Mission Impossible III (M:i:III, M:I-3): the impossible missions force’s (IMF) best agent, Ethan Hunt, is brought out of retirement when an arms dealer kills his protégé, then kidnaps his fiancé. The action set-pieces are what make this film: there’s a quality raid on Berlin building; impossibly intricate Vatican mission, Shanghai rooftops, and a sustained climactic ending – action fans can’t really ask for more. The only let-down is the lack of an ‘Impossible’ break in attempt, which is the linchpin of – and arguably best things about – the previous two films. It’s far less po faced than other contemporary spies like Bourne and rebooted Bond: moments like Cruise singing “We are family”, and a few tongue-firmly-in-cheek nods to Cocktail and Top Gun are the cherries atop a full-fat everybody-having-fun cake. Even Cruise’s running is funny to watch – perhaps his version of the Arrested Development chicken dance? Although it’s overall funnier, Seymour–Hoffman’s villain is the most callous and dangerous yet, he does well with his screen time. With a decent script, huge cast (Ving Rhames is back!) and another proficient director (JJ Abrams) putting his lens flared stamp all over it, Mission Impossible III is a great popcorn action movie with some gratuitous emotions thrown in; although it’s probably the least memorable or original entry in the franchise so far.
Mission Impossible II
Mission Impossible III
Mission Impossible: Ghost Protocol
Breaking Bad (Season 4): The pressure’s turned up even higher as Walter White and his protégé Jessie Pinkman play a dangerous game of tactics with Mexico and ABQ’s top drug kingpins. This is the first season of BB that comes out of the blocks sprinting, starting dramatically, with the coldest murder to date. Almost every episode has a narrative purpose, story & character development and some solid drama – it’s not just about the characters anymore (finally). Needless to say the acting is some of the finest on TV; Walt and Jessie continue to evolve, but it’s Gus who shines brightest as an ever-calm, focused, calculating, courteous, professional, ruthless, business-minded, innocuous drug lord. Hank gets a lot more time, and a gripping sub-plot as he does some top investigation work; as does Mike, Gus’ hardened, dryly comic right-hand man. Visually, the show is like nothing else, with so many innovative & beautiful time-lapses, montages, and knockout camera shots. They’re often unusually high or low which sticks out; attached to an object (like a shovel or self-navigating vacuum cleaner); and sometimes stuck inside / behind / under something – a pipe or oven – and there’s even a dodgy ‘filming up through glass pretending to be underground’ shot. The show’s visual flair is one of its best and most unique features, and something that always keeps you on your toes. The tone also becomes more eclectic as everything closes in on Walt: synth music and manic laughter wouldn’t feel out of place in The Shining, and there’s some flat-out slapstick moments like Walt scrambling around his house trying to evade hitmen. Season 4 is when Breaking Bad finally makes the leap from good to fantastic and unmissable TV; every aspect is continually improving and evolving in to everything you could ask of a show; stylistically, plot-wise, and such 3D characters – which comes together to produce a final product that is entertaining, thrilling, dark, funny, ‘gritty’, and believable.
Breaking Bad Season 1 Review
Breaking Bad Season 2 Review
Breaking Bad Season 3 Review
BReaking BAd (Season 3): picks up soon after the explosive Season 2 finale, Walter and Jessie’s operation keeps growing, but is attracting yet more interest from the feds and rival gangs. By the time S3 had started we’d seen the ups and downs of the Walter-Jessie relationship several times, this season was – for me – the first time that another relationship became more interesting; Walter and Gus – which ranges from courteous & professional to explosively volatile – you also get the feeling that Walt has finally met his match, as Gus puts the squeeze on him, and the people he cares about. It’s definitely the best source of drama in this season. After Walt comes clean with Skyler their relationship also changes significantly, yet, not exactly in the direction you’d expect. Because so much emphasis is put on characters, family and relationships it takes over four episodes (of only thirteen) for any real plot to happen, and the only tension comes from the two silent cousin gang bangers. I find it fascinating in America that Breaking Bad depicts in-depth drug making techniques, drug use + abuse, violence, a man’s head being crushed by an ATM machine… but the word ‘fuck’ is bleeped out. Season three has some of the best moments (Car Park, Ladder confession, finale) in the series so far… yet it’s also got some of the slowest, most plodding and outright bizarre episodes (‘Fly’ episode feels out-of-place, and Walter – for the first time – appears ridiculously simple). The most defining feature of Breaking Bad is that it all still feels relatively normal and realistic – you believe in the characters, their families, their lives, their roles. You know people like these. That’s still the show’s strongest suit, but after 3 seasons it’s hard to see how much longer it can rely on character development over drama.
Breaking Bad (Season 2): picks up immediately where Season 1 finished, as the two rookie criminals slowly harden and come to terms with murky business that they are now a part of. With almost double the episodes, and the character groundwork laid in S1, there’s much more scope for the story strands to finally go somewhere. You get the feeling that the show is finally changing up the gears in the drama department. The biggest change is that we now see a lot the effects that the duo’s meth is having, in particular the social slant is much rougher than S1, with a proper – no-holds barred – look at the users, their families, and the more ruthless cartels. Both leads remain fantastic while their limits and attitudes constantly evolve, and it’s weird that no matter how horrific or low the things they do are, you’re still behind them all the way. Saul; a fascinating, funny, crooked lawyer, is a solid addition, and good comic relief in parts. Stylistically, it’s still very much unique, retaining it’s punky visual edge and stylistic colouring – which can, and does, liven up the slower sections of storytelling. So the stakes are higher, the operation’s bigger, the rivals are tougher, police more involved, personal lives more strained – what’s not to like about Season 2!? One of the few shows on the telly that manages to strike a great balance between entertainment, drama and comedy.
Braking Bad: a struggling middle-aged high-school chemistry teacher with two jobs finds out he has terminal cancer, however his get rich quick scheme is one-of-a-kind; cooking the purest crystal meth Albuquerque has ever seen. First off, the two central characters, Walter White and Jessie Pinkman, are played absolutely superbly by Bryan Cranston and Aaron Paul. Walter a regular guy in a unique situation that forces him to use and abuses science to kill guys, blow up cars, dispose of bodies, burn a lock, and cook ‘glass grade’ crystal meth – his transformation through the series is interesting to watch as he manages to strike the impossible balance between sympathy through his cancer, and villanous through the cooking. Jessie is equally good as the streetwise, try-hard, and they’re dysfunctional relationship is entertaining and funny – it must have been a joy for the writers. To single out another character, the step-brother Hank is played brilliantly, with some great, subtle, comedy timing. The series does lose its way in the middle, with nothing really happening for a few episodes – far more ‘cancer drama’ than ‘drug/crime thriller’. It also ends very abruptly, bang in the middle of a volatile story arc; which leaves you gagging for Season 2. The show has a unique and distinctive visual style; it looks very 90s, with lots of vibrant colours popping out of the screen, and a grainy/distorted ‘tape’ effect. Breaking Bad: Season 1 takes a massive gamble by putting almost everything into the characters and their back-story, hoping that audiences connect enough to interest them in a second outing – it pays off, although if the dark/morbid/macabre humour and bleak story won’t be to everyone’s taste.