LOST: Season Six

Photos provided by ABC Studios
I still find myself watching the last ten to fifteen minutes of the LOST series finale. I've probably watched it a dozen times or so. The portion I'm talking about is when our fractured, flawed, but ultimately heroic Jack Shephard finally embarks on the moment we've been waiting six years for, the moment when he opens the casket of his deceased father Christian.

I'm not repeatedly watching this moment because I'm looking for a hidden goose egg, or greater thematic significance. I watch the waning moments of this epic adventure because I find the closure of LOST to be enriching, profound and most of all, comforting. The conclusion LOST came to was an unworldly one, one which is conciliatory without compromising.

Although LOST was always a terrific science fiction mystery, adventure, puzzle, romance, thriller and drama, more than anything, to me it was an experience, a particularly engrossing and absorbing spiritual one.

Religious symbolism, is revealed both explicitly and implicitly. The construction of a church on The Island, a prayer shared between survivors of the crash of Oceanic 815 or a conversation surrounding Doubting Thomas and his significance are ways that LOST wore its spirituality on its sleeve. The implicit nature of its spirituality was more engrossing. John Locke's faith in the island and his deep philosophical discussions with Jack made television's most engaging series what it was. Although these central characters constantly debated issues of science versus faith, free will versus destiny, all of the series other participants also struggled with life's complexities and found reconcilation by finding their great purpose in this world.

Many were disappointed with LOST's final season, and although I wasn't completely blown away by all of the series conclusions, LOST: Season Six did return the series to where it began, a character-centric program where those who once were lost have now been found. Many LOST fans discarded the alternate reality, or flash sideways, where we witness the survivors lives following the detonation of Jughead (in the season five finale). In a time where fans were demanding answers, LOST elected to dig deeper into the characters themselves, acknowledging the demons our survivors were still battling, but in a slightly different light. Although Kate, Jack, Sawyer, Sayid, Locke and the others still had problems to reconcile, they were much more aware of these obstacles and equipped to handle them.

On The Island, the writers revealed several answers, some more substantial and satisfying than others. We discovered who Jacob and The Man in Black were, how Richard obtained eternal life, what the whispers were, and why Jack, Kate, Sawyer, Hurley and the others were brought to The Island. Some viewers weren't satisfied, questioning the strength and validity of the answers, while other viewers demanded further explanation.

The real answers to me were the ones which the characters arrived at within themselves, many of which were revealed on The Island and in the flash sideways. This is what LOST was all about. Whether it was Jack discovering his faith and finding the ability to let go, Kate accepting the consequences for her actions, Sawyer learning to forgive himself and love again or Desmond finding a measure of self worth, these self-realizations provided the show with its heart and purpose.

The flash sideways revisited our characters internal struggles, but also hinted at the sideways' real existence. Nearly all season six episodes included a sideways story, and each revealed a clue to where the characters were operating. To discount the importance of the sideways is to discount what LOST is really all about.

LOST: Season Six had a difficult task, attempting to satisfy all of its fans. This would be a difficult task for any series, but particularly tough for a series which was many different things to many different viewers. It was many things to me: a brilliant mystery, a science fiction adventure, a series of romantic epics and even, at times, a funny and comical escape. Yet most of all, LOST was a spiritual experience, where misguided souls found themselves and something greater. In this respect, LOST: Season Six ended on just the right note, a melancholy, hopeful and ultimately comforting ride into the light.

Grade: B+

LOST: Season Six is now available on Blu-Ray and DVD.

WINTER'S BONE

Photos provided by Roadside AttractionsA young woman attempts to salvage her home and family by locating her father in the drama WINTER’S BONE.

Ree is a high-school age teenager, probably seventeen or eighteen, one who isn't concerned about prom or even final exams, but rather keeping a roof over her family’s head and food on the table. With her father missing, and mother bed-ridden, Ree serves as the head of the household, scraping up food where she can, and teaching her young brother and sister how to survive as best as they can.

Ree and her family’s major obstacle is retaining possession of their house. Ree’s father was incarcerated, posted bond with the family’s home and then fled. The authorities have notified Ree that if her father isn’t found in a week, the city takes over her family’s home. Ree sets out on a quest, determined to find her father.

It’s not often that films cut to the core of basic human necessities, but WINTER’S BONE does, serving up a drama that’s equally thrilling and moving.

Desperation is at the core of WINTER’S BONE, and is expertly presented by director and co-writer Debra Granik. The time period could be present day or fifteen years ago, and although the film is set in the Ozarks, it could easily be set in the West, Midwest or great Northeast, as the essence of Ree’s world is that of rugged, quiet despair, where the adults run amuck in illegal activity and the children seem like an afterthought.

Building this odd, eerie and plausible atmosphere is no easy task, but Granik’s accomplishment not only sets the tone, but ends up delivering quite a dramatic punch. Granik’s steady direction is essential, but would be for naught if it wasn’t for a brilliant lead performance by newcomer Jennifer Lawrence.

Only 19-years old, Lawrence is completely in command and assured as Ree. Conveying a deep determination, tough attitude and street savy, Lawrence creates a modern day heroine. Her performance places everything in context. Some of the actions and reactions by her family members and acquaintances could have moved the film in a dark, almost sadistic place, but through her convincing portrayal, we accept the unusual encounters as status quo for Ree.

Lawerence’s performance is one of the best of the year, and the film is too.

Grade: B+

DINNER FOR SCHMUCKS

Photos courtesy of Paramount Pictures

Paul Rudd attempts to win a contest at the expense of Steve Carell in the comedy DINNER FOR SCHMUCKS.

Rudd’s Tim is a financial analyst striving to climb the corporate ladder. After Tim woos the higher-ups with an innovative pitch, he’s invited by the company founder Lance Fender to a secret dinner for idiots. Everyone invited to the party is to bring their own idiot, with the participants attempting to top one another with the foolish guest of all.

Tim, due in large part to his girlfriend's coaxing, is going to decline the invitation, but then Barry stumbles across his path. Tim hits Barry with his car while Barry is attempting to salvage a dead mouse in the middle of the street. You see Barry isn’t just saving a mouse’s body for preservation, but for presentation. Barry collects dead mice, dresses them up in costumes and poses them in various landscapes. As Tim sees it, his meeting with Barry can’t be mere coincidence.

DINNER FOR SCHMUCKS sounds like a twisted comedy where no one is left unscathed. The contrary is actually true. DINNER FOR SCHMUCKS has it’s occasionally outrageous moment, but more often than not plays it safe comically.

It’s a film that’s more intent on warming the heart than chilling the soul. Considering the source material, a dark French comedy titled THE DINNER GAME, and the prospects for ruthless fun, DINNER FOR SCHMUCKS isn’t a bad film, just a missed opportunity.

There are laughs to be had, particularly the interaction between Tim and Barry. Although Rudd and Carell have worked together before in THE 40-YEAR OLD VIRGIN, DINNER FOR SCHMUCKS is a match made in heaven for the two, pitting Rudd’s sensible, every man nature with Carell’s deadpan, goofball antics. The two’s chemistry is dead-on, I only wish the screenplay would have been equally effective.

The same can be said of the direction, from skillful comic director Jay Roach. Roach’s films, including the AUSTIN POWERS and MEET THE PARENTS franchises, have run the gamut from uncomfortably to outrageously funny. DINNER FOR SCHMUCKS is neither, falling more towards mischievous when malicious is called for.

Grade: C+