The Mockumentary genre has been assaulting audiences lately, with the likes of the Paranormal Activity franchise, the silly but audacious Catfish, as well as the scary, yet rote The Last Exorcism. When handled well, these films are appealing because they throw the whole notion of “the film experience” out the window. They focus their efforts on grounding an unbelievable scenario in a realistic world (which is why these films are often bookended with explanatory title screens).
“I’m the danger! I’m the one who knocks!” proclaims Walt to his terrified wife Skyler, who is too stunned in disbelief to offer anything but the quiver of her lip. Walt stumbles, hungover from his drinking binge that closed last week's episode, and continues his tirade, to his wife’s dismay.
Vince Gilligan and company keep adding fuel-soaked logs to the fire on this season, but have yet to really light the match. This episode, like the others that preceded, spent the majority of its running time setting things up for what is likely to be a grand, explosive payoff. Now, this is by no means a bad thing, as a weaker episode of Breaking Bad tends to surpass even the best episodes of most other shows, but there was just something off about this episode.
In a year that has been filled with countless klunkers, it’s always with a mild sense of apprehension that I now enter the theatre. However, I have always had a weak spot for the Final Destination series. When I saw the original Final Destination in 2000, its concept was extremely intriguing. It’s so simple, yet limitless in its creative origins: A young man or woman will have a terrifying premonition of some deadly disaster, subsequently saving a group of about 6-10 people only to find them picked off one by one down the road by some unseen malevolence, namely, Death itself.
In the aptly titled Bullet Points, a story arc that played out (briefly) near last season’s finale regarding Gus’ assassination of the competing cartel made its return in this electrifying episode of Breaking Bad.
For a show known for its unbearable tension, I would have to say that this has been somewhat of a timid season so far. I do believe that this is intentional though, as this show has a history for the slow burn. This week's episode was in line with the previous two, setting up a complicated plot that will likely escalate into an amalgamated frenzy. That being said, 'Open House' was still a very strong episode.
Larry David, the beloved and world renowned contrarian, is somewhat puzzled at the series-high ratings of his eighth season of Curb Your Enthusiasm. Only Larry David would pry at such an accomplishment, sending emails to HBO execs asking as to why this is the case. Did people miss me? Is the tired crowd from the time slot ahead of our show too lazy to change the channel? What does this mean for us? These are just a few of the questions that Larry David has posited, and though you know he conveys these with his trademark sarcasm, they are very important questions to answer. Most notably, "What does it mean for us?"
Thirty Eight Snub, the title of Breaking Bad's second episode of the fourth season, is also the subject of the episode's opening scene. In it, Walter White is purchasing a gun from a shady salesman within the confines of a dark, musty motel room. Notes of Taxi Driver and Down In The Valley ring true as Walt practices his draw in front of the mirror. He purchases the untraceable gun, promising the salesman that it is strictly for "defense." As stated at the end of last weeks episode, we know he has a far more sinister plan in store.
Lionsgate has bestowed upon us fresh footage for Marcus Nispel's upcoming reboot of Conan The Barbarian. The original, starring Arnold Schwarzenegger in the titular role, is an action epic that found its nest among the cult classic crowd. The original is the kind of bad that is "oh-so good", yet endearing in its attempt to tell an outlandish fantasy tale. It was downright difficult to take Arnold Schwarzenegger seriously in a lion-skin thong, but that didn't diminish the originals appeal for even a moment.
Last week, I had the absolute pleasure of viewing A Little Help, Michael Weithornʼs debut film. Itʼs a film made on an obvious small scale, but it imparts a message with the grandest intentions. The dramedy doesnʼt always work, and itʼs payoff didnʼt quite have the bite it so eagerly sought, but is nonetheless a bittersweet reprieve from the sensory onslaught of the “Summer Movie” pack.
