Who could possibly want to read/write/talk about movies on a day like this? It’s the day after the Lost Season 5 finale (aka “The Incident”), and that is the topic everyone’s searching, researching and discussing on the web this afternoon. So, we might as well join in the fun by devoting today’s list to that beloved yet frustrating TV show. Of course, we have to keep things at least relevant to the movies, this being a film blog and all, but it’s not really that difficult to do so. For a show that constantly references and pays tribute to movies, it might actually be harder to write about Lost without citing certain film titles.

Many fans of the series are no doubt seeking out and/or devising theories about what will transpire next, in Season 6. We say, try to get inside the movie-loving minds of Lost executive producers Carlton Cuse and Damon Lindelof. Surely whatever they’ve cooked up for the final season is inspired by one or more films. Stop your looking into the Bible, philosophy text books and the work of Flannery O’Connor. Instead, start your search for answers with the following ten theories, all based on movies.
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The new action film sequel Crank: High Voltage is being advertised with the tagline “He was dead…But he got better.” Aside from sort of ruining the ending to the first Crank for those of us who haven’t seen it, this copy from the posters has been receiving a lot of attention for how ridiculous it sounds. Fans of the original have to disagree with the tagline, because they know Chev Chelios (Jason Statham) was not dead; in fact it is clear from the final scene that he miraculously survived that fall from the helicopter. Meanwhile, people less familiar with the movie simply find the idea of a dead character being resurrected for the benefit of a sequel to be laughably unacceptable, as if such an idea is unheard of in Hollywood.

But even if Chelios had been officially declared dead at the end of Crank, the sequel certainly wouldn’t be the first to revive a main character for a follow-up. Obviously horror films do it all the time, and it’s not exactly uncommon in sci-fi, fantasy, action and comic book genres, either. Even while ignoring the invincibility convention of contemporary slasher films, we were able to select six sequels in which a deceased (or presumed deceased) character returns.

Warning: Spoilers may be found after the jump.
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Thanks to the six-year-old site April Fool’s Day On The Web, there isn’t much need for me to link to film-related gags that can be found on the Internet today. And thanks to Cinematical’s annual roundup, you’ve probably already been clued into some of the best film foolery, including the very cool, very unfortunately fake Empire Strikes Back-referencing Tauntaun Sleeping Bag posted on ThinkGeek. Regardless, I’m going to sample some of the most creative of bloggery bamboozlement. Because there isn’t any other story that’s funnier or more interesting than the stuff that was made up for this special occasion.

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Though the third Fast and the Furious installment, Tokyo Drift, wasn’t a huge box office disappointment with its $63 million domestic gross, it was significantly less successful than its predecessors, The Fast and the Furious ($145 million) and 2 Fast 2 Furious ($127 million). A fourth film would normally see an even bigger drop in box office receipts, but next week’s Fast & Furious has a good chance of actually being the highest-grossing film in the series yet, due to the return of original cast members Paul Walker, Michelle Rodriguez, Jordanna Brewster and, most importantly, Vin Diesel.

With the expectation that Fast & Furious will be enough of a hit to save the franchise, we take a look at ten other films that similarly kept their respective series going, either because of an increase in profits or a surprising increase in quality, following one or many disappointing installments.
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Late last month, Nike unleashed the latest movie-themed sneaker, a yellow shoe with brown fur coming out of the top inspired by Teen Wolf (never mind that in the film the title character wears Adidas). Between this and the recent Back to the Future Part II tie-ins, Michael J. Fox seems to be a big influence on the world of sneaker collecting, and so it may only be a matter of time before we see Nike unveil a Doc Hollywood design.

Actually, it may only be a matter of time before we see a lot of film-inspired shoes we wouldn’t expect. Already, Nike has sneakers tied to Ferris Bueller’s Day Off, A Nightmare on Elm Street, Friday the 13th, Willy Wonka and the Chocolate Factory, Goodfellas, The Empire Strikes Back and Pee-Wee’s Big Adventure. Add to these Adidas’ Tron shoes, Puma’s The Goonies and Japanese Monster shoes and Slip-Off’s custom-designed Vans inspired by Fight Club, Star Wars, Napoleon Dynamite, Anchorman, E.T. and The Life Aquatic With Steve Zissou .

So, in order to beat the shoe companies to the punch, SpoutBlog has picked ten movies that deserve their own sneaker design. Most of these are quite literal and obvious, but it’s just a starting point. What other movies would you like to see make their way to your feet?
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Should special effects only be used to service a film’s story, or is it perfectly fine for movies to feature extraneous spectacle? That’s a debate that comes up often among cineastes, but ultimately there’s room for both functions. Sometimes, in cases like Jurassic Park and The Matrix, both categories of effects may even faultlessly coexist in the same film. Yet there is one kind of effects employment that’s intolerable to all film-loving parties: the gratuitous exploitation for the sole purpose of brazen gimmickry. It’s this kind of effects work that goes beyond spectacle. It’s not so much a show as a show off.

For one example of this cinematic sin check out Karina’s review of The Curious Case of Benjamin Button, in which she references a scene featuring an inessential and irrelevant rocket launch in the background of an otherwise intimate moment between two lovers on a sailboat. Actually, that’s apparently only a minor citation in a “a film about the feat of its own whiz-bang, Frankensteinian digital imagery, drunk on its own accomplishment to an extent that feels quasi-ethical.” Hardly the first movie to commit such a crime, sure, but Benjamin Button seems to be the most thoroughly guilty exploiter since Forrest Gump (both films, incidentally, were scripted by Eric Roth).

So, in (dis)honor of Roth’s repeat offense, let’s take a short look at the worst exploitations of special effects in the last 15 years:
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The fanboys are so serious about The Dark Knight being the best film of 2008 that if the Academy snubs the comic-book adaptation for a Best Picture nomination, they’re liable to storm the Kodak Theatre on February 22 in protest. But why should anyone be worried that it won’t get the nomination? It wouldn’t be much of a coup for the year’s top-grossing blockbuster to be named one of the five Best Picture candidates. In fact, since the very first Academy Awards, the top award has often been handed out to films that were #1 at the box office in their respective year. And the last time it happened was as recent as 2003, with The Lord of the Rings: The Return of the King.

Thanks to popular and talented filmmakers like D.W. Griffith, Walt Disney, David Lean and Steven Spielberg, it’s hardly uncommon for films to make money and earn critical respect. But this isn’t an opportunity to spotlight overrated top-grossing Best Pictures like Titanic, Rain Man and Rocky, which were decidedly not their year’s best films. Rather, this is a chance to ease the minds of fanboys just in case The Dark Knight doesn’t get the nod. Some of these blockbusters were indeed nominated for Best Picture, and a few even won the award, but some of them were both their year’s biggest moneymaker (in the U.S.) and best film (from the U.S.) without gaining proper Academy recognition.

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I never knew it was so easy to add lightsaber effects to any YouTube clip. Earlier this week, when I wrote about the new Clone Wars lightsaber game for the Nintendo Wii, I saw it done with the infamous “Star Wars Kid” video (see it here). And now, thanks again to Fark.com, I see it done with a clip from The Princess Bride (above).

Apparently, this is only the latest in a trend; people have been changing swords to lightsabers in nearly every movie featuring swashbuckling, including the Pirates of the Caribbean movies (see here and here), the Lord of the Rings movies (here), the recent Zorro movies (here), Kill Bill (here), Gladiator (here) and 300 (here). Someone even recently added the effect to the end of Boogie Nights (here).
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Yesterday, in response to David Gordon Green’s talent being (presumably) wasted on Pineapple Express, I brought you my picks for the 5 worst directorial sellouts of all time (or, as I should have titled it, 5 Worst Attempts at Mainstream Success). And now, as promised, are my picks for the best, because occasionally a great filmmaker can take a seemingly sellout gig and deliver a masterpiece.

1. (tie) The Godfather (1972) and The Godfather Part II (1974) - Everyone should know that Francis Ford Coppola didn’t want to make the first Godfather film. He wanted to make smaller movies, such as The Conversation, which he was able to make at Paramount only because he directed The Godfather and The Godfather Part II. I prefer the film he wanted to make, but there is no denying his first two Godfather films were worth Coppola’s time and, more importantly, ours. …Read more