Great-looking women dating older and/or average-looking men is usually about one thing: $$$. But in the Hollywood movie universe, awkward, everyday blokes consistently find themselves in relationships with knockout ladies. In the event of this weekend's Apatow -lite movie release, "She's Out of My League," the above video runs down the top ten movie couples featuring average-looking men with disproportionately attractive women.

The age-old war between Jacob and The Man in Black ratcheted up in last week's ultraviolent episode of "Lost," with our castaways and candidates further aligning themselves around the conflict. On Team Jacob, we have Jack, Hurley, Jin, Sun, Lapidas, Miles, and Ilana. Other Locke leads a semi-possessed and/or otherwise helpless army featuring Claire, Sayid, probably Sawyer, and (for the time being) a caught-up-in-the-madness Kate. Things are bound to shift and change within the allegiances; I imagine that the struggle for control of the candidates will make up the bulk of the drama down the stretch in an increasingly tribe vs. tribe kind of way, with characters flipping between the sides. There will be battles, for sure. But in these kinds of conflicts of nature, it's the mischievous hiding-in-plain sight bad guys that typically reap the most damage. It's happened before...

Perpetually working from a position of disadvantage (either by his own design or by estrangement resulting from harmful actions), Benjamin Linus is arguably the richest character on the show. We've seen him grow up in "Lost"-land, his evolution and contortions a personal parallel to the island's inherent struggles. The fact that he's still a somewhat sympathetic character, given all that he's done, is as much a credit to the way that Linus has been narratively constructed, as it is to Michael Emerson's portrayal. You never know what you're going to get from Ben, but it's bound to be impactful. Reeling in the wake of murdering Jacob, Ben has been laying low so far this season. And while it seems that he's "learned his lesson" (an idea that's further reinforced in this episode), I'm not buying it. The full recap is after the jump.

Love him or hate him, Tim Burton is an auteur with a unique visual sensibility who compensates for his films' generic storylines with hyper-goth on-screen environments and unique characters. And while things have gotten a bit too formulaic from him as of late, there's no denying Burton's cinematic stylings. Leading into this weekend's release of "Alice in Wonderland," the above video runs down the top ten Burtonian creations that make it impossible for you to forget you're watching a Tim Burton movie.

If there's a genre that's really taken a dive as of late, it's crime films. The argument can be made that crime is better suited for the slow-burn timelines of TV, as evidenced in "The Sopranos" and "The Wire." Of the handful of solid crime stories that have made it onto the big screen in the past decade, the bulk have been set on the mean streets of Boston ("The Departed," "Gone Baby Gone," "Mystic River"). Unwilling to let Beantown corner the market on crime, director Antoine Fuqua turns the focus to NYC's best borough with "Brooklyn's Finest." The above video peels back the layers on what to expect heading into this weekend's release.

Coming off three weeks of semi-filler, "Lost" fired things back up with a violent and menacing episode that raises more questions about the rules here. I'm a sucker for stories that drive the action through character, and on that level, this one rocked; it was Dogen vs. Man-in-Black Locke, struggling for control with Sayid as the operative pawn. Highly charged conflict, a gripping cinematic climax, and an eerie as hell cliffhanger for Kate (poor Kate) left in the midst of the crazies. All that said, I still stand by last week's gripes: The rules in Reality B need to be defined before we can invest ourselves in their significance -- right now they're playing too device-y. The mystery (and in the case of this episode, the mysterious rules) is distracting from the conflict. And the plot is getting mired in new characters...or is it? The full recap is after the jump.

It's been 37 years since George Romero's "The Crazies" overwhelmed drive-in audiences with its campy combination of ultra-violence and post-Vietnam commentary. Now getting the Hollywood treatment as a Breck Eisner vehicle (cough), "The Crazies" remake could be another dud in a long line of '70s horror-thriller revamp stinkbombs. But (as deconstructed in the video above) I think it's going to surprise people. How will it fare at the box office? Well, it's opening opposite "Cop Out," a film that's to Kevin Smith what "Black Sheep" was to Joel Schumacher. Kevin Smith is, simply, no Breck Eisner.

Jack has a kid?! For better and worse, producers have stuck by Jack Shephard as the hero on "Lost." And while his leader mantle has sort of come and gone (and come back again), he's mostly directionless, if he isn't telling someone else what that person can or can't do. Faced with personal turmoil back in civilization, he managed to be the least interesting bearded lunatic in television history. This season the series has reverted to the Jack of old: not buying what anyone else is selling, and all fired up with nowhere to go. To some degree, the success of "Lost" rests in how well series producers can pull off Jack's character arc. He is, after all, the hero. And when your hero has nothing to fight for, this late in the game, your show is in a heap of trouble. The full recap is after the jump.

It's been three weeks of solidly-tuned plotting on "Lost," and while I don't expect any of this season's early episodes to match the gravity or reveals of the premiere, it is the final season, and we shouldn 't be detoured too regularly. I know a lot of you were down on last week's Kate-centric episode, smearing it as filler (to Damon Lindelof 's delight), but I actually think we got some nice insight into the others at The Temple, advancement on the mythology surrounding the Jacob/Man in Black conflict, and the establishment of real-world connections between our non-castaways in Reality B. Filler is inevitable, to a degree, and we get a heavier dose of it this week. I went into this one with very high expectations: I love Locke, and in my mind, Terry O'Quinn is the bee's knees, so a Locke-centered episode, charting his parallels between Reality A (as Other Locke) and Reality B (wheelchair-bound and returning from his failed walkabout) was bound to be amazing. And then it wasn 't. The full recap is after the jump.

"Lost" is getting a range of creative interpretations these days, extending the show's real world culture to complement its ever-expanding story mythology, and the results have varied. Firing up his take with a reasonable investment of time and resources, "Late Night With Jimmy Fallon's" "Late" falls somewhere in the middle of the pack of "Lost" riffs. It's about what you'd expect from Jimmy Fallon: occasionally funny, often awkward, and trying a little harder than it needs to. That said, there are some great moments in the above video. Whoever edited Episode 1 did a nice job of playing up "Lost's" dramatic sound design. And the Sawyer office doppelganger is great at attempting to make a stack of yellow notepads flinch.

How far is Fallon looking to take this gag? Looks like he's setting it up as a series, though there's no word yet on how many "Late" episodes we can expect. If he hopes to up the comedic value next time around, Fallon could start by consulting the fans behind one interpretation of what a '60s version of the series credits would look like; see it after the jump.

Still reeling in the wake of the mind-blowing developments from last week's premiere doubleheader, this latest episode settles into a calmer pace with an island/real world structure similar to the first two season's episodes on "Lost"; this time, the new, alternate reality (Reality B) takes the place of the flashbacks (sideflashes?). We can't expect a high level of revelation every week, and the return to a more character-centric pacing feels like going home. Yes, it's easy to get swept up in the race to ultimate definition, but I imagine this season will be as much an examination of the choice and how it effects the cast in both Realities, as it is about spelling out the mystery. Again, it worked -- but will it work out?

This week we get a Kate-centric episode, and see her on the run from the law and palling around with a very pregnant Claire. I won't get hung up in why Kate decides to stay in the hospital with a stranger (or why she refuses to ditch the stolen cab, despite the inherent risk); it seems that our Reality B non-castaways are still being drawn together. There are a few allusions to this in the episode: Kate seemingly recognizes Jack when she's fleeing the airport. Ethan is the attending doctor when they check Claire into the hospital. Claire blurts out the baby's name (Aaron), but can't pin down why she chose it. The connection hasn't been defined, but it's there. The full recap is after the jump.