‘Lost’ will continue to unfold (5/5)

"LOST"

Starring: Matthew Fox, Evangeline Lilly, Terry O’Quinn
Created by: J.J. Abrams, Damon Lindelof, Carlton Cuse
Series length: 6 seasons (2004-2010), 121 episodes

Spoiler alert! This column reveals plot points of the “Lost” series finale.

John Locke says it better than anyone: “We’re gonna need to watch that again.”

No, not just the emotional and, to some, potentially disappointing finale (more on that later), but all six seasons.

I knew about “Lost” before a lot of others. I was coming off a “Lord of the Rings” high that reached its peak for the December 2003 release of “Return of the King.” Still needing my fix, I often checked up on what some of my favorite actors from the films were doing, including Dominic Monaghan – LOTR hobbit turned “Lost” rockstar has-been.

But when Oceanic Airlines Flight 815 crashed into a mysterious island Sept. 22, 2004, I was hooked.

The “Lost” series premiere was arguably one of the best pilots in television history. From the beginning, “Lost” was more of a novel played out in hour-long live action segments than a resemblance of anything I personally had seen on TV before.

And for six years, creators J.J. Abrams, Damon Lindelof and Carlton Cuse took us on quite a turbulent ride.

There were moments of pure shock (finding out John Locke used to be in a wheelchair prior to the crash), pure emotion (Desmond’s tear-laden phone call to Penny), perfect humor (anytime Hurley was on screen) and sacrifice (Charlie’s heart-breaking decision).

The mysteries of the island are what fueled the show. But what truly guided its direction were the characters. And bringing those characters to life was the unbelievably engaging cast, composed of mostly unknown actors. “Lost” introduced us to the nuanced Terry O’Quinn (John Locke) and boosted the precise Michael Emerson (Ben Linus) as well as Matthew Fox (Jack Shephard), Evangeline Lilly (Kate Austen) and Josh Holloway (James “Sawyer” Ford).

A complaint I’ve heard most about the finale is that it left unanswered many of the biggest questions surrounding the show: What’s up with Walt? Why did the Dharma food drops continue after the Purge? What is life like post-Island for the survivors? How did the Losties “create” this alternate-reality meet-up place? What is the Man in Black’s name?

But “Lost” was always about the characters. It was about their stories, their struggles, their sacrifices and their redemptions. That’s exactly how it ended, and, I think, the character-based finale was much more satisfying than any overlong, over-explanatory monologue by the Man in Black could be. Too, whether we wanted it to be or not, “Lost” was always Jack’s story, and so the ending of the series finale was perfectly fitting. Whether we ever discover the answer to Charlie’s question in the premiere (“Guys, where are we?”), the show leaves itself open to dissection and discussion for years to come.

I won’t give you my theory on the ending, mostly because I haven’t quite come to terms with it all as of yet, but also because “Lost” was left heavily up to interpretation. I fully intend on watching all six seasons again, and maybe then I’ll have changed my mind on a lot of the theories I hold now, but isn’t that part of “Lost’s” appeal? Like a good book, you can delve into “Lost’s” mysteries again and again, picking up on new clues and coming to new conclusions.

I don’t believe “Lost” ever had the most viewers. But it did have a very large, heavily devoted fanbase (possibly more than any other show at the moment). “Lost” proved that it’s OK and possibly even needed to have a show that is intellectually challenging. Steeped in mythology, literature, spirituality and sociology, the show not only leaves you thinking after the TV set has been turned off, but has also sparked new interests in aspects of life beyond television. Although “Lost” flew unexpected into many lives, it has quickly become the new standard of television.

5 of 5 stars

'Robin Hood' misses the mark

"Robin Hood"

Starring: Russell Crowe, Cate Blanchett, Mark Strong
Directed by: Ridley Scott
Rating: PG-13 for violence including intense sequences of warfare, and some sexual content.
Running time: 2 hours, 20 minutes.

“Robin Hood” is like the Little Engine that Can’t.

When you’re not struggling to understand the marbles-in-their-mouths accents, you’re wading through endless scenes of swordplay in the hopes that you might find something to connect with.

It tries to be an epic masterpiece. Kind of. I mean, it has all the fixin’s for a truly delectable experience.
So what’s lacking?

Heart, for one. If you’re any sort of a “Braveheart” watcher you’ll know at once what I mean by being moved by and invested in a story.

Characterization, for another. How is it possible to have a 2 1/2 hour movie and only really know about a handful of characters? And even of those handful, little justice is given to any.

It’s simply impossible (for me, anyway) to not compare this movie to “Braveheart.” It’s a medieval piece starring a scruffy vigilante who rebels against authority for the greater good. But where “Braveheart” was a drama first and an action movie second, “Robin Hood” spins the genres around — to its misfortune.

Director Ridley Scott must have been aware that such comparisons would be made by the general audience. And though it’s expected, it is a bit unfair. “Robin Hood” is a perfectly decent movie with an adequate plot and plenty of (albeit not excessively gory) action.

Russell Crowe stars as Robin Longstride, an archer in King Richard the Lionheart’s army who is caught up in wars of which he wants no part. Robin and some friends (including Little John) sneak away soon after the king’s death on the battlefield in the hopes of returning to normal lives in England, but a promise made to a dying knight sends Robin on a quest that will lead him to Nottingham where he meets the Lady Marion Loxley (a great performance by Cate Blanchett).

And while Robin would like nothing more than to enjoy a quiet life with Marion, death and mayhem come to him in the form of Godfrey (an oh-so-good-at-being-bad Mark Strong), who is threatening all of England with his aggressive methods of tax collection and a subtle threat of French invasion.
The English may have no problem repelling the French if they were united, but Richard the Lionheart’s brother, King John (Oscar Isaac), is a greedy, power-hungry dictator who excels at isolating his angry subjects.

It’s very sad to see this movie not be what it so badly wants to be. Scott should have loosened up on the reins, cut back most of the pointless action sequences and allowed “Robin Hood” to be what it is at its core — a character-driven tale.

The few performances that were actually given a decent amount of screen time were done expertly by the actors. Mark Strong is simply amazing, and Max von Sydow is one of the more stirring as Sir Walter Loxley.

As for Robin Hood’s band of Merry Men, their superficial personas and scant screentime left little the actors could build on. Too, the Sheriff of Nottingham (Matthew Macfadyen) is a mere nod to the legend and his character has little involvement in the film — a shame.

Scott tries to throw emotional viewers like me a bone with Robin discovering who is father was with the help of a “rise and rise again until lambs become lions” inscription — but the “revelation” isn’t at all surprising and you never really feel that empathy with Robin because you were never allowed the chance to connect with him.

It’s not a bad movie. But with a high budget, a respected director, a renowned cast and a storyline that just begs to be great, “Robin Hood” just never seems to hit its target.

Send movie suggestions or comments to rcrofut@fltimes.com.

3 of 5 stars

* * *

All good things must come to an end.

And so it is that LOST, the best television show ever (yes, I did just use a sweeping generality that most people won’t agree with), is wrapping up its entire series from 9 to 11:30 p.m. Sunday on ABC.

Personally, I have no idea how they’re going to do it. It seems like too much is left to be answered. And I’m more than a little sad that this is the end, but I’m also very excited to see what J.J. Abrams and Damon Lindelof have thought up.

So check in next week to see my thoughts on the finale and on the series as a whole.

Also, if you’re a humongous LOST fan like me, we’d like you to contact our reporter Amanda Folts at afolts@fltimes.com or 789-3333 ext. 257 to talk about the finale.

‘Iron Man 2’ above average as far as sequels go (3.5/5)

Iron Man 2

Starring: Robert Downey Jr., Gwyneth Paltrow, Mickey Rourke
Directed by: Jon Favreau
Rating: PG-13 for sequences of intense sci-fi action and violence, and some language.
Running time: 2 hour, 4 minutes.

After an elaborate and highly immodest entrance, Iron Man proclaims that “it’s good to be back.”
It’s good to have you back, Mr. Stark.

As far as sequels go, “Iron Man 2” ranks above average. It has enough plot and substance to stand on its own merits but also ties in nicely with the storyline of the original.
Months after Tony Stark admits to being Iron Man, he is challenged by Ivan Vanko (a Russian-accented Mickey Rourke), a physicist in a WWE wrestler’s body and the son of Stark’s father’s former partner.

After an exhilarating unveiling that proves Stark vulnerable and results in Vanko’s arrest, competing weapons manufacturer Justin Hammer (Sam Rockwell) arranges for Vanko’s breakout in return for the Russian’s knowledge and expertise in creating suits much like Iron Man’s. Hammer’s suits are meant to prove Iron Man obsolete and to sell the technology to the United States government — a business venture that Stark has repeatedly refused.

Don Cheadle picks up the role of Stark’s friend Lt. Col. James “Rhodey” Rhodes from Terrence Howard in the original. I’m not sure I love the change, but Cheadle does an adequate job in a role the writer and director tried to expand.

Robert Downey Jr.’s charm and confidence lead the way once again as the understated actor heads a star-studded cast.

But, as is often the case in these situations, a big-name actor may not command the amount of screentime you may expect — case in point: Scarlett Johansson.

Scarlett’s role as sexy secretary/sultry superhero is offendably shallow. There are only two highly transparent reasons for this role: To make the audience drool and to provide yet another stepping stone to the upcoming Avengers film. Sorry Scarlett, but “Iron Man 2” would have been much better without you strutting off with its precious screen time.

And rather than focus on fully developing Vanko’s character (and, dare I say, make the “climactic” ending not such a dud), director Jon Favreau and writer Justin Thereoux decide to turn Tony Stark into a metaphorical brooding teenager.

It worries me that the catastrophe that was the angst-ridden “Spiderman 3” didn’t seem to teach anyone anything ...

Emotional subplots abound, from the electromagnetic chest device slowly threatening Tony’s life to Tony trying to come to terms with his unsentimental father to a suited-up duel between pals.

In the midst of all this, Tony names Pepper the new CEO of Stark Industries, leaving him free to angst away.

When “Iron Man 2” isn’t laying on the heavy stuff, it’s pretty darn funny. A plus for the original was that it never took itself too seriously — a line the sequel is dangerously close to crossing. But Tony’s birthday party is a wonderfully hilarious scene, and the early senate hearing possibly trumps any act from the original. Downey truly lights up the film whenever he’s given the chance, and the chemistry between him and Paltrow is organic and palpable.

Also, Sam Rockwell is an incredible addition as the weaselly Hammer. I really hope his character is in the third as he brought such conniving humor to the mix.

What’s that? “Third,” did I say? That’s right, “Iron Man 3” is currently in the works and is slated to come out sometime after the 2012 release of “The Avengers” (which will feature Robert Downey Jr., Scarlett Johansson, Samuel L. Jackson, and, rumored, Edward Norton).

As I mentioned, I just hope the production crew recognizes the errors made in “Spiderman 3” and don’t disappoint “Iron Man” fans in a similar fashion.

3.5 of 5 stars

Great music in ‘Pirate Radio’ (4/5)

Pirate Radio

Starring: Philip Seymour Hoffman, Nick Frost, Tom Sturridge
Directed by: Richard Curtis
Rating: R for language, and some sexual content including brief nudity.
Running time: 1 hour, 56 minutes.

Although they forego the eyepatches and parrots, the DJs of Radio Rock are every bit the devil-may-care protagonists as the swashbuckling pirates of yore (or of “Pirates of the Caribbean”).

In 1966, the Radio Rock ship floats anchored off the British shore in the North Sea. Known as “The Boat That Rocked” in England, “Pirate Radio” tells the tale of the off-beat station’s quirky DJs and their love affairs with the frowned-upon music genre known as rock.

“Pirate Radio” is loosely based off of similar situations that occurred in the late ’60s, but is mostly a fictional tale. Something to be understood up front is that the movie is not historically accurate. Writer/director Richard Curtis took liberty with some names, events and music chronology in order to (in his eyes) properly tailor the film into its overall feel.

“Pirate Radio” is a comedic tribute to the revolutionary sounds of rock at a time and place where that very genre is being threatened.

Rock music has been seen as an expression of instincts — of sex and drugs and, well, rock and roll. Of man’s wild and uninhibited side that some revel in while others fear.

That fear is portrayed magnificently by the austere, classical-music-loving duo British Government Minister Dormandy (a magnificently stodgy Kenneth Branagh) and his subordinate (Jack Davenport). With the endorsement of the Prime Minister, the pair work to shut down Radio Rock and all other rock-broadcasting ships.

The DJs of Radio Rock not only live for the music, but also to share it (as said in a deleted scene, “we’re only fans.”) Their eccentricities are manifestations of the ’60s rebellion of thought and lifestyle. The DJs, led by Quentin (Bill Nighy in a comfortable role), include:

• The Count (Philip Seymour Hoffman), the uncouth American Airwave King.

• Gavin (Rhys Ifans), the haughty star DJ.

• Simple Simon (Chris O’Dowd), the naive nice guy (who just may be my favorite of the lot).

• Dr. Dave (Nick Frost), the big and “beautiful.” A note about this particular character: Dr. Dave perfectly exemplifies the type of men I would see on TV shows and old photographs and look at my mother (with a little bit of fear and a lotta bit of disgust) — “Mom, you found that attractive?”

But, despite his sloppy appearance and vulgar demeanor, Dr. Dave is quite the lothario — somehow.
To be fair, I can imagine 40 years from now a young upstart such as myself looking with disdain from a photo of Brad Pitt in “Fight Club” to my wrinkled face and saying “You found that attractive?”

OK, well perhaps not Brad Pitt, but you get the point.

Other notable “crew members” of Radio Rock are Young Carl (Tom Sturridge), Quentin’s godson — whose role seems major at first but, compared to the engaging DJs, he never is able to steal the show — and his roommate, the dim-witted Thick Kevin (Tom Brooke).

These characters absolutely make this movie. They are hilarious and captivating; however, the downside to such a star-studded ensemble is that some characters get short shrift. Too, the film seems to drag at times and appears to be trying too hard to focus on too many characters.

And though “Pirate Radio” does run a bit long (but, come on, many of those old rock songs are three times the length of the current tracks on the radio), I would definitely recommend checking out some of the deleted scenes. If you have the patience for only one, be sure to check out Gavin’s background tale.

If you’re a fan of the music, I think you’ll also be a fan of the film. Luckily, my mother has wonderful taste (apart from her love for The Bee Gees which I try to ignore) and brought me up to appreciate these awesome bands. The soundtrack is, by its very nature, rockin’. With tracks from Jimi Hendrix, Cat Stevens, The Beach Boys, The Kinks and so on, “Pirate Radio” will have you in the classic rock groove for days.

4 of 5 stars