Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Hindu noble
5 Like pastrami
10 Rum cake
14 “O no! it is an __-
fixed mark ... ”:
Shak.
15 “SNL” alum Cheri
16 Restaurant in the
same corporate
group as
Applebee’s
17 What rattlers that
never bask in the
sun may get?
19 Pool element
20 Vegetable __
21 Sore
22 Oaf
24 Careless
26 “This __ test”
27 Strikebreakers at
a brewery?
34 “Curb Your
Enthusiasm”
creator
37 Different
38 By way of
39 Controversial
sightings
40 Demonstrators,
often
41 Grammy
category
42 Budgetary waste
43 Allen who
managed the
Beatles and
Stones
44 Farmyard noises
45 What berets
cover?
48 Wee battery
49 Odorless gas
53 Declare
56 Comic actor
Jacques
58 Words in
praiseful titles
59 Track
component
60 Angry looks in
the hayloft?
63 Military wind
64 African herbivore
65 Lot
66 Lost traction
67 Quaker in the
forest
68 Adele’s brother

DOWN
1 They get carried
away
2 Be of use to
3 Pudding snack
cup maker
4 It may come after
you
5 Bone below the
sacrum
6 State on the
Colorado Plateau
7 Fall back (on)
8 Before, in verse
9 Doesn’t care for
10 Lunch order with
“special sauce”
11 “May I speak?”
12 Pro __
13 High point
18 Flavorful
23 Cold War letters
25 Trident-shaped
letters
28 Johnnycakes
29 Top story
30 Fine __
31 Lady’s company?
32 Take to the
cleaners
33 Fifth Avenue store
34 Keister

35 Miles off
36 Suffrage, with
“the”
40 Moorish palace
of southern Spain
41 Sneakily seek,
with “for”
43 Dodge Aries, e.g.
44 Eye-related
46 Aced
47 Shows one’s
feelings

50 Battling
51 “48 HRS.” co-
star
52 Moved carefully
53 Stray sounds?
54 Epic __
55 Name for a
poodle
56 Vacation plan
57 Diarist Frank
61 “I get it” sounds
62 Not quite right

By Jerome Gunderson
©2017 Tribune Content Agency, LLC
01/26/17

01/26/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Thursday, January 26, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

4 BEDROOM HOUSE Fall 2017
3 Parking Spaces Washer/Dryer
827 Brookwood ‑ $2900 + Utilities
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2 BEDROOM + Study Fall 2017
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Max occupancy is 4
935 S. Division ‑ $2250 + Utilities
Cappo Mgmt 734‑996‑1991

WORK ON MACKINAC Island 

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Clerks, 
Kitchen, 
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Dorm 
Housing, 

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DOG LOVER SOUGHT, an enthusias‑ 
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 ARBOR PROPERTIES 
Award‑Winning Rentals in Kerrytown,
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Burns Park. Now Renting for 2017. 
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EFF, 1 & 2 Bdrm Apts Fall 2017‑18
Many locations near campus
Rents from $850 (eff) ‑ $1415 (2 bdrm)
Most include Heat and Water
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734‑996‑1991

FALL 2017‑18 Apts @ 1015 Packard
2 Bedroom ‑ $1370 ‑ 2nd floor
3 Bedroom ‑ $1380 ‑ basement
1 parking space avail for $50/m per unit
Deinco 734‑996‑1991

1 BEDROOM APTS Near N. Campus
Fall 2017‑18 ‑ $900/m + $25/m Utilities
Each unit has one parking space.
909 & 915 Wall St.
Deinco Properties 734‑996‑1991

2017‑2018 LEASING
Apartments Going Fast!
Prime Student Housing
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Efficiencies:
344 S. Division $855
610 S. Forest $870 ‑ 1 Left
1 Bedrooms:
511 Hoover $1045/$1065
508 Division $945 ‑ 1 Left
*Varies by location: Full Furnished, 
Parking Included, Free Ethernet

FOR RENT

HELP WANTED
SUMMER EMPLOYMENT

 “It’s never been 
more 
impor-

tant that we stick 
together and take 
care of each other.”
As many lament-
ed the dwindling 
hours 
of 
Barack 

Obama’s 
presi-

dency, those were 
the simple words 
Arcade Fire had for 
their surprise single 
release. The release 
wasn’t 
expected, 

nor was it exactly 
sought after. Yet, 
their 
poignantly 

timed new single, “I 
Give You Power,” is 
the perfect answer 
to today’s divisive, 
often 
fragmented 

political 
climate: 

Solidarity is a beau-
tiful 
thing, 
but 

when it engenders 
itself in the face of 
fear? That’s when 
it’s most powerful.
Arcade Fire aren’t 
strangers 
to 
the 

familial, 
either. 

From their letters to 
the suburbs to their 
debut album’s fixa-
tion on “neighbor-
hood,” the band is 
among the notable 
contemporary har-
bingers of commu-

nal artistry — but 
perhaps now even 
more pointedly so. 
Post-election, many 
American 
artists 

have been channel-
ing their thoughts 
and emotions (along 
with their fans’) in 
a variety of ways 

— some muted and 
some raucous, but 
all anchored in the 
same 
sentiment.

For “I Give You 
Power,” 
Arcade 

Fire recruit rhythm 
and 
blues 
main-

stay Mavis Staples 
to orchestrate an 
aurally simple (yet 
contextually grand) 
piece that takes on 
a slightly different 
frame than many 
of their politically 
active 
colleagues. 

In mantric fashion, 
Staples and Win 
Butler — frontman 
for the band — craft 
a carefully-built fer-
vor, with the two 
belting lyrics like 
“I give you power 
/ But now I say / I 
give you power / I 
can take it away” 
over 
and 
over 

again, 
channeling 

the 
extremes 
of 

their past sounds in 
records like Reflek-
tor and Neon Bible. 
Unlike their musi-
cal contemporaries, 
Butler and Staples 
stick to the basics. 
They exchange fury 
for groove, aggres-
sion for simplicity, 
a call to arms for 
a 
simple 
warn-

ing — as easily as 
we give our leaders 
power, we can take 
it away. It’s a sober-
ing reminder in the 
face of the anger 
these 
next 
four 

years risk generat-
ing. We’re all in this 
together — Arcade 
Fire 
ensures 
we 

won’t forget that.

— ANAY KATYAL

SINGLE REVIEW

“I Give You 

Power”

Arcade Fire

Infinite 
Content

INFINITE CONTENT

‘Take the 10’ subpar Net-flick

NETFLIX

Josh Peck as Chris in ‘Take the 10.’

PARAMOUNT

The latest addition to the ‘xXx’ trilogy disappoints.

‘xXx’ a wildly careless feature

What could be better for 

movie-lovers than not having 
to leave the couch to watch 
new 
releases? 
— 
and 
no, 

this is not a public service 
announcement telling readers 
to start Torrenting movies. 
Netflix, which is responsible for 
producing some of the best new 
original series in recent memory, 
is now dabbling 
in movies. Sadly, 
they haven’t been 
as successful in 
this field. With a 
few 
exceptions, 

many of of their 
releases 
receive 

little acclaim or 
attention. It almost feels like the 
movies are treated as though 
they aren’t worthy of theatrical 
releases, so a Netflix release is 
the best alternative to scrapping 
the project all together. Perhaps, 
Netflix movies are becoming 
the equivalent of “made for TV” 
movies when people actually 
watched TV on the TV.

“Take 
the 
10” 
doesn’t 

necessarily fit this mold of 
mediocrity. Although it might 
not be groundbreaking, it never 
feels like a project that was put 
on life support, and Netflix was 
its last dying chance for revival.

Made-for-Netflix 
movies 

could be a way for up-and-
coming directors to get their feet 
wet in the industry, exposing 
new talent to wide audiences. 
Chester Tam (“Popstar”) has his 
directorial debut with “Take the 

10,” while also starring as a drug 
dealer who feels emasculated 
by his girlfriend. Alongside 
Tam is Toni Revolori (“Dope”) 
and 
Nickelodeon 
sensation, 

Josh Peck (“Red Dawn”). Both 
actors 
have 
matured 
since 

their launches into stardom, 
so shedding memories of both 
actors 
as 
their 
adolescent 

selves 
is 
challenging. 
Who 

could forget Revolori’s stellar 
performance as Zero Moustafa 
in Wes Anderson’s “The Grand 

Budapest Hotel”? 
Or, a younger and 
chubbier Peck in 
“Drake and Josh”? 
Nonetheless, 
both 
provide 

strong, convincing 
performances.

In 
fact, 
the 

acting 
makes 
up 
for 
the 

weak dialogue and lazy gags 
throughout the movie, giving 
impressive deliveries to jokes 
that sometimes feel like an 
eighth grader wrote. The film 
focuses on three intertwining 
events 
of 
nonconventional 

criminals breaking the law in 
strange ways. Chris (Peck) and 
Chester (Ravolori) work at a 
parody of Whole Foods —aptly 
titled Wholeish Foods— and 
are planning on going to a rap 
concert in the Inland Empire 
of California. However, when 
trying to sell his car for money, 
things quickly get complicated 
for Chester. Ultimately, the 
Craigslist 
buyer 
steals 
his 

“vintage” 1997 Toyota. On top of 
this, the antagonists always find 
themselves running into Chris 
and Chester in ways that are too 

convenient and unbelievable. 
With a disappointing ending, 
the story of “Take the 10” is not 
its strong point.

Andy Samberg (“Popstar”) 

and Fred Armisen (“Portlandia”) 
make 
brief, 
underwhelming 

appearances. If these minor 
roles weren’t occupied with 
A-list celebrities, their scenes 
would likely fail to gather any 
laughs.

Stereotypes are somewhat 

challenged in the movie, but 
without any subtlety. Most of 
the humor lies between making 
a racist joke and then denying 
that any racist joke was made. 
It’s like hinting that you hate 
a 
friend’s 
haircut 
without 

deliberately saying it and then 
continuing to deny your true 
feelings once the friend accuses 
you of hating it. It never works 
in “Take the 10.”

Although it sometimes feels 

like “Take the 10” has nothing 
going for it, the movie packs a 
lot into its 80-minute duration. 
Essentially, not one minute of 
the movie is dull. “Take the 10” 
isn’t trying to be a breakthrough 
for 
comedy, 
but 
rather 
an 

enjoyable movie to help unwind 
after 
a 
stressful 
day. 
The 

increased desire for mindless 
escapism 
through 
binge 

watching Netflix series is so 
prevalent today, and “Take the 
10” fits the mold. For devoted 
binge watchers looking for past-
paced entertainment, “Take the 
10” will be a welcomed break 
between watching 10 episodes 
of “Orange Is the New Black” 
and “House of Cards.”

WILL STEWART

Daily Arts Writer

B-

“Take the 10”

Netflix

FILM REVIEW

That the newest film in the 

“xXx” franchise wouldn’t take 
itself seriously was a given. These 
films have always been targeted 
at those who find the “Fast and 
the Furious” movies too serious. 
“Return of Xander Cage” takes 
it to a different level—it simply 
doesn’t care. It can’t be bothered 
to take anything too seriously, 
least of all its own 
quality or what 
its audience may 
want. Caring is 
for 
“suits” 
who 

don’t know how 
to have fun, and 
all “Xander Cage” 
wants to do is, by 
its own admission, 
“kick some ass, get 
the girl, and try to 
look dope doing it.” Somehow, it 
can’t even do that right.

It almost looks promising 

in its first few scenes, with a 
couple genuinely great stunts, 
a decent sense of humor and 
the impossibly cool Donnie 
Yen (“Rogue One: A Star Wars 
Story”) leading the charge. It 
knows it’s stupid and revels in 
that fact. Then, as if trying to 
break some sort of record, it 
runs that shtick into the ground 
within ten minutes, and apathy 
defines the rest of the affair.

As a result of that indifference, 

the dialogue, acting and half the 
scenes would feel right at home 
in a run-of-the-mill porno. It’s 
not an understatement to say 
that “The Return of Xander 

Cage” may have some of the 
worst dialogue to ever grace the 
big screen, with every character 
constantly saddled with the task 
of delivering the same kind of 
tin-eared, clunky, inane one-
liners over and over again. Half 
of these are bad lines to begin 
with, but the other half are 
ruined by the wooden acting that 
pervades the cast, particularly 
Toni 
Collette 
(“Krampus”), 

who turns in an egregiously 
monotone performance.

When 
the 

heroes of “Return 
of Xander Cage” 
aren’t acting like 
the 
caffeine-

addled 
eight 

graders 
who 

wrote the script, 
they’re partaking 
in the worst action 
scenes 
of 
2017 

so 
far. 
Which 

includes not just the hyper-
choreographed 
hand-to-hand 

combat either which is generally 
saved by Yen’s incomparable 
stunt work –– but also every 
scene with even an ounce of 
excitement. A sequence late in 
the movie, which involves two 
guys chasing after each other, is 
so filled with incomprehensible 
“shaky cam” and poor editing 
that it actually hurts to look 
at. Any hope that these scenes 
could be elevated by a good 
effect is obliterated by effects 
that look, at best, like something 
out of the early nineties.

However, 
many 
won’t 
be 

interested in “Return of Xander 
Cage” because they believe it 
will be a competently made film. 

They’re just looking to have fun, 
and that’s understandable. Not 
every movie needs to be some 
uber-intelligent meditation on 
life provided they at least try to 
create a worthwhile experience 
for their audience. This is where 
“Return of Xander Cage” is most 
lacking. It doesn’t care what 
its audience wants. It doesn’t 
matter if they’re looking for 
competent filmmaking or a 
good time.

Several major plot points 

that change the course of 
the movie happen off-screen 
because the film doesn’t care. 
It brings back elements from 
the previous film, “State of the 
Union,” which even fans of the 
original 
despise, 
because 
it 

doesn’t care. Characters appear 
from out of nowhere so often 
that by the end of the movie, 
the only reasonable explanation 
is that these people have the 
ability to travel through space 
and time. “Return of Xander 
Cage” doesn’t care about being 
a good movie, and it doesn’t 
care about being “fun.” It just 
wants to do its own thing, and 
anybody who has a problem 
with that must not know what 
a good time is.

Yet in its final moments, 

“Return 
of 
Xander 
Cage” 

still has time to treat itself 
like a very special movie. “If 
people would just treat each 
other better, the world would 
be a better place,” it says, 
straight-faced. Considering it 
amounts to a little more than 
one hundred and ten minute 
of audience abuse, the irony is 
incredible.

JEREMIAH VANDERHELM

Daily Arts Writer

D-

“xXx: The Return of 

Xander Cage”

Paramount

Rave, Quality 16

FILM REVIEW

6 — Thursday, January 26, 2017
Arts
The Michigan Daily — michigandaily.com

