|
Chunky Todd surprised me. Unless he is getting bigger for a role I would’ve presumed he would’ve been given enough notice to lose a bit of weight before principal filming started? Not a huge deal but took me out of it a bit, as did Mike’s teenager comment to an obviously 40 odd Jesse. Didn’t expect the show to end exactly as it was building towards, with him finding the extra money he needed. Don’t know why but expected an alternative outcome, I mean it’s not like that guy is the only way that criminals can go under the radar. What did he do for Jesse exactly that he couldn’t have necessarily done himself? That said was great to see Robert Forster again (RIP). The analogy about whipped cream about covers it for me. Unnecessary, but I’m going to enjoy it if it’s there.
|
#
¿
Oct 12, 2019 09:00
|
|
|
|
| # ¿ May 17, 2024 18:12 |
|
|
0 rows returned posted:I liked it, it wasnt surprising but it was decent enough for something that was much smaller scale than how breaking bad ended up. It's fitting that Jesse's main antagonist wouldn't be some gang or anything above street level, just some rear end in a top hat vulture he crossed paths with. Maytag posted:Unnecessary for you doesn't make it unnecessary for others. Cool, you didn't need more. Jesse deserved a little more closure than he got in the series, but cramming it into the show would have really lessened the terrible beauty of Walt's end. We didn’t need to have Jesse’s next steps spelled out. There’s numerous examples of shows and films where the finale leaves character endings ambiguous. The audience is free to make up their own head canon about what happened. There’s also the “always leave them wanting more” maxim. That said, it’s always a pleasure to watch Vince Gilligan’s work, and I wasn’t disappointed by it. It just wasn’t necessary.
|
|
#
¿
Oct 12, 2019 13:59
|
|
|
A peculiar thing I noted about Jesse’s new start was that he was left driving a car into/around Alaska. When the guy set Walt up with a new identity it was in a log cabin in the middle of nowhere, with the guy resupplying him periodically, and with express instructions not to venture beyond the gate under threat of being left to fend for himself. Jesse is as big a person of interest as Walt was, so it doesn’t seem prudent to just let him wander off wherever he wants. He didn’t even look particularly different, unlike Walt. To echo what was said above the film ended with Jesse driving away, what’s to say someone wouldn’t have identified him somewhere along his journey? That was the entire point of Walt being sequestered away. A minor nitpick I guess.
|
|
#
¿
Oct 12, 2019 18:53
|
|
|
Van Dis posted:But the story never justifies itself. How Jesse eludes capture, finds an emergency fund, and gets to Alaska is only interesting as a process and not because it's saying anything particularly coherent or even notable about the character or the themes of BB. It's a straightforward outlaw survival story, intercut with flashbacks. For as deftly as they're cut into Jesse's ongoing narrative, the flashbacks are narratively super clunky. I can understand using them to add some context for viewers not familiar with BB, but apparently that's not at all what Gilligan was going for. Generally, the flashbacks interrupt the pacing of Jesse's story and defuse tension rather than heighten it. Their inclusion feels like a big misstep. Too much time is spent with Todd; we know he's a psychopath and we learn nothing new about his character. Worst of all, the flashback with Kandy is just about the least graceful way to turn him into the movie's final antagonist. Nothing at all would have been lost if he and Jesse had no prior connection. I tend to think that the story in its fundamentally flawed for the reasons you've mentioned, it's purely procedural and the flashbacks don't advance the story or give us any addtional characterisation that we don't already know. Part of that is a consequence of the fact that Breaking Bad was ended in a deliberate fashion - everyone in Jesse's orbit that could reasonably be considered an antagonist is dead, so what's left? Avoiding the Police. I enjoyed the scene with Walter White, but it was purely in a remote "omg he really is in it" sense. It didn't add anything to the story, or develop anything or anyone and as you say arguably interrupted the pacing. It really had a "deleted scenes" assembly cut feel about it, and the ending where Jesse drives off with his new identity is essentially the ending of Breaking Bad. We don't learn anything new about him, we have no indication that he has found a way to come to terms with the grief from previous events (a key theme in the show), and the Police are still looking for him and presumably will continue to do so. He has just as much risk of being noticed as he always did. Did he really need to spend $250k on the cleaner guy to drive him to Alaska and get him some fake ID?
|
|
#
¿
Oct 14, 2019 16:38
|
|
|
He is also in The Irishman so maybe it suited Scorsese that he stay like that.
|
|
#
¿
Oct 14, 2019 19:16
|
|
|
|
| # ¿ May 17, 2024 18:12 |
|
|
Cojawfee posted:It's crazy how often Walt gets enough money to let his family live comfortably but then just goes and fucks it all up again.
|
|
#
¿
Oct 21, 2019 11:15
|
|