In this season premiere episode, Hannibal Lecter describes Kaiseki as "a Japanese art form that honors the taste and aesthetic of what we eat." The same is true of showrunner Bryan Fuller's beautiful and twisted prequel series. His take on the world's most famous cannibalistic doctor is at once horrifying and immaculately constructed. The taste is bitter, with its disturbing violence and intense focus on the inner workings of a serial killer. Yet, the show goes down smoothly, due to a refusal to shy away from the truth. Hannibal knows that death is a terrible finality, and monsters lurk in the shadows of its world, making sure no one ever forgets. Fuller and company never for a moment pretend the darkness of their series can be marginalized or shrugged off at the end of an hour. The grim reality haunts the characters as thoroughly as it does the audience.
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‘The Last of Us’ is set 20 years after a devastating fungal infection causes a zombie apocalypse, bringing humanity to the brink of extinction. The player controls Joel, an aging smuggler tasked with escorting a young girl named Ellie to a safe zone across the country. Along the way, the duo must battle both the mutated monsters and the few healthy humans left fighting for resources. These story beats may seem familiar, but they are simply the enticing hooks of an incredibly deep game. ‘The Last of Us’ is a very different experience. In a medium populated with narratives that amount to little more than an excuse for “Press R1 to shoot enemy number 45 in the face,” Naughty Dog’s latest dares to be challenging. The characters feel like real people drawn into a world of chaos, confusion and profound loss. Even as the protagonist beats someone’s face in with a crowbar, the story illuminates the emotionally wounded man behind the violence. The players must also confront the idea that maybe--just maybe--the game’s star is not a virtuous hero. Perhaps, he is selfish and cruel, driven to extremes by the overriding need of self-preservation. The PlayStation 3 exclusive also delivers an engaging gameplay system, emphasizing a variety of options with limited supplies. Almost every enemy encounter allows for three basic approaches: attack, stealth and avoidance. Joel can take his chances with his precious ammo and fire away, hoping to end the fight with direct aggression. He’s likely to run out well before the job is done, however. In an interesting twist on typical game design, the player won’t find huge caches of bullets available around every corner. Each shot must truly count, as inaccuracy can lead to an empty inventory and a quick death. If stealth is chosen, equal consideration must be payed to the intricacies of silent takedowns. Bottles and bricks can be thrown to distract enemies, but the noise will often trigger a high alert. Additionally, the objects will no longer be available for melee attacks, which are an effective way to deal with a certain type of infected. Strangling foes takes longer than stabbing them with a shiv, and Joel will be exposed to detection while the animation plays out. On the other hand, the blade is noisier and will break after repeated use. As such, one must observe enemy types and patrol patterns, waiting for the perfect time to strike. Running away is not always viable, but the smuggler can circumvent confrontation entirely in most situations. Included in this three-pronged dynamic is a crafting mechanic that requires deft decision making according to immediate versus longterm needs. A health pack demands the same resources as a Molotov cocktail, for instance, and the the decision cannot be undone. Recovery is sacrificed for offensive capability, or vice versa. Given that making items takes time and the action does not pause while crafting is in progress, knowledge of the terrain and points of cover affords a distinct advantage. The player dictates the intensity and flow of each hard-won scrap, making ‘The Last of Us’ as much about strategy as survival. Infused with a palpable sense of apprehension, each combat environment evolves into a dangerous game of cat and mouse as Joel seeks to outmaneuver the AI in dark, dilapidated buildings and ruined cityscapes. Naughty Dog’s visual affinity shines through, even on aging hardware. Lighting is pitch-perfect, accentuating a brooding atmosphere and the perverse beauty of a world overtaken by vegetation. From wading through murky swamps to the realistic recoil of a powerful weapon, the superb animation provides immersive detail to even the subtlest actions. As a contrast to the bright, sometimes campy style of the Uncharted series, the art direction of Joel and Ellie’s adventure underscores the maturity and intimacy of the subject matter. This fallen world tells the story of deterioration and decay in every scene, with crumbled architecture and broken down cars among the desolation. All the blood spilled feels very real, even personal. No element of design is insignificant or overdone, and the game remains self-serious without slipping into grating indulgence. It does not insist on a single emotion or interpretation, encouraging myriad reactions and play styles. 'The Last of Us’ is a work of art, never offering easy answers to difficult moral issues. The complex themes ripple throughout every aspect of the production, particularly in the intense, open-ended gameplay and the wonderfully realized characters. The tale will inspire contemplation--through active participation and expertly crafted cutscenes--long after the screen goes black. Joel and Ellie form the most touching relationship ever presented in a game, taking the player on an incredibly fulfilling journey in the process. Naughty Dog has signaled the dawn of a new era in interactive entertainment. Cannon’s Rating: 10/10 In its third season, Louie reaches an incredible level of quality. The show seamlessly combines loose, continuity-free episodes with deeply human stories of frustration, joy, isolation, and community. The result is an emotional journey for the viewer, not simply an "insert laugh here" experience. The run is completely unpredictable, serving up a different slice of life almost every week. It's ambitious, smart, and wholly satisfying.
I didn't always feel this way about Louie. I'm stubborn like that. I had heard the critical praise, but I just couldn't appreciate the first season. It seemed dull and uninspired. The second season, however, began to melt my cold heart. Here, the show became more free-form, embracing the idea that it didn't have to try so hard to be funny. Instead, it strove to be more honest, more direct. There was a peek into Louie the man, the figure beneath the sitcom stereotype. The protagonist suffered and struggled in ways that everyone has done. The show became universal, and I respected it a great deal more. Season 3 completely shattered the ice surrounding my circulatory organ. Louie took the glimpse of honesty provided the previous year and widened it into a full-blown exploration. Take the episode "Daddy's Girlfriend, Part 2." Louie recognizes his loneliness and desire for meaningful connection, so he sets out to find himself a companion. The woman he finds, played brilliantly by Parker Posy, is lively and seemingly content. Liz appears to be the opposite of Louie, who is often sad, dissatisfied, and continually apprehensive. She takes Louie on a whirlwind tour of the city, showing him his hometown in a completely new light. For one night, he knows what it's like to live life on the edge. However, just as Louie is beginning to think things might go swimmingly, he finds out that the woman of his dreams is emotionally broken and unstable. She, like him, is damaged, but in a different way. While he manages his loneliness through a focused apathy and finds comfort in love for his children, Liz channels her sadness into fleeting bouts of adrenaline-fueled giddiness. When this temporary burst of happiness fades, she can do nothing but sink into a depression deeper than anything Louie has ever known. The poor man doesn't know how to help her, or if she even can be helped. So, her smile fades and she walks away. This is but a sample of the brilliance of Season 3's introspective characterization. Other outings, such as "Dad" and "New Years Eve" examine themes like complex parent-child relationships and the balance of death and beauty in Louie's life. Yes, this is heavy material, but the show treats it with just the right mix of respect and awareness. At the end of every dark episode, there is an uplifting message of hope and light. All of this doesn't even take into account the lighter, "funnier" moments. I put that word in quotes because Louie very rarely hands the viewer its jokes on a silver platter. Sure, there is the occasional diarrhea punchline, but more often, the funny comes from watching this man live life. Life sucks quite a bit of the time. When one takes a step back from the day-to-day routine, however, one finds that a lot of this conflict is actually humorous. This is a truth that no other sitcom handles as well. Louie mocks the mundanity of life and asks the viewers to join in the fun. What they are left with, then, is a show that abandons traditional delivery patterns in favor of a cadence all its own. This season experiments with serialization, linking the continuity of many episodes to tell multi-part stories. These are a resounding success, particularly the "Late Show" trilogy. Louie's pursuit of Jay Leno's late night gig results in a treatise on rising to meet insurmountable challenges, despite the low probability of success. Only the individual has the power to change his or her life, and one does not need the validation of others to grow stronger. This is the best year of any sitcom I have had the pleasure of witnessing. Combining the aforementioned depth with wonderful one-off episodes featuring guest appearances from the likes of Robin Williams and Amy Poehler, Louie is perfect. There is no knowing where this crazy adventure will go next, but I can't wait to find out. Cannon's Rating: 10/10 In the Season 5 premiere of television's best show, Walter White is left to deal with the immediate aftermath of his resounding defeat of Gus Fring. To do so, he and Jessie must solicit the reluctant aid of lovable hitman Mike to wreak some havoc on Gus' personal computer. Actions are never free of consequences on 'Bad,' but the challenge of removing incriminating video footage of meth cooks from Gus' computer is an especially interesting one for the show to explore. It demonstrates the writers' attention to even the smallest details. Something so small carries so much significance, both physically and emotionally.
Walt has no time to celebrate being on top of the world. Just as he's about to have his self-congratulatory drink, he remembers that he must get rid of evidence--namely the plant he used to poison a child and the aforementioned laptop. Part of what drives Walt in this episode is the idea that he must get rid of any trace of Fring's hold on his life. He won't be completely out from under the thumb of the chicken man until he disposes of the computer. This is Walt's dangerously overinflated pride showing itself yet again. He cannot stand the thought that Gus--even in death--continues to exert pressure on his life. Walt thinks to himself: "I'm the king now, how dare this man inconvenience me this way. I should be free to do what I want." This "my way or the highway" hubris is now seeping into his personal relationships. Here is a man who has just blown up three men in a nursing home with the smug reaction, "I won." Not, "It was terrible, but I did what I had to do to save our family." Not, "It's going to take a while to process what just happened." No, Walter White shows no remorse, regret, fear, or humanity. Yet, he cannot understand why his wife expresses reservations around him. He even expects a thank you. Walt has no self awareness, no concept of the impact that his actions and attitudes have on others. Skyler is petrified of the man she used to love, and he doesn't even bother to try and understand why that is. His marriage is poisoned, and it will be uncomfortable, yet satisfying to watch this new dynamic play out between the "couple." That's not to mention how darkly pompous Walt has gotten with Saul. He's pushing his weight around and so far, he's been successful at intimidating and/or alienating nearly everyone in his life. The fact that it was Jessie who came up with the idea to use magnets to erase the computer's hard drive represents the culmination of an ongoing shift in his character. Jessie began the show as an idiot junkie, a man of many yo's but little common sense. Over the course of the series, his compassion and heart have been revealed, making him the misunderstood softie of the group. Now, given his transformative experience with the Gale tragedy, he has become someone who thinks carefully about how he affects those close to him. He is the opposite of Walt, willing to take less risks and smaller piles of money if it means keeping his humanity intact. Being the idea man is an extension of this. He wants to help everyone and to be thought of as helpful. He has rediscovered his sense of self-worth, and wants to feel as though he is contributing to the solution and not the problem. The magnet caper itself was ripped right out of the good old days of the show--back when bumbling heists were the biggest obstacles the "heroes" encountered. It was fun, funny, and weird, calling back to those black comedy roots. But perhaps the most significant part of the Great Hard Drive Wipe of New Mexico was its aftermath. Remember that whole "actions always have consequences" thing from earlier? Even in triumph, the group is not out of the frying pan. Those Cayman Islands bank account numbers hidden behind a picture frame broken in all the chaos are bound to lead to some very unpleasant things for Walt and co. "Live Free or Die" effectively resolved leftover issues from last season while simultaneously introducing the viewer to new and exciting themes. Heisenberg is king, and Walt carries himself with a chilling new demeanor, the sense of entitlement palpable in Bryan Cranston's portrayal. The question the writers ask of the audience is, "How long can Walt remain at the top of the hill while those below him are ruined by association?" My guess is not long. Not long at all. Cannon's Rating: 9.5/10 'The Dark Knight Rises' is the conclusion to director Christopher Nolan's epic superhero trilogy chronicling the exploits of the Caped Crusader. It is an ambitious, mostly competent finale, but nonetheless falls quite a bit short of its excellent predecessors. This cinmatic take on the Batman mythos is undoubtedly the best there's ever been, but those expecting an absolute masterpiece to follow in the steps of the second chapter will have to look elsewhere.
'Rises' sees Bruce Wayne/Batman (Christian Bale) in hiding after the events of 'The Dark Knight.' he took the blame for the crimes of Harvey Dent, and the people of Gotham have yet to forgive him, even after eight long years. Just when Bruce is ready to hang up the cowl for good, a new threat emerges in the form of a chilling terrorist named Bane. The brute plans on orchestrating a social revolution to destroy Gotham from the inside out. Wayne decides to come out of retirement to save his city from the clutches of this menace. Given the fact that Commissioner Jim Gordon is complicit in the lie about Batman, the vigilante cannot count on the goodwill of the police in his struggle. Rather, he'll have to rely on the unlikely aid of Selena Kyle, a thief and con artist with a heart of gold. Meanwhile, a young police officer who doesn't quite buy the tall tale being told about his favorite hero works hard to ensure that the situation is handled properly, despite his hope that The Bat will fly once again. The movie's pacing is quite uneven, with an interesting, if a bit tepid beginning and a meandering middle portion leading to an incredibly exciting final act. Often, it's simply not very intriguing, given its predictability. But there is much that will put a smile on your face, as well as moments that will bring a tear to your eye. This entry in the franchise is more about emotional struggle than any of the previous, and it is that element that audiences will connect with most strongly. I'll be a monkey's uncle if I didn't feel something pulling at my heartstrings during the Alfred/Bruce scenes. The performances are all stellar, particularly Anne Hathaway's Kyle. Nolan's conception of the femme fatale is wonderful, giving her just the right amount of intelligence and sex appeal without objectifying her. Rather than use this appeal for titillation, Selena uses it as a weapon to get the advantage over her enemies. The script makes her an entirely capable woman and a fully developed character complemented by Hathaway's expert portrayal. Joseph Gordon Levitt also gives a respectable turn as the rookie cop Blake. Unfortunately, the film has trouble balancing the stories of all of these characters, meaning that it begins to buckle under the pressure of moving the multifaceted plot along in a timely fashion. Surprisingly, one such underrepresented element is Batman himself. Despite the title of the movie, one does not see a whole lot of Batman in the proceedings. This is somewhat understandable since it is clear that Nolan intended for this movie to focus more on the physical and psychological effects the life of Batman has on Bruce Wayne, but the costumed hero should've made a few more appearances to spice things up when they were dragging. Tom Hardy's Bane is intimidating and intelligent. Even though he has to deliver all of his dialogue through a mask but it secures his mouth, Hardy still manages to get the bravado of the character across. This version of the behemoth is a far cry from his terrible representation in 'Batman and Robin.' By the time the film comes to an end, the viewer will actually have a degree of sympathy for Bane-much more than can be said for the trilogies previous villain, the Clown Prince of Crime. however, Hardy cannot quite match the unbelievable heights of Heath Ledger's unforgettable performance. That does not prevent Bane from being a great adversary that feels right at home in Nolan's universe. The film's visual language can be very confusing with an inordinate amount of quick cuts during action scenes that sometimes make it difficult to interpret exactly what is going on. It is also apparent that no one has not quite mastered the ability to represent close- quarters combat competently, as Batman comes across as more of a street brawler than an accomplished fighter versed in multiple martial arts. Yet, when the movie brings out the tumblers, the bat pods and all the other cool gadgets, the action is still quite exhilarating. Nolan knows how to give audiences what they want in terms of spectacle, and the last 30 minutes are indeed a sight to behold. Some other things hold 'Rises' back from being great, however. A romance with Marion Cotillard's Wayne Enterprises investor feels especially unnecessary and rushed; the corporate angle of some story lines is hollow and dull; some important events lack the proper impact because they are either glanced over or reversed. Nonetheless, Nolan provides a fitting and perfectly serviceable ending to a reputable franchise. He still displays an intimate understanding of the comic book characters and what makes them interesting not just as disposable entertainment, but as relatable human beings and important icons of pop culture. The mindbending twists that Nolan is known for are present in the last moments. There is a lot to love about this final chapter, but also a lot to criticize. Ultimately, Nolan does not so much disappointed as he does deliver a good movie that doesn't measure up to the impeccably high standards set by his other movies. While it may lack all the bells and whistles of a typical effort from the director, 'The Dark Knight Rises' is a summer blockbuster that remains a cut above the rest, and should be seen by anyone who considers himself or herself to be a fan of the billionaire, pointy-eared superhero. Cannons rating: 8/10 With the release of ‘The Avengers,’ Marvel have accomplished a major cinematic feat. Several individual superhero films have led up to a combined powerhouse of a blockbuster. Years of build up have finally come to a head. The question on everyone’s mind is, “Is it successful?” Moviegoers have feared that Earth’s Mightiest Heroes would come together only to star in a jumbled, incoherent mess that would not be able to balance so many characters. I can tell those people, with absolutely no reservations, that not only does the film allay these fears, it smashes them into oblivion as easily as the Hulk smashes a marshmallow. ‘The Avengers’ is a grin-inducing thrill ride that effectively blends unique, jaw-dropping action with effortless character development and witty humor.
The plot is fairly basic. The Norse trickster Loki (Tom Hiddleston) steals a powerful, self-sustaining energy cube called the Tesseract from the S.H.I.E.L.D. agency. With the artifact, Loki plans to unleash an army of evil creatures from another world on mankind, making himself ruler of Earth. To combat this threat, agency director Nick Fury (Samuel L. Jackson) summons an eclectic group of heroes from disparate locations across the globe. They include: Clint Barton as Hawkeye (Jeremy Renner), Dr. Bruce Banner/the Hulk (Mark Ruffalo), Steve Rogers as Captain America (Chris Evans), Tony Stark as Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), and Natasha Romanoff as Black Widow (Scarlett Johansson). While this set up is very familiar, it does not keep the movie from being an enthralling adventure that takes immediate hold and never lets the viewer go. From perennially debated “who would win in a fight...” battles between the Avengers to an amazing final confrontation in downtown Manhattan, there’s never a dull moment, never a lack of style. Within the first 20 minutes, writer/director Joss Whedon’s script shines like Iron Man’s chest piece with his usual brand of intelligent dialogue and intriguing set pieces. What really impresses, however, is the way in which each member of the super team is given a distinct personality and important function within the group. Everyone--even the formerly questionable Black Widow and Hawkeye--has weight and purpose. By the time the movie ends, you will know why Fury called for each one of these people. The writing has a solid foundation in what defines the characters: Captain America’s old-fashioned patriotism and altruistic heroism; Tony Stark’s wry egoism and snarky attitude with others; Thor’s desire to find the good in his brother Loki; Bruce Banner’s genius and his efforts to control the monster inside himself. You get more insight into what makes them keep fighting the good fight than you ever did in any other Marvel film. The result is an experience that counters its over-the-top spectacle with a more significant, human core. All the characters are given their fair share of signature moments, some so hysterical that you will quite literally laugh out loud. This is especially true for Ruffalo’s Hulk, which is the most Incredible (See what I did there?) incarnation of the beast yet seen. His triumphs provoke clapping and cheering, as much from their humor as from their awesome factor. Yes, this is a superhero film that doesn’t take itself too seriously, and the benefits of this attitude are incalculable. The Avengers are brought to life by fantastic performances from all of the actors. They each draw in audience sympathies and sell the gravity of the drama and the levity of the comedy. The band of heroes become inextricably tied to the actors who portray them, and the potential for many future films is all but certain. The flaws are few, but enough to prevent perfection: Loki’s dialogue can at times border on cheesy and melodramatic, the Hulk’s shift from implacable behemoth to Avenger-friendly green tornado of calculated destruction is not sufficiently explained within the movie’s logic, and the formulaic backbone of the story creates an ever-so-slight feeling of “been there, done that.” These issues are more than overcome by the strengths, however. You won’t even have time to care about them amidst all the pure win being thrown onto the screen. No protracted conclusion is necessary. All you need to know is that if you have even a passing interest in the source material, you MUST see this movie. It is everything that Marvel have promised, and it is everything that people hoped it would be. Hulk smash. Hulk smash real good. Cannon's rating: 9.5/10 Note: Giving away any of the film’s plot beyond a vague overview would spoil some great surprises, so this review will feature a bare-bones summary. I am purposefully painting broad strokes in my writing, so as to avoid specifics. Not the customary style for this writer, but trust me, you want to go into this movie with as little foreknowledge as possible. In fact, the best recommendation is to avoid even seeing the trailer, if you can manage to do so.
Once in a very rare while, a movie comes along that completely revolutionizes an entire genre. Such films leave an indelible impression on their audiences and become the cinematic benchmarks that inspire impassioned conversations for years to come. Horror-comedy 'The Cabin in the Woods' confidently fits into this elite category. Watching the masterful work of writers Drew Goddard and Joss Whedon unfold onscreen is a fantastic experience filled with moments of genuine suspense and macabre humor. Other horror writers are quaking in their boots. I must be honest, the thought of subjecting myself to a typical horror movie, with all its cheap jump scares and cheesy “Don’t go in there, you idiot!” level of writing, normally fills me with much more dread than the movie itself could induce. So many of the genre’s plots and themes feel absurdly formulaic, designed with just enough respect for the audience’s intelligence that they hopefully don’t realize they’ve essentially seen the same movie dozens of times. One does not come out of Friday the 13th or Jason X saying, “I did not see that coming!” Everyone knows that all the stupid, disposable characters are supposed to die and that the credits will roll soon after. This is conventional horror storytelling, and it has become a tired joke. 'Cabin' knows all of this and feels the same way I do, and that’s why I love it to death. It is simultaneously an open mockery of its contemporaries’ shortcomings and a celebration of their potential. The film begins with a standard group of high school kids heading out to a (spoiler alert!) cabin in the woods for a nice bit of r&r. All of the stock characters are present: Chris Hemsworth as the athletic pretty boy; Anna Hutchinson as the feisty blonde bombshell; Jesse Williams as the tag-along friend; Fran Kranz as the hapless stoner; Kristen Connolly as the innocent goody-two-shoes. When they arrive at the cabin, they discover that the quaint abode may be hiding something sinister within its dark depths. It isn’t long before their nice vacation turns into a twisted nightmare. I know, I know. “I’ve seen that description countless times on the back of the DVDs I shamefully rent, hoping no one will laugh at my terrible tastes. What’s so special about this movie?” 'Cabin' takes these tropes and gives them a unique spin, asking you to laugh a little at the triteness of the business as usual model. Then, it asks you to wipe that grin off your face and look into the core mechanics of each and every convention, giving them a scope they’ve never had in any other horror film. “Why?” is the central question here. “Why do the kids always make the stupid decision to split up right before they are picked off, one by one?” “Why don’t they just leave?” “Why are the monsters always trying to harsh the stoner’s mellow?” The answers the film gives to these age-old questions are so clever and original....I can’t tell you anything about them. As I said in the note, that would be telling. Suffice it to say, you will walk out of the theater (or get up off the couch and brush off the Cheeto crumbs) rethinking everything you thought you knew about the genre. There is a more grandiose plot beneath the surface narrative that overturns expectations and blows minds. This is what horror movies could be. All of that would mean nothing if there weren’t things to enjoy on the basic level. Another element that separates 'Cabin' from the pack is the writers’ ability to craft genuinely likable, sympathetic characters. As initially stereotypical as they might seem, the young vacationers grow into characters you genuinely care for. They are more than what they appear to be. Goddard and Whedon use these characters as vehicles for lightning-quick dialogue, laugh-out-loud humor (see the stoner’s coffee container/bong/lethal weapon combo), and spine-tingling suspense. I can’t tell you how many times I said to the guy next to me, “Oh, did you see THAT?!?!” He just scowled and told me to shut up, though (Jerk. Couldn’t he see how much I was enjoying the movie? The nerve of some people...). A lot of credit goes to Godard’s debut directorial effort, which gives the proceedings a sure-footed feel and a pacing that never lets up. The first two acts are great buildup to a 20 minute climax that is the perfect emotional and visceral payoff (at this point, the jerk looked like he was about ready to punch me in the face). Seriously, there’s so much blood in the final moments, it would make 'Mortal Kombat' characters cringe. 'The Cabin in the Woods' is an expertly crafted film that combines an intellectually stimulating, multi-layered story with pure thrills and capable characterization. Every other postmodern horror-comedy will be compared to this masterpiece. What’s old is made new again through astonishing ambition and a clear, purposeful deconstructionist vision. I’m excited for other writers to learn from this example in the future, and you will be too. Cannon’s rating: 10/10 The interesting thing about 'Breaking Bad' is that it manages to be absorbing even when nothing much is actually happening. This is often due to thick layers of subtext that add greater significance to seemingly mundane proceedings. Such is the case with "Shotgun." In the aftermath of Jessie's "kidnapping" last episode, Walt is furious, desperately trying to find his partner before Gus eliminates Jessie from the equation. Walt's mad dash to the chicken restaurant reveals the subtlety of this episode early on. Not only is it reminiscent of the race to bring the first batch of drugs to Gus in season 2, but Walt's cellphone call is also significant. The message he leaves for his family is a parallel to the video message he left for them in the pilot. He only does this when he is feeling particularly vulnerable and guilty. Though he will not admit it, even to himself, Walt's old self occasionally pokes through to remind him that what he has done is wrong. By now it has reached a subconscious level, but Walt hopes that these messages will be a link for his loved ones to the Walter that existed before Heisenberg. Should he be caught or perish, he wants there to be a record that there was indeed a good man hidden somewhere underneath his criminal exterior.
When Walt arrives at Gus' establishment, he demands to see the proprietor immediately. Unfortunately, Gus had other plans and left before Walter arrived. The thematic and musical motifs that the writers have going for these confrontational scenes are amazing. Every time Walter is seemingly on the verge of finding Gus, such as in "Thirty-Eight Snub," the music builds to a climactic crescendo only to come to an abrupt halt as Walt realizes that he has failed. This episode continues the theme that Gus is an enemy that cannot be touched, cannot be seen, unless he wills it. He's almost a Big Brother character. Fulminated mercury won't save Walt this time. A feat of tremendous ingenuity will be required to overcome this current stalemate. Finding Gus office empty, Walt gets a call from Mike, letting him know that Jessie is taking a little ride with the hired gun. Confused but unable to retaliate in any way, Walt simply returns to work. The following scenes featuring Mike and Jessie set up an interesting relationship dynamic between the two. On the surface, Mike is just toting Jessie around, but that's too simple an interpretation for this show. Over the course of the series, Jessie has always had a father figure in Walt. Wether the two of them ever acknowledge it or not, a bond has formed between them that has helped Jessie in the worst of times. Walter was there to save him from his depression over Jane's death, as well as to prevent him from dying at the hands of those two street thugs. Now, Mike is stepping in to fill that role, even if he does not yet realize it. Part of Gus' plan is to separate Walt and Jessie emotionally by having Mike provide stability and purpose in Jessie's life, purpose that is independent of Walt and his personal drama. It will be intriguing to see how this angle develops, especially given Walt's obvious jealousy when Jessie returns. Hank's arc in this episode is perhaps the most vital to the series' future. After closing the book on the Heisenberg case, Hank is tipped off by a drunk Walter in one of the more impressively written scenes in the show's catalogue. Once again, Walt's ego gets the best of him, leading to a snarky comment about Heisenberg's identity. This puts Hank back on the trail, and he soon finds a clue that could change everything, rattling the series' foundations in the process. From a character standpoint, it is essential to note that Hank brightens up the moment he's back on the case. He has always been a driven individual, invigorated by obsession. Before Walt's verbal mishap, Hank's obsession manifested itself in the minerals. Now, given new purpose, he begins to revert back to his old self. In an interesting way, Hank's story can be compared with Jessie's. Both men are having trouble emotionally recovering from a tragic incident and both are just beginning to find new meaning in their lives. "Shotgun" does suffer from slow pacing and some scenes that are unnecessarily drawn out, but it is still yet another strong entry, supported by the overwhelming notion that this is merely the calm before the storm. There are so many ways that the events of this episode can lead to complete chaos, and with 'Breaking Bad's' track record, it will be no surprise if the fallout is even worse than expected. Cannon's rating: 9/10 "Bullet Points" is an episode that's all about tension and emotional nuance. The show begins with Mike sitting inside a freezing truck filled with buckets of chicken (read: blue meth included), his breath fogging in front of his face. What follows is the most memorable opening sequence in the show's history. Some great cinematography is on display, with creative shots galore filling the scene. In the interest of avoiding spoilers, let's just say Mike yet again proves why he's the best at what he does. From here, the episode relates a series of dialogue-based character interactions, including an incredibly suspenseful discussion between Hank and Walt about Gale's notebook and the Heisenberg case.
The emotional nuance comes in the form of some great acting from the pair, whose facial expressions tell the true story behind the words spoken. One can almost imagine Walt's inner turmoil as Hank's suspicions hit a little too close to home. Dean Norris really knocks it out of the park here, with his deadly serious demeanor and piercing gaze. It's as if he's taking a peek inside Walt's mind. The viewers are holding their collective breath during this entire exchange. Another strength this week is the increased pacing from the last episode. While "Open House" felt like a mere filler episode designed to bridge storytelling gaps, "Bullet Points" moves the narrative forward in many key areas. The other family members are now aware of Walt's recent financial windfall (explained by an elaborate gambling addiction story), Hank inches closer to the truth about the case that consumed him, and someone finally removes Jessie from his toxic environment. Aaron Paul has been fantastic this season, and that does not change this week. There's a scene he shares with Cranston that should be a strong contender come Emmy time next year. His arc is particularly taxing from both a character and actor standpoint, but he pulls it off effortlessly. Jesse continues to crumble mentally, and Aaron brings a pitiable vulnerability to the role. Paul's acting is a compliment to the superb dialogue throughout not only this scene, but the entire episode. Walt's speech to Saul is particularly notable, as it demonstrates that despite mounting evidence to the contrary, the former chemistry teacher is insistent on clinging to the notion that he's the blameless one and everyone else is screwing up. "Why am I the only one who is still capable of acting like a professional?" he asks. Walt's continual denial is fascinating. He attempts to absolve himself of any moral responsibility for his actions because the alternative scares him to death. The idea that he may indeed be a bad guy is something Walt simply cannot (or will not) consider, for it means that he has been mistaken about his own nature for 50 years. "Bullet Points" is an excellent episode that highlights all of the reasons 'Breaking Bad' succeeds as the strongest drama on television: Unparalleled performances, rich thematic exploration, and wonderful, character-oriented writing. The team behind the show clearly have a winning formula for season 4, and it's going to be a wild ride. Cannon's rating: 9.5/10 Rise of the Planet of the Apes is a reboot of the classic franchise about angry, super smart chimps revolting against the humans and taking over the world. This film is an origin story at heart, relating the events that lead up to this apocalyptic future. James Franco plays Will Rodman, a scientist (That's not a typo, he really is a scientist. Surprisingly, he does not smoke marijuana at any point in the movie.) who is close to developing a cure for Alzheimer's. He and his team have been testing the drug on apes, with one primate in particular displaying an exponentially increased intelligence. However, just as Will is about to get the drug approved for human testing, his star subject has a destructive rampage of a freakout. Naturally, the higher-ups in the company shut down the research project and order the termination of all of the apes used in the process. Unable to carry out this request, Will saves the offspring of the super chimp, whom the mother went on the defensive to protect. Soon it is revealed that the intelligence is passed on genetically, and the young ape Caesar develops his own personality and improved brain function. Encouraged by these results, Will begins to administer the drug to his ailing father (John Lithgow), whose Alzheimer's has reached a critical severity. It isn't long before Caesar attacks a man accosting Rodman Senior, causing the animal to be hauled away to a care center for primates. There, Caesar discovers the depths of human cruelty and is inspired to lead a revolt by freeing his fellow prisoners.
What results is a film that is by turns heartwarming, heartbreaking, and incredibly absorbing. Franco and Lithgow form the core of the human side of the story, and both actors bring their A-game. The relationship between the two characters feels very real and very deep. It almost brings a tear to one's eye to see Charles Rodman fall apart while his son desperately tries to save him. Franco really sells the intense emotion required for this to work and Lithgow, as always, inhabits the personality of his character. Another dimension is added to Will's personal life when he meets, and falls in love with, the veterinarian Caroline Aranha, played by the GORGEOUS (a little bit of author editorializing there) Frieda Pinto. Unfortunately, Pinto is not given much to do and is therefore a much less engaging character than her co-stars. But this movie is supposed to be about apes, right? Caesar is the real star of the show here, and boy, what a star he is. the cg work used to bring the chimp to the screen is visually fantastic. It's the best cg in years, maybe ever. Normally, these reviews will attempt to avoid hyperbole, so rest assured, there is no exaggeration in that statement. Over the five years portrayed in the film, Caesar and Will develop an intense bond, as Will serves as a father figure for the animal. The nuances captured in Caesar's face as he reacts to Will scolding or praising him are unbelievable. The viewer can see a wide variety of individual emotions clearly register and disappear from his face. This makes his transition into an angry revolutionary leader all the more chilling. He is a superbly defined character, and Andy Serkis deserves all the awards he can handle (hello Oscar) for his motion capture work. The writing is 98% intelligent, enthralling sci-fi epic and 2% suspension-of- disbelief-required movie logic. The audience might not completely buy into some of Will's decisions, but they will hardly care. What does work, works amazingly well. the script is not afraid to take the focus away from human characters and place it squarely onto no-dialogue animals, which pays off in spades. The viewer will sympathize with both sides of the ape-human struggle, and will not soon forget the hairy characters. To top it all off, the climactic battle is indeed climactic, providing a "I'm going to have nightmares about screaming chimps tonight" kind of edge-of-the-seat confrontation. Rise of the Planet of the Apes, despite having one too many prepositions in its title, is a movie that should not be missed. Anyone who loves sci-fi or just darn good dramatic entertainment owes it to themselves to go out and see this A.S.A.P. There isn't even a poop flinging scene, that's how serious this movie is. Thank you, Planet of the Apes. Because of you, summer 2011 goes out in style. Cannon's rating: 9/10 |
AuthorI'm just a guy who enjoys movies, television, and games. The purpose of this blog is to provide a space for me to share my thoughts on all three. Hopefully, with my help, the reader will be able to support the gems and avoid wasting time on the travesties. Archives
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