders
28 U.S. news source
since 1942
31 Slump
32 Tire pressure
meas.
33 Parody
36 Veterans of the
briny
37 __-pitch
38 Steel giant, as it
was known from
1986-2001
39 Cleanse
spiritually
40 Book ending
41 Co. merged into
Verizon
42 Moves in a
school
43 .001 of an inch
44 Omniscient
45 Syrian ruling
family
46 Cheap smoke
47 “Cyrano de
Bergerac” Best
Actor (1950)
50 “Bye Bye Bye”
band
51 Meager
52 iPod contents
56 Shoemaker’s strip
57 Where to find
36-Down
59 British rule in India
60 Hold ’em tell,
maybe
By Darin McDaniel
©2016 Tribune Content Agency, LLC
10/28/16
10/28/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, October 28, 2016
Los Angeles Times Daily Crossword Puzzle
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6 — Friday, October 28, 2016
Arts
The Michigan Daily — michigandaily.com
Classifying movies as “bad” or
“good” is hard to do. It’s difficult
not only because movies are high-
ly subjective, indi-
vidual experiences,
but also because
most movies don’t
fit into a binary.
In the era when
opinions regarding
every piece of pop
culture under the
sun litter the inter-
net, we like to decry
movies as either being so offen-
sively horrible that they should
never have been made in the first
place, or seminal masterpieces too
perfect for words. The reality is
that most movies aren’t failures or
masterworks — they’re just okay.
Despite this, every once in a
while there comes a movie like
“The Dressmaker,” which tran-
scends all these labels. Not exactly
“bad” or “good,” it’s a profoundly
bizarre mess of a film that’s sort of
amazing in a “the whole is greater
than the sum of its parts” kind of
way, but mostly terrible in every
other respect.
“The Dressmaker” (directed by
Jocelyn Moorhouse) is an early
1950s period piece that tells the
story of Tilly Dunnage, played by
Kate Winslet (“Steve Jobs”). Tilly,
a glamorous and worldly fashion
designer, returns to her home-
town, the Australian outback town
of Dungatar, to take care of her old,
sick mother Molly (Judy Davis, “To
Rome With Love”). Tilly is blamed
by the town for the death of the
town councillor’s son, branding
her as an outcast at the age of 10.
Her return to Dun-
gatar
results
in
shock and intrigue
from
the
nosy
townspeople.
Til-
ly’s only allies are
the secretly cross-
dressing chief of
police played by
the
impeccably
cast Hugo Weaving
(“The Hobbit”) and the dashing
young Teddy (Liam Hemsworth,
“The Hunger Games”).
There’s plenty of good to be
found in the movie. Winslet is an
excellent femme fatale, and even
though Liam Hemsworth’s char-
acter doesn’t have any defining
traits apart from his physicality
(also known as: abs), he rises to the
challenge admirably. The movie
looks very pretty, with intricate
period costumes and a desolate
Australian landscape. But at its
core, this is a deeply confused
movie — confused about what it
wants to be and how to tell its story
in an effective way.
“The Dressmaker” has a tone
problem. It’s equal parts melo-
drama and black comedy, and if
it seems like that’s an impossible
combination to work effectively,
that’s because it is. It wants to be
both a sincere, devastatingly sad
film about mob rule and a troubled
woman who loses everything and
a wacky adventure where death
means little because the charac-
ters and storylines are told too car-
toonishly to elicit empathy from
the audience. It’s audacious, but
it doesn’t really work.The result
is a movie that leaves the viewers
not laughing or crying, but rather
looking around in confusion, ask-
ing if it really just happened.
Despite all of this, “The Dress-
maker” may be one of the most
entertaining movies I’ve seen this
year. A character dies by jumping
into a sorghum-filled silo to prove
his manliness. The police chief is
bribed into giving up confiden-
tial information about an ongoing
investigation with a feather boa.
A woman ruthlessly slashes her
cheating, raping, lying husband’s
tendons and leaves him to bleed
to death in their spotless kitchen.
Kate Winslet determines the out-
come of a football game by dis-
tracting the players with a bright
red dress. Fire, Shakespeare and
hash brownies all play key roles in
the movie’s resolution. It’s ridicu-
lous. It’s terrible. It’s glorious.
It would be easy to say that the
structural and tonal problems
make this a bad movie. It would
probably be the more respectable
thing to say. And yet, “The Dress-
maker” defies all notions of logic
and sound judgment. Is it bad? Is it
good? Is it nonsense? The answer
is yes, probably. But who cares?
Just shut up, relax and watch.
UNIVERSAL PICTURES
Spoiler Alert: She makes dresses.
ASIF BECHER
For the Daily
Technically, it’s a bad movie, but you’ll be having too much fun to notice
Wacky, fun ‘Dressmaker’
FILM REVIEW
The simile “like a moth to a
flame” is criminally overused
these days. Sure, we’re all drawn
to things that tempt us — forces
that stick out like
some rosy beacon
in an otherwise
dark night — and
sometimes
we
surrender to them.
But a true case
of moth-to-flame
syndrome is rare.
And
beautiful.
And you can feel the heat when
it happens.
Lady Gaga is drawn to her
piano like a moth to a flame.
Recall the years of bubbly, bril-
liant pop: the 2009-onward
Renaissance of meat dresses,
disco sticks and disconnected
telephones. Amid this techno
blitzkrieg, Gaga never sacri-
ficed those crystalline pipes, of
course, and every chance she got
she had a piano by her side.
Arguably her strongest per-
formance, the 2009 VMA rendi-
tion of “Paparazzi,” went down
in award show history for eye
blood, chest blood and blood,
well, everywhere. Despite the
hoopla, Gaga found time to visit
her piano on stage left for the
second verse, slam a few keys,
then sashay her merry way. And
so it goes for nearly every SNL
performance since, every con-
cert and acoustic set. The New
York doll tickles the ivories. It’s
just what she does.
Joanne is an album of this
stripped-down
flame-chasing.
Not so much a return to form
(2013’s ARTPOP took the osten-
tatious quirk as far as it could
go), the pink suede LP unfolds
instead like a smooth slide into
some dive bar in Americana
girl-land. It’s got a mournful
core filled with lost loves — RIP
Taylor Kinney — yet it fights
with a certain gritty optimism,
as Gaga leans on friends like
Florence Welch (“Hey Girl”) and
fermented grapes
(“Grigio
Girls”)
for strength.
An
introspec-
tive
search
for
that
ineffable
oomph,
Joanne
starts
off
right
with
the
tingly
“Diamond Heart.”
Gaga hits her growl right away,
and the drums start: “I might
not be flawless, but you know
I gotta diamond heart.” It’s a
driving number with powerful
hopefulness, which also seeps
into the sing-song poignancy
of “Joanne,” the title track. She
yawps notes of liquid silver
in this ode to herself (Gaga’s
birth name is Stefani Joanne
Angelina Germanotta) and her
deceased aunt, whom she con-
siders a major influence. “Girl,”
she sings, “where do you think
you’re going?”
Well, the girl’s dancing “Coy-
ote Ugly”-style on the scratchy
countertops of some Mississippi
pub on tunes like “John Wayne”
and “Dancin’ in Circles.” Both
are a frenzy of sexual energy.
The first is a catcall to all the
badass men in the world who
think they can handle Gaga’s
cowboy hat and/or libido. The
second is one of the album’s best:
a zany, almost Rasta-like jam
that definitely has its place in
the Songs About Masturbation
canon. It’s also thrillingly remi-
niscent of The Fame Monster’s
“So Happy I Could Die,” and for
a little bit, it feels like we’re get-
ting the old Gaga back — and an
even better one, at that.
“Grigio Girls” keeps the spirit
alive with a cute chorus (“All the
Pinot, Pinot Grigio girls / Pour
your heart out / Watch your
blues turn gold”). “Hey Girl”
with Florence Welch is a stel-
lar, soulful duet that feels just
as fun and kitschy as the rest,
though it is seared with some
sadness, some howling. “Million
Reasons” addresses this grief
directly. It’s almost country-like
in its delivery: strong “r”s, rep-
etition and attitude. But it’s a
deftly restrained twang, evident
on “Come To Mama” and “Sin-
ner’s Prayer,” too. Toby Keith
ain’t that welcome in Gagatown.
It’s easy to forget about the
cathartic “Angel Down;” the
ballad strove for anthemic but
got its less-hot cousin, aimless-
ness. Joanne’s promotional sin-
gles also plummet into nowhere
land: “AYO” is a schmaltzy,
almost Disney Channel-esque
pop tune lacking the fine-wine
finesse brought about by Gaga’s
many years in the business.
“Perfect Illusion” is equally
as formulaic — it builds, but it
builds modern songwriting cli-
ché after cliché. This is the first
time producer Mark Ronson has
let our ears down, it seems.
But the final song, “Just
Another Day,” turns it around.
Sure, it’s a little cheesy, but
Gaga’s been a little cheesy all
along — a self-aware flair for
dramatics that even permeates
her songs about the mundanity
of everyday life. “Just Another
Day” is just another day. But
that’s a damn good day if we
have Gaga back by the piano
churning out songs again, belt-
ing red velvet melodies that emit
the warmth that first drew us to
her — our tricky, inextinguish-
able flame of a woman.
INTERSCOPE
Is that a disco stick?
‘Joanne’ signals a country-soaked
new direction for Lady Gaga’s career
New LP is not a return to form, but a stripped-down reinvention
A-
Joanne
Lady Gaga
Interscope
ALBUM REVIEW
MELINA GLUSAC
Senior Arts Edior
I wish I could say that in
“Chance,” a new drama from
Hulu, Hugh Laurie plays the
same kind of sex-
ily
disillusioned
doctor who dead-
pans
his
way
through an epi-
sode that he did
in “House,” but
I
can’t.
While
his voice sounds
exactly the same,
his serious face is only slight-
ly grayer than it had been in
“House” and the pilot is just as
full of medical jargon, “Chance”
is missing a few of the key com-
ponents that allowed “House” to
run for eight seasons. The com-
parisons, though perhaps unfair,
are inevitable.
Based on a book by the mys-
tery writer Kem Nunn and set
in San Francisco, “Chance” fol-
lows Eldon Chance, a puppy dog-
eyed dad in the middle of divorce
who can’t pay for his daughter’s
private school. He’s a practicing
neuropsychiatrist who writes
reports but doesn’t treat the
patients himself, and there are
voiceover segments throughout
the pilot in which Laurie reads
over those reports. His disen-
chantment with his job — he
feels like he can’t help people in
a real way — provides the dreary
framework for the first main plot
device.
Chance appears to take only
a
cursory
inter-
est in his patients,
until
in
walks
Jaclyn
Black-
stone
(Gretchen
Mol,
“Boardwalk
Empire”),
whose
medical complaints
are not as alarming
as her confession
of a police husband who hits her.
Chance — of course despite his
own better judgment and the
judgment of his partner — gets
too involved. This is complicated
by Blackstone’s apparent two
warring personalities.
Then there’s a slightly confus-
ing subplot, concerning a desk
that Chance is trying to sell at
an obscenely, fraudulently high
price. This allows for the intro-
duction of two characters, an
antiques dealer (Clark Peters,
“The Wire”) and D (Ethan
Suplee, “My Name is Earl”).
D, who becomes something
of a sidekick to Chance, helps
him stake out Blackstone’s hus-
band. There are opportunities
for
unconventionally
darker
buddy humor here that could
and should be developed, as it
would let Laurie’s comedic skills
shine through the cracks of this
glum plot — but the show seems
hesitant to give up the tenuous,
barely-there noir elements and
somber atmosphere that prevent
opportunities for lighter comedy.
Which is a shame, because
while Eldon Chance might have
the same tortured, soulful eyes
that House did, he is missing
House’s sardonic and apathetic
sense of humour — the one thing
that made the character digest-
ible,
despite
the
sometimes
shocking callousness.
The
real
plot
points
of
“Chance” are slow to be mapped
out, though the clichés roll out
quickly — the tortured doctor
who gets too involved in one
damsel in distress, ignoring his
marital and financial problems
for her sake; an illicit café meet-
ing and alley brawl, blah blah
blah.
“Chance” ’s supporting actors
do their best with what they’re
given, but it isn’t enough to
compensate for the bewilder-
ingly slow pace and lack of driv-
ing energy. Even the haunting
piano notes of the score feel flat.
Laurie’s performance is still the
strongest part of this show; he
almost makes middle-aged adult
angst intriguing. Almost.
SOPHIA KAUFMAN
Daily Arts Writer
Don’t take a ‘Chance’ on Hugh Laurie
TV REVIEW
C
“Chance”
Series Premiere
Hulu
C-
“The Dressmaker”
Michigan Theater
Universal Pictures