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Better Call Saul: Off Brand (2017)
Back to Formula
Right off the heels of arguably the most engaging episode of the show, "Chicanery," "Off Brand" fortunately makes a graceful leap back to the show's usual routine.
First off, I love the drama of "Better Call Saul." The fact that they have taken a comic relief character and turned him into a complex, sympathetic individual is done to amazing effect. I will say, however, that it is refreshing to see a return to Season 1 and 2's blend of comedy and drama, as it is always extremely entertaining. The return of Jimmy's college film crew was one of the highlights of the episode, as their interaction with Jimmy ranges from witty and clever to downright hilarious. Their willingness to participate in Jimmy's legally questionable acts for a quick buck makes for some fun scenes. Seeing Jimmy's complete severing of his relationship with Chuck, while unfortunate, is a much needed change. It not only acts as a nice evolution of our protagonist, but is a very welcome change of direction for the show. I do not find it coincidental that it happens to be the same episode that comically introduces Saul Goodman, either.
Ironically, as per usual, the least interesting part of the episode was the reprising of "Breaking Bad" characters and location (with the exception of the amusing Saul Goodman scene, along with the equally hilarious reaction from Kim). The Easter eggs of the show have been handled very well thus far, being placed in the background to progress the narrative, but never out of context. Here, the reintroduction of familiar faces and places felt a bit... off- kilter. While it was neat to see glimpses of the future of "Breaking Bad," I couldn't help but feel that it was a bit out of place in this episode, edging a bit too close to being forced. Fortunately, the scenes don't steal the spotlight, but I'd be lying to say that I didn't question the reasoning of it all.
Perhaps the very slight disappointments of this episode come from still being awe-struck from last week's masterpiece of television, but this is not a flawless episode. It is, however, extremely entertaining, and not to be missed. We are certainly coming closer to the transformation of Saul Goodman, and the show continues to be well shot, superbly acted, expertly crafted, and just downright charming.
The Dark Knight (2008)
"The Dark Knight" 9 Years Later
I have seen Christopher Nolan's second installment of his "Dark Knight" trilogy several times now, so I felt that I was now ready to condense my thoughts into a review.
I must first state that I do highly enjoy this movie, and I can certainly call it worthy for most of the praise it has, and still, receives; however, I also know that the film is slightly overrated at this point. Thankfully, I managed to avoid the hype that surrounded this film, and managed to see it before the mass crowned it as "One of the Best Films of All Time." Do I think "The Dark Knight" is worthy of that title? I'm not quite sure. What Nolan managed to accomplish with this film was great, and it clearly had an impact on the market, as many blockbusters (superhero or not) have tried to replicate its formula.
So, let's start off with the story: the film follows our main character, Bruce Wayne (played excellently by Christian Bale), but only after an exhilarating opening scene, which does a great job of introducing the film's antagonist, the Joker. The story, while made to seem complex, is actually quite simple. Batman must stop a foe who has lost all of his humanity: a man who "has no rules," as they say. What makes the film complex is the order the events are presented in, who the characters are and how they respond to said events, as well as who can and cannot be trusted. The negatives of the story are quite minimal, but they are there. Plot holes regarding the timing of some of Joker's schemes, as well as Batman's sonar device and how he got it to do exactly what he wanted. These flaws, however, are mostly forgiven as they are a means to move the story forward, but they are flaws.
The score, while very well orchestrated by Hans Zimmer, edges a bit close to being overplayed (especially Batman's theme). I say almost, because this problem is only noticeable towards the end of the film. For the most part, the score does a good job of adding suspense or excitement to a scene. Perhaps the most impressive part of the films score, ironically, is its restraint in the scenes in which no music is present at all. The chase/showdown sequence towards the middle of the film is quite amazing, and possibly the best part of the film, but one of the main reason it is so memorable is due to its incredible sound design that is not once interrupted by Zimmer's score, giving the scene a gritty, realistic feel.
Overall, the film's acting, storytelling, editing and score fit into the right places, and the execution is nearly perfect, but perhaps the only thing holding it all back is a small lack of originality. While Ledger's Joker is incredible, the character himself, as well as the story that surrounds him, is not wholly fresh. Films like "Heat," "The Silence of the Lambs," and "No Country For Old Men" all have great villains who are unpredictable, and do things that don't follow any real pattern.
In short, I really do appreciate what "The Dark Knight" did, as the film's execution is the greatest overall triumph, but should it be hailed as one of the greats (even being in the Top 10 of IMDb's 250 list)? I'm not quite sure.