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It wasn’t until a final howl of hope shot off the tortured face of Jesse Pinkman (Aaron Paul) that you really understood how bad he had it in Breaking Bad. Through the gruff and scruff of the series’ back half, his agony was constantly, cruelly, and unfairly prolonged – to the point that the men who were hired to kill him converted the job into an acquisition of slave labor. This was one of the many ways Vince Gilligan’s pinnacle creation examined consequences, and its follow-up film, El Camino, is a comparatively simple story of a man trying to outrun them – well, at least the ones he hasn’t yet encountered.
Picking up right where the show left off six years ago, with Jesse speeding and squealing down the road after his liberation by chemistry-teacher-turned-drug-lord Walter White (Bryan Cranston), Gilligan doesn’t hold the hands of any viewer who may not be privy to the events of his AMC smash hit. This film, to its advantage, is a calculated continuation, designed to pluck onto the “Felina” of its fifth season. However, unlike the last piece of your typical puzzle, the picture of this series wouldn’t be entirely harmed or imperfect without it.
Whereas the final moments of Breaking Bad were dedicated to parading the loneliness with which Walt’s death was embraced by, El Camino begins with a refreshing rebuttal, as Jesse, beaten and battered, falls into the arms of his friends Skinny Pete (Charles Baker) and Badger (Matt Jones). Encouraged to cool off and lay low – it didn’t take long for the authorities to descend upon and decipher the massacre Heisenberg had laid out for them – Jesse takes refuge at Skinny’s, preparing his trauma-torn body and spirit for his next move.
But it seems that the young man already knows where he wants to go. An introductory and touching conversation (the participants of which I will not spoil here) sets Jesse’s sails towards Alaska, and the ensuing pair of hours is dedicated to getting him there, just about. Sprinkled is too light of a word to describe the distracting flashbacks strewn throughout El Camino. And given the gap of time between the show and the series, they also require a reoccurring suspension of disbelief – especially the ones featuring sociopathic Nazi Todd (an eerily candid Jesse Plemons) – despite their being quintessential to the plot.
For any other writer or for any other story, their frequency and necessity would be the subject of a screenplay complaint. But the film’s overall lack of fresh content is somewhat forgivable, given that the reason isn’t based around an untapped well; Gilligan’s published over 60 hours of Jesse’s story already and these additional two were, until a few months ago, an unexpected gift. With that said, a valid complaint lies in El Camino’s tendency to fluctuate recognizable faces in and out of the plot for the clearly sole purpose of fan service. Though that’s something I don’t imagine the show’s biggest enthusiasts will complain about.
Now Breaking Bad was cinematic in and of itself, so its transition to the big screen (or, to be specific, any other Netflix-capable screen) certainly feels organic. Director of photography Marshall Adams, who’d interestingly only worked on one episode of the original series, spectacularly captures the grazing emptiness of New Mexico, presenting the desert playground as a familiar territory when it could have very easily felt foreign.
It almost goes without saying that the film, taking place immediately after the death of its former lead, is practically a one-man show. It demands more and subsequently exhibits more from Aaron Paul than any other role the 40-year-old actor has been handed since 2013. While El Camino offers little in the thrills department (with the exception of one shootout that harkens back to the climaxes of Clint Eastwood’s Man With No Name), Paul, as a man on the cusp of leaving his demolished homeland, brews both dread and desire. This is as much of a glorifying sendoff for Paul’s far-too-often shadowed performance as it is for the character himself.
The subtitle belonging to El Camino is “A Breaking Bad Movie,” which, if box-office-feasting conglomerates have taught us anything, leaves room for more potential stories like this. Six years was the perfect amount of time to squash what was left of the story, allowing the film to feel less like a cash grab, and more like a calculated effort. As Pinkman’s arc (officially) ends, so does Breaking Bad.
In September, a Japanese man was arrested for reportedly stalking a pop star and attacking and groping her at her home, according to Japanese news organization NHK. Allegedly, this man found the woman’s home by studying photos she posted on social media, observing a train station reflected in her eyes, finding that train station using Google Street View, waiting for her at the train station, and following her home.
The man also apparently learned more about where the woman lived by studying videos she posted from inside her apartment, observing her curtains and how light came through her windows.
You may not be a pop star, but it’s still a cautionary tale about how tiny details in your smartphone photos could be used to figure out one...
Referring to James Gunn’s The Suicide Squad as “a soft reboot” seems to be pretty commonplace these days. Sure, the picture may feature returning favorites such as Margot Robbie as Harley Quinn, Jai Courtney as Captain Boomerang and Viola Davis as Amanda Waller, but we’re constantly getting the impression a different sort of film awaits. It’s at times like this when I must draw comparisons to Batman Forever, which did follow the Tim Burton-helmed flicks chronologically and retained some familiar supporting actors, yet it re-shot the Dark Knight’s origin and made several other significant changes to him and his surroundings.
Providing great support to this notion are a bounty of images from the set to be captured by Just Jared (follow the link in the Tweet below for the full gallery), which showcase just how comic book-y this movie is getting. Rather than raiding a Hot Topic for costuming purposes, the folks working on this followup actually seem to want to embrace the genre. Remember how we got a Joker sporting tattoos and a grill last time around? I’d rather not.
As you can see, Captain Boomerang is evermore stylish this time around. Furthermore, evidence supporting reports of Nathan Fillion playing playing Arm-Fall-Off-Boy appear to be true, with other colorful characters orbiting him. I was most surprised to see Mayling Ng as Mongal, a somewhat obscure character who’ll really only be familiar to diehard comic book geeks. But that’s what I’m digging about this: the fact that someone like Mongal will be on the silver screen.
Here's your first look at photos from the set of #TheSuicideSquad, featuring lots of new cast members in costume! https://t.co/Ak6tE0WxnY
— JustJared.com (@JustJared) October 11, 2019
From the look of it, Gunn may very well succeed in making B-list, C-list and, hell, even Z-list characters into household names when all is said and done. If you were to wind the clock back a decade and tell people moviegoers far and wide would know the names of Rocket Raccoon and Groot, they’d probably think you were crazy. It seems like Gunn will soon do the same for DC what he did for Marvel with Guardians of the Galaxy.
Seeing as how cameras haven’t been rolling for very long, I have this gut feeling one of Task Force X’s earlier missions are currently being filmed. In other words, I’m expecting for several of these folks to not make it out alive, before major players like Harley Quinn are called in to pick up the pieces.
We’ll find out for sure once The Suicide Squad arrives in theaters on August 6th, 2021.
Marvel fans are hoping to see Tom Holland swing by as Peter Parker in Venom 2, but so far we’ve yet to have this confirmed, even though it’s heavily rumored. But we may have just got our best hint yet that a Spider-Man crossover is on the cards, and it comes from Eddie Brock himself, Tom Hardy.
The star took to Instagram yesterday to share a snap of himself dressed in the wall-crawler’s Iron Spider costume. So, just a bit of harmless cosplay that Hardy thought his fans might like, right? Well, maybe, but it’s curious that the actor soon took the photo down from his account.
Here’s a screenshot of the image in question:
It’s been said that Holland actually shot a cameo for 2018’s Venom, but Marvel ultimately vetoed his appearance and it was cut. Since then, however, the Sony/Disney deal that allows Marvel Studios access to Spider-Man has been renegotiated and the terms of the agreement seem to have changed. Kevin Feige’s already teased that Holland is now free to hop between both the MCU and Sony’s Universe of Marvel Characters, which surely means a Venom 2 role is on the cards, right?
What we know for sure about the sequel right now is that Hardy will be back as Brock and his symbiote significant other, who’ll this time be facing off against Woody Harrelson’s Cletus Kassady AKA Carnage, first encountered in Venom‘s post-credits scene. Andy Serkis, meanwhile, is stepping in to replace Ruben Fleischer as director. Could his MCU history – playing Ulysses Klaw in Avengers: Age of Ultron and Black Panther – help get Holland on board for Venom 2? Let’s hope so.
If you’ve been keeping up with your superhero movie news, then you’ve probably heard something about Brie Larson’s desire to assemble an all-female Marvel movie. This was something previously hinted at during Avengers: Endgame‘s unforgettable third act when the MCU’s most powerful ladies stood alongside each other to combat Thanos and his forces. It wasn’t exactly A-Force in its purest sense, but the scene did give us a sampling of what could be on the horizon.
Now we have another female powerhouse seconding the motion in the form of Elizabeth Olsen. Though she hasn’t headlined a billion dollar baby like Larson has with Captain Marvel, she has won over True Believers far and wide with her portrayal of the Scarlet Witch in a handful of Marvel Studios productions, and will continue that work in WandaVision for the Disney Plus streaming service.
When discussing the matter with Buzzfeed News, Olsen said such a film would have a “huge impact,” adding:
“I think people really love these characters. I feel like all the men in Marvel movies have done such a brilliant job with satisfying a lot of things our audiences want, and they’re funny and they’re talented. And so are all the women. And to give them more screentime, I think, would be a huge impact because comics aren’t just for boys who want to watch big boys.”
Well, she is correct in her statement. A lot more women are reading comic books and frequenting conventions these days, so the demand for such a movie is there. And when it comes to the male perspective, I’d hope I’m not alone in saying an A-Force adaptation or something comparable to that would be welcome. To me, a badass superhero is a badass superhero, regardless of gender or race. Because of how I’m of this belief and don’t hate women, there’s no way I’m going to downplay this or its potential significance.
If I were to hazard a guess as to the major players to be featured in a theoretical all-female Marvel movie, I’d have to say Larson’s Captain Marvel and Olsen’s Scarlet Witch would most definitely be on the team. Additionally, Valkyrie (Tessa Thompson), Shuri (Letitia Wright), Okoye (Danai Gurira), Mantis (Pom Klementieff), Gamora (Zoe Saldana), Mighty Thor (Natalie Portman) and maybe even Pepper Potts AKA Rescue (Gwyneth Paltrow) should all be taken under consideration. But if there are any others on your own wishlist, feel free to drop their names in the comments section below.