| Image

Review: ‘El Camino’ is a Thrilling Epilogue to ‘Breaking Bad’

Vince Gilligan, creator of the Emmy Award winning series Breaking Bad, brings us back into the Breaking Bad universe with El Camino. In this “epilogue” to the series, Aaron Paul returns to give a more definitive ending to his character, Jesse Pinkman. Some of the series regulars return as well, although only in flashback sequences. They include Jesse Plemons as Todd Alquist, Bryan Cranston as Walter White, and Krysten Ritter as Jane Margolis. As a continuation of the TV show, the story’s narrative relies on the audience’s preexisting knowledge of Breaking Bad. The film picks up right where the TV series ended; Jesse is driving away after Walter has liberated him from the gang that was holding him hostage. After Jesse heads to the house of his friends Skinny Pete and Badger, who give him a change of clothes, some cash, and a new car, he tries to find a way to make a new life for himself while also escaping the law.

It comes as no surprise that a movie based on a TV show feels like a TV show. Every piece of the film resembles the TV show that inspired it. The shots look the same, the score sounds the same and the dialogue flows the same as in the series. The film feels like it could have been a bunch of ideas that Gilligan had for two extra episodes in the final season, but didn’t make the cut because they also would have felt out of place with the trajectory that the show had built as it headed for the ending it had. Because of this, the return to the series in the film form worked as a much better way to tell the rest of Jesse’s story.

Jesse-El-Camino

However, expanding upon a series that is already highly revered seems unnecessary, and in the case of this film, it is. Regardless, Gilligan manages to enhance Jesse with meaningful character development and somewhat of a happy ending. The return to a beloved series also runs the risk of failing high expectations from longtime fans. El Camino does a good job of executing TV references by making them relevant to the plot or to the development of Jesse’s character.

While the original series gave us an ending for Walter White, the future of Jesse Pinkman was left for the audience to interpret on their own. El Camino presents a well-written and more defined ending for Jesse that leaves you with more hope for his future than before. Anyone who thoroughly enjoyed the series should go check out this thrilling epilogue that gives a proper ending to the story of Jesse Pinkman.

3/5 STARS

| Image

Review: Wes Anderson’s Kid Friendly Allegory for Disenfranchisement In Isle of Dogs

After four years, we finally have Wes Anderson’s latest feature, Isle of Dogs — a two part story about a boy trying to find his dog and a government conspiracy causing the separation. Since Anderson’s last film, the social and political landscape has become rife with division due in large part to a certain individual, but it is in times like these where this film’s themes and messages become more pronounced for audiences.

The story is set 20 years in the future. The city of Megasaki is over run with dogs and an outbreak of dog fever frightens the city. As a precautionary measure, Mayor Kobayashi (Kunichi Nomura) signs an order that bans all dogs to Trash Island. After losing his dog Spot (Liev Schreiber), a young boy named Atari (Koyu Rankin) flies to the island to save him. There he meets a pack of dogs: Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray), Duke (Jeff Goldblum), and Chief (Bryan Cranston). Together the group goes on a journey to find boy’s best friend while a group of pro-dog student protestors led by foreign exchange student Tracey Walker (Greta Gerwig) try to expose a government plot that falsely demonizes canines.

Chief is a very good boy indeed.

If that plot sounds eerily familiar, it’s because it draws stark parallels to current events. Even though the story is set in the future, it presents a vision of society not too far from our own, serving as an allegory for disenfranchisement and xenophobia in the modern era. Fear mongering from the government and government officials against dogs directly translates to our own reality as politicians rally against outsiders, and the relationship between Atari and Chief showcases how fundamental misunderstanding can lead to resentment. It’s a timeless and universal message that has an even greater effect with the reality we live in today.

Like Fantastic Mr. Fox, it’s surprising how effective these complex themes are translated into a kid-friendly package. Part of that is due to Anderson’s creative touch and how he uses his trademark Anderson-isms to disguise the message while simultaneously keeping the integrity of it. The prefect framing, the bright and clean color pallet, the ensemble cast of actors, and a beautiful score all amass to something very aesthetically appealing, but uniquely Anderson. Like all stop motion films (such as Laika’s offerings), the animation style has an eloquent, hand crafted look that makes you appreciate the time, care, and detail put into every frame, and when combined with Anderson’s guiding hand, it becomes even more captivating. Every Anderson film is a visual treat full of life, color, and character, and this film is no different.

There is also the discussion about whether Anderson is appropriating Japanese culture. Before writing my own review, I read the perspective of other writers, and have linked two articles I found insightful: here and here. Though I found the film to be appreciative of the culture it portrays (rather than a harsh stereotype), the linked articles better serve the conversation than my words and understanding.

The best feeling I can convey about this film is joy; even though it makes you realize the harsh reality present today, its resolve is uplifting and makes you hopeful of the possibility for something better. At the end of the viewing, you’ll walk out of the theater into the divisive social landscape we inhabit and have a greater sense of compassion, kindness, and understanding for all human beings around you.

Score: 4/5