No shortage of stuff to see

Southwest Airlines might want Kevin Smith to slim down, but he’s hoping to fatten his wallet this weekend.
Smith’s latest movie, “Cop Out” premieres in theaters across the country today. For years, Smith struggled to break the $30 million mark at the box office. He finally made it, just barely, with 2008’s “Zack and Miri Make a Porno.” Now that he’s punched through, Smith definitely wants to keep moving forward.
Super stacking stars Bruce Willis, Tracy Morgan and Seann William Scott for this buddy cop movie was a smart play on Smith’s part. How can you go wrong with John McClane, Tracy Jordan and Steve Stifler all in one movie?
Also coming out this weekend is the remake of George Romero’s cult classic “The Crazies.” Starring Timothy Olyphant and Radha Mitchell, movie-goers will take a voyeuristic look at small town going to heck and the military’s attempt to contain it.
While this is far from a new story idea, Romero is the godfather of this genre. And if recent remakes of past horror classics such as “Halloween,” “Friday the 13th” and “Texas Chainsaw Massacre” are any indicators, this updated apocalypse will be sure to please.
Even more celluloid greatness and a few flops are set to see the light of day this year.
Michael Douglas returns to the silver screen as Gordon Gecko in March with the release of “Wall Street: Money Never Sleeps.”
He’s finally out of prison, and he’s the same old Gordon. Charlie Sheen, however, has been replaced by one Shia LaBeouf who plays Jacob Moore, the fiance of Gecko’s estranged daughter. Fans of the original may be happy to see Douglas reprise the role, but the jury’s still out on the film as a whole.
Director Tom DiCillo brings us a new look at The Doors this April with the documentary “When You’re Strange.” Narrated by Johnny Depp, the film has been receiving rave reviews at festivals.
The kiddos aren’t about to be left out either.
Tim Burton’s “Alice in Wonderland” comes to theaters next week. Critics already seem skeptical, but the visuals look amazing. Do yourself a favor and go watch this one in 3-D at the IMAX.
M. Night Shyamalan’s “The Last Airbender” hits the screen in July. Based on the first season of the animated TV series “Avatar: The Last Airbender,” the film looks to be Shyamalan’s version of Crouching Tiger meets Lord of the Rings.
Kids young and old will see some familiar faces this June. Woody, Buzz and the whole gang are back in “Toy Story 3.” And those interested in the minds behind animation classics like “Toy Story” can look behind the scenes at the re-birth of Disney animation in March with “Waking Sleeping Beauty.”
Fans of 2008’s “Fireproof” can expect a familiar warm fuzzy feeling in April with “Letters to God.”
Too serious? Just looking for some humourous escapism? Hollywood’s got that on deck as well.
You may have forgotten Sarah Marshal, but you can’t forget Russell Brand as British rocker Aldous Snow. Brand will bring the character back in this summer’s “Get Him to the Greek.” This buddy comedy also features Jonah Hill and P. Diddy himself, Sean Combs.
My personal favorite isn’t about to win any awards or bring any important message to the minds of the masses. John Cusak, Rob Corddry, Craig Robinson and newcomer Clark Duke all star in the multi-decade comedy “Hot Tub Time Machine.”
So get that oversized coat out of the closet, pick up some snacks at the convenience store and enjoy some movies this year.
Trailers for these upcoming releases can be viewed at http://trailers.apple.com.

Bountiful offerings from Bungie this year

I could spend 450 words or so talking about the embarrassment Cartoon Network should feel over its latest contribution to the decline of western civilization, "Total Drama Island," but I'm in a pretty good mood. I'll let it go the way of "Steven Seagal - Lawman" and just keep pretending it doesn't exist. As long as I stay pretty quick with the fast forward button on my TiVo remote, it doesn't.

I didn't have to deal with the whole Sayid-died-but-he-really-didn't-die thing on Tuesday so I'm feeling pretty animosity-free toward life on (and off) the island as well.

I'd rather spend my time this week talking about one of my favorite subjects, Halo.

The ridiculously popular first-person-shooter series has remained exclusively available on Xbox and Xbox 360 consoles. But the unavailability to the Playstation nation and the Wii-tards hasn't hindered game developer Bungie's profit margins in the least. With five separate game titles under its belt, the series has even spawned its own fan-fiction with titles such as "Halo: Evolutions: Essential Tales of the Halo Universe," "Halo: Uprising," "Halo: Helljumper" and "Halo: The Cole Protocol."

Microsoft games writer Eric S. Nylund even got some extra typing time in with "Ghosts of Onyx" and his trilogy, consisting of "The Flood," "First Strike" and "The Fall of Reach."

Austin-based machinima innovators Rooster Teeth Productions used the series to create their own seven-plus seasons of "Red vs. Blue." The show eventually became a solid part of Halo-lore when Bungie began having the company make promotional videos for the release of new titles. Not to mention that Grifball became a super-official part of the multiplayer world as one of the games in Action Sack with the release of "Halo ODST."

In the iTunes ap store, users can download everything from game guides to weapons timers and virtual coaches. More techno-savy users who have jail-broken their iPhone or iPod touch can find a stripped-down, fan-generated version of the game.

PC users have even been able to join in the fun since Microsoft released "Halo: Combat Evolved" and "Halo 2" for PC.

The series has even been given its own place of honor on Xbox Live with Halo Waypoint.

The original game can be downloaded in the Xbox Live Marketplace and played on 360 consoles. Now if we could just get Microsoft to re-code "Halo 2."

Even the mild disappointment doled out by "Halo Wars" can't keep fans' mouths from watering at the thought of the new bits of awesome wonderfulness the Halo universe has to offer this year.

Warner Home Video released "Halo Legends" on Tuesday, and it's on the way to my mailbox right now. Thanks again Netflix.

The Halo series now has its own version of the "Animatrix" with this collection of seven animated short films.

Toys anyone?

Todd McFarlane has released his seventh series of Halo figures this year including characters from "Halo Wars" and "Halo ODST," such as Sgt. Forge, ONI Operative Dare, Tartarus, a yellow Elite Flight, a steel Spartan Hayabusa, an orange Spartan Security officer and a blue Spartan Rogue.

Nylund's "The Fall of Reach" is getting a revisit of sorts this year as well. While not a remake of Nylund's story, gamers will find themselves on the planet of Reach this fall as part of a six-man team of Spartans in what is more than likely the final title in the series, "Halo: Reach."

Bungie's got a couple of new aliens and weapons for us this time around, and I'm looking forward to taking a few headshots with the Needler Rifle.

Owners of last year's "Halo ODST" have in their possession an invitation to the multiplayer beta testing. So keep your copy in hand and keep an eye on Bungie.net.

So a big two thumbs up to Bungie this year, and a disapproving look of concern to Epic Games and Microsoft Game Studios for not coming forward with a tentative release date for "Gears of War 3" yet.

Supergroups helps make up for ABC's superflop

As unhappy as I am with JJ Abrams at the moment, my plan is to not comment on having to watch one of my favorite shows become a horribly written attempt to sell advertisements, and hope that by the end of next week's episode my faith is restored in the creative genius of Bad Robot Productions. Or at least that it gets pointed back in that direction.

One thing that is pleasing to a lover of music such as myself is the release of a couple of side projects from musical giants who have already proven themselves time and again.

The Dead Weather recently released "Horehound." For those not familiar with the group, the line-up includes Alison Mosshart of The Kills, Dean Fertita of Queens of the Stone Age, Jack Lawrence of The Raconteurs and arch nemesis of the Air Force Reserve, Jack White of The White Stripes and The Raconteurs.

Most of the tunes of the album ring familiar of White's gritty, lo-fi production style, with varying writing styles that all blend seamlessly into a solid, cohesive listen.

While Mosshart appears in the majority of the writing credits, all four musicians put their respective pens to paper for the project.

Mosshart's solo efforts can be heard on "So Far From Your Weapon," which undulates along for three and a half minutes borrowing a hint of early PJ Harvey records along the way.

White takes the songwriting reigns on "Cut Like A Buffalo," which is plainly and simply, classic Jack White.

The group's collective writing efforts are brought to the forefront on the single "Treat Me Like Your Mother."

Never straying too far from his blues roots, White stays true to form with the albums closing track, "Will There Be Enough Water," with a little help from Fertita.

If one album by a Queens-included supergroup isn't enough for you, just sit back and relax. I've got another one.

Fans of Queens of the Stone Age who cried a little on the inside when Dave Grohl felt the need to take the Foo fighter back out on tour can once again rejoice at the oh-so-right pairing of Grohl with Queens frontman Josh Homme.

In addition to Grohl and Homme, Them Crooked Vultures features Led Zepplin bassist John Paul Jones, who also holds the production credits on their self-titled November release. Alain Johannes can be seen lending an hand, and an axe, during live performances.

Front front to back, the album is everything one would expect. A little Queens quirkyness lures listeners in so that Grohl can beat their face in with a pair of Zildjian stick while Jones lays down that Zepplin low end.

So all in all, it may have been a bad week on television, but this week has been awesome on my iPod.

LOST interest: Writers seem to be phoning-it-in from the island

I can safely say that the season premiere of "Lost" brought me closer to the characters than ever before.

For the entire two hours, I felt like Hurley as he argued with Miles about time travel in Sawyer's living room.

Here's the spoiler alert for anyone who's still got the season premiere taking up room on their DVR's hard drive.

In 1977, when Juliet smashed Jughead's core with a rock at the end of last season, she in turn created two realities: One where all of the survivors (well, most of them at least) are now back in 2007, but still on the island, and a second, occurring in 2004, in which Flight 815 never crashed and the island is underwater.

The creators don't seem too fond of the term "alternate reality," even though that's what they've created, as executive producer Damon Lindelof explained to Entertainment Weekly.

"To call one of them an 'alternate reality' is to infer that one of them isn't real," Lindelof said.

"Flash sideways" appears to be the preferred term, but whatever you call them, they conveniently let the writers do whatever they want at this point.

"For the fans who are more deeply embedded in the show, you can watch those flash sideways, compare them to what transpired in the flashbacks and go, 'Oh, that's an interesting difference,'" said executive producer Carlton Cuse.

However, one man's "interesting difference" is another man's poor writing.

The confusing, yet cleverly explained, synopsis of bringing about an event in 1977 that causes a separate reality to splinter off the time line in which Flight 815 never crashes easily allows the writers to explain why certain original members are not on the flight. Maybe Jack doesn't recognize Desmond because in this reality they never actually met at a stadium while running one night.

The obvious big question of the season is how and if the two alternate realities will reconcile with each other. While I could spend time contemplating possible ways that could happen, I would rather raise the question of why this seemed like a good idea in the first place.

It seems that the show's creators were just curious to see what would happen if the plane never crashed. But since the writers created separate time lines beginning in 1977, the plane staying in the air isn't the only difference between the two realities by a long shot.

"She (Kate) basically blew up an apprentice plumber as opposed to killing her biological father/stepfather," said Cuse.

As the audience, we're already having to follow the writers into their self-indulgent fantasy because they want to see what would happen if the flight never crashed. Why then, should we have to watch the entire backstory of certain characters change simply because those same writers decided to phone-it-in for a few days?

When we were all praising the genius of JJ Abrams back in 2004, was he just blowing smoke?

In the DVD extras from season 1, Abrams said that while working on the script originally, they knew they had a show once the survivors had been on the island for five years. Why then, in interviews on Tuesday did show creators talk about running out of story?

By my count, 108 days before rescue plus three years off the island and in the '70s adds up to less than four years. So according to Abrams himself, if the last season takes place in 2007, wouldn't the majority of this season's plot have been written before filming began on season one?

Based on the hour-long "catch the slow people up on the past five seasons" special that aired before the premiere, I'm assuming that we're going to see Aaron involved in the story line at some point, which would be good, because wasn't he super important in the first few seasons? Wasn't he special? Didn't Ethan kidnap Claire when she was pregnant? Don't all pregnant women (except Claire) and all babies (except Aaron) die during childbirth?

I'd like to think that all these loose ends will be tied up neatly by the end of season six, but for that to happen, the writers would need to create a third alternate reality.

I think my hope in this third realty began to disappear somewhere in season four, but it may have been in season three. At some point the writers just completely abandoned the fact that there were two islands.

Originally, the Others lived in the Dharma Initiative compound on a second island, separate from the one on which Flight 815 crashed. In post-season-four 2004, and even in 1977 apparently, people are able to drive from the Dharma compound to the Swan Station, which we all know to be on Flight 815's island because John Locke found it in season one before Ben Linus ever showed up in the story line.

I also remember polar bears on a tropical island, but that wasn't ever supposed to be odd, according to what Cuse told TV Guide.

"We sort of felt like we explained the polar bears," Cuse said. "We saw polar bear cages. We saw Sawyer locked in a polar bear cage."

Aside from that, what ever happened to Walt? Why didn't he ever have to come back to the island?

And have characters like Ana Lucia been completely forgotten, or can ABC just not afford to pay Michelle Rodriguez to return for the sixth season? They brought back Boone to have a seemingly pointless conversation with Locke, but then again, maybe Ian Somerhalder just needed a check.

The newest question (which I fully expect a weak answer for) has to do with Sayid.

According to Richard last season, when you're dead, you're dead. There's no coming back. Cuse even reiterated this to TV Guide.

"We've always said that when characters die on 'Lost,' they die," he said.

So how then does Sayid get pronounced dead by Dogen at the temple in the premiere and then magically wake up at the end of the second hour? Was he really dead to begin with, or do the writers, once again, not feel the need to apply all established rules to lesser plot points? Or maybe he really did die, and whatever, or whomever, woke up isn't Sayid at all. And as Lennon said, "We're all in trouble."

I guess it's easy to get a big head when your show is so popular that it forces the president to move the State of the Union address, but it seems like the following conversation is happening around the writer's room a lot these days.

Writer A: So, how are we going to make this happen.

Writer B: I don't know; just have 'em do this.

Writer A: Well, if we do that then we're gonna be contradicting this other part of the story.

Writer B: Dude, no one really knows what's happening in this show. Just have 'em do it anyway. No one will notice.

"Lost" has been one of my favorite shows of the past few years, but at this point I'm concerned that I'm going to end up watching this final chapter, not with the weekly anticipation I have for five previous seasons, but rather by apathetically glancing at ABC once a week simply because I've already invested this much time in the series.

Just like I do with "Heroes."