1/4/2024 0 Comments El camino breaking bad![]() There seems to be a goal in sight, for Pinkman to evade the Police and get his happy ending, but the plot points that lead to that objective are meandering and unfocused. All the performances were a perfect reminder as to how the show worked so well and was so impactful in the first place. Paul’s performance didn’t feel like a performance at all - he simply breathes through the character of Jesse Pinkman. As expected, every performance in “El Camino” feels like the actor has lived the character for years, which in many ways they have. The sound mimics a pounding heart, causing the audience to immediately empathize with the anxiety of the characters as their hearts began to race.Īt this point in the history of “Breaking Bad” and its production, it’s almost redundant to mention the outstanding performances of the actors. Music director Dave Porter effectively utilizes a pounding drum-beat to represent key moments of stress for Pinkman. Marshall seems to have taken great care in deciding what to show and what not to show to the camera, letting the audience use their own knowledge of the show and characters to figure things out before having them explained explicitly. The camera work throughout the film allows for the audience to learn things before the characters and vice versa. ![]() Every element of this scene subtly transports the viewer to the world of “Breaking Bad” without even a single line of dialogue. Even while out of focus, the figure with the buzz-cut is instantly recognizable as Jesse Pinkman. The back of a character’s head moves into frame, but the focus remains on the desert hills in front of them. It begins with a handheld shot of the desert of New Mexico, a landscape so synonymous with “Breaking Bad” that it immediately throws the audience into the world of the series again. To give just one example of how expertly the film was shot, the mere opening sequence sets up the entire film for such a high level of cinematography. In keeping with the standard of the original series, the cinematography of this film, executed by Marshall Adams, is exceptional. “El Camino” artfully manages to give people the call-backs they want without making it an overly nostalgic game of “Oh, I remember that episode” for the audience. Other references, like Pinkman’s iconic “Yeah, bitch! Magnets!” or the first glimpse of the hair under Skinny Pete’s (Charles Baker) beanie, were thrown in with a little wink and a nod to the long-standing fanbase, without bogging down the overall content. They effectively serve as either catalysts for or are critics of Jesse’s actions. The re-appearance of characters like Walt, Jane (Krysten Ritter), and Mike (Jonathan Banks) both appease the viewers who want to see more of these characters and actually have a functional purpose in the film. A viewer who has never seen the series could easily pick up the major plot points to enjoy this film at the surface level.īut it wouldn’t be a TV movie without some fan-service. But Gilligan acknowledges that it has been six years since the finale by peppering in reminders about who the characters are or what occurred before the film takes place without smothering it in exposition. Unsurprisingly, the film expects its viewers to have seen the entirety of “Breaking Bad” - it is “A Breaking Bad Movie” by its own title. “El Camino” gives its audience closure, another dose of expert film-making, and the chance to see Cranston and Paul reprise their iconic roles for perhaps the last time, but does this final chapter taint what came before it? After six long years without the antics of Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul), Vince Gilligan finally decided to cut his restless fan-base some slack and release another chapter of the “Breaking Bad” saga.
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