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