Classifieds

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

ACROSS
1 They broke their
108-year World
Series drought in
2016
5 Medical picture
9 Gives out
14 Lustrous gem
15 “Bloom County”
reporter
16 Very small
17 Dean’s list
honorees
19 Pasture sound
20 Add to the pot
21 Electronic sci-fi
antagonist
23 “¡Dios __!”
24 Cannes cup
25 Thiamine and
riboflavin
28 FBI operative
29 Number before
vier
31 Spring bloomer
32 Flip (through)
34 Son of Zeus and
Hera
36 In tune
37 Two-variable
marketing
experiment
40 Diving bird
43 Way out yonder
44 Inscribe
48 After morays, say
50 Mined matter
52 Mexican gold
53 First novel in
Willa Cather’s
Great Plains
trilogy
55 Apartment sign
57 Go bad
58 Under the
weather
59 Javier __, first
Spanish actor to
win an Oscar
60 “Good __!”
62 Classification
suggested by the
beginning of 17-,
25-, 37- and 53-
Across
65 Not always
helpful reply to
“Who’s there?”
66 Like bad fried
food
67 Shed tools
68 Early fur trader
69 Ties the knot
70 Joint possession
word

DOWN
1 Like beachfront
property
2 Steal the
spotlight from
3 Cuban dictator
overthrown by
Castro
4 Nasty remarks
5 Marvel Comics
mutants
6 __ Tin Tin
7 PC key
8 Super Mario
World dinosaur
9 Decorate
elaborately
10 End of a
general’s URL
11 Low-fat frozen
dessert
12 Many a new hire
13 “If you will”
18 Fizzled out
22 __ crossroads
25 First interracial
coed college in
the South
26 Tries to win
27 Canine ailment
30 Chinese zodiac
animal
33 One-named
Italian male
model

35 “The Fault in Our
__”: 2014 film
38 Nickname for a
2000s tabloid
item
39 Anger
40 Black Sea
republic
41 Police paperwork
42 High-and-mighty
sort
45 “Just like I said”
46 Climbing plant

47 Disordered yet
appealing person
49 Salon application
51 Dutch town
54 Nudge
56 Weed B Gon
maker
59 School restroom
sign
61 Confessional
rock genre
63 Fabrication
64 Not up-to-date

By Neville Fogarty
©2017 Tribune Content Agency, LLC
04/12/17

04/12/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, April 12, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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AUTOMOTIVE

With some movies, what 

you see is what you get. “Going 
in Style” is one 
of those movies. 
There’s little on 
the surface here 
and 
even 
less 

underneath, 
but 

what is there is 
usually 
funny 

enough to carry 
it 
through 
its 

moments 
of 

weakness. The cast is game, 
if underutilized, and when 
director Zach Braff (“Wish 
I 
Was 
Here”) 
taps 
into 

the energy a bank robbery 
naturally invites — even one 
perpetrated by octogenarians 
— his newest flick becomes a 
treat.

Updated from the 1979 film 

of the same name, “Going in 
Style” tells the story of three 
seniors who decide to rob 
a bank after their pension 
fund is dissolved. Without a 
doubt, Alan Arkin (“Argo”), 
Morgan Freeman (“Ben-Hur”) 
and 
Michael 
Caine 
(“The 

Last Witch Hunter”) are the 
movie’s greatest assets, and it’s 
a shame Braff doesn’t lean on 
them as often as they deserve. 
The interplay between them 
works more often than not, 
and together they are able to 
foster a believable longtime 

relationship 
between 
their 

characters.

Of the three, Arkin’s deadpan 

cynicism as Albert makes him 
a standout, though it’s not that 
difficult a competition. The 

actors may be 
solid, as befits 
their 
Academy 

Award-winning 
statuses, 
but 

their characters 
need 
work. 

Caine plays Joe, 
who 
hatches 

the initial idea 
to rob the bank 

but is otherwise the most one-
note, 
plainly 
good-natured 

guy onscreen at any given 
moment. Freeman, who only 
goes along with the plan to get 
a new kidney, has apparently 
reached the point in his iconic 
career where all producers 
can think to do with him is 
place him in mortal danger 
for a heavy-handed lesson in 
mortality. Given this material, 
it’s almost more impressive 
that 
Caine, 
Freeman 
and 

Arkin make their Joe, Willie 
and Albert as lifelike as they 
do.

That being said, there are 

flashes throughout the film 
of the wit and personality 
that these stars deserve. A 
mid-story “training montage” 
provides the film’s pacing a 
shot in the arm and is well-
photographed 
and 
edited, 

using inventive graphics and 

inserts to chart the three 
men’s progress as wannabe 
robbers. The heist itself is a 
fun show of each character’s 
personality, and Arkin again 
steal the show with a surprise 
“Heat”-like monologue.

Ultimately, 
what 
“Going 

in 
Style” 
lacks 
most 
is 

personality. Besides its stars, it 
is almost irritatingly lethargic. 
Its story is very reminiscent of 
“Tower Heist,” but it lacks the 
energy, comic or otherwise, 
that could have sustained 
it through its many slower 
moments. Instead, it spends 
time on forced life lessons 
that could have been spent on 
comedy and characters, both 
of which would have helped it 
stand out. As it is, it’s mostly 
just a string of “I’m too old for 
this” and “Fish out of water” 
jokes that get old fast, placing 
more and more pressure on 
the leads and their chemistry.

Thankfully, 
the 
trio 
of 

legends prove up to the task. 
Due to their work, “Going in 
Style” rises just above its generic 
roots to become a charming 
enough 
comedy 
that 
likely 

won’t be remembered by many 
by the end of the year. It would 
be hard to argue that that’s not 
the point, though. Braff wasn’t 
trying to remake the wheel here. 
By all appearances, his goal 
was to make a goofy comedy 
with three of the best actors of 
their generation, and in that he 
succeeded. 

JEREMIAH VANDERHELM

Daily Arts Writer

 
WARNER BROS.

‘Style’ is standard fare

“Going in Style”

Warner Bros. 

Pictures

Rave Cinemas, 

Goodrich Quality 16

Zach Braff crime-comedy is likeable despite its basic nature

 
PARAMOUNT PICTURES

Some Exodus films not 
to pass over this holiday

As Passover approaches, some notable films may be of value

’Tis the season, my friends, 

’tis the season. ’Tis the season 
for macaroons, matzo balls 
and mishpacha (family). As 
Passover approaches, I thought 
it would only be appropriate to 
highlight some of my personal 
favorite holiday movies. Sure, 
we 
don’t 
have 
delightful 

movies like Christmas does. 
There is no Passover version 
of “It’s a Wonderful Life” or “A 
Christmas Story,” but there is 
potential. “A Passover Story,” 
where all Ralphie wants for 
Passover is an official Red 
Ryder, carbine action, two-
hundred shot range model 
air rifle — OK, it needs some 
work. Still, Passover movies 
are full of drama, tragedy and 
the 
booming, 
omnipresent 

voice of The Almighty (usually 
something like James Earl 
Jones). While Passover movies 
may not be jolly or joyful, they 
tell the story of the holiday 
much better than your Uncle 
or Zaide.

In addition to the four cups 

of wine and the eating of the 
bitter herbs, my family has 
another Passover tradition. 
Each 
Passover, 
we 
make 

ourselves 
comfortable 
and 

watch the 220-minute long 
depiction of the Exodus story: 
Cecil B. DeMille’s “The Ten 
Commandments.” 
This 
one 

is a classic; a melodramatic, 
historically inaccurate, 1950s 
version of the familiar tale. 
No matter how overdone and 
cheesy it may be, I love every 
second of this three and half 
hour epic. If you have seen 

the film, you know the scene 
where Anne Baxter’s Nefretiri 
(fake history) lures Moses into 
her chambers with a moan 
so deep it borders between 
orgasm 
and 
chainsmoker. 

Charlton Heston (“Ben-Hur”) 
is the chiseled Egyptian prince 
turned Hebrew slave liberator, 
Moses. 
Heston 
embodies 

Moses, like Marlon Brando as 
“The Don” or Harrison Ford as 
anything. The film is kitschy, 
but it feels like home in a way 
not many movies do.

This next one stars the likes 

of Val Kilmer, Sandra Bullock, 
Jeff Goldblum, Ralph Fiennes, 
Patrick 
Stewart 
and 
even 

Dame Helen Mirren. No, I am 
not describing a heist movie. 
I am talking about the 1998 
animated film, “The Prince 
of Egypt” (now on Netflix!). 
Despite it being animated, the 
film has the cinematic scope 
and drama of a live action. 
The drawn characters and 
catchy tunes make the story 
approachable and charming. 
The silly, sorcerer priests, 
Hotep and Huy are played by 
the kings of comedy, two of 
“The Three Amigos,” Steve 
Martin and Martin Short, 
respectively. No matter how 
many times I have seen it, 
and that being many, I always 
end up belting out “When 
You Believe” with no shame 
whatsoever.

The 
most 
recent 
foray 

into 
the 
Exodus 
story 

was attempted in 2014 by 
Ridley Scott (“Alien”) in his 
expansive, 
epic, 
overdone 

“Exodus: Gods and Kings.” The 
film’s goal is to apparently tell 
the Passover story, but it feels 
more like Scott took his film 

“Gladiator” and superimposed 
it over a poorly told, heavily 
fabricated summary of the 
book of Exodus. I had trouble 
seeing 
Christopher 
Nolan’s 

Batman (Christian Bale) as 
Moses and Jesus Quintana 
(John Turturro) from “The 
Big Lebowski” as Pharaoh. 
The special effects rule this 
film (I don’t think the real 
plagues were as intense as 
Scott’s version) so much so 
that the story gets washed 
out. “Exodus” is dominated by 
sibling rivalry, God complexes, 
an 
excessive 
amount 
of 

eyeliner and unfortunately not 
much else. For now, let’s leave 
the Biblical source material to 
Darren Aronofsky.

These 
Passover-themed 

films 
offer 
three 
very 

different approaches to one 
amazing story. The first is 
a classic, the next a beloved 
childhood memory, the last 
is, well, last. But the final and 
best rendition of the Passover 
story, by far, is the “Rugrats 
Passover 
Special.” 
Initially 

broadcast in 1995, before I was 
born, it’s played every year 
since on VHS in my family 
living room. Grandpa Boris, 
hoping to shed the light of the 
holiday onto the children, tells 
them the story of Passover. In 
this version, Tommy Pickles is 
Moses, liberating the enslaved 
babies (Hebrews) from the 
wicked Angelica (Pharaoh). 
It is the perfect amount of 
entertainment and nostalgia 
to add to your Passover.

So grab some matzo, sit 

back, relax and enjoy the story 
of freedom, faith and family. 
Happy Passover!

BECKY PORTMAN

Daily Arts Writer

COMMUNITY CULTURE NOTEBOOK
Rethinking art in ‘artless’

I 
was 
sitting 
in 
my 

Anthropology 
101 
lecture, 

watching the documentary “In 
and Out of Africa,” when I finally 
came to an understanding.

The documentary is about the 

African art dealer Gabai Barre, 
who travels from the rural Ivory 
Coast to Long Island, selling his 
work. He explains his creation 
process, and the documentary 
addresses the idea of authenticity 
and exchange values.

One of the people interviewed 

poses the question: Is something 
considered art if it’s being created 
to be sold? The question hit me 
as extremely relevant, and not 
just in the context of African art 
exchange. Can art be constituted 
art even when it is created solely 
with the audience’s preferences 
in mind?

The woman being interviewed 

went on to answer her own 
question, discussing how she 
believes it is still artwork, because 
it contains the mind of the artist. 
Perhaps this is true. Perhaps to 
a certain extent, all artists think 
about 
their 
audiences 
when 

creating their work.

Another 
important 
facet 

of 
African 
art 
exchange 
is 

replication. Barre admitted that 
many of his Western customers 
wanted an original piece. He 

would reassure them that they 
were the first ones to see his new 
work, when in reality, the same 
piece had already been sold to 
others.

This raises questions about 

the 
relationship 
between 

replication and true creation. In 
the context of Barre’s work, it 
could still be argued that there 
is nontraditional artistry in his 
work. If one pursues art as a 
profession, then their work is 
being created to be sold. The goal 
is for their pieces to generate a 
profit.

While many famous artists 

such as Vincent van Gogh or 
Claude Monet were not profitable 
during most of, if not their entire 
lifetimes, their work was initially 
considered 
either 
successful 

or unsuccessful based off the 
monetary value of their art.

Barre and other African art 

dealers are profitable because 
they factor in what their buyers 
seem to prefer. After working 
with a buyer several times, 
they develop an understanding 
of what their buyer wants, 
something of which even their 
buyers are often not aware. This 
showcases an inherent artistry in 
the practices of these art dealers. 
It’s unconventional, because the 
artistry is in their understanding 
of the artistic styles that their 
customers want and their ability 
to produce this.

The 
issue 
of 
replication 

does 
raise 
ethical 
concerns, 

considering that their customers 
are being deceived. Setting aside 
this problem, replication of an 
artist’s own work is not wrong — 
depending on the artist, it could 
be even more artistic than the 
original piece, allowing the artist 
to rethink some of the concepts 
and ideas behind it.

Many 
of 
these 
questions 

stem from the monetization 
of artwork. Many African art 
dealers like Barre use this to 
their advantage by blending their 
talent with marketing skills and 
creating an intriguing and artful 
practice to analyze. Likewise, 
many famous actors, musicians 
and entertainment celebrities 
are 
economically 
successful 

because they capitalize on the 
monetization of artwork. Instead 
of minimizing the artistry in 
the work, maybe we should 
consider their work to be artistic 
in a different way, for their 
understanding of their audiences.

The Monets of history were 

ahead 
of 
their 
times, 
only 

gaining recognition very late 
in their lives or after death, 
making little money during their 
lifetimes. However, they are now 
considered 
highly 
influential 

artists who were leaders in 
artistic movements.

NITYA GUPTA
Daily Arts Writer

Read more at 
MichiganDaily.com

FILM REVIEW

FILM NOTEBOOK

6A — Wednesday, April 12, 2017
Arts
The Michigan Daily — michigandaily.com

