CineCraft is right!

Team Aldebaran represent!

If anyone can guess the song they're going to use for the series finale, you win a Relaxeciser, a jai alai lesson, and a can of Heinz baked beans.

Yep, we're definitely talking past each other, since "all kind of in your face" doesn't describe any of the Giacchino scores that I've heard. I'll take your word for it though.

Ghost Protocol was indeed sweet, though I can't say its music left a particularly strong impression on me. Way too distracted by the hilarity of Tom-Cruise-Running I suppose…

Fair enough, maybe he's in a creative rut. And Lost aside, originality has never been his strong suit, with many of his best scores being homages to older movies (as you note). I really enjoy his work, all the same.

Gonna go ahead and disagree with you there. I haven't seen any of the movies he's scored in the last few years, but how can you say the guy who scored Lost, The Incredibles, and Up has a limited musical vocabulary?

Season 1 had a few moments where the the writers wanted to treat the real-time more, um, realistically. There was that one episode where Jack spent the entire hour laying low in an empty office building (with a random waitress he took hostage, of course), and struggled to fight off sleep while they talked about their…

This reminds me of a time I went on a rant arguing that all the Acting awards should be split into "Best Original Actor" (for fictional characters) and "Best Adapted Actor" (for non-fictional characters), mostly to push all biopics into the latter category since I tend to loathe them. Although this is a terrible…

I remember watching the premiere and thinking, "there's just no way they're gonna be able to sustain this level of energy for very long." So glad that Colbert and his writers proved me wrong!

I may be the only one, but "The Incident" is easily my least favorite finale, and one of my least favorite episodes overall. Lost was capable of being many different kinds of TV show, but I really wish they had found a way to write this episode without so much silly, unrealistic violence. Violence could work well on…

Zero Dark Thirty. I went into the movie hoping against hope that it wouldn't overly propagandize the events it was depicting. The raid sequence, despite the fact (or perhaps because) it was a marvelous, visceral piece of filmmaking, seemed to confirm my fears. BUT then that very last scene, with its heartbreaking…

Counterexample: Chloe O'Brien was an extremely well-conceived character, arguably the most interesting on 24.

That would be especially awkward for Iain Glen and Rose Leslie (and the dozens of other Brits who've been on both shows that I'm forgetting…).

Yep, "Put Down the Duckie" was my jam, even though there was no way that six-year-old me knew who all of the guest stars were. Too bad, since dancing Jeremy Irons is glorious…

I'm pretty sure every time on LOST that a character claims to be from Canada, he or she is lying (e.g. Ethan, Kate when she's in Australia). Nathan is possibly an actual, genuine Canadian, but sadly we'll never know for sure.

It would be pretty ironic to cut the ending ballet from An American in Paris, given that it's using the title song.

Desmond! At what point in the production of the first three episodes of S2 did the Lost producers realize that Henry Ian Cusick was magnetic and…

Love this movie.

I think someone said this in an earlier Lost review, but Do No Harm is sneakily a very important character development episode for Jin, at least in terms of how the viewer sees him. The way he stops and and shakes his head at Charlie for trying to barge in on Claire giving birth is the first time Jin gets to be…