When it comes BreakVince Gilligan has done some incredibly hard tricks, in addition to creating an all-time great show.
First, Gilligan and his team made for a classic final season, culminating with the “Ozymandias” episode on Mount Rushmore and building a final season that, although perhaps too neat, is still efficient and satisfying.
Doesn’t spoil the end of ‘Breaking Bad’, but doesn’t add much either.
Then Gilligan and Peter Gould dared to follow Break with a spinoff, It’s better to call Saulalmost amazingly at the same level.
So when it was announced that Gilligan and Aaron Paul would reunite for Netflix’s El Camino: A Bad Movie, it sounds like the kind of stupid endeavor you’d scoff at, except that Gilligan has made a career out of it. Also El Camino: A Bad Movie give Gilligan a trio of TV unicorns?
No, but there’s nothing disastrous about that. El Camino is a high-quality action and suspense filmmaking delivered by Paul’s stellar performance as Jesse Pinkman. It looks great, sounds great, and if you’re a fan, it’s full of cameos and references that are sure to keep you entertained. It is also – and this is no small matter – largely unnecessary as it involves Break story telling. At least it’s not necessary in a fun and innocuous way. It does no harm. It only gives answers I’m not sure I’m interested in questions I’m not sure I asked.
Keep spoilers to a minimum – assuming you watched Break – El Camino increased immediately in the aftermath of 2013 Break finale, with Jesse (Paul) driving out of a gunfight that left a lot of Nazis, and also Bryan Cranston’s Walter White, dead. The movie, with its two-hour run, is the immediate aftermath of that frenzied escape, not really in real time, but with enough sequence of the sort of step-by-step tension-building process. that fans of Break and Saul have come to expect.
It’s a surprising little story Gilligan wants to tell, and it’s designed for viewers to ask, “But after he drove off, didn’t Jesse just drive out of town, did he?” and really need the specifics of all his next steps. Expanding the timeframe a bit is a lot of flashbacks, some of the guest generators are essentially fan-service and in a more extended form, the answer to the question, “What happened during the the month the Nazis tortured Jesse?” Like I said, I’m not so self-contained that I need an answer to that first question, and I’m not so imaginative that I need an answer to that second question. For me, “Jesse escaped, but I’m sure there were complications” and “He was tortured, duh” was always quite enough.
The best way to rationalize the “demand” for this movie is Break Bad has always been seen and described as the story of Walter White. It was introduced when Mr. Chips becomes Scarface, that’s Walter’s story, and that central place has been reaffirmed, even as the show grows closer and closer to the two-handed, by insisting on asking Bryan Cranston for it. “main” actors Emmys and Paul for “supporting,” a move that means they never have to go head-to-head for an award – but beyond that, if we’re being completely frank, it’s almost certainly Dean Norris and Jonathan Banks Emmys pay the price.
Therefore Break presented as Walter’s story and “Felina”, the last, is considered the epilogue of his story. But perhaps Gilligan realizes, when you watch it over and over again Break, that Walter White could have had the story easier to pack but the story of the series really belongs to Jesse. And, if you happen to believe it, Jesse will be underwhelmed in the finale. Yes, he survived, but for what and at what cost?
Except that Jesse Pinkman gets exactly the ending he deserves Break. He may have become the moral center of Break – Gilligan may also have felt frustrated with fans who never gave up on their understanding of Walter’s basic heroism – but he wasn’t exactly “good”. He’s done terrible things from experience and the series isn’t wrong to think that the run he deserved was the culmination of that transformation not a clean getaway, a pure victory. . It needs to be finished exactly and exactly as it is unfinished.
And now it’s gone, without adding more threads.
Still, Gilligan remains a precise and intricate visual stylist and there are countless rewards to seeing him get to work on a big-screen animation. Once again, he’s a master of stuffy interiors that contrast with the spacious Southwest exteriors and notions of Break as a modern westerner – Walter White’s black hat should have brought you to borderline mentality – has never been more clearly presented and executed (or “obviously” if you will). less generous). It’s better to call Saul Cinematographer Marshall Adams’ shooting will give you a theatrical experience, especially in the desert scenes, and Gilligan gets the credits it deserves. Break commoners like editor Skip Macdonald and composer Dave Porter, all enjoyed a return to the original show’s grammar after the very different pacing of Bob Odenkirk’s central spin-off.
Thanks to flashbacks, this is the gift of a best-selling performance for Paul, who can touch almost every beat of Jesse’s journey. Maybe he’s been thwarted here and there by a shoddy wig or a make-up job and maybe he’s not necessarily the most sensible teenage Jesse anymore, but it’s hard not to watch the show. film and marvel again at all the shadows of immaturity, maturity, and vulnerability Paul has played, focusing primarily on his wounding ability and great sense of humour.
Charles Baker and Matt Jones are welcomed back soon as Skinny Pete and Badger, here with unexpected dignity beyond their fan-friendly comic book rhythms as Rosencrantz and Guildenstern of this story. Jesse Plemons is the only returning character whose appearance I’m about to spoil, and just because Todd is such an important part of the flashback. Plemons, later nominated for Emmys for Fargo and Black mirrornever received the respect he deserved for his portrayal of the unsettling villain he created in Break home, and this might be the right time to appreciate what a weird and horrible Todd is like. Plus, you’ll get some of the returning guests you want, and some of their scenes are pretty good. Not all. Most will not be needed if El Camino is a two-part finale after “Felina.”
The movie doesn’t have many lively new characters, but I like the easy way The Mickey veteran Scott MacArthur, stole scenes this year in Florida girl and Righteous Gems, suitable for this world. Timeframe so that MacArthur can definitely be used in It’s better to call Saul when that series changes in the direction of its ending game.
So maybe you’re a viewer asking for more spelling for the end of Break. I’m not trying to offend you. The tidiness of the ending for almost every character in the series suggests that maybe you owed Jesse something like that? I suggest that maybe revisiting the character a year or two (or six) years from now might be a better approach. Not, “What happened to Jesse right away?” but “What happened to Jesse in the end?” That is not this. It’s a simulation of past dynamics and the smallest slap in the face to viewers who thought that the second half of the final season was exactly the ending Gilligan wanted, only to be told, “Tricked. lie to you! This is a postscript. “
For all of that frustrated me at the lack of need to El Camino, I still generally enjoy wading against this current, and I’m not opposed to Gilligan (and his other collaborators) deciding that he wants to periodically make bad and dirty movie books, check Check out characters or unexplored corners of the story. What I really want is all black and white Cinnabon: A Better Call Saul Movie A real look at the life of Jimmy “Saul Goodman” McGill in Omaha. If we can’t get full It’s better to call Saul In that vein, the Gene in Omaha’s story was a really essential episode for me.
Actor: Aaron Paul and surprise guests
Screenwriter/Director: Vince Gilligan
Premieres Friday, October 11 on Netflix and in select theaters.
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