snoozejonc
Joined Jul 2020
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Prequels have always been a challenge to get right. I think Better Call Saul is an examples of it done very well.
Saul Goodman was introduced in Breaking Bad as a larger than life character, but the BCS the writers do a great job of depicting him as a realistic human being. His journey from Jimmy McGill to Saul is plausible, entertaining, and tragic. We know roughly where he is headed already, but it is nonetheless compelling to witness him getting there.
Signature BB qualities are present; they keep you invested in Jimmy's arc by manipulating your emotions; and occasionally paint themselves into corners with seemingly impossible situations, but find a way to move the plot on from each one in a plausible way.
Much praise should go to the actors. Like Walter White, McGill is another perversion of the American dream, and is embodied so well by Bob Odenkirk. His performance is as funny as in BB, but with added strength, depth, and humanity.
Chuck McGill is very important for the understanding of Jimmy's backstory and motivations and is brilliantly played by Michael McKean.
Likewise Kim Wexler is a strong, intriguing, mysterious and unpredictable character wonderfully acted by Rhea Seehorn. Sometimes she says very little or nothing but Seehorn says it all through facial expressions or body language. Jimmy's relationship with her drives much of the plot. You want to find out why she does not appear in BB.
Howard Hamlin, Nacho Varga and Lalo Salamanca are some of the best creations in the "Gilliverse". Nacho in particular fills the Jesse Pinkman void of a young tortured, and sympathetic character struggling with bad choices in life and parental alienation. BCS is very similar BB in how it produces powerful drama from the effects of immoral behaviour on loved ones.
Strong support is also provided by familiar faces like Jonathan Banks, Giancarlo Esposito, and Mark Margolis. Their characters are nicely expanded. There is an element of fan service involved, but it is meaningful and relevant to the story.
The cinematography and editing tells the story beautifully. Some episodes have cold openings or flash-forwards that we spend the next 45 minutes (or the entire series) intrigued about how we got there. Add to this the desert vistas, great use of light, shadow, props, set-design and general image composition and you have more inspiring filmmaking.
Saul Goodman was introduced in Breaking Bad as a larger than life character, but the BCS the writers do a great job of depicting him as a realistic human being. His journey from Jimmy McGill to Saul is plausible, entertaining, and tragic. We know roughly where he is headed already, but it is nonetheless compelling to witness him getting there.
Signature BB qualities are present; they keep you invested in Jimmy's arc by manipulating your emotions; and occasionally paint themselves into corners with seemingly impossible situations, but find a way to move the plot on from each one in a plausible way.
Much praise should go to the actors. Like Walter White, McGill is another perversion of the American dream, and is embodied so well by Bob Odenkirk. His performance is as funny as in BB, but with added strength, depth, and humanity.
Chuck McGill is very important for the understanding of Jimmy's backstory and motivations and is brilliantly played by Michael McKean.
Likewise Kim Wexler is a strong, intriguing, mysterious and unpredictable character wonderfully acted by Rhea Seehorn. Sometimes she says very little or nothing but Seehorn says it all through facial expressions or body language. Jimmy's relationship with her drives much of the plot. You want to find out why she does not appear in BB.
Howard Hamlin, Nacho Varga and Lalo Salamanca are some of the best creations in the "Gilliverse". Nacho in particular fills the Jesse Pinkman void of a young tortured, and sympathetic character struggling with bad choices in life and parental alienation. BCS is very similar BB in how it produces powerful drama from the effects of immoral behaviour on loved ones.
Strong support is also provided by familiar faces like Jonathan Banks, Giancarlo Esposito, and Mark Margolis. Their characters are nicely expanded. There is an element of fan service involved, but it is meaningful and relevant to the story.
The cinematography and editing tells the story beautifully. Some episodes have cold openings or flash-forwards that we spend the next 45 minutes (or the entire series) intrigued about how we got there. Add to this the desert vistas, great use of light, shadow, props, set-design and general image composition and you have more inspiring filmmaking.
There is little plot detail I can mention without spoiling, but it is safe to say that the cartel scenes are the most compelling aspect. Lalo is given plenty of screen time which works well to flesh out the character more and give some serious motivation for what is likely to come in the final season. Tony Dalton is on great form as always, supported well by Michael Mando. The ending makes you immediately want to find out what happens next. When I saw it on its original release I was disappointed I had to wait so long.
Jimmy is portrayed as suffering from PTSD related paranoia, so his scenes are driven by this and more focussed on the behaviour of Kim. The writers develop her character in a way that increases that sense of dread about what may come. You feel at this point like saying "nooo, Kim just let it go", but you know that will not be the case.
Visually it is splendid, as the camera tells the story brilliantly. The action scene is superb, although you do have to suspend the disbelief at some of the contrived levels of competence on display by certain characters.
Jimmy is portrayed as suffering from PTSD related paranoia, so his scenes are driven by this and more focussed on the behaviour of Kim. The writers develop her character in a way that increases that sense of dread about what may come. You feel at this point like saying "nooo, Kim just let it go", but you know that will not be the case.
Visually it is splendid, as the camera tells the story brilliantly. The action scene is superb, although you do have to suspend the disbelief at some of the contrived levels of competence on display by certain characters.
There is little plot detail I can mention without spoilers, but it is safe to say that Bad Choice Road is an excellent episode that builds tension brilliantly to a classic final scene.
Jimmy is suffering physically and mentally after the events of Bagman. This is portrayed very effectively by the filmmakers and Bob Odenkirk's performance. The writers use characters like Kim, Mike and Lalo amazingly to create a pressure cooker situation in the aftermath. Tony Dalton and Rhea Seehorn are both outstanding.
Visually as always it is excellent. The camera is used very effectively to tell the story and the cinematography is top drawer.
There are some minor contrivances in the story, but for me it's a 9.5/10, but I round upwards. On first viewing it is particularly good.
Jimmy is suffering physically and mentally after the events of Bagman. This is portrayed very effectively by the filmmakers and Bob Odenkirk's performance. The writers use characters like Kim, Mike and Lalo amazingly to create a pressure cooker situation in the aftermath. Tony Dalton and Rhea Seehorn are both outstanding.
Visually as always it is excellent. The camera is used very effectively to tell the story and the cinematography is top drawer.
There are some minor contrivances in the story, but for me it's a 9.5/10, but I round upwards. On first viewing it is particularly good.