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Call: #734-418-4115
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FOR RENT
HELP WANTED
3 & 4 Bedroom Apartments
$2100‑$2800 plus utilities.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991
5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991
ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus, Old West
Side, Burns Park. Now Renting for
2018.
734‑649‑8637 | www.arborprops.com
CENTRAL CAMPUS
7 BD furnished house, LR, DR, 2
baths,
kitchen fully equipped, w/d, int.cable,
parking 4 ‑ 5. MAY to MAY. Contact:
706‑284‑3807 or meadika@gmail.
com.
FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4900
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
734‑996‑1991
DOMINICK’S NOW HIRING
all positions FT/PT.
Call 734‑834‑5021.
ACROSS
1 Curve on a
slalom, e.g.
4 Frugal folks
10 Sea devastated
by irrigation
projects
14 “Something tells
__ should’ve
stayed in bed”
15 Brunch staple
16 Walk worriedly
17 Super-fun
experience
19 Tolkien beasts
20 Concrete
strengtheners
21 German auto
pioneer
23 Junior or senior
24 Certain baby
tiger
26 Grandmotherly
type
29 Sarge’s superior
30 Stand behind
34 Rural stopover
35 Cramming three
seasons into a
weekend, say
39 A pop
40 Contemptuous
one
41 Wolf pack
member
44 Natural night
lights
48 Salsa percussion
instrument
52 Crowe’s “A
Beautiful Mind”
role
53 Remove field
heat from before
storage, as crops
54 Japanese faith
56 Like cotton
candy
57 Securing strap
59 Owned
60 Horseshoes
score
61 Short-lived
obsession
62 Neighborhood
63 Make certain
64 Trout lure
DOWN
1 Developmental
stage
2 Sargasso
wriggler
3 Nautical stage
name of
comedian David
Adkins
4 Lemony cocktail
5 Rock concert
gear
6 Zoo staffer
7 Slur over
8 Hire a new crew
for
9 “Shrek!” author
William
10 Historic Harlem
theater
11 Treasury
collectible
12 Accumulating, as
interest
13 “__ Miz”
18 Source of
tomatoes for
homemade sauce
22 Bad beginning?
24 “Iron Chef
Showdown” host
Alton
25 “Big” London
attraction
27 ESL part: Abbr.
28 Citrus drinks
31 “Is This Love”
singer Corinne
Bailey __
32 Power source
33 Sandy-colored
35 1940s jazzman
36 Totalitarian control
37 Naval pronoun
38 Having a twist
39 Happy hour site
42 It may form the
outline for a
meeting’s
minutes
43 Front-of-bk. list
45 Skedaddled
46 Celestial
47 Substandard
49 Paso __: two-
step dance
50 City where Joan
of Arc died
51 Arm bones
54 Crystal ball
reader
55 Where you are,
on a mall map
56 __ Na Na
58 Bearded grazer
By Roland Huget
©2018 Tribune Content Agency, LLC
02/07/18
02/07/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, February 7, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
I like romantic comedies
as much as the next person.
In fact, I’d hazard that I like
them quite a bit more than
the next person. The easy,
predictable textures of the plot
and
characters,
the
willing
suspension
of
disbelief,
the
insistence
that
all
problems
can
be
solved
with
the
right
combination
of
words,
timing
and flowers — it’s
formulaic, sure,
but the formula
works. It’s the
marshmallow
fluff
of
the
entertainment
world: devoid of substance but
hard to resist. That’s why I was
surprised to find that Rachel
Joyce’s new novel, “The Music
Shop” — a romantic comedy
in book form if ever there was
one — fails to deliver the sugar
rush it promised.
“The Music Shop” opens in
1988 on Frank, “a gentle bear
of a man” who owns a derelict
music shop and refuses to
sell anything more modern
than vinyl records, even as
the rest of the world becomes
enamored with CDs. Frank
has a preternatural ability
to divine what song a person
needs to hear to overcome the
challenges in their life; Joyce
describes finding the right
song as “meeting a stranger
in the dark, saying to them,
‘You’ll
never
guess
what?’
and
the
stranger
saying,
‘Hey, but that’s exactly how
it is for me.’” This ability and
Frank’s somewhat overdrawn
selflessness has made him
beloved in his community of
quirky shop owners: Maud, the
tough-as-nails tattoo artist;
Father Anthony, the ex-priest
and owner of a religious gift
shop; the Williams brothers,
identical
twin
funeral
directors; and Kit, Frank’s
hapless and overeager shop
assistant.
Nevermind
that
this cast of zany characters is
drawn
directly
from films like
“You’ve
Got
Mail” and “Four
Weddings
and
a
Funeral,”
or
that
the
fact
that this tight-
knit
community
centered
on
“Unity
Street”
is
almost
too
sickly-sweet
to
mention.
With
the
exception
of Kit, who is at
times
genuinely
hilarious, more often than
not
these
characters
border
on
caricature, and
the suspension
of
disbelief
required
by
the
reader
to
imagine
them
as
anything
more than one-
dimensional is
slight at best.
Enter
Ilse
Brauchmann,
a
beautiful
woman
with
a
mysterious
past
who
brings
color
into
Frank’s
life (think “Notting Hill”). In
the style of the classic meet-
cute, she and Frank connect
instantly: “Their eyes locked
and everything else gave way
and disappeared.” But Ilse
is engaged to another man,
and Frank has to be satisfied
with the weekly music lessons
he
gives
her.
Joyce
can’t
be entirely blamed for the
cheesiness of this line or the
romance that grows around it;
she’s working within a genre,
and certain traditions have to
be (begrudgingly) respected.
But convention can turn very
quickly into cliché, and Frank
and Ilse’s fledgling romance,
and the obstacles in its way —
Frank’s inability to let himself
be loved, Ilse’s hesitation to
reveal her secrets — can feel
too contrived to keep the
reader invested. At some point,
you want to shout, “Get over it
already! We know you’ll get
together in the end anyway!”
Joyce struggles in this book
to find the line between charm
and kitsch. The story has good
bones:
Joyce’s
impressive
depth of knowledge about
and passion for music, her
sensitivity to suffering, her
insistence upon the power
of love to heal
and
redeem.
It would make
a
good
movie,
with the perfect
amount of heft
and
heart
to
fill a 90-minute
escape
from
the world. But
the same things
that
would
make it a hit if
Julia
Roberts
and Hugh Grant
were
to
play
it
on-screen
become
lost
in
translation
on
the
page.
Without
the
substance
to
support
the
longer format of a novel, the
charm of the “The Music Shop”
becomes both overplayed and
hollow, like a soufflé that’s
risen too high and caves in on
itself, leaving the reader with
nothing but a toothache.
Joyce struggles in
this book to find
the line between
charm and kitsch
JULIA MOSS
Daily Arts Writer
‘The Music Shop’ doesn’t
deliver on fun or romance
BOOK REVIEW
Snoop Dogg is back. How-
ever, the Doggfather is return-
ing not as “gangsta,” but as
preacher. Last week, Snoop
released a string
of four gos-
pel singles to
accompany the
announcement
of a new album,
Bible of Love.
The tracks,
each featuring
a powerhouse vocalist, are
the most musically rich and
dynamic we’ve ever heard
from the founding father of
G-funk: Gospel choirs, piano,
organ, vocal runs, clapping
— the whole nine yards. Most
interestingly, Snoop’s rhymes
are only featured on one of
the four songs, “Blessing Me
Again (ft. Rance Allen),” the
rest dominated by gospel vocal
chops.
Needless to say, Snoop’s
newest project reflects the
rapper’s biggest career pivot
yet. Sure, we’ve seen multiple
carnations of
the D.O. Double
G: From his
revolutionary
debut album,
Doggystyle, to
his pop single
with Katy Perry,
“California
Gurls,” Snoop has been all
over the map, arguably as
much as any rapper could be.
Yet, this religiously driven
music is something Snoop has
never touched, and the move
raises some questions: Has he
reinvigorated his faith? Does
he feel especially blessed after
reflecting on the fortunes of
his career? Does he simply feel
secure enough as an artist to
pursue a venture into gospel?
With lyrics like “I got a whole
lot that I can really thank Him
for / When I was moving fast,
He had to slow my roll” and
“Seems like He testing me
again / But on the flip side, it’s
like He blessing me again,” all
three motivations seem pos-
sible.
Either way, the tracks them-
selves are enjoyable to listen
to. Overwhelmingly positive,
they are a breath of fresh air
during what many consider a
time of general strife, which
is perhaps the effect Snoop
was pursuing. The best part:
As gospel as these singles are,
they still retain a hint of hip
hop, with big bass and 808s,
providing a nice cross-genre
blend that will get listeners on
their feet in the name of the
Lord.
- Mike Watkins,
Daily Arts Writer
SINGLES REVIEW: SNOOP RETURNS
Snoop Dogg
Singles
Snoop Dogg ft.
Various Artists
RCA
RCA
The actual story behind the
Winchester Mystery House is an
interesting one. After the deaths
of her husband and daughter,
Sarah Winchester
became
the
majority
shareholder
in
the
lucrative
Winchester
Repeating
Arms
Company
and
moved
into
an
unfinished
farmhouse
in
Cali. She used her
fortune to build a
haphazard seven-
story mansion that
became
famous
for
stairs
that
went
nowhere,
windows looking into other
rooms and other architectural
oddities.
Some
believed
that
the
construction,
which
would
continue day and night for 38
years until Winchester’s death
in 1922, was a hobby to help the
widow and mother cope with her
grief, while others maintained
that she believed her family was
haunted by the ghosts killed by
Winchester firearms and that
the house was built to contain
their spirits. “Winchester: The
House That Ghosts Built” looks
to adapt the tale of the titular
Mystery House and firearms
heiress by focusing on the
supposed family curse. What
could have been a thought-
provoking psychological horror
story about the effects of grief
is instead watered down into a
boring, derivative flick fueled
by thoughtless jump scares and
a script that mistakes repetitive
dialogue for thematic heft and
character development.
This
would
have
been
disappointing
if
“Winchester” just
had its premise
going for it, but
it’s
fronted
by
Helen
Mirren
(“Collateral
Beauty”) in the
title
role
and
Jason
Clarke
(“Mudbound”)
playing
the
psychiatrist
sent
to
evaluate
her
mental health, two
incredibly talented
performers
who
are
given
nothing to work with. There’s
no
relationship
that
builds
between them, though the script
pretends otherwise. Neither is at
all engaging beyond the names
behind them. Instead, they’re
just
points-of-view
for
the
audience to experience the next
jump scare.
To
its
credit,
the
script
— co-written by the Spierig
Brothers (“Jigsaw”), who also
direct — tries to give Clarke’s Eric
Price an arc, but his development
is so muddy that it’s difficult
to pin down exactly how we’re
supposed to see him changing.
Is he supposed to be recovering
from the guilt of his wife’s death,
as the third act implies? Is he
overcoming his skepticism, as
his dialogue, which consists
almost entirely of him saying,
“Fear is all in your head” to
everyone — including himself —
would support? There’s a play at
combining the two ideas, but like
the movie itself, it never resolves
into anything coherent.
Meanwhile, Mirren, one of the
best actresses of her generation,
walks around acting like a
medium on a third-tier reality
TV show. “Oh,” she says at one
point, her hands fluttering about
as if swatting at invisible flies,
“this spirit is so angry. It has a
power we’ve not seen before.”
The silliness of her performance
is outmatched only by Eamon
Farren (“Twin Peaks”) as Ben
Block, another visitor to the
Winchester house. Farren, a
native
Australian,
affects
a
Southern accent so ludicrous it’s
as if he injected molasses directly
into his veins. Given his seeming
omnipresence, he’s likely meant
to be a foreboding presence, but
with a drawl like the love child
of Foghorn Leghorn and Colonel
Sanders, it’s impossible to take
him in any way seriously.
When horror is good, it
possesses an ability to examine
the human psyche that no other
genre can lay claim to. The story
behind Sarah Winchester and
the house she built begs to be
given this treatment, but the
Spierig Brothers are apparently
content with something lesser.
Instead of genuine scares, we
have deformed faces pop out
while the music blasts. Instead of
interesting mythology, we have a
movie that wantonly violates its
own rules. Instead of ingenuity,
we have Jason Clarke shooting
and killing a ghost.
‘Winchester’ is laughably
inept at producing horror
JEREMIAH VANDERHELM
Daily Arts Writer
LIONSGATE
FILM REVIEW
“Winchester:
The House That
Ghosts Built”
Lionsgate
Ann Arbor 20 &
Quality 16
“The Music
Shop”
Rachel Joyce
Jan. 2
Random House
6A — Wednesday, February 7, 2018
Arts
The Michigan Daily — michigandaily.com