Saturday, January 30, 2010

Lost Lists, Part 4: Best and Worst Characters

I'm double posting today in order to get all of the lists out by Tuesday. I once again encourage everyone to read this on the actual Web site for formatting reasons. Lastly, this post is the last Lost list that will appear on Reviewing Life, as the final two are slated to appear on GooseRadio. I will link to them when they are up.

If it could have been argued in the past that Lost was not a science fiction show, all such protestations have by now been firmly put in their place. However, even before time travel and weird Dharma stations, Lost acted like science fiction, in that it used the on island situations to explore real world themes and philosophies. And, like the skilled science fiction writers they are, J.J. Abrams and company realized that the dilemmas, mysteries and, well, science on their show would only be palatable if their story was populated with interesting characters.

To this end, they have done an almost (but not quite, as you'll soon see) universally good job at making their main and supporting characters complex, compelling and diverse people. And let's not forget their sheer numbers. With the announcement of season six's starring cast, the final tally for main characters appears to be 28 (unless they pull a season five Jin again and introduce a new main cast member partway through). To put that in perspective, the revolving door, 15-season-long ER only had 26 characters with top billing. NYPD Blue (12 seasons) had 24, and Dallas (14 seasons) had 17 (source: Wikipedia).

This combination of quality and quantity have created one of TV's richest worlds. This list will give you the 10 characters I think have contributed to that world the best. First, however, I'll give you five characters that have done more harm than good.

Lost's Five Worst Characters

5. Shannon Rutherford

This one is more of a missed opportunity than anything else. I have many friends who hate on Shannon to no end, and I don't really think that's fair. Maggie Grace played the role she was given, that of a manipulative, spoiled brat, quite well. That her character was unlikeable isn't necessarily a bad thing, as not every character is meant to be a sympathetic one. And, as her time on the island went on, she eventually matured a little bit and began to show some sort of character progression.

Then she died, serving no purpose but that of a plot device to make the main section survivors view the tail sectioners with animosity. To further add to the pointlessness, her stepbrother Boone was already dead, his main contribution being tripping over the hatch and making Locke feel guilty. The two characters' (especially Shannon's) contribution to the mythology and overall progress of show are infinitesimal, and yet they both received flashbacks, centric episodes, the works. Assuming that the island picked these people for a reason, the question now becomes why?

Worst Moment: Seeing Walt and then getting shot.

4. Juliet Burke

My previous Juliet bashing aside, I do feel bad that I have to include her. While her writing and that stupid smile have always seemed a bit trite to me, the little else I've seen Elizabeth Mitchell in has been good, at least partially due to her being in it (see particularly ABC's V). And her role on Lost, while never captivating, was at least mildly interesting at the beginning of her story. Her opening scene in season three is probably one of the most memorable moments of the show.

However, both her likability and importance have gone down considerably since her debut, and season five reached new lows as she became nothing more than Sawyer's personality-free girlfriend who would occasionally take nonsensical actions in order to move the plot forward. It's all about motivation, but Juliet doesn't seem to have any. Bottom Line? I'd really like that bomb to go off, hopefully blowing her up with it.

Worst Moment: Clearly it is the completely out-of-place divorce "reveal" ("The Incident"), if you can even call it that.

3. Nikki and Paulo

These two would make the absolute bottom if they were on the show more, but thankfully, the writers realized what a mistake they'd made fairly quickly. The attempt to retcon these two into the plot was awful and sloppily done (a fact that Sawyer humorously references in "Expose" with his repeated "Who the hell is Nikki?" questions). Fortunately, we only had to see them in seven episodes before the writers, sensing viewer hatred, not only killed them off, but buried them alive. Sweet.

Worst Moment: Either their retconned Pearl discovery or their weird accompaniment of Locke to the Pearl later.

2. Kate Austen

While Kate was all right but unspectacular in season one, seasons two and beyond saw her turn first into a childish pouter who always followed other characters through the jungle after being told she couldn't come with them and later into an emotional crybaby who made the often trembling-lipped Jack look positively stone-faced. Whether it was her should-I-or-shouldn't-I relationship with Sawyer and Jack, her seemingly endless "Mom, why won't you thank me for killing your husband?" flashback episodes or her constant agonizing over Aaron's welfare, you just get tired of all the weepiness. That the writers never give her anything really important to do only adds to the problem.

To be fair, she does do something interesting every now and then, but a few good flashback episodes aren't enough to earn her redemption.

Worst Moment:, Her sobbing "They're gonna kill Sawyer!" in "I Do" has always particularly irritated me. That and all of her "I must get that toy plane back!" episodes.

1. Ana Lucia Cortez

I know my list must seem misogynistic, but it's not my fault: a few characters aside (Danielle, Sun, etc.), Lost just isn't quite as good at handling female characters. Perhaps it's just that Lost is primarily a man's world - out of the 28 main characters, only 10 of them are female, and, depending on Juliet's fate, only four or five of them have survived to see season six (and Claire made it by skipping season five altogether).

All perceived misogyny aside, however, Ana Lucia really is terrible. Sulky, unemotive (except when she was angry), constantly looking as if she was vaguely sick to her stomach - all of these words or phrases could be used to describe her. She was written shallowly, and Michelle Rodriguez did nothing to make this portrayal any better. She was also irritating, spitting out all of her lines with a half-formed sneer that made you wonder why the tail section survivors hadn't looked to Mr. Eko for help instead of her.

In short, I was a little relieved when Michael finally shot her. A brief interesting story arc involving Christian aside (and even then, it was interesting because of Christian, not her), her tenure on the show was one of nearly constant aggravation.

Worst Moment: When she has sex with Sawyer.

Now, the good.

"Lost's" 10 Best Characters

Please note: these rankings are based on a combination of which characters are actually my favorites and which ones I think add the most to the show. These two opinions are often the same, but not always.

10. Jack Shephard
First appearance: "Pilot"
Currently: In the past, escaping what is probably "The Incident"

Jack has his ups and downs, but uncertainty about miracles, occasional whimpering and fixing complex aside, he really is the soul of the show, and, for a character who has had to deal with so much, he really is a good protagonist. His relationship with his father is an added bonus, as is his tumultuous marriage.

Jack was originally going to be killed in the pilot, but ABC insisted that he be kept on as the main character. For once, the meddling network executives were right; a show like "Lost" needs an everyman, and Jack fills the role nicely.

Best Moment: Every moment he was onscreen with the crazy beard. Man, I loved that thing.

9. Martin Keamy
First appearance: "The Constant"
Currently: In the present, dead, presumably rotting on the floor of the Orchid

Though he only makes an appearance in 10 episodes (nine if you don't count his brief ghostly appearance in "Dead Is Dead"), the menacing mercenary makes the most of every minute of screen time he can grab. He is the driving force behind much of season four's drama, as you know that he will only wait so long for the four freighter folk before coming down hard on the island's inhabitants. Every moment he's onscreen is filled with a sense of grim inevitability, a sense that is only increased when he dons the killswitch. He's also responsible for three supporting character deaths in two episodes, which is a pretty big amount in a short time, even on "Lost."

Best Moment: A tie between him killing Alex and the "fix my gun" moment with Captain Gault.

8. Christian Shephard
First appearance: "Walkabout"
Currently: In the present, presumably hanging out with Claire. Last seen telling Sun to wait for Locke.

Christian is one of the most important (if not the most important) factors in making Jack as interesting as he is, and his own story is pretty compelling as well. John Terry does an excellent job portraying a father who really does love his son but who is crippled by pride. Plus, there's the always fascinating question: What's he doing up and walking around, anyway?

Best Moment: Drinking in the bar with Sawyer.

7. James "Sawyer" Ford
First appearance: Pilot
Currently: In the past, escaping The Incident and mourning over the presumed loss of Juliet.

Sawyer occupies a special place in both the hearts of many fans and the overall makeup of Lost itself. Fans have (understandably) latched onto Sawyer because of his wisecracking personality and endearing nicknames. He's good for the show because he's one of the only characters who has actually undergone a significant change in personality and character over the years.

Josh Holloway has also shown a surprising depth over the course of the show, portraying a man who is at times wiseacre, at times tortured, at times responsible leader and at times wracked with guilt and self-doubt. His changing roles on the show have served it well.

Best Moment: His long con to acquire the guns.

6. Richard Alpert
First appearance: "Not In Portland"
Currently: In the past, presumably dragging the unconscious Eloise back to the Others' camp, and in the present, looking at Locke's dead body with confusion.

Richard is always so fun because the show rarely ever addresses his apparent immortality. He's just always around, safeguarding a nuclear bomb, checking up on Locke, taking Ben in, recruiting Juliet, etc. Why he is the way he is is seldom mentioned, making him a fascinating, enigmatic character. He also always remains on an even keel, and he even seems kind, a trait not usually seen in the Others. The word that he's going to be one of the main characters on season six is good news to me.

Best Moment: His testing of young Locke to see if he was eligible for the "special school."

5. Charlie Pace
First appearance: "Pilot"
Currently: Serving as fish food in the submerged Looking Glass station.

Charlie was one of the few characters on Lost who was good for both comedy and pathos. His wit was always sharp, but his story arc, both on and off the island, was quite poignant. He was a very well rounded character.

While Lost is known for great characterization, many of the players on the show are not easily to relate to. Charlie, however, is, if only because his constant confusion and impetuousness in the face of danger mirrors the way that many, perhaps even most, people would act in those situations. He met us where we are on a more personal level too. Even though he was a rock star, Charlie illustrated the failures faced by us all and our own quests for redemption.

Best Moment: If I had to pick one, it would be his sacrificial death scene.

4. Daniel Faraday
First appearance: "The Beginning Of The End"
Currently: Dead in the past, shot by his mom.

There is something so oddly compelling about Faraday, probably because everything seems to go drastically wrong for him. He put the woman he loved in a coma, he zapped his memory, he was fired from Oxford, the next woman he loved died because he couldn't save her and his mom knowingly sent him to his death. Poor guy.

And yet, rather than wallow in misery, Faraday always attempted to get up and move on, always putting others first and trying to do what was right. In a way, there is a sense of purity about him. Perhaps no other character on Lost has been so consistently selfless.

Best Moment: You've gotta love Shaggy Dan from the past, but I'll say the missile test when he first realizes that something might be wrong with the island's timeline.

3. Desmond Hume
First appearance: "Man of Science, Man of Faith"
Currently: In the present, recovering from a gunshot wound at the hospital.

Oh Desmond, how I love you so. Henry Ian Cusick hits every right note, perfectly capturing this poor, scared, unlucky man who just wants to live happily ever after with his girlfriend (are they married yet?).

The time travel elements of Desmond's character are always good for speculation, and he plays them up perfectly, but the primary draw of this beleaguered Scot is his likability. He just genuinely seems to be a good guy, and it is his character who I most want to see survive the show.

Best Moment: A toss-up between his entire performance on "The Constant" and when he beats the crap out of Ben.

2. Sayid Jarrah
First appearance: "Pilot"
Currently: In the past, hopefully not bleeding out in the jungle.

Sayid is my favorite character. He may not have had the most influence on the show, but Naveen Andrews always seems to know exactly when to play him as tormented, angry, bemused or sympathetic. He's not a good person, but he truly wants to be, and his self-loathing just makes us want to comfort the poor guy.

Acting like the sensitive guy is only one part of Sayid's role, however. The other part is arguably more important: serving as Lost's consummate badass. I mean, come on. He's constantly trekking, shooting, torturing or otherwise killing people and things, all ostensibly for the greater good. It's enough for me to even excuse his womanizing tendencies. However, this season promises to be one of the saddest for our dear old Republican Guarder. Between his dire wound and the writers' constant mission to keep his from being happy, I've got to agree with the MTV movie blog on this one: there's no way he's making it out of season six alive.

Best Moment: All of his flashback/forward performances, the scene where he fights the men in the safehouse, and, of course, "snap[ping] that guy's neck with that breakdancing thing you do with your legs."

1. Benjamin Linus
First appearance: "One Of Them"
Currently: In the present, hanging out inside of the foot statue after killing Jacob.

Cuse and Lindelof often cite "Star Wars" as a major influence on their work, and perhaps nowhere is it more apparent than in their realization that making the villain the best part of the story totally rules. I may like Sayid a bit better, but Ben has been a major series player since the very beginning of his "Lost" tenure, and things have only gotten crazier since.

Perhaps the best thing about Ben is that he's got his finger in everything. You never know what he's gunning for until whatever he wanted to happened has happened, and only then do you realize that he's not only been manipulating the characters into doing his foul bidding, but the audience into wanting it. He is perhaps the primary mover and shaker of the show's last three seasons, and, unlike many of the other characters, the motivation for his actions has always been clear and menacing: whatever keeps me on top.

Best Moment:
The Henry Gale saga, culminating in the "Got any milk?" scene, which may be one of the best in the show's history.

Thursday, January 28, 2010

Lost Lists, Part 3: Flashbacks and Speculation

You should know the drill by now, although I'm making a slight change today. From now on, when there is a negative list, it will be placed before the corresponding positive list, so as not to end the article on the negative note. Let's begin.

"Lost's" Top Five Flashbacks

I was going to do a bottom three list for this one, but then I realized that the only character who has bad flashback episodes on a relatively consistent basis is Kate, and I've already expounded a little bit on why I dislike her, with more to come in the next list. Anyway...

Flashbacks are integral to "Lost's" first three seasons (as are the flashforwards in season four), but, from a characterization perspective, they've had ramifications on the entire show. The writers used them to establish backstory, reveal plot points and - in one special case, as you'll see below - create plot points on the present day island.

Another thing that I've always liked about the flashbacks is that not all of the best flashbacks belong to the best characters. I'm still finalizing my top 10 characters list, but at least two of the characters on this list won't be making it onto that one. Note: When I give the flashback count, I am counting flashforwards, and I am only counting episodes in which all or most of the flashbacks are centered around that character. Also, I'm not counting season five, as many of the flashbacks from that season are primarily expository in nature and could be considered as happening concurrently with the main action.

5. Hurley
Flashback count: five

Hurley is a solid character, but, crazy-guy angle and Libby lamenting aside, he's primarily used for comic relief. Thus, when he does get a flashback episode, it's always interesting to see Jorge Garcia show his chops.

Sometimes the flashbacks contain even more comedy than a traditional Hurley appearance, like season one's "Numbers," which rather darkly parades a seemingly endless amount of mishaps that befall Hurley after he wins the lottery. Most often, the flashbacks are surreal, showing the audience the weird misery in which Hurley has lived much of his life (the most infamous incident is the meteor strike from "Tricia Tanaka is Dead," but the best example of this kind of episode is "Dave").

However, my favorite flashbacks of his are from "Everybody Hates Hugo," which features Garcia's best acting on the show to date. In this episode, the flashbacks parallel Hurley's on-island dilemma, as his problems as the food supervisor seem to mirror what happened to him when he won the lottery. Hurley has often said that he would get rid of his winnings if he could, but we've never believed it more than when he makes his best friend promise never to change.

4. Charlie
Flashback count: four

I wish that Dominic Monaghan's fame for playing Charlie exceeded the amount he got for playing Merry, but such wishes are in vain. Nevertheless, Monaghan managed to create a smart, funny and dramatic character in his washed-up British rock star, and nowhere is that character more on display than in his flashback episodes.

Even though Charlie only had four episodes of his own before he died, the writers weave one of the saddest backstories on the show into these moments. To watch good brother Charlie's downward spiral into drug addiction while the undeserving Liam got clean is an experience in depressing irony, and we can't help but feel for the guy.

While you can't beat "Greatest Hits" for an overall Charlie episode, my favorite flashbacks for the character occur on "Fire + Water," when Charlie's dreams of a comeback are fatally dashed by Liam, who, even in his attempt to get clean, is more selfish than Charlie ever could be.

3. Michael
Flashback count: 4

Two of his flashbacks are primarily expository, and he shares three of them with Walt, but the writers sure know how to make you feel for this guy. Michael is often maligned by many "Lost" fans who I know, primarily because of his at first angry behavior and later because he shouts "WAAAAALT!" all the time. However, all of his flashbacks provide a very deep insight to his character.

In the flashbacks, you see Michael for what he is: a very flawed and inexperienced father who loves his son very much. The first thing this does is make you feel much more sympathy for his character (and hatred for Walt's mom. Man, it burned me when I found out she didn't give Wallt any of Michael's letters). The second thing it does is help you understand why Michael is the way he is. When you find out his backstory, you begin to understand his cross demeanor and his over-protectiveness. He becomes much more well rounded.

While the two expository flashbacks ("Meet Kevin Johnson" and "Three Minutes") are fine, Harold Perrineau really shines in the two Walt-story episodes, particularly in "Adrift," the one about the custody battle (although "Special" contains my favorite Michael scene, when he shows Walt his letters and doesn't drag Mom's name through the mud while doing so).

2. Desmond
Flashback count: four

Desmond is obviously a unique case, as his flashbacks were the ones I mentioned previously as having present day influence on the plot. While every other character's flashback is presented as a retrospective narrative, Desmond participates in two of his four flashbacks, and he realizes that he is in the past (he also does this one other time, in the season five premier).

Desmond is such a good character that his two normal flashbacks are as interesting and sympathetic his two "Back to the Future" outings. In the two normal episodes, we learn about Desmond's relational cowardice and the rather odd succession of jobs he took in an attempt to find fullfillment. There's also lingering mystery, as we find out that he was court-marshaled and that Libby gave him his sailboat.

However, his two trippy time travel flashbacks are the real winners. "Flashes Before Your Eyes" is an interesting journey, as it features the debut of Faraday's mother and the first real inklings that time travel was part of "Lost." And, of course, there's "The Constant," perhaps the show's most successful effort to date at combining sci-fi with characterization.

1. Locke
Flashback count: seven

If one thing could be said conclusively about John Locke, it is this: the man has some serious issues. While many of these issues, like his hatred of limitation and his childish desire to be special, come into play at various times over the course of the series, none of them can match his absolutely epic daddy issues. Jack should feel lucky.

Everyone loves "Walkabout," and it is a good episode, but there's just something wonderfully unsettling about Locke's other season one flashback, "Deus Ex Machina." You sense there's something wrong with Locke's dad from the start. You just don't expect the thing that's wrong to be, "He pretended to be close to me in order to steal my kidney." Weird stuff had already been happening on the island by this time, but this episode showed that some pretty bizzare stuff could come from these characters' pasts, too.

My favorite Locke flashbacks are in "The Man From Talahassee," when we finally learn why he ended up in the wheelchair. It's played nearly perfectly, as it provides not only emotional satisfaction, but, because they wait until the middle of season three to reveal it, narrative satisfaction as well. Locke is never more interesting than in his flashbacks.

OK, next list.

My Biggest "Lost" Hopes and Fears

If you haven't figured it out by now, I'm pretty darn excited about season six. While this wouldn't be surprising on the surface, it might be just a little confusing when you look at my "best seasons" list from yesterday. "Lost" has been a little lackluster as of late, and yet, I'm still anticipating Feb. 2 with baited breath.

However, behind my excitement, there does lie a twinge of fear. While I trust that Lindelof and Cuse are working their hardest to make a good show, there are still some things that could go terribly wrong. Here they are.

3. We could see a slide further into melodrama

As I've said before, season five was so full of overacted deliveries you could swear you were watching a soap opera (or a sidearm pitcher). With the exception of some good Faraday moments, gone were the times of cerebral mysteries and puzzling quandaries, and here were the days of "buh, buh, All this happened because you left!" and "(sob) You looked at her funny!" and so on. The last couple of episodes of season five have sort of started to dispel the melodrama a little bit, but it was by no means absent. This season, let's hope for more science fiction weirdness and less uninteresting love story.

2. A lot of the most interesting characters are dead/missing/fading into the background

I've written previously that the writers are to be commended for their willingness to kill off fan favorites for the sake of the story. The problem, however, is that many of the dead characters (here's looking at you, Charlie, Mr. Eko and Daniel) are among the most interesting characters. To top it off, of the remaining characters, the writers have chosen in recent times to focus primarily on Locke (now unLocke), Jack, Sawyer, Juliet and Kate. While Locke, Jack and Sawyer are all good characters to various extents, the three of them fighting with each other/other people does not a good show make.

In season five, Jin and Sun were relegated to tagalong status, Desmond left the island (and is not on the main character list for season six), Sayid was locked in jail for a while and then disappeared for several episodes, Faraday left the island for several episodes, Ben whined a lot and Hurley and Miles engaged in an endless (but admittedly funny) Laurel and Hardy time travel routine. There a lot of good characters here who didn't do very much.

There's much hope that things will be different this time around, and there's also word that many of the dead characters will be showing up in the final season. Unless this jumps the shark, we could see a more balanced cast this year.

1. There are still a ton of unanswered questions

Even though "Lost" has given us plenty of thrills, chills and spills over the years, the only reason we've stuck around to see them is because the premise of the show implicitly promises that one day, eventually, our questions will be answered. While the writers have promised that most of the mysteries will indeed be addressed, the sheer volume of mind bending elements packed into the first five seasons seems almost insurmountable.

Granted, they probably won't even attempt to answer every nagging complaint, and they probably shouldn't have to. But even if you toss out some loose ends (why is Libby in the insane asylum, who are Adam and Eve, etc.), you still have a lot to answer for.

And that, ultimately, is my biggest fear about Feb. 2 and beyond. If we come away still scratching our heads about what was actually going on, not only season six will be ruined. The entire show will be.

OK, here's the less depressing list: my hopes.

3. I think Jack caused The Incident when he set off the bomb

There are many reasons why I think this is important to the fortunes of the show. The first is that we then stay in the same timeline as all of the questions and characters we've watched and care about for five seasons. The second is that Juliet might be dead, thus lessening her impact on the plot this year.

The third reason is that The Incident is one of the anchoring events of the entire show. Its occurrence now sets up or indicates the coming of several events only hinted at so far, like the origin of the hatch's button, Mikhail Bakunin and his crazy eye patch, the purge, the orientation videos and more. It could be the beginning of the show's attempt to answer some questions.

2. Old characters return!

While this could push at the bounds of believability (even for "Lost"), I can't help but be excited that the writers have confirmed that many of the dearly departed players will return, including Charlie, Boone and Faraday. Not only does it signal a nostalgia laden trip down memory road, but the surprise announcement that characters like Michael and Libby will also be returning is good news for some lingering mysteries to be cleared up.

1. They've been planning this since season three

Cuse and Lindelof have stated that the show getting an end date was a very liberating thing, as it allowed them to stop stalling and start planning how they really wanted things to finish. Since that time, they've made seasons four and five, which, for anything you might say about them, were nothing if not jam packed with story.

Season six promises to be no different, but more importantly, there is comfort to be had in knowing that the writers are and have been aware not only of the questions we had before the last three seasons, but also of most of the questions that have arisen since that time. "Lost" has been called by some a show primarily about faith. Perhaps the viewers should have faith that the show's creators know what they're doing.

Tuesday, January 26, 2010

"Lost" Lists, Part 2: Best Seasons and Best Twists

A brief reminder to my Facebook readers. This blog is RSS Feeded to Facebook from www.ryanreviewslife.blogspot.com. I would love it if you read it there instead of on Facebook, as the formatting I give to the original post does not show up on Facebook notes and adds (I think) a bit more to the posts.

Welcome back to "Lost" Lists. Last time, I wrote about the show's most overused cliches and the best and worst deaths that we've seen so far. Today, I'll be running down the best seasons and the worst and best twists the show has given us thus far. Without further ado...

"Lost's" Worst To Best Seasons

While the overall story of "Lost" is one that continues throughout the entire show, each season has had its own little miniarcs that carve out a special place in the overall mythology. Some of these miniarcs have been great, others... eh, not so much. Here are my thoughts.

5. Season Five
Arc: "TIME TRAVEL, YOU GUYS! TIME TRAVEL! ALSO, LOVE TRIANGLES."

Like every season of "Lost," this one sure had its moments. It was nice that they finally came out in the open about the time travel elements of the the show, and there was some high adventure, but three things in particular dragged it all down. The first thing is that the time travel episodes in the beginning were quite similar and also disorienting, making it hard to understand what was going on. I know I wished for a constant a few times.

The second problem was the Jack/Kate/Sawyer/Juliet love triangle. Some viewers probably loved it. I, however, was bored to tears by it. Don't get me wrong, "Lost," like any truly good science fiction, only works when it cares about its characters. The only problem is that I don't care about these characters. Jack is a fine protagonist and Sawyer is very good, but I hate Juliet and Kate, and even if I didn't I wouldn't care about which one is dating which and who feels particularly angsty about it today. Geez, it's like a teen drama, and it chewed up screen time, relegating great characters like Sayid, Desmond, Hurley, Miles, Faraday and others to much more minor roles.

The final problem was that it was just all so melodramatic. This started a little bit in season four, but it really reared its ugly head when 2009 rolled around. Back when Ben was in his heyday, he wouldn't just shrug off the deaths of a plane's innocent passengers. He'd make you think it was all your idea. Dramatic one liners abounded, intended to create tension but actually revealing laziness. It was as if the writers got too wrapped up in how awesome their high concept show was and sometimes forgot to make it high concept.

Hopefully, some of these problems will be fixed this year.

4. Season Two
Arc: "So, there's this hatch..."

The first time I watched this season through, I considered stopping altogether. The second time through was much more interesting, but it still suffers from a few key problems.

First, the good. This season stops messing around with Season One's proclivity to shove smoke monsters and numbers and polar bears in your face with absolutely no explanation, hoping that you'll just go "Oh my gosh! So weird! So different! I'm blown away!" Instead, some method starts to be injected into the madness by way of the Dharma Initiative, beginning with the hatch, the first of Pierre Chang's mysterious films and, in the season finale, the capsule dump, one of my favorite unanswered questions thus far. You were still confused, but it was a much more organized confusion.

Also, some of the character drama was really good. Mr. Eko was always fascinating, and the Charlie/Locke conflict really heated up. And, of course, I can't leave out the most important character addition in season two: Benjamin Linus, the scheming, double-dealing, Machiavellian leader of the others.

Now, the bad. Well, first there's Ana Lucia. Gosh I hated her. Annoying, two-dimensional, and she wears the same clothing the entire time she's on the island. Gross. Besides her, however, the should they or shouldn't they debate with the button got a little old by the end of the season, as did Jack and Locke's faith vs. science shtick. Lastly, we can't forget Kate's downfall from a relatively interesting manipulative fugitive into a weepy, petulant nuisance (to be fair, this does start in season one, when she spends many of her flashback episodes attempting to retrieve a toy airplane).

On the whole, it's an interesting season, but it's not without its setbacks.

3. Season One
Arc: "There is some pretty weird stuff going on on this island."

The best things about this season are, of course, the best things about any opening season to a good drama: the premise and the introduction to the characters. "Lost" proved its quality in both of these areas, introducing the engrossing flashbacks (indeed, the season one flashbacks often upstage the events on the island) and creating a pilot that sucks you into the plot faster than that one guy got sucked into 815's engine.

The weaknesses are not really weaknesses, nor are they anyone's fault. The writers had to establish that weird shenanigans were about to go down, and they did so nicely. However, the first season was, from a mythology angle, all about setup, and "Dude, it's a polar bear! Weird, right?" is inherently less interesting to me than "Why is there a polar bear hanging around?" This is all OK by me, however. The first season isn't supposed to be the best.

2. Season Three
Arc: "Wait... I really don't understand the Others at all."

While this season certainly has its fair share of bumps in the road (Nikki and Paulo, too much time spent in the cages, Nikki and Paulo, Jack's tattoos, Paulo and Nikki), it took the hints of conspiracy and mystery that season two introduced and turned them into full-blown, head scratching craziness with the revelation that the Others live in a town just like regular people, if regular people lived in the middle of an island fueled by strange and hellbent forces that no mortal could begin to understand. The narrative strength also increased, particularly in the long, bittersweet road towards Charlie's death.

Besides the already mentioned hiccups, Juliet wasn't always the most interesting, and the death of Mr. Eko made it clear that basically the entire reason the tail section existed is for Rose and Bernard to be together. However, these things are forgivable. The positives already mentioned, along with the introduction of Desmond as a central character and the flashforward twist in the finale, made for a great season.

1. Season Four
Arc: "Well, if it's not Penny's boat, whose is it?"

While I enjoyed many of the more non-essential episodes of the first three seasons (a particularly fun one is "Tricia Tanaka Is Dead," more commonly known as "the one where Hurley finds the van"), I also loved the writers' decision to buckle down in season four and make it all about plot. The flashforwards were innovative and exciting, and Jack's bearded moments may be Matthew Fox's best acted scenes on the show so far.

The on-island action was gripping as well. The four freighter folks were introduced (my favorite? Faraday), Michael came back, Ben was vengeful and manipulative as heck and the whole drama was given additional urgency by the menacing Martin Keamy. It wasn't short on mythology either, as time travel began to be revealed in full force, particularly in "The Constant" and at the end with the frozen wheel.

This is an almost perfect season, perhaps marred only a little bit by the absence of Charlie and a bit of a slide into melodrama. Even with these small concerns, it is definitely "Lost" at its best.

Now, for today's second list:

"Lost's" Best Twists

One of the key dramatic devices used in "Lost" is the plot twist, turning everything we thought we knew on its ear. Sometimes these revelations have added to the show, and sometimes they haven't. Let's take a look.

Note: For the purposes of this article, a "plot twist" shall mean a new, unknown and unexpected revelation or action meant to advance the plot.

5. Daniel gets shot by his mom
Episode: "The Variable"

While Faraday's odd, about-face insistence that the survivors can indeed change the past irks me, the reveal that his destiny has, in essence, been set in stone since before he was born hits you like a sucker punch, particularly because of the person who kills him: Eloise Hawking, Faraday's mom.

That she knew throughout Faraday's whole life that she would kill him recontextualizes the forgetful physicist's entire journey on the show, and it casts Eloise's motives and intentions even further into doubt going into the final season.

4. Michael shoots Ana Lucia and Libby

Episode: "Two For The Road"

Sorry that my first two twists are also two of the best deaths, but "Lost" can pack a lot of good into one action - or, in this case, two actions. While I've always loved Michael, he was a bit... whiny in season two, and the writers didn't give him much to do besides having him say "I've gotta find my son" over and over (he sounds like a regular Tom Jane after a while). However, his murder of Ana Lucia is shocking and something that most viewers wouldn't think Michael capable of. When he instinctively offs Libby moments later, it hits us: he can't come back from this.

The gamechanging nature of this moment also serves as one of the more potent (and one of the first) reminders that, on "Lost," no one is safe. The tension is ratcheted up because Cuse and Lindelof aren't afraid to kill fan favorites. While Shannon and Boone died before the two tail section occupants, this is when we knew that the writers meant business.

3. The Others are civilized and live in a town
Episode: "A Tale Of Two Cities"

Clair's flashbacks and the abandoned Dharma hospital had already given us glimpses into the idea that the Others might be more than just savages, but the wide shot of Dharmaville nestled in the middle of the island was something else entirely. It was the establishing shot of season three, the season when we found out much more about the Others than any season before or since.

Besides the unexpected fact that the Others behave like normal folk when they aren't terrorizing the survivors, this twist also gets props for its stellar setup. The first time I watched the episode, I assumed that Juliet was another survivor whose backstory was being fleshed out for the first time. Then the house starts to shake, the camera looks up to see the plane breaking apart, and BAM! It's Ben! Good work, guys.

2. "We have to go back!" is actually a flashforward
Episode: "Through The Looking Glass"

This one was actually spoiled for me, but it can't be discounted. The flashforwards took one of the most beloved parts of "Lost" and changed it into an even more unique storytelling device, one that gave immediate context to many on-island plotlines and saved a lot of exposition that would have otherwise had to be done in season five. That they at first lead the viewer on to think that it's just another episode in Jack's sob story is just good writing.

1. Locke really is dead
Episode: "The Incident, Part 2"

Somehow, the writers managed to turn Locke's death into three separate twists. The first is in the finale of season four, when you find out that he's the one who's been in the coffin the whole time. It's nice, but not completely shocking or anything. After all, you knew it had to be one of the main characters.

The second twist is when he comes back to life. Yawn. I saw that coming from the moment Ben suggests that Locke be used as a substitute for Christian. It was the third twist, however, that caught me unaware.

Again, here is a twist that recontextualizes the things that came before it. Now you know why Locke has been acting a little more terrible than normal. Now you know why he hasn't whined for the last half of the season. Now you understand why he's been spouting all of this villainous verboseness. You still don't understand what he means, but you understand why he says it.

Also, as is important for any good twist, this one was completely unexpected. I'm guessing that almost all "Lost" fans thought that the island had healed Locke and made him a cocky jerk to boot (in fact, this is one reason why I wasn't as big of a fan of season five). Then, just like season two, when the show needed a shot in the arm, Cuse and pull this one out.

"Lost's" Three Worst Twists

One of the pitfalls with something like "Lost" (or really any quality, popular media icon) is that the people responsible for content can get a little too caught up in how awesome the product is and begin to think that anything they do will be the best thing ever. This is why we have things like the "Pirates of the Caribbean" sequels, season four of The Office and most of John Lennon's post-Beatles career. Here are three times when the writers were wrong about what would play well.

3. Dr. Chang is Miles' dad
Episode: "Some Like It Hoth"

This one isn't terrible so much as it is mediocre. It currently makes little difference to the show that Chang and Miles are related, unless you think that changing Miles from a snarky smart-alec into a emotional, misunderstood adolescent is a major plot improvement.

Indeed, the main problem with this twist is the melodrama (a problem which, as previously noted, plagued season five). Miles' contrived "You need me?" when Chang asks him to do something for him is one of the top three worst anythings to appear on the show.

2. Nikki and Paulo actually discovered The Pearl station first
Episode: "Expose'"

I understand why the writers needed to do this episode, and it even has its moments now and then, but I really didn't like the retconning of a major moment in the plot. Such a revelation is pointless, and it retroactively takes away from Locke's discovery of the station later on. Oh well. At least those two are dead now.

1. Juliet's parents are divorced
Episode: "The Incident, Part 2"

This only qualifies as a twist because the writers chuck it at you out of the blue as an explanation for Juliet's suddenly irrational and inconsistent behavior (by the way, have you ever noticed how the flashback doesn't even make sense with the rest of the episode? Everyone else is having significant Jacob moments, and all of the sudden Juliet's parents just pop up for no reason).

Her decision to help Jack blow up the bomb, based only on a supposed "look" that Sawyer gives Kate and the sudden announcement that "hey guys, she's got issues from her childhood," is by far the most contrived plot point that has occurred on the "Lost" thus far. Let's hope season six can't top it.

Stay tuned for more "Lost" lists!

"Lost" Lists, part 1

Note: If you’re not a “Lost” fan, absolutely none of this will make sense to you, and I would encourage you not to bother. If you are a “Lost” fan, but you’re not caught up yet, I would implore you not to read any of these lists until you’re caught up. Spoilers abound.

I’m done. For about a week.

When I wrote these words, I had just finished watching “The Incident, Part 2,” otherwise known as the season finale of the penultimate season of “Lost.” Since this summer, I’ve been rewatching every episode in order to beef up on the mythology and chronology of the show before it begins its final season next week. However, I also had an ulterior motive.

The other thing I decided this summer about “Lost” is that I would write a very long article made up of lists about the best/worst things in the “Lost” universe. Recently, I’ve decided to split it up into six different lists, the first one of which is below. I will be posting the other five installments as the week continues, although one or two of them might appear on GooseRadio instead (check out my first article for that site here).

First, however, a more proper introduction.

I’ve been a “Lost” fan for about a year, much less than some of my more dedicated friends. However, I’ve become convinced that the story the creators are weaving is truly a great one, and it was very rewarding to rewatch all 100+ episodes knowing, to a certain extent, the context in which those episodes were placed. The first time around, you see, you don’t know what’s coming up next, which is fun but confusing. The second time, you can see what the writers were up to from the start, and it (mostly) starts to make sense. “Meet Kevin Johnson” aside, the nearly flawless continuity they’ve managed to keep is astounding for a show of this scope. The writing and characterization are excellent as well.

That being said, it’s impossible for a TV show of this length to not have at least a few bad parts. Even “Arrested Development” came up with “Ready, Aim, Marry Me.” These lists will have something of a fun look at the lamer elements of “Lost,” right along with all the good bits. In fact, that’s where this first installment of “Lost” Lists begins…

"Lost’s" Top Five Most Overused Clichés

Lost generally has great writing, but an obsession with “themes” can go a little too far when you hear the same old tune over and over again. Here are the worst.

5. “When the hell are we?” jokes

The only thing keeping this entry from being higher on the list is that it mercifully only went on for six episodes (season five, episodes 1-5, 7). However, those six episodes sure had some cringe-worthy moments: 10, in fact. That’s right. The first half of season five made a joke akin to “when are we?” or “where are we in time?” or “where the hell are we? We don’t even know when the hell we are!” an average of 1 2/3 times every episode, otherwise known as Tim Allen’s grunt ratio on “Home Improvement.”

OK, guys, we get it. It was a groan-worthy but also silly-grin-worthy joke the first time, but only the first time. The second time just made us think, “I hope they don’t make this into a thing,” the third, “Oh no, they’re making it a thing,” and beyond, “OH MY GOODNESS I HOPE THE SMOKE MONSTER JUDGES YOU ALL.” The time jump episodes (“This Place Is Death” excluded) are not some of “Lost’s” best fare to begin with; constantly referencing what is going on onscreen with a joke that you obviously think is super clever just makes things worse.

4. The Island telling people (OK, mostly just Locke) to do things


I understand that this is part of the mythology of the show, but at times it’s just become a catch-all for any otherwise unexplained action taken by everyone’s favorite balding crybaby. It’s often lazy, and it (along with the next item on my list) kind of makes hate Locke just a bit more.

The mythology argument is also becoming a little tenuous now that Jacob is on the scene. Is he the person Locke originally thought was The Island, or does The Island still function as its own entity? I originally thought the former, but the un-Locke once again references chit-chatting it up with the mysterious jungle-clad rock.

3. “Don’t Tell Me What I Can’t Do!”

OK, Locke, sure, I’ll just tell you what you can do: shut the hell up. Before I go on, I should note that I think Terry O’Quinn is a great actor, including his stint on “Lost.” I did become infuriated with him starting midway through season three, but that’s how you’re supposed to feel about him if you’re in the slightly saner Jack camp. He has imbued the character with a lot of pathos, and I admire that.

What I don’t admire is that the writers think that he can assert his constant need for independence in only three ways: breaking kitchenware when Ben questions him, hating wheelchairs and that stupid line. The first one is OK because it doesn’t happen very often, and the second one works because, again, O’Quinn is so good at his craft, but the oft-exclaimed line is the second most annoying thing to come out of a “Lost” character’s mouth on a regular basis. It’s petulant and whiny for one, which is a bit more forgivable because it’s supposed to be that way, but it’s also about as repetitive as the “when are we” jokes, except that it spans the entire length of the show.

2. “Live Together, Die Alone”

This is the line that beats out Locke’s. I know the original speech in which this appears is supposed to be a watershed moment for the survivors, but I found the expression a bit trite even then. The writers, however, seem enamored with it, which is highly unfortunate.

Like “The Island made me do it,” the phrase has become an excuse to make characters do things without actually giving them motivation. In short, I wish Rose had followed through when she threatened to sock Jack if he used the phrase again.

1. Daddy Issues

All right, all right. I have a confession to make. This one is overused so much that it’s kind of endearing. Let’s take a look see at every main character from the first five seasons and find out how many of them have had problems with one or both of their parents which have been implied to affect the character in a significant way.

Jack – The Classic. Can’t win his dad’s approval. Poor baby.
Kate – Killed who she thought was her stepdad but who was actually her real dad. Mom hates her for this.
Sawyer – Dad killed self, mom. Shapes his whole life around revenge.
Hurley – Dad abandoned him and only came back when he got rich. Suspects that he’s only in it for the money.
Locke – Mom insane, put him up for foster care. Dad (among other things) steals his kidney and pushes him out of a window with intent to kill.
Jin – Mom’s a prostitute, ashamed of fisherdad.
Sun – Dad is a conniving, controlling mobster/businessman.
Claire – Absentee, adulterous dad, mom in a coma because of an accident that may have been Claire’s fault.
Ben – Mom died in childbirth and then haunts him on the island. Dad is an alcoholic, abusive jerk.
Juliet – Parents divorced, caused her to disbelieve in relational permanence.
Walt – Mom died suddenly, dad doesn’t know how to be a father and also killed two people.
Shannon – She more has “brother issues” than anything else, but her dad died in a car accident and her stepmom is withholding and condescending.
Ana Lucia – Her mom suspects her (rightly) of committing murder, and she mingles personal concerns with on the job ones.
Daniel – His mom is withholding, controlling, rude, and, oh yeah, she knowingly sends him to his death by her own hand in the past (only on “Lost,” ladies and gentlemen). Also, his dad is probably Charles Widmore, which could open up a whole new realm of problems.
Miles – Secretive mom, absentee dad who really did love him, but Miles doesn’t know that until he goes back in time and hangs out with him while occasionally seeing his baby self.

That’s quite a list. The main characters who don’t make it are Charlie, Michael, Sayid, Desmond, Boone, Eko, Charlotte, Libby, Nicki and Paulo, and of those, it is at least briefly implied that Sayid, Michael and Charlie could have parental troubles. Of the remaining characters, there is only one character whose parent is even seen on the show. This means that, out of the 25 main characters that have appeared on “Lost” so far, Boone is the only one who is absolutely confirmed to have a non-crippling relationship with those who bore him.

I don’t actually mind this too much because it’s so widespread that it’s almost endearing, but man, what happened to Carlton Cuse and Damon Lindelof when they were little?

OK, next list.

“Lost’s” Top Five Deaths

“Lost” is a show in which death is an expected – if not always welcomed – thing, and it’s something that has both endeared people to the show (“it’s so daring and story-driven!”) and made them fly into fits of rage (“how dare they! [Name] was my favorite character!”). Of the 25 main characters so far (a number that will soon swell to 28 with season six’s addition of Richard, Ilana and Frank), only 12 have survived up to this point, and that’s only if both Juliet and Sayid make it out of The Incident alive (my bet is that Sayid will and Juliet won’t). Death is something that the writers are good at portraying, and many of the most poignant moments on the show come when a beloved character passes on. Here are five of the best, followed by three of the worst.

5. Frank Duckett
Death Episode: “Outlaws”

Even though he is featured in one of the worst “Lost” episodes of all time (but we’ll save that for another list), Frank’s mistaken-identity murder by Sawyer is still quite sad, and it gives us deeper perspective into the put-on tough guy persona of our beloved con man. The only thing that could make Mr. Duckett’s demise any better was if ominously-whispered “It’ll come back around” didn’t end up meaning “Sawyer, a boar is going to mess up your tent.”

4. Michael Dawson

Death Episode: “There’s No Place Like Home, Part 3”

I’ve always had a soft spot for Michael, even if the constant strains of “WAAAAALT” get on my nerves every now and then. Harold Perrineau always infuses his performance with believability and relatability, which is saying something when you play a new dad out-of-work architect who kills two people and then magically fails to commit suicide several times.

Speaking of which, it is the guilt Michael feels over killing Ana Lucia and Libby and the anguish over the estrangement from his son that really gives emotional weight to his almost-but-not-quite redemptive death. I know that the writers’ strike curtailed what was to be a more heroic final bow for Michael, but I still like the way the writers played it.

3. Ana Lucia and Libby

Death Episode: “Two For The Road” and “?”

Neither of these characters were particularly great (particularly not Ana Lucia, who I was kind of excited to see shuffle off the mortal coil), but the drama they gave Michael was excellent, and the surprise twist toward the end of the season combined with the introduction of Ben to inject new life into the show. There have been better twists on the show since then, but few have been more jarring and out-and-out surprising.

2. Daniel Faraday
Death Episode: “The Variable”

I was very sad and a little angry when this happened, as Faraday had been one of my favorite characters since his introduction and the writers killed him right as he got back from a several-episode hiatus. However, you can’t deny the dramatic setup and impact; while Faraday’s insistence on rejecting his “Whatever happened, happened” philosophy seems a bit out of character, every flashback scene with his mother was brilliantly paced, and the look of realization on the poor physicist’s face before he goes to the big mouse maze in the sky is just heartbreaking.

1. Charlie Pace

Death Episode: “Through The Looking Glass”

C’mon. You knew this was coming, didn’t you?

Charlie may have stopped breathing in the season three finale, but he was already dying 18 episodes earlier, when Desmond sets up the lightning rod in “Flashes Before Your Eyes.” The writers proceeded to toy with our emotions all season long, and it was gutsy of them to eventually follow through with the death of the rock star, by far the biggest fan favorite to be offed so far (well, besides Locke, but that’s different).

There were moments of tension, like Desmond’s decision to take Charlie on a trip that he knew could have ended in an arrow to the neck, and there were moments of poignancy, like the flashbacks of “Greatest Hits” and the developing relationship with Claire. However, the unquestionably best part of Charlie’s demise was the bravery with which he finally decides to pass on. The “Not Penny’s Boat” shot followed by the final sign of the cross may end up being the show’s most iconic moment.

Now, on a more negative note:

“Lost’s Three Worst Deaths

3. Shannon Rutherford

Death Episode: “Abandoned”

Legions of Shannon haters may disagree, but I’ll be quick to point out that the bikini-clad whiner had gotten considerably less annoying since her debut, making her one of the only main characters in the five season run to show considerable character progression. Besides that, her death makes her kind of pointless to the show, as the only thing she had ever contributed to the plot was knowing a little bit of French, an ability the writers could have easily given to another character. Her death didn’t even mean that much to Sayid, as he had already gotten over her by the middle of season two (you almost forget about their relationship sometimes, don’t you?).

Lastly, the ensuing chaos of her death meant that we forgot all about what caused her to die in the first place: trippy, backwards-speaking and still unexplained visions of a dripping wet Walt. What is up with that?

2. Matthew Abaddon
Death Episode: “The Life And Death Of Jeremy Bentham”

Nowhere else on “Lost” has a character been so built up only to end as an uninteresting footnote. Abaddon was creepy and always interesting in his sparse moments of screen time, and then, just as you think you’re about to find out more about what he actually does, he’s abruptly and unceremoniously shot by Ben, never to be heard from again. For heaven’s sake, the revelation that he is working with Naomi is treated like some sort of major plot point when it’s revealed, but no. Apparently he’s just a creepy dude who runs errands for Widmore. Lame.

1. Danielle Rousseau
Death Episode: “Meet Kevin Johnson”

This was another “too soon” death moment. Rousseau’s hunt for Alex had been one of the longest running plot points on the show. Then, when the two are finally reunited at the end of season three, she’s virtually ignored, only to be shot in season four as the second in a series of a character killing spree (Carl died moments before she did, and Alex was killed in the next episode).

Even though her quest was completed, the writers never brought closure to it, and they even wasted what could have been a look of fantastic regret as the dying Danielle realizes that, after all these years, it was all for naught. Instead, she just keels over. What a waste.

Look for more “Lost” lists as the week progresses!

Tuesday, January 12, 2010

The Best Of '09

Hi all. Well, it’s the beginning/middle of January, and you know what that means: Ryan’s belated blog about the best movies and music from 2009. I tried to get it done in a timely manner this year, and I did do better than last year, but a number of things conspired against me, including the stomach flu, getting a real job, busyness and not having Internet access. I’ve made a few changes this year. I’m going to include a few clunkers on some “Worst” sections, and I will also copy Roger Ebert and award a special jury prize whenever I deem it appropriate. Now, without further ado, here they are: the best of ’09.

Top Five Albums of 2009:
2009 was an interesting year for my musical tastes. Jars of Clay, my favorite band, released “The Long Fall Back to Earth,” but, some stellar songs aside, it wasn’t quite up to snuff with their best work. David Crowder released an interesting, well-produced but rambling effort, and Ben Folds followed up the disappointing “Way to Normal” with an oddball collection of college accapella groups singing his songs (if you’re unsure as to who that album is supposed to be aimed at, join the club. My best guess is that slim demographic of people who have always wanted to hear an accapella group use the F word).

However, the most significant musical shift for me was my decision to start listening to 89.3 The Current at one of my temp jobs. While they are oftentimes too occupied with their own pretension to notice how bad some of the indie music they play really is (plus they crank the truly awful Michael Franti now and then), I also discovered some good musical acts that I would have otherwise overlooked. One of those acts is on my list.

5. Forget And Not Slow Down, by Relient k
Genre: Pop/punk

If I was the revisionist type, I’d go back to my best of 2008 list and take RK’s “Bird and the Bee Sides” off of my top five. This album, however, is much better and more focused than that disjointed and oftentimes repetitive EP. Written entirely about Matt Thiessen’s painful breakup, “Forget” marks RK’s most organic and laid back album yet, although tracks like “Sahara” and “If You Believe Me” still crank it up every now and then.

Thiessen’s lyrical abilities are back in line too. While not as heartfelt and fitting as 2004’s watershed effort, “Mmhmm,” the writing on “Forget” is witty, earnest and poetic (although one pop culture reference seems like a step too far back. “I’m the Cusack on the lawn of your heart”? I know it’s supposed to be funny, Matt, but really?).

However, the most notable feature of RK’s sixth LP is its progression. Many of the songs are linked by little interludes, intros and outros, the most effective of which is the “Sahara/Oasis/Savannah/Baby” song arc. While the music can get a bit indistinguishable at times, RK has crafted their second best album and some catchy pop.

Standout tracks: “Sahara/Oasis/Savannah/Baby,” “This Is The End (If You Want It)”

(While I said I wasn’t the revisionist type, I may be forced to kick this album off of the list if I’m able to listen to more of “Aim and Ignite” by Fun pretty soon. I've really liked the little I've heard of it.)

4. The Incident, by Porcupine Tree
Genre: Prog rock, metal

First things first: this is not one of Porcupine Tree’s best albums. In fact, it’s probably one of the least excellent albums since frontman Steven Wilson decided to stop messing around with inaccessible oddities and form an actual band. However, notice that I said “least excellent,” not “worst.” Even on one of their duller gems, these British metal rockers still put on a heck of a show.

This time around, they split their album up into two discs. One disc contains the album proper, which is one long composition split into several tracks/minisongs, and the other disc contains a few extra tracks thrown in for good measure. Both discs contain music well worth listening to.

Thematically, the album isn’t a significant shift for the band; the primary theme seems to be the sterilization of real life, a topic often covered by Wilson (particularly in Porcupine Tree’s last album, “Fear of a Blank Planet”). However, it’s covered well as usual, and the secondary theme of aging seems to add a new dimension to the writing.

The music is good too, containing some of the hardest and softest sounds for the band. The album/song idea drags every now and then, but it’s usually pretty tight and is more than compensated for by “Time Flies,” the album’s almost-12-minute, fluctuating centerpiece and possibly the best song the band has ever written.

Standout tracks: “Time Flies,” “The Incident,” “Bleak House,” “Remember Me Lover”

For my sensitive readers: Casual swearing every now and then, with an occasional cavalier attitude to sexual encounters

3. Ellipse, by Imogen Heap
Genre: Electronic, pop

Say what you will about Imogen Heap, but she certainly knows her way around her music. This purely electronic effort might be a bit too dainty for some musical palettes, but no blip is out of place, no loop is looped wrong, and Heap’s airy voice weaves in and out of the music with perfect precision.

If you only have heard Heap’s famous “Hide and Seek,” don’t come here seeking more of the same. While the AutoTune does make itself heard every now and then, there’s a lot more than an altered voice going on this time around, and what’s going on is a lot more upbeat as well.

However, I’m not selecting this album simply for my admiration of her craft. There are some truly worthwhile songs on this album, and “Swoon,” with its flawless electric riff, passionate vocals and just-right lyrics … oh my. “Swoon” is unquestionably the song of the year.

Standout tracks: “Fast Train Home,” “Swoon”

2. The Open Door EP, by Death Cab for Cutie
Genre: Alternative

Is it bad to say that I like this release more than any of the superbly talented DCFC’s full length albums? Because I think I do. “The Open Door” is a collection of B-sides from “Narrow Stairs,” and it demonstrates what the already good “Narrow Stairs” could have been if it was tighter and not quite as odd.

It’s on a little more solid rock ‘n’ roll ground than its predecessor, but we still get a healthy dose of Ben Gibbard’s quirky, self deprecatory introspection. I just wonder why these tunes didn’t make it onto “Narrow Stairs” to begin with.

Standout tracks: “Little Bribes,” “My Mirror Speaks”

1. Fantasies, by Metric
Genre: Alternative

I discovered this band after hearing “Collect Call” on The Current, and I’m sure glad I did. This album is clever, tight and rocking, and one spin on the headphones reveals a whole new layer of aural and production complexity.

Lead singer Emily Haines' voice fits every line and every riff perfectly, and the songs range in topic from a casual dance number to a quasi-parable about greed to a comparison of the legacies of The Stones and The Beatles (that The Beatles come out on top is just one more reason to love this Canadian band). I hope there’s more to come from these guys, but, in the meanwhile, I have a back catalogue to catch up on.

Standout tracks: “Collect Call,” “Gimme Sympathy,” “Satellite Mind,” “Gold, Guns, Girls,” “Stadium Love”

For my more sensitive readers: The F word a few times on “Satellite Mind” and a satirically cavalier attitude toward sex on “Gold, Guns, Girls”

Special Jury Prize: The Beatles remastered catalog

If you’re a Beatles fan, and even if you’re not, you should check out at least one of these albums. The sounds are crisp and truly do mark a noticeable improvement in quality, and really, any excuse to buy a Beatles album is a good one. Another cool bonus is that the CDs are packaged in miniature facsimiles of the original album cases, which is fun.

Worst album (that I listened to, anyway. The real worst album is probably “The Fame,” by Lady Gaga): Raditude, by Weezer

Earlier this year, I had grown to somewhat respect some of Weezer’s work (most notably The Red Album). This respect was highly deflated after the tepid and insubstantial “Raditude," which can only boast one good song: the catchy “If You’re Wondering If I Want You To (I Want You To).”

Top 10 songs of 2009 (in no particular order, except that “Swoon” is the best one):

Swoon,” by Imogen Heap: the perfect pop song, the perfect electronic song. Just listen.
Panic Switch,” by Silversun Pickups: if the rest of their album was as catchy and urgent as this, I wouldn’t be able to stop listening.
Headphones,” by Jars of Clay: ironically (and perhaps intentionally) this parable about tuning out the world sounds best when listened to through headphones.
Time Flies,” by Porcupine Tree: the sonic twists and turns never cease to please, and the chorus sounds like it’s being sung by a man who is starting to figure out what it means.
Gimme Sympathy (acoustic),” by Metric: unfortunately, this song is currently only available on a live Current album, but that doesn’t make it any less beautiful.
At Least I’m Not As Sad As I Used To Be” by fun.: Zany and eclectic. That’s all there really is to say.
Never Forget You,” by Noisettes: I only wish that the rest of their album, “Wild Young Hearts,” could have so perfectly captured the Aretha Franklin/Diana Ross crossbreed that was so wonderfully done here.
"God Almighty, None Compares," by David Crowder Band: While I’ve heard a fair amount of genre jumping from Crowder over the years, I never expected him to dabble in prog rock. And yet, here it is.
Little Bribes,” by Death Cab for Cutie: one of the best rock songs DCFC has ever attempted.
This Is The End (If You Want It),” by Relient K: this little ditty is actually two songs put together, but they combine to continue RK’s streak of excellent closing tracks.

Worst song: a three way tie between “Obama Song,” by Michael Franti, “LoveGame,” by Lady Gaga and “Boom Boom Pow,” by the Black Eyed Peas. These three songs rate very high, not only in my worst of the year list, but also in my list of worst songs ever, or indeed worst things ever.

Top Five Movies of 2009:
I didn’t see as many movies as I wanted to last year. Again, if I decide to be revisionist, some of these might come down in favor of movies like “Coraline,” "Up in the Air" or “The Informant!” For now, however, here’s what I’ve got.

5. Star Trek
Director: J.J. Abrams
Starring: Chris Pine, Zachary Quinto

While the unending supply of Young, Attractive People sometimes makes you feel like you’re watching “The Hills in Space,” the acting (by Pine and Karl Urban, aka Bones, in particular) is actually pretty decent, and Abrams accomplishes what no other Trek movie has been able to do: appeal to (most) Trek fans as a solid, story-driven and mythology-conscious entry in the storied franchise (the red shirt joke is a nice little addition too), and appeal to most other people as being a pretty good, pretty watchable film.

Is it the best Trek movie? Most fans would say not a chance, but then again, most fans think that an old guy wearing a fake muscle suit and William Shatner screaming “KHAAAAN!” are the highlights of Trek’s silver screen appearances. It’s definitely the most well made picture, and Pine, unlike Shatner, can actually act. However, my favorite still has to be “Star Trek IV: The Voyage Home.” I’d like to see anyone else get away with time travel, whales in space and a satire of the 80s all at once.

4. Taken
Director: Pierre Morel
Starring: Liam Neeson, Maggie Grace

Yeah, yeah, you can groan all you want, and to a certain point I’ll agree with you: this is far from cinema at its finest, and the Academy sure isn’t planning on showering “Taken” with awards anytime soon. And yet, there’s just a bit more here than meets the eye.

For one thing, Neeson actually does take a fairly good dramatic turn here. While there’s still something inherently hilarious in watching Qui-Gonn Jinn kick, punch and shoot the everloving crap out of everything in sight, Neeson definitely scores some legitimately heartfelt scenes as a dad who genuinely cares for his daughter. People forget about it, but I’d wager there’s a good half hour of character development before the brawling begins.

Now, granted, I’m not including this movie here because of Neeson’s acting chops. Rather, I’m including it for what really are some top-notch action scenes, made on a comparably shoestring budget, and the aforementioned ridiculousness of Neeson’s decision to play one of the most relentlessly, brutally hardcore action heroes in a long time. In a Hollywood climate where action stars need to be emotionally conflicted or merciful, it’s hard not to feel a mild strain of incredulity as the normally placid Neeson takes absolutely no prisoners.

3. Sherlock Holmes
Director: Guy Ritchie
Starring: Robert Downey Jr., Jude Law, Rachel McAdams

I really didn’t think I was going to like this movie, but I was very pleasantly surprised that Ritchie didn’t take one of my favorite literary characters and change him beyond all recognition. While he’s quite a bit more physical in this flick than he is in the books, even this aspect of his personality is handled in a way that points back to his entirely cerebral personality.

The script is also surprisingly clever, and it doesn’t cheat with modern language or even very many modern intimations. There’s also a legitimate mystery that Holmes legitimately unravels (although there’s a bit of cheating because the audience never had a chance of figuring out the ending, but that’s more than forgivable because a fair amount of Arthur Conan Doyle’s own stories do the same thing). Moriarty even makes a brief appearance, with promises of more in the sequel. Bring it on.

2. State of Play
Director: Kevin Macdonald
Starring: Russell Crowe, Ben Affleck, Rachel McAdams, Helen Mirren

There is almost no one reading this who will like this movie as much as I did, but I’m OK with that. While the film certainly has considerable cinematic merits, I was as charmed by its message and setting as I was by its plot. Now I just need to see the British miniseries it was based on.

“State of Play” is, at its heart, a love letter to journalism, or at least to the journalism that has been romanticized ever since Woodward and Bernstein first made Nixon sweat. Crowe’s character, Cal McAffrey, is an affable, pudgy reporter with a messy cubicle and an attention to detail, and he is unquestionably a hero. The film even defends the traditional newspaper format, with some subtle jabs taken at news blogs every now and then.

On top of that, however, is a truly thrilling film, with good performances all around. It’s gripping, and you’ll very much care about the characters by the end of it. In fact, it would have been my best of the year, if it weren’t for the incredibly spectacular film that also was released in 2009.

1. Up
Director: Pete Docter
Starring: Ed Asner

What a fantastic movie. Pixar outdoes even the spectacular “Wall-E” and “The Incredibles” in this film, a modern day fantasy about disillusionment, aging and love.

It’s rare to see any movie, let alone an animated one, that’s as profoundly touching as this tale of Carl Fredricksen, an unhappy, retired balloon salesman whose beloved wife died too soon. The opening montage will find you holding back tears, and the turning point of the film – those who have seen it know what I’m talking about – is masterful in its timing and emotional impact.

What makes “Up” even more fascinating is that it succeeds with such disparate elements at its disposal. It’s part fantasy (the elderly superhero elements, the balloon conceit), part serialized adventure flick (Charles Muntz, the biplanes), part science fiction (the dogs), part classic mismatched sidekick movie and part love story (and even that is done in an odd way, as Carl’s beloved Ellie is primarily embodied in the couple’s floating house).That Docter was able to shape all of these genres into something other than a mishmash is surprising enough. That he created out of these elements a story with the depth, humor and meaning that “Up” has is almost unbelievable. If you haven’t seen this one, do so as soon as you can.

Special Jury Prize: 500 Days of Summer
Director: Marc Webb
Starring: Zooey Deschanel, Joseph Gordon-Levitt

This film, about 500 days of rocky relationship is interesting, and it certainly bears watching, but there’s an inexorable gloominess that hangs over it that makes it hard to love. It’s also all a bit too intentional.

There are some nice things here. It’s well acted, and you really do like both Deschanel and Gordon Levitt’s characters. It’s also done in an interesting non-linear style. I did like it, but there are a few things holding me back from a wholehearted recommendation.

For one thing, the soundtrack (including, most notably, two Regina Spektor songs), the dialogue and some of the shooting practically and almost cynically bashes you over the head with the fact that the film was clearly made for indie kids. Also, the non-linear style makes the movie a bit morose, as we’re never fully able to focus on the good parts of the couple’s relationship. The depression is only added to when you realize that one of the characters doesn’t believe in love, while the other believes in it but truly has no idea what it means. Check it out if you're looking for something unique, but be prepared for a bit of a downer.

Worst Movie: Year One

Jack Black and Michael Cera do their worst in this uninspired, crass and unfunny “comedy” about cavemen in Bible times. Geez, Mike, between your acting choices and "Sit Down, Shut Up," I'm almost afraid for the "Arrested Development" movie.

Top Five Books or Book Series that I Read for the First Time in 2009:

There are so many great books to read that I rarely get around to reading stuff that came out in the current year, and 2009 was no exception. Here are the best things I did read, however.

5. Y: The Last Man
By Brian K. Vaughan, Pia Guerra

Before I give you my review, let me just say that this book is very R-rated, mostly to its detriment. Some of the content is understandable from a story perspective, but much of it is not.

Problems aside, however, this graphic novel tale of a plague that wipes out all but one male human is a compelling, poignant, well written tale, and it even slips in some clever social commentary and good jokes. Check this one out if you can stand language, violence and other content.

4. Starman Saga (if you're checking it out, look up Starman Omnibus)
By James Robinson, Tony Harris, others

To be fair, I’ve only read through the first two volumes of the omnibus so far, but Robinson’s Starman, Jack Knight, is in my mind the only major competition with Batman in the DC Universe.

The visuals are unique, the writing is crisp and the story is unpredictable. Jack Knight is a reluctant superhero, but in an entirely new way: he almost finds heroics annoying, and he never lets the mantle of Starman become his driving persona.

This series also gets props for prominently featuring The Shade, unquestionably the coolest antihero I’ve ever seen in a comic book.

3. ‘Til We Have Faces
By C.S. Lewis

It’s not Lewis’ best work (look to “The Screwtape Letters” or the oft-overlooked “That Hideous Strength” for that), but this first person retelling of the Greek myth of Cupid and Psyche is one of his most unique.

The story almost defies a brief description, but the central theme is that of the justice and manifestation of God. That Lewis can, as usual, so wonderfully pull it off is a testament to his skills, as this is an idea I can not imagine any other Christian writer tackling.

2. Catch 22
By Joseph Heller

This weird, run-on sentence laden, rambling narrative succeeds where the same style in “The Catcher in the Rye” fails. Yossarian, the protagonist in this strange WWII comedy, is a singularly lazy and self-centered character, but we root for him anyway. The book is a bit self indulgent and sometimes a bit too off kilter (there’s also some sexual bits that some will not want to read), but it fires back with a joke again and again. Come on: the book’s best character is named Major Major Major Major. I think I’ll be a little forgiving.

1. The Harry Potter Series
By J.K. Rowling

I never knew until this summer: these books really are that good. I had always dismissed them as pop literature, but I was simply wrong. The first four books are wonderful children’s literature, with characters and situations rivaling the whimsy and charm of the Narnia books, and the last three books transcend the genre into … I’m not entirely sure, really. Somewhere much more mature, where Rowling creates an unbreakable mood of tension, oppression and real danger.

It’s interesting, really. I, who used to dismiss the HP books, now sometimes defend them from friends who read and liked them, “but not that much.” I don’t really care. This is one series I’d love to read again for the first time.

Top 10 Most Heard Albums of 2009:
Most of what I listen to isn’t exactly new. Here’s what it exactly was.

1. “Stringtown,” by Jars of Clay
2. “The Long Fall Back To Earth,” by Jars of Clay
3. “The Beatles” (The White Album), by The Beatles
4. “Blue on Blue,” by Leigh Nash
5. “Far,” by Regina Spektor
6. “Keep Color,” by Republic Tigers
7. “Rocket Man: Number Ones,” by Elton John
8. “Forget And Not Slow Down,” by Relient k
9. “Ellipse,” by Imogen Heap
10. “The Man Comes Around,” by Johnny Cash (listen to this. It’s so good)

Thanks for reading my list. Sorry if it seemed a little rushed. Please comment with agreements, disagreements, suggestions, etc. Also, stay tuned: coming up (hopefully) soon on this blog will be two best of the decade lists, as well as a "series so far" entry on the TV show "Lost."