ENJOY
YOUR
BREAK!
AND READ THE
FREE TIME
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 “And another
thing ... ”
5 Up on the latest
info
10 Not yet paid
14 California wine
valley
15 Gathered, as
autumn leaves
16 Tree fruit
17 Of the poorest
quality
19 The “I” in MIT:
Abbr.
20 Long stretch
21 Communication
syst. for the
hearing-impaired
22 Jury __
23 Southern speech
quality
25 Heart exam:
Abbr.
28 One of the five
basic tastes
30 Inventor Howe
32 River through
southern Russia
34 Armed conflict
35 Novel or short
story, say
38 “If I may cut in ... ”
41 Typically reddish-
brown ape
42 Varieties
43 Fashionable
dude
46 “The A-Team”
muscleman
47 Pet food brand
48 Bottle parts
51 “Waiting for Lefty”
playwright
Clifford
53 Capote nickname
55 Calendar periods
57 Canadian tribe
58 Sgt., e.g.
60 Zero
61 Dog treat
62 Well-hit line drive,
in baseball jargon
66 Choice on the
fairway
67 Ruined
68 Big Apple stage
award
69 Like morning
grass
70 Well-practiced
71 Politician
Romney
DOWN
1 Fed the pot
2 Pakistani city
3 Kind of column or
cord
4 Dinghy blade
5 Fly ball paths
6 2008 Pixar robot
7 Letters before an
alias
8 Hi-__ graphics
9 Magazine VIPs
10 Poppy narcotic
11 Left the 44-Down
sans permission
12 Patsy
13 Richard Gere title
role
18 __ Lama
22 Fittingly
24 The name Fred
yells at the end of
“The Flintstones”
closing theme
song
26 Museum
manager
27 Research funding
29 Bugs
31 Happy hour perch
33 Noble gas
36 Blow up
37 Pained reaction
38 Rifle range rounds
39 Dyed-in-the-wool
40 Words to click on
at a sweepstakes
website
44 Army outpost
45 Cry of victory
49 Jedi Master Obi-
Wan __
50 “Never mind” ... or
what one might do
with the last word
of 17-, 35-, 43-
and 62-Across
52 Itsy-bitsy
54 Open, as a
parka
56 Icy precipitation
59 Small change
61 eBay action
62 Big Pharma
watchdog:
Abbr.
63 Cleared (of)
64 Poem of
praise
65 CD-__
By C.C. Burnikel
©2016 Tribune Content Agency, LLC
12/13/16
12/13/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, December 13, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, December 13, 2016
Arts
The Michigan Daily — michigandaily.com
What’s most revealing about
“Manchester by the Sea” is
that
once
one
adjusts
to
the
perfection of the
performances, the
stunningly human
characters
and
the way the script
unfolds both the
turns of its story
and the psyche
of its lead, it’s an
incredibly funny
movie. There are
tears and somber
scenes
galore,
and
the
movie
itself
is
by
no
means a comedy,
but there is also
laughter. That laughter reveals
the
film’s
genius.
Writer-
director
Kenneth
Lonergan
(“You Can Count on Me”) uses
“Manchester by the Sea” to
hold a mirror to life and reveal
that, even in its darkest times,
there are moments of levity.
The result is an achingly real
portrait of grief and family, a
true masterpiece.
The
film
centers
around
Lee Chandler (Casey Affleck,
“Gone Baby Gone”), who must
return to his hometown of
Manchester after the death
of his brother. To call Affleck
good in the role would be
the
greatest
understatement
of the year. He is absolutely
captivating. Everything, down
to his sideways glances and
beats of silence, adds up to his
most
towering
performance
so
far.
Michelle
Williams
(“Shutter Island”) plays Lee’s
ex-wife,
Randi,
and
while
Williams is only given about
ten minutes of screen time,
she uses it to deliver one of the
most emotionally
devastating
monologues
in
recent
memory,
in arguably the
best scene of the
film.
The focus of
“Manchester
by
the Sea” isn’t on
Lee and Randi,
though;
it’s
on
Lee and his young
nephew, Patrick
(Lucas
Hedges,
“Moonrise
Kingdom”).
The
scenes
between
Hedges
and
Affleck are the most dynamic
of the movie, and it’s from them
that the movie draws most of its
humor and heart. Whether the
two are sniping at each other
or helping each other navigate
their way through their shared
grief, there is a full-formed
relationship on display that is all
too rarely seen represented on
screen. The chemistry between
the two actors aids in this as
their characters struggle for
the possibility of recapturing a
bond that hasn’t been there in
years but which both need more
than ever.
Lonergan’s
structure
and
script does as much character-
building
as
his
performers
do. He opts for a flashback-
heavy structure which, in the
moment,
emulates
human
memory. As a result, the viewer
doesn’t so much feel like they’re
being clued in to some piece of a
larger puzzle every time they’re
treated to a different time in
Lee’s life. Instead, it feels like
a step in the natural evolution
of
the
character,
another
representation of the past he
can’t let go.
In the same way, “Manchester
by the Sea” doesn’t build to
a typical Hollywood climax.
There’s no gigantic blow-out
fight between Patrick and Lee
that forces them to confront
their
situation.
There’s
no
breakdown where one of the
two confesses his feelings in
exact terms. Neither of these
things is realistic, and in a
movie that strives for realism
in its depiction of coping, they
would feel out of place. Instead,
Lonergan chooses to end the film
quietly, with the viewer able to
infer what he or she might from
the closing scenes. It’s uniquely
satisfying and poignant, and
a sign of Lonergan’s immense
directorial maturity and faith
in his audience.
“Manchester by the Sea”
understands grief and sorrow
in a way that few movies do.
Its depiction of two people
struggling
to
cope
with
changing
situations
that
threaten to upend their lives
is
at
once
heartbreaking
and heartwarming, and it’s
more than likely that two
people will come out of the
movie
with
two
different
interpretations.
What’s
for
certain is this: with his newest
film, Kenneth Lonergan has
created a masterwork, a true
representation of life in all its
pain and laughter.
AMAZON STUDIOS
Manchester by the car.
JEREMIAH VANDERHELM
Daily Arts Writer
Mournful ‘Manchester’
FILM REVIEW
A
“Manchester by the
Sea”
Amazon Studios
and Roadside
Attractions
Rave, Quality 16,
Michigan Theater
TV REVIEW
It’s a normal afternoon on your
couch. You settle in, prepared
for 75 minutes of mindless
Netflix binging —
and then “Captive”
begins.
The
new
documentary series
chronicles
eight
different
hostage
crises
worldwide,
with
startlingly
believable
reenactments
and
testimonies
from
both hostages and
their
perpetrators.
The series tells a
different story each
episode.
Episode
one,
“Lucasville,
USA,” focuses on the 1993
Southern
Ohio
Correctional
Facility riot. The 11-day riot
resulted in 10 fatalities and over
$40 million worth of damage to
the facility. Today, the prison is
still operating, and some of its
death row inmates are leaders of
the fateful riot 25 years prior.
The episode is captivating,
from the first 30 seconds to the
final minute. Viewers are drawn
in from the opening, which
features chilling footage of the
prison post-riot. A swastika
spray painted on the blood-
spattered wall, a pile-up of dead
bodies and hallways scattered
with mattresses and trash —
more than enough to make a
viewer sit up in his or her seat
and wonder what, oh what, they
have just gotten themselves into.
Told
chronologically,
the
episode starts with the opening
of Lucasville’s Southern Ohio
Correctional Facility in 1972.
The prison was expected to be
a “state of the
art” facility for
roughly
1,600
inmates.
By
1993,
however,
as often happens
with
the
criminal justice
system,
the
prison fell prey
to overcrowding
and
extreme
regulation.
It
was
regulation
that,
in
part,
caused the riot.
A
state-ordered
tuberculosis
test for all inmates caused a
stir among the Muslim African-
American prisoners. On Easter
Sunday, they took back the
prison and all Hell broke loose.
Netflix
has
a
unique
opportunity with this “true
crime”
documentary
series.
“Lucasville, USA” in particular
is a gripping feature on not only
what occurs in a hostage crisis,
but also what causes these
events to occur. The prisoners
didn’t intend for the situation to
escalate as it did. But these men
— hardened by the system — were
angry, and the riot provided a
way for them to fight back. To
quote one inmate: “I’m locked in
here, but still I’m a human being.
Still I’m a man. Ya’ll get to say,
fuck me. No — fuck ya’ll!”
In posing a profile of the
culprits,
“Lucasville,
USA”
offers a glimpse into the criminal
justice system: The prison guards
faced
with
impossible
jobs,
policing “the most dangerous
institution in the state of Ohio,”
the inmates itching to stand up
for themselves in the place that
strips them of all semblance of
humanity. After hearing the
testimonies of the inmates, it’s
a wonder that the riot didn’t
happen sooner.
An
interesting
part
of
“Lucasville, USA” is that the
episode
remains
objective
— neither in the favor of the
criminals nor the victim. It
simply exists to tell the story as
it happened. The reenactments,
mixed with storytelling from
those actually present at the
scene, gives the documentary
a real-time effect. It’s easy for
viewers to forget that they’re
following
a
crisis
which
occurred 25 years ago. In fact,
this episode feels immediate,
real and terrifying.
It’s also rich with emotion
and suspense. If the intention
of “Captive” is to tell hostage
stories as if they are fictional
thrillers, then it has succeeded.
Though the episodes have no
connection to each other, the
thematic elements and unique
storytelling invoke a desire to
binge the series anyway. When
one hostage crisis ends, another
begins. With “Captive,” Netflix
invites viewers on a journey —
and it’s a worthwhile ride.
EMILY BICE
Daily Arts Writer
New Netflix series ‘Captive’ takes its
viewers on a true crime adventure
Pilot episode looks at Southern Ohio Correctional Facility Riot
We weren’t there, but we know
what it was like. In the studio,
they were all there
— Jermaine Cole,
his boys, but also
Cole, mostly Cole,
yes,
subtly
Cole,
perpetuating
the
vibe,
facilitating
synergetic creative
genius. You know,
the “process.”
Thanks to “Eyez,”
the documentary released this
past week in anticipation of 4
Your Eyez Only’s Dec. 9 release,
fans were able to see the workings
behind his latest project. Most
of its 40 minutes of footage
is spent on studio going-ons,
portraying events that, while
clearly foundational, primarily
show off a whole lot of nothing.
Appropriately.
Ingrained in any subjective
review of any kind is the urgent
necessity to judge the art and
not the artist. The thing is, with
Cole, it’s impossible to categorize
the two as separate entities. His
sensitive brand manifests itself
in his music; his being is one of
vulnerability. He’s just a kid from
Fayetteville, North Carolina, one
with a “dollar and a dream,” and
it got him to this point.
It is at this point that we
realize, also, that J. Cole knows
who
Ernest
Hemingway
is.
This
is
now
clear,
because
Hemingway’s 1940 novel “For
Whom the Bell Tolls” serves as
the namesake for the leadoff
track from 4 Your Eyez Only. Such
an allusion is initially captivating,
but soon feels recycled, revealing
itself as a trend that’s becoming
quintessentially
Cole
—
stretching to provide depth, only
to be undermined by a unique
lack of originality, reverting to
something, uh, merely digestible
on the surface.
Thus springs life’s frustrations
with Cole — caveats about his
increasingly purgatorial presence.
In other words, Cole lives a
perennial existence of almosts. In
this case, he’s almost Pusha T on
his defiant, authority-chastising
“Immortal;” he’s almost Drake
(or, for that matter, Bryson
Tiller, whose identical beat on
“Exchange” has become a source
of contention among respective
producers) on ambient “Deja
Vu”; he’s almost Lupe Fiasco on
deceptively soulful “Change.”
Emulation
and
adaptation
can be great, except when it’s
executed poorly.
Instead,
Cole
continues to carve
his own stake —
a
niche,
albeit
a
niche
that’s
increasingly,
inherently
vanilla. 4 Your
Eyez
further
solidifies
Cole’s
occupation of an unnecessary
and arguably uninteresting space
in the genre. This shouldn’t be a
black hole.
Ambiguity
as
a
thematic
foundation is something that has
proven equally effective and rare.
Most reasonably defined in this
arena by androgynous dress and
culturally unfamiliar inflection,
Andre 3000 ostensibly paved
the way for this breed of wild,
and artists like Young Thug have
helped maintain it.
J. Cole wouldn’t immediately
seem to fit in this trajectory and
certainly not even close to such an
extreme. Yet he seems at his best
when he blurs the lines, in this
case playing with the perspective
of the album. A chilling interlude
interrupts “Ville Mentality” in
which a young girl mentions her
dead father and how she didn’t
attend his funeral. Echoes of
“Catch me, don’t you” float over
“She’s Mine Pt. 1” and “She’s Mine
Pt. 2,” the former about a love
interest and the latter presumably
about a new baby.
Considering this thread, the
question becomes, whose love
interest is it? And what about the
baby? Is it Cole’s or his deceased
friend’s? Could he be talking
about himself and his buddy?
Untangling
his
unadulterated
emotional web is what provides
the album with its most genuine
moments.
“Neighbors”
helps
segue
between the two aforementioned
tracks with its own reality check:
“Some things you can’t escape;
death, taxes, and a ra- / -cist
society that make every ni**a feel
like a candidate / For a Trayvon
kinda fate, even when your crib
sit on a lake / Even when your
plaques hang on a wall / Even
when the president jam your
tape.” It gives 4 Your Eyez its
most convincing moment, yet
in peak Cole fashion; seesawing
his vocals and harkening back to
more earnest, anxious days à la
Cole World’s “Lost Ones.” Once
again we’re left to wonder whose
mouth we’re really hearing this
from. It’s a stronger look, one that
leaves us wanting more of this
dynamic.
Much of this frustration stems
not from a lack of development
but from an underwhelming
progression. Quite simply, Cole
has plateaued. Cole World was
fun; at face value, it was a mostly
careless ode to chasing women
and soaking in an unfamiliar,
better life while also building on
his three previous mixtapes. Born
Sinner was a new look, a decidedly
brooding (“It’s way darker this
time”)
power
proclamation
featuring arguably his best bars
to date.
And then came 2014 Forest
Hills Drive. Beyond the endless
aggrandizing of the “J. Cole
went double platinum with no
features”
narrative/“memery”/
buffoonery were some of Cole’s
best experimentations yet; “St.
Tropez” and “G.O.M.D.” gifted us
with fresh (fresh! J. Cole!) sounds
we hadn’t yet heard. But now?
There’s an uneasy curiosity:
where to next? Rumors persist
of a collab with Kendrick Lamar,
which at this point feels closer
on the life-things spectrum to a
close friend undergoing a godsent
out-of-body enlightenment than
a mere What a Time to be Alive-
esque fuck-around project.
Such sentiment, then, explains
how we ended up here, in
December 2016, with concert-
long-pensive-stool-percher
J.
Cole
forcing
a
development
forward but ultimately taking
a step back. 4 Your Eyez Only
finds Cole working at potentially
effective themes — criminality,
injustice, lost ones, loved ones
and newfound responsibility —
and employing a stale, years-old
formula to convey them.
What results is a project in
which a track titled “Foldin
Clothes” cannot fully channel its
metaphorically flimsy essentials
(i.e. “It’s the simple things”),
instead rendering said simple
things too simple. For now, it
really does seem like J. Cole is
content to (metaphorically) fold
clothes for us.
JOEY SCHUMAN
Daily Arts Writer
J. Cole is almost good but still bland
C+
J. Cole
4 Your Eyez Only
Dreamville
ALBUM REVIEW
A
“Captive”
“Lucasville, USA”
(Pilot)
Netflix
All Episodes
Available to Stream