Lars von Trier’s Antichrist in 560 characters over four Tweets: descriptive, positive, a turning point, and ultimately (in both the “finally” and “fundamentally” senses of the word) negative.
Unlike some people, I liked – perhaps even loved – the finale of Lost. It would have been churlish to deny fans who had invested six years in the show a happy ending, and while the sideways/afterlife reunion was cheap and sentimental, it worked. And it worked in part because it defied the expected coming together of the sixth season’s two universes. And it worked because it offered a payoff to those hooked by the characters and not just the mythology.
‘Timecrimes’ is compact and skillful, but it’s all plot and no character. ‘Primer’ is similar but far superior
With its last episode airing Sunday, I revisited my 2005 piece about Lost and was pleased that nothing in it embarrassed me – even though what the show has become would be incomprehensible to somebody who stopped watching way back then.
The awaited Jacob/MIB episode of ‘Lost’ was penned by series bigwigs but merely underlined already-obvious moral relativism. Gallingly dull.
‘(500) Days of Summer’ has a good hook and nails relationship details, but it’s too cute and frustratingly undisciplined and self-satisfied.
Based on a memoir, the facile, impatient ‘An Education’ is incredible, and glosses over its most compelling element: the facilitating family
