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
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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