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10/10 - So perfect that I never get tired of seeing
09/10 - Brilliant with some minor flaws but I happily rewatch
08/10 - Very strong and I would happily rewatch
07/10 - Good and I would eventually rewatch
06/10 - Hit and miss, that I found mostly enjoyable but would not seek to rewatch
05/10 - Distinctly average and I would not seek to rewatch
04/10 - Mostly did not enjoy and would avoid rewatching
03/10 - Strongly disliked for a variety of reasons
02/10 - I either switched off, walked out of the cinema or was close to doing either
01/10 - So bad that I would describe it as not professionally made in any way
I appreciate all scoring is highly subjective to the tastes of an individual.
I take into consideration the writing, cinematography, editing, acting, sound, visual effects and general production values along with the era the film or television show was made.
Ratings
Most Recently Rated
Reviews
Paddington (2014)
Highly recommended family viewing
Paddington is a good natured film that works on many levels.
As a children's movie it not only has an enjoyable story, a lovable central character, entertaining supporting characters, and positive underlying messages about tolerance, acceptance and helping others. Importantly it uses great visual storytelling to convey its plot and this ensures children understand and stay engaged with what happens.
Both my daughters (4 and 8) loved it. However, I note some reviewers mention that some scenes (involving Nicole Kidman's character) might be frightening for younger children. This is a fair comment, but if you give reassurance that Paddington will be fine during the suspenseful moments it should help.
For adult viewers and accompanying parents it is a pleasurable experience, as it involves a classic childhood character that is portrayed with respect for the original concept. Michael Bond's inspiration from WWII refugees is recognisably captured and applied with great positivity and a warm sense of hope. Mr Brown in particular has a nice little character arc that involves a lovely change in his fear-driven attitude. This is more relevant than ever in modern times. Additionally, much of the humour, in-jokes and tongue-in-cheek moments are suitable for adults. Some of the slapstick is slightly excessive for me, but that's just a matter of personal taste.
The animation of Paddington and special effects are top drawer, bringing the character to life and providing a large amount of spectacle. Generally the visuals are excellent, with great cinematography, editing and production design throughout.
All performances are superb, with the standouts being Kidman, Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, and Peter Capaldi.
Mr. Bean: Mr. Bean Goes to Town (1991)
Classic opening sketch and good ones that follow
Mr Bean goes to town starts off with one of his best scenes as he installs his new television. This is Rowan Atkinson at his funniest, plus some very clever concepts involving the TV aerial.
I also very much enjoy the short scene with the shoe, which includes some clever use of the camera to place the missing shoe in and out of various shots in a humorous way.
The camera thief for me is pretty funny, but is more about the silly way Bean handles the situation rather than Atkinson's physical performance, so it's not my favourite of the collection, but still enjoyable.
I think the Club Phut scene has some standout moments that are not just comedy, but also a bit of sympathy for the character at his low point in the disco. It finishes well though with some classic Bean vindictiveness.
Better Call Saul: Mijo (2015)
Great conclusion to Uno and good intro to what comes next
Miljo does not disappoint in its follow up to its reintroduction of the Breaking Bad character Tuco. It feels very much like an episode of BB given the near impossible situation in which it places Jimmy McGill. The writers have a history of extracting their lead characters from painted in corners and these scenes give you confidence that Better Call Saul is going to carry on in the same vein.
The situation is drenched in great black humour. Of all the victims Frick and Frack could have inadvertently chosen it had to be Tuco's grandmother!
A key moment in the story, particularly given how Saul Goodman was shown to be morally quite dubious in BB, is that Jimmy is makes one huge ethical decision regarding the fate of other characters. I would not have had any sympathy for him or invested in his arc had the writers chosen the obvious route of self-preservation. This is clever writing that effectively manipulates audience sensibilities.
What also works well from a consistency perspective are the amount of smart references "lawyer not a criminal ", "stop helping" to memorable BB moments. Some will call it fan service, but when it is meaningful and well written like this it improves the material.
The story moves on to the life and times of Jimmy in strong scenes of where the character is at this point. This includes a strong montage sequence and good interactions between Jimmy and other characters like Chuck, Mike, and Nacho.
For me the visuals continue to be great, this time using the desert to wonderful effect.
Bob Odenkirk is excellent and supported well by the likes of Raymond Cruz, Michael McKean, Michael Mando and Jonathan Banks.
Better Call Saul: Uno (2015)
Ladies and gentlemen, you're bigger than that
Uno is very strong hook into the life and times of the character Jimmy McGill. What works perfectly is that it begins what feels like a new and very different story to Breaking Bad, but it feels plausibly set within the same cinematic universe.
The cold opening is intriguing and full of the famous Breaking Bad visual storytelling. We know exactly how the character got to this point, but want to know how life will turn out given our knowledge of what happened with Walter White.
For me the visuals continue to be excellent throughout the episode with a variety of beautiful compositions enhanced by strong editing. What impresses to a point that exceeds Breaking Bad is that there are no beautiful desert vistas that give a cinematographer the opportunities to obtain great material. Shots of people in courtrooms, law firms, parking lots, nail salons and various other mundane locations are captured cinematically.
It helps to have Bob Odenkirk centre stage of the story. He plays McGill in a more rounded and empathetic way than the larger than life caricature of Saul Goodman we saw in BB. However, he still has the razor sharp wit and fantastic comic timing that made the character so good.
The humour in this first episode is outstanding. Jimmy in court with the "knuckleheads" is black comedy of the highest order, plus the way he generally deals with people from one scene to the next is consistently funny.
Being a series opener there is a lot of introductory material/characters to get through, and some of it may feel little excessive in length. However, for me it is very strong start.
Bluey: Horsey Ride (2018)
Funny and recognisable
Horsey Ride is not one of the strongest Bluey sketches for me personally, but it is nonetheless very entertaining with relatable aspects for parents.
The 'special toy' scenario is something I have encountered with both my daughters. This is captured nicely in the episode, but it probably underplays how much of a problem it can be when conflict arises. Mine certainly were not as easily distracted from it, however this is Bluey so the positive messages are important.
I think the wedding scenes are not only funny, but show great parenting from dads willing to humiliate themselves for the sake of engaging with their children's role-play games. They were secretly hoping to lay on the couch and watch cricket, but what they ended up doing was about as far from it as you can get. I have had similar delusions of spending afternoons watching rugby only for them to swiftly turn into days of dressing up teddies/dolls in various Disney Princess costumes.
Bluey: Fruitbat (2018)
Tactical dreaming
Fruitbat is strong random sketch with some great standout moments.
Some of the little parenting moments between bandit and the girls are very memorable. There is so much inspiration in rocket-ship and the fall asleep game. In particular the fall asleep game, which has provided years of fun with my own daughters (before they saw Bandit do it). Who doesn't love a tactical wee before bed? I would definitely avoid penguins regardless of how fun it looks.
The dream sequence would have been better if it was not set up by the dream related discussion beforehand. Nevertheless, it plays out very well as an indulgent, shared fantasy about freedom and has a great soundtrack. Bluey's empathy filled expression of thanks to her father at the end is great.
Bluey: The Weekend (2018)
How sweet is Bingo?
Weekend is a strong sketch that moves you with its child's perspective and inspires with the effort made by a good parent to make sure they are happy.
As in so many good Bluey episodes it involves some outstanding role playing as Bandit gets into magic statues game with typically humorous moments. (This actually is a fun game to play) Bingo's fascination with the leaf insect and resulting disappointment makes you feel for her until all is put right at the end.
Only the coldest hearts could fail to be touched by the sweetness of Bingo's wonderment and the beautiful interaction between family members.
Star Trek: Discovery: ...But to Connect (2021)
Easily the best episode of the 4th series so far for me
This is a solid episode that mixes traditional Star Trek themes with decent A-B plots that link well together. It helps that it is not cluttered with those jarring moments where crew members unprofessionally stop their jobs to share emotional baggage.
I think there are a few aspects you have to accept for it to have the full effect. The concept of artificial sentience is a popular subject within science fiction and you need to be open to the concept or at least have an interest in the associated characters for it to work. Engaging characters like HAL-9000, Data, and Samantha are examples of it done very well on screen for the purpose of the storytelling. This episode does it fairly well as characters debate various perspectives of an intriguing problem Zora has posed. It is though an exhausted theme in Star Trek in my opinion.
The scenes involving the political gathering are strong if you can handle the prominence of the character Michael Burnham. The writers tackle a complex dilemma and present alternative plans with no absolute solution. What works well is debating both sides of an argument and showing certain individuals with preferences that suit their personal agendas. You could imagine characters like Picard, Janeway or Sisko arguing passionately on certain topics raised in this episode. It resolves in a positive way, but the writers add some decent last minute drama that makes you want to see what happens next.
Most actors are on fine speech making form especially David Ajala, Sonequa Martin-Green, Anthony Rapp and David Cronenberg.
Star Trek: Discovery: Stormy Weather (2021)
You can do this
For me this is a typical Discovery plot that takes a good concept and themes and drags it down with certain moments of annoying character drama.
It starts well by presenting an intriguing problem that needs solving by the crew and their scientific minds. I appreciate all will be fine in 45 minutes, but am engaged to see if it will be an entertaining journey back to safety.
For me the involvement of the ship's sentient computer is where the story goes down hill. As if there is not enough emotional baggage cluttering up certain Discovery episodes with its crew members, here it extends it to Zora. Cue the eye rolling! I'll admit some of its conversations have insightful moments if you just focus on what is being said, but as the episode reaches its dramatic crescendo it relies on clichès like slow motion strutting and repeated use of that always unwelcome phrase quoted in my review title.
It is not a complete disaster, as there are some worthwhile themes about the destructive force of anger and negative emotions in the episode, but it is not put across in a particularly engaging way outside of the one good exchange between Saru and Book near the end.
Owosekun's dialogue with Saru felt forced in to give the character some stage time and another excuse to discuss underlying feelings at the most inconvenient time.
Visually it is strong and most of the actors are solid. Frakes does a good job with material that is hit and miss.
Bluey: BBQ (2018)
Strong introduction to the cousins
BBQ includes very strong observation and send up of the typical barbecue, particularly the division of labour. Dads get all the credit and compliments for lighting the fire and flipping a few burgers, as mums are usually very busy dealing with everything else and tending to guests. The character Bingo is used in a comical way to visualise the typical stressed-out host seeing to the whims of guests. Very rarely does the host get to relax until everyone else has eaten and the food is cold.
What I also like about BBQ is that it introduces Bandit's brother Stripe and family in a measured way. In future episodes they have more prominent and hilarious contributions, but here they hint at their various personality traits. I love the fact that Stripe laughs at every bit of misfortune that comes Bandit's way. This perfectly lays the foundation for the writers to explore their relationship further.
Bluey: Shadowlands (2018)
Beautiful animation of a classic game
Shadowlands is a great game to play and this sketch immortalises it with a little lesson for the character Coco.
I love the visual storytelling using the various shadow formations. It looks so authentic and is edited superbly with the music. It allows Bluey and Snickers to get their point across in an effective way to Coco whilst being easy on the eye and entertaining at the same time. It is the first episode that focusses on pure child play without a lead contribution from adult character nor the full Heeler family present and adds a nice variety to the series.
I recall playing games where I could only walk in shaded areas when I was a child and, as a forty-something Dad, it always makes my walk home from the park with my daughters more fun (particularly if you apply the rules as strictly as Bluey).
The real strength of this episode is that it makes you want to go outside and pay Shadowlands immediately, whether you are with a child or not.
It's an 8.5/10 for me but I round upwards.
Bluey: Daddy Robot (2018)
Enjoyable early lesson episode
Every now and again Bluey episodes include some pretty unsubtle messages for children about certain behaviour and this an early one that does it in a positive way. The clever aspect of it though is the underlying lesson to parents on how to put these messages across to children in fun way.
We see Bandit engaging in some fantastic role-play again. I love certain little touches, like the "Syntax Error", that resonate with an 80s child like myself. The writers aim this character brilliantly at Generation X dads and at the same time give some inspired ideas about gameplay and parenting skills.
It has some nice romantic interplay between Bandit and Chilli through the robot game that also works very well to establish the strength of their relationship. It is all done in a funny and entertaining way of course.
Star Trek: Discovery: The Examples (2021)
Good episode with a fairly intriguing finish
The Examples is a good episode that feels traditionally Trek in its themes and storytelling.
I can easily imagine the main two plot threads appearing in TNG. The situation Burnham is faced with is reminiscent of the type of problems you could imagine Captain Picard dealing with in his philosophical way. Sonequa Martin-Green portrays the appropriate strength and compassion in her scenes and I think it works well. David Ajala is also on good form.
Likewise the problem Saru, Stammets and Tarka deal with could easily be Riker and Geordie with some mad scientist guest character of the week. Although technobabble-heavy, these are solid moments of sci-fi exploration with a bit of command responsibility drama thrown in. It would have been perfect if this aspect of the plot ended with the reveal of information already dumped on us in the opening scene, but unfortunately it's not the case. That being said the final dialogue exchange between two characters makes me want to find out what is coming next.
Culiber's introspective scenes are more typical of the self-obsession usually depicted in Discovery characters. The reflections and associated dialogue is suitably insightful, but after 4 seasons I am exhausted at hearing the words "I" and "me" coming from so many troubled characters.
The Last Starfighter (1984)
Fairly enjoyable 80s gamer fantasy
The Last Fighter sets up the story well in its moments of Alex the frustrated teen's wide eyed yearnings to do more with his life. The trailer park scenes include solid characters in a distinct environment that (as the filmmakers intended) set it apart from the 'Speilburbs'.
The Starfighter video game is an iconic design and the scenes of Alex playing the arcade machine are superbly done. There is a certain level of excitement generated by his excalibur moment, however silly it feels when an entire trailer park (including the older generation) gathers around to watch a teen play a video game.
When the main action starts it feels like a classic Wizard of Oz dreamscape littered with Star Trek characters and attempts at Star Wars action. I think each scene is well made, but as a sequence the movie's pacing feels quite erratic. Just as the adventure begins it abruptly slows down and returns the character to his starting point. A distinct characteristic is the frequent transitions between earth and "the Frontier" which can be jarring. Personally towards the end I feel the length of the running time as for me the novelty of its escapist concept wears off.
That being said some of the most memorable moments are on earth involving the Beta Unit. You can tell they were added later as their placing feels like an interruption to the main flow of the plot, however they are some of the funniest moments. Generally the tone of the film is enjoyably tongue-in-cheek. It's as if it knows it isn't Star Wars and never tries to take itself more seriously than a humorous imitation.
Visually I think certain scenes have aged moderately well. It is hard not to compare various sci-fi spectacle to Star Wars and in these moments it does not come off well. However, you have to judge it for what it is as opposed to what it is not. The inventive use of CGI was impressive at its time of release. I like the cinematography and art design.
For me the acting is a mixed bag with the strongest performances coming from Robert Preston and Dan O'Herlihy. I also enjoyed Norman Snow's evil turn as Xur.
Bluey: Hospital (2018)
Inspired role-play
If the Magic Xylophone was an introduction to the characters during simple imaginary play, Doctor sets the scene for how immersed they get in role-play.
Bandit is portrayed as a Dad who not only lives and breathes the game situation, but goes through the pain barrier for Bluey and Bingo's enjoyment. I love how he knows what's coming by his initial reaction. I have also tried (and failed) with that old chestnut of asking my daughters if there is a game we can play that involves me just laying down.
Of course the above is done in a very funny way. The surprise injections are hilarious, as is everything else about the medical condition's diagnosis and treatment.
Dawn of the Planet of the Apes (2014)
Strong and spectacular sequel
Dawn of the Planet of the Apes follows in the same vain of the previous movie, as it has some thought-provoking themes tied into the arc of the character Caesar. He is a strong yet benevolent leader and this is portrayed effectively by the filmmakers. The circumstances around the conflict shown are set up by a number of tense scenes involving the humans and the character Koba. I invested in the likes of Ceasar, his family and Maurice.
I hoped desperately for a non-violent resolution to the tension between apes and humans, but as this is the Planet of the Apes franchise, there is a sense of impending doom that drives every scene with tragic inevitability. As downbeat as this aspect of the story is you feel that it sadly reflects the real world which is filled with mistrust and conflict.
Performances are strong, especially Andy Serkis and Toby Kebbell. It helps that we have invested in the ape characters from the previous movie. The human characters are less interesting as they are newly introduced. That being said the likes of Jason Clarke and Keri Russell are solid in their roles. Gary Oldman is fantastic for the brief time he is on screen.
Visually it includes brilliant animation of ape characters and this is one of the highlights. As with Rise of the Planet of the Apes some of the best moments are when Ceasar and others communicate in a mixture of ways made more effective by facial expressions and body language.
The design of the surrounding environments such as the ape home and post-apocalyptic San Francisco are excellent. The action scenes are mostly strong, but for me it is slightly overdone in certain moments. As important as the story and themes are, it feels like the spectacle is equally so for the studio to cash in on the summer dollars of 2014.
Star Trek: Discovery: All Is Possible (2021)
If I may
I think how you feel about it may depend on you coping (or not) with Burnham's depiction. This character is involved in what is easily the most interesting part of the story due to the political intrigue. However, if you have issues with her constant portrayal as the almighty saviour you may want to switch off from the moment she utters the line quoted in my review title. Sonequa Martin-Green and Doug Jones lead these scenes very well.
The Tilly/Adira adventure is the weakest aspect. Initially it feels like it will be a hard awkward slog, before suddenly coming to life. I am not a huge a fan of the mid-crisis background introductions, but fortunately it doesn't last too long and we get a survival mission that is reasonably exciting when characters are not pausing to share more history, annoy the audience and kill the momentum. Mary Wiseman is on great form as always, but take her out of it and I would be skipping through.
Book/Culiber scenes are reasonably good depending on how much interest you take in the character's bereavement issues. Star Trek has dealt with this subject pretty well in the past and this one does it in a different but equally heartfelt way.
Cocoon: The Return (1988)
Unnecessary sequel lifted by the performances
The original Cocoon film is very good and has a strong conclusion that leaves your imagination run wild about the future lives of Art, Ben, Joe, Maureen, Alma and Bess. The only way a sequel would have satisfied me would have been if it showed them on Antarea in scenes of mind-blowing sci-fi wonderment.
Obviously the above was never going to happen so instead it retreads the original movie in a weaker story that meanders in a variety of directions. Certain aspects of the original formula like older characters acting with youth and vigour in situations that defy their age take focus again. Some of this is quite amusing but it lacks the mystery associated with the original. Conflicts about mortality vs immortality are repeated, with some character arcs u-turned. I think how you feel about this will impact your enjoyment of the film.
That being said it is great to see the central characters. Hume Cronyn and Jessica Tandy are magnificent together as always. Their scenes are a major high point and only the coldest heart could fail to be moved by them on screen.
Jack Gilford is great once more and his scenes with Elaine Stritch are another positive. The difficulty of his character attempting to move on from Rose's death has familiarity with situations I have observed in life.
Don Ameche, Gwen Verdon, Wilford Brimley, and Maureen Stapleton have arguably weaker material but make the most of it with effortlessly good performances.
Steve Guttenberg's love life is a subplot again in some quite ropey moments. The scene in the restaurant is the movie's low point for me, not far behind it is his dream sequence. Generally, the sci-fi elements are less impactful this second time round and strengthen the argument that a sequel was not justified.
The final act that involves a rescue mission with little thought applied by the writers. All the plot holes and contrivances are distracting, but try your best to suspend the disbelief as much as possible at the ineptitude of scientists and security guards. As much as I dislike the aforementioned dream sequence, it does connect nicely (yet predictably) to a fairly cinematic final moment.
Overall I think it is an inferior sequel, but is saved from total disaster by the quality of the veteran actors.
For me it's a 5.5/10, but I round upwards.
Star Trek: Discovery: Choose to Live (2021)
Reasonably good episode that feels (mostly) quite Star Trek
It starts off with a pretty strong pre credits scene that hooks you. When the mission is set up with the obligatory Federation/Starfleet briefing it gets more interesting, particularly with a certain character present.
I am a Tilly fan so am happy to see her part of a mission that is not too Michael-heavy (comparatively speaking). This main plot feels very Star Trek in the mould of the misunderstood aggressor. The antagonist's motive is contrived and the resolution is not exactly satisfying, but the associated politics feels plausible.
The Stammets/Book scenes are good and also feel traditionally Trek. Seeing Geordie LaForge struggling with a scientific problem was always enjoyable so Stammets fits that bill quite well. Book is far less frustrating in this one and it's good to see certain issues associated with this character get resolved in a way that feels right. All those random heart-to-hearts in the previous episodes were eye rolling.
Speaking of eye rolling the Gray scenes continued in a marginally less annoying way than previously. I am grateful this arc appears to have moved on, but hope to not be tortured by too much more of this character's self-obsessing.
All actors are on good form, particularly Sonequa Martin-Green, Mary Wiseman, Blu del Barrio and Sonja Sohn.
Visually it a strong production. It is a relief to see the story move away from a shaky camera on the Discovery bridge. Plus the art direction and design of the away mission scenes are great. That being said the high octane martial arts scenes are the most non-relatable Trek moments and feel forced into it for the sake of looking cool.
For me it's a 6.5/10, but I round upwards.
Star Trek: Discovery: Anomaly (2021)
Had potential but for me it falls short
After Kobyashi Maru set the scene for the state of the Federation, Starfleet and individual characters fairly well, this one kicks off the main plot with that old Star Trek chestnut of the deadly space anomaly. It sets the crew off on an interesting mission, albeit slowly.
When the action starts writers and filmmakers include some good zero gravity effects, plus the usual shaky bridge sequences with moments of urgency and noisy danger. The concepts of the tethered ship and holographic transmitter are pretty cool, particularly when the situation calls for a key decision from Burnham. It ends on a promising note with one key plot twist and an impressive visual.
Unfortunately it feels very uneven as its flow is continuously interrupted by those infamous moments when characters discuss their feelings at the most inopportune times. I will not go into this in depth, as you can read plenty of detail in the various rants provided by other reviewers who take Trek far more seriously than myself. My only observation is that in this episode Discovery's focus on character emotions is almost like a self-parody.
The scenes with the character Gray are major struggle, as this individual is portrayed as totally self-absorbed to the point of annoying. Other Discovery characters regularly act the same way but self-obsession seems to define this one. Just count how often characters start sentences with the word "I" in most episodes. Having a character to explore identity is great, but it all feels a pointless distraction when the stakes are supposedly so high in the main plot.
For me the acting is mostly good. Mary Wiseman stands out as she gives Tilly a pretty distinct personality. Sonequa Martin-Green leads it well, but due to the writing her character still dominates the show too much.
For me it is a 5.5/10, but I round upwards.
Breaking Bad (2008)
A classic mix of writing, acting and filmmaking
When a piece of popular culture is touted as the best of its kind there is often two types of reaction. Those who enjoy it so much they believe it is the best and appropriately sing its praises. However you get those with expectations so high that it does not live up to them and ultimately feels overrated. Greatness is in the eye of the beholder, but personally I think Breaking Bad is one of the best serialised television shows and ranks amongst my other favourites like 'The Wire', 'The Sopranos' and 'Deadwood'.
The writing consistently impresses me throughout the seasons. Vince Gilligan's famous pitch of a character arc that goes from 'Mr Chips to Scarface' sounds like an ambitious if somewhat impossible undertaking, but is achieved in the most effective way possible with the character Walter White. The two signature qualities of the writing are: 1) they keep you invested in Walt's journey from start to finish by continually manipulating your emotions; 2) they frequently paint themselves into corners with seemingly impossible situations, but find a way to move the plot on from each one in a plausible way. Additionally, it has powerful moments of drama, suspense, and dark comedy that linger in the memory. There are aspects that involve a willing suspension of disbelief. I. E. The main premise, timeframe and convenient appearance (and non-appearance) of Walt's cancer symptoms, but if you accept these details you should get the full impact of the story.
A lot of the success must be credited to the actors. Walter White is an iconic perversion of the American dream, embodied so well by Bryan Cranston it is the type of career high point that is impossible to reach again. Likewise, Jesse Pinkman is a tortured, sympathetic and important character that the brilliant Aaron Paul will never likely match. Bob Odenkirk's Saul Goodman is so entertaining and impactful he justifiably generated his own spin-off, that in moments is every bit as good as Breaking Bad.
Great support is provided by the likes of Anna Gunn, Jonathan Banks, Dean Norris, Betsy Brandy, RJ Mitte, and Giancarlo Esposito who all play wonderful supporting characters. Other recurring cameos such as Laura Fraser, Jesse Plemons, Raymond Cruz, Mark Margolis, Charles Baker, Matt Jones, Julia Minesci and Steven Michael Quezada all are strong contributions.
What sets Breaking Bad apart is the visual storytelling. Although the dialogue is fantastic it never relies on anything other than the cinematography and editing to tell its story. Several episodes have distinctive cold openings or flash-forwards that we spend the next 45 minutes (or entire seasons) intrigued about how we got there. Plus there are so many great situations where an initial unexplained event or piece of imagery becomes clear as we watch the full sequence unfold. Add to this the incredible desert landscapes, quirky POV cams, perfect use of light, shadow, props, set-design and general image composition and you probably get the picture that it is inspiring filmmaking.
The only aspect (purely personal preference not quality of filmmaking) where I think other shows like 'The Wire' and 'The Sopranos' have a slight edge over Breaking Bad is in my motivation to rewatch. It has been over 10 years since I first saw Breaking Bad because it is the type of story that loses some impact when you have too much familiarity with what's coming. The others I find less so and have so much humour and variety in the writing I can rewatch every 3-4 years and never get tired.
For me Breaking Bad is a 9.5/10, but I round upwards.
Breaking Bad: Felina (2013)
Perfect finish to a classic show
Felina is a satisfying conclusion to the incredible arc of the character Walter White.
The tone is set with that brilliant opening scene of visual storytelling that generates great suspense with a simple combination of Walt's facial expressions and colourful flashing lights. This leads on to other beautiful uses of cinematography and editing that tell the concluding chapter of his story.
There are very little plot details I can mention without spoiling, but it includes some classic examples of the writers great ability to develop a plot in a plausible way after seemingly painting themselves into a corner with their depiction of previous events. Some moments include contrivances, but they are so appropriate it would be rude not to suspend the disbelief.
One scene that follows on from the final sequence of Granite State includes fantastic dark humour. I also love the inclusion of previous recurring characters that feels like an apt way to bid them farewell as the series ends.
A signature quality of Breaking Bad is how manipulative the writing is relation to Walt's actions. He has been shown doing terrible things, for ultimately selfish reasons, but the portrayal has always retained just enough sympathy to keep me from fully turning against him. This finale is the ultimate example of this, so much so I have witnessed him actually reduce audience members to tears at certain moments. Writing aside, a lot of the credit goes to Bryan Cranston for such an amazing performance.
All case members are on great form and although this is Cranston's episode, he is supported brilliantly by Anna Gunn and Aaron Paul in particular.
Breaking Bad: Granite State (2013)
What an ending
After the perpetual intensity of Ozymandias, this episode takes it down a notch to focus on the fallout of previous events and brilliantly set up the finale (and spin-off show).
After the amount of entertainment mined from hours of Walt's supervillainy, the consequences of his behaviour are portrayed in an appropriately brutal way. To the credit of Peter Gould he delivered it in a plausible and unpredictable way. The pain associated with it being all for nothing, could not have been depicted better.
One of the signature qualities of the show is how the writers paint the characters into impossible corners and extract them in ways that do not seem like contrivances. Granite State is another exceptional example of this. That last scene (back in 2013 on my first watch) was and is the only time I have seen any episode of television and felt that no matter what I had to see what happens next. Nothing other than Walt's infamous pride could make it believable and consistent with the character arc.
The Jesse scenes are incredibly compelling and difficult to watch, but are slightly more of a stretch to the realms of plausibility. I do somewhat feel they are being set up this way, mostly for the benefit of Walt's character arc. However, I am fully invested in him escaping his nightmare scenario, so it very much works.
All actors are amazing as always, particularly Bryan Cranston and Aaron Paul.
Visually it is another wonderful example of using the camera to tell a great story. For me that perfect final shot is an iconic Breaking Bad image.
For me it's a 9.5/10, but I round upwards.
Breaking Bad: Ozymandias (2013)
An ordeal
Writing a review for an episode rated 10/10 on IMDB comes with a lot of pressure, particularly as there are more than 500 reviews already either waxing lyrical or calling it overrated.
The subject matter is so agonising to behold there is nothing I personally find enjoyable aside from Walt's impression of a dung beetle. However, it is a brilliantly made and an important part of the overall story.
It has several iconic sequences that are character defining. The first part is cleverly set up by the pre-credit scene and is both brutal and torturous to watch.
As it moves on to some of the most intense family anguish you are likely to see in a dramatic production, you feel that you are having all those past moments when you might of admired Walter White's gall and ingenuity (particularly when shown in cool montage sequences), plus any amusement associated with his deception of Hank, thrown back in your face. This is the moment that we truly feel the impact of his behaviour. For me it is crucial to the character arc.
I have previously described the Breaking Bad writers as manipulative (in a positive way) and Ozymandias is another classic example of this attribute. Walt is portrayed as abhorrent in certain moments, but also emotionally tortured and redemptive in others. Bryan Cranston gives one of his greatest performances across several scenes, but for me the standout is that phone call.
Anna Gunn, Betsy Brandt, Dean Norris and RJ Mitte are all fantastic, particularly Gunn.
Visually as you come to expect from Breaking Bad it is full of amazing cinematography and editing.
Is it the greatest episode of this show and potentially of all TV shows? I think that greatness is definitely in the eye of the beholder, but for me it is amongst the best episodes of Breaking Bad and likewise episodes of my other favourite shows like The Wire, The Sopranos and Deadwood. Interestingly most of them are an ordeal to get through as well, but when you have the right combination of writing, acting and filmmaking you just have to admire what is on screen.
Breaking Bad: To'hajiilee (2013)
Excellent episode with standout moments
To 'hajiilee is another absorbing episode with a frantic conclusion and a number of classic character moments.
It is virtually impossible to give plot details without spoilers, but safe to say that Walt, Jesse, Hank, Marie and Steve Gomez all have character defining moments to remember. The writers are incredibly manipulative in their storytelling yet again. In spite of all events portrayed they make certain creative decisions in relation to one character that stop you from fully turning against them. So clever!
There are some contrivances in the plot that you need to willingly suspend your disbelief to fully appreciate it, but there is no denying the filmmakers deliver thrilling storytelling and tense build up incredibly well.
Visually it is incredibly good in nearly every shot from the awkwardness of the scene involving Lydia, through Marie's trash-cam, and to the iconic imagery of characters in the desert.
All actors are on great form, with Bryan Cranston, Dean Norris and Betsy Brandt particularly great. There is so much tension that the relieving presence of Bob Odenkirk and his great humour is so welcome in his cameo.
For me it is a 9.5/10, but I round upwards.