ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus,
Old West Side, Burns Park.
Now Renting for 2018.
734‑649‑8637 |
www.arborprops.com
FALL 2018 HOUSES
# Beds Location Rent
11 1014 Vaughn $7700
9 1015 Packard $6525
6 1016 S. Forest $5400
6 1355 Wilmot Ct $5075
5 935 S. Division $4000
4 509 Sauer Ct $3000
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
CAPPO/DEINCO
734‑996‑1991
FOR RENT
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WEBSITES
ACROSS
1 “Holy cow!”
6 “Atta girl!”
9 Like thinkers
14 Group that
bestows a
“Select”
distinction on five
board games
annually
15 Barnyard mother
16 Paris parting
17 Arkansas’ __
National Forest
18 X, maybe
19 Something to talk
about
20 Kit__ bar
21 Ones responsible
for paper cuts,
briefly?
23 Comedian Rogan
25 39-Acr. locale
26 Like Vivaldi’s
“Spring”
27 More diverse
29 Suffix with brom-
30 “Bambi” doe
31 Jane of fiction
32 __ Island: NYC
prison site
34 Blood fluids
36 Director
Riefenstahl
38 Buenos __
39 Landmark that, in
a way, is a
border feature of
this puzzle and a
hint to what’s
missing from 10
answers
42 Gumby’s pony
45 Othello, for one
46 Workers’ rights
org.
50 “... through __
window breaks?”
52 Together, in
Toulon
54 Back to front?
55 Line score initials
56 Taken (with)
58 Egg: Pref.
59 In the manner of
60 P.O. box item
61 Short order?
62 Badminton need
63 Familia member
65 Tuna variety
67 Tippett’s “King
Priam,” for one
69 “King Priam” is
based on it
70 “Kidding!”
71 Argentine soccer
superstar
72 Dogs in the
AKC’s Working
Group
73 Bonobo, for one
74 Wheeler Peak’s
national park
DOWN
1 Blue Ridge range
2 “The Card
Players” artist
3 Winning steadily
4 Train syst. across
Russia
5 “I wanna go too!”
6 LAX-to-JFK flight
shortener
7 Be shy
8 Dog star
9 Stand-up’s need
10 Words often
heard after “shall
live?”
11 Colder
12 Tragic heroine of
Irish legend
13 Considerable
achievement
22 Watson’s creator
24 Anthem
preposition
28 Offered free use
of, as a library
book
33 Pottery oven
35 Treated like wine
37 “You’re safe with
me”
40 Some field starters
41 Red-headed
Disney princess
42 Oldest of the
Seven Wonders
43 “Très chic!”
44 Add, as raisins to
bread dough
47 Elsa or Nala
48 Game with two-
toned discs
49 Scotland’s island
51 Watergate pres.
53 Lay to rest
57 Donald Jr.’s mom
64 Singer Carly __
Jepsen
66 Hip follower
68 Green sphere
By Alex Eaton-Salners
©2017 Tribune Content Agency, LLC
11/17/17
11/17/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, November 17, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
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NOW.
NETFLIX
‘Killer’ salvages its story
with excellent production
“The Killer” is the latest
release from Brazilian writer
and
director
Marcelo
Galvão
(“Farewell”).
This gunslinging
western
isn’t
set in the Wild
West, but instead
during the 1940s
in the desert badlands of
Brazil, telling the story of the
feared manhunter Cabaleira
(Diogo
Morgado,
“Son
of
God”).
Following
a
wide
release in Brazil during April
of 2016, the film comes to
Netflix with English subtitles
as
the
streaming
service
begins to expand its catalogue
of international films. The
film is a far-cry from a sleek,
overproduced western, and it
certainly doesn’t romanticize
its subject matter. Despite
its harsh, visceral and gritty
aesthetic,
the
film
avoids
monotony
with
excellent
production, performances and
more than a few tricks up its
sleeve.
One of the most immediately
recognizable strengths of the
film is its cinematography.
Containing more than its fair
share of engaging, artful shots,
Galvão’s visual direction offers
a fresh lens for the Western
genre, making creative use
of birdseye shots that travel
over
doorways
and
follow
characters
between
rooms.
The
cinematography
also
changes
stylistically
throughout
the
film to fit the tone
of specific scenes. For example,
as
the
narrator
describes
the
delightfully
despicable
owner of a small desert town,
Monsieur
Blanchard,
the
audience is shown a series of
Wes Anderson-esque frontal
shots of ornate “M.B.” placards
on local buildings. During
a climactic scene that sees
the main character injured,
however,
Galvão
instead
uses fast paced, abstract cut-
aways that are reminiscent
of Alejandro Iñárritu’s “The
Revenant.” The film’s array of
cinematographic styles flow
together wonderfully, never
feeling jarring because they
closely follow the tone of the
film.
Voiceover narration is often
criticized in film as a crutch
for directors who assume their
audience is stupid. In “The
Killer,”
however,
narration
is skillfully used as a means
to help convey the legendary,
larger than life weight of
the
characters
and
events
in the film. As the narrator
tells Cabaleira’s story over a
campfire, one can’t help but
be drawn in. If this weren’t
enough, the cast offers solid
performances that couple with
strong writing to create vivid,
memorable
characters.
The
villainous Blanchard family
in particular are the types of
villains that are unbelievably
fun to hate. The film is
certainly not one you’d expect
to have a musical number,
but it happens nevertheless
as the despicable Monsieur
and Madame Blanchard sing
in a cabaret show about their
desire to burn their enemies
homes to the ground and have
sex on the ground in front of
the inferno. Yep.
Perhaps the one place the
film falters is its story, which
is at some times predictable
and at others hard to follow.
The story takes several twists
and turns, following several
tangentially related characters’
storylines,
occasionally
leaving audiences wondering
“Who
are
these
people?”
While everything is eventually
MAX MICHALSKY
Daily Arts Writer
“The Killer”
Netflix
Now streaming on
Netflix
explained,
it’s
sometimes
not without a solid 20 to 30
minutes of head scratching
over what the relevance of
these scenes are to the overall
plot. Other elements of the film
were just plain predictable;
more than one or two would-be
big reveals are squandered by
being visible from a mile away.
These hiccups could be due
to fault subtitle translation,
but regardless the result is
the same: The portrayal an
overarching story seems to
hinder the film more than it
helps.
While
the
storytelling
may stumble once or twice,
“The
Killer”
remains
an
entertaining
experience.
Excellent
cinematography
blends a multitude of visual
styles in a way that feels
unique without feeling out
of place, and solid character
writing and performances fill
the Brazilian badlands with
an array of vibrant characters.
The story, flawed though it may
be, almost feels secondary to a
film that’s more of a stylized
portrait of a time period and
a place. It has a central story,
but overall the film seems
better suited as an invitation
for audiences to be immersed
in the rough, wild and gritty
world that it portrays.
COMMUNITY CULTURE PREVIEW
SMTD’s student showcase
to debut new compositions
At the end of a performance,
an
audience’s
applause
is
usually
directed
toward
the
performers
on
stage.
Often times audiences aren’t
thinking,
however,
of
the
individuals
behind
the
scenes:
the
composers.
The
Student
Composers’
Concert
at
the
School
of
Music,
Theatre
&
Dance
aims
to
do
the
opposite,
by
showing
off
new
works
from
different student composers at
the University.
This will be the second of five
different composer showcases
put on by the Composition
Department this school year.
Each concert features new
works from various students in
the Composition Department,
each one different from the
last. Douglas Hertz, a second-
year Master’s student in SMTD
said that “every single concert
is a whole new experience.”
With
an
abundance
of
concerts at the music school,
there’s usually some sort of
central theme or consistent
type of instrumentation. These
recitals, however, differ from
these as they contain pieces
of varying themes and with
a wide variety of different
instrumentations.
“Everyone is exploring new
styles all the time,” Hertz said
in an interview with The Daily.
“It’s kind of hard to stylistically
pigeonhole any of the concerts,
or any of the composers for
that matter.” Most of the time,
composers use these concerts
to show off
new
works
they’ve been
writing.
SMTD
is
known
throughout
the
world
for
its
distinguished
composition
program.
Graduates of
the program
have
had
works
played
by
countless
major
symphony
orchestras
and
have won awards from major
organizations,
including
several Grammys. However,
even with all of this legacy,
the department is constantly
exploring different ways to
create new music.
The relationship between
composer and performer is
especially strong at the School
of Music. With many strong
departments
of
performers
at their disposal, composers
often take advantage of the
notoriously talented players at
the School of Music — and the
relationship is mutual.
“People
seem
to
really
respect
and
appreciate
composers and new music in
a way that feels really genuine
and inspiring,” Hertz said.
“And I think that’s part of the
lifeblood of being a composer
here, is that you have such
collaborative enterprises with
instrumentalists, in a way
that might not exist at other
schools.”
Seeing
this
collaboration
is a really unique experience,
and it’s something that often
leads to some truly magical
moments. The school is proud
to be a promoter of fresh music,
and
these
collaborations
between
composer
and
performer
are
no
better
example of that. The School of
Music, among other things, is
known for its promotion of new
music, and the Composition
Department is at the forefront
of this movement. Hertz said
that performers are “hungry
for
new
music,”
and
the
Composition Department is
happy to deliver.
The program consists of
a diverse group of pieces,
written over an expansive
period of time.
“We
don’t
limit
when
the piece has to have been
composed,”
Hertz
said.
“However,
they
have
to
be shared with their [the
composer’s] studio teacher… so
sometimes people will put on
a piece from a few years back;
pieces that they might have
revised and are premiering
a new interaction — it’s very
open.”
For
composers,
hearing
their work realized can be
an
even
more
incredible
experience. Hearing a digital
recording
of
their
piece
performed by electronic, or
MIDI, instruments can only do
so much.
“MIDI only goes so far,”
Hertz said. “It takes live
performers to really take a
piece to that next level.”
The
Student
Composers’
Concert is an opportunity to
see new music be realized. It’s
a transformative experience
for composers and audiences
alike.
Hearing
performers
put expression into different
composers’ work is an amazing
experience.
RYAN COX
Daily Arts Writer
SMTD presents
“Student
Composer
Showcase”
Earl V. Moore Building,
Hankinson Rehearsal
Hall
Sunday, Nov. 19 @ 8 p.m.
Free
DO YOU LIKE
WATCHING THE
MET GALA ALONE IN
YOUR PAJAMAS, LIVE-
TWEETING THE EVENT
(ALONG WITH YOUR
SEARING HOT TAKES)
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TV REVIEW
6 — Friday, November 17, 2017
Arts
The Michigan Daily — michigandaily.com