Category Archives: Reviews

They’re the Ones Who Knock

breaking bad movie

(Warning: series spoilers ahead)

The last time we saw him, Jesse Pinkman (Aaron Paul) was barreling through a chain-link gate in his El Camino, half-laughing, half-crying after being sprung from his neo-Nazi captors by Walter White (Bryan Cranston) in a drug house bloodbath in the Breaking Bad finale.

But where did Jesse go? Did Walter actually die? Ever since the AMC series concluded six years ago, Internet denizens have speculated wildly — musings fueled by rumors that they were working on a new Breaking Bad project.

Wonder no more: Netflix is expected to announce that a Breaking Bad film will arrive in October. Entitled El Camino: A Breaking Bad Movie, the film has even seen its trailer leaked onto the Internet with a release date, Oct. 11.

The news isn’t official yet, but it was all but confirmed when CNET noticed last week that a placeholder page for the movie popped up on Netflix. The page has since been taken down, but not before exuberant fans got hold of the news. The trailer doesn’t show Pinkman or other Breaking Bad characters; instead, it features only an addict refusing to talk to cops for fear he would be similarly enslaved by drug dealers. “No way I’m helping you people put Jesse Pinkman back inside a cage,” the tweaker says over an ominous score. The synopsis on the now-deleted Netflix page reveals little of the plot: “Fugitive Jesse Pinkman (Aaron Paul) runs from his captors, the law, and his past.”

Rumors of the film were further confirmed in an interview Paul gave to the New York Times, which ran an article Saturday about the series and the show’s legacy. “It’s a chapter of Breaking Bad that I didn’t realize that I wanted,” Paul told the Times about another chapter in the story. “And now that I have it, I’m so happy that it’s here.”

Paul also recalled early conversations with series creator Vince Gilligan, who will direct the film. “I would follow him into a fire,” he said, adding, “I was so happy that Vince wanted to take me on this journey.”

In interviews earlier this month, Bob Odenkirk, star of the Breaking Bad prequel series Better Call Saul, added to the rumor mill. He told /Film that the movie was shot secretly under the guise of an indie film called Greenbrier. In addition, in an interview with The Hollywood Reporter, Odenkirk spoke briefly about the movie. “I’ve heard so many different things about it, but I am excited about the Breaking Bad movie. I can’t wait to see it…I don’t know what people know and don’t know. I find it hard to believe you don’t know it was shot. They did it. You know what I mean? How is that a secret? But it is. They’ve done an amazing job of keeping it a secret.”

No word on whether Cranston will be involved in the movie, though some fans have speculated that he may have survived the fusillade of bullets that ended the series — and, ostensibly, his character. And given Gilligan’s fondness for timelines that leapfrog from past to present, Walter White may again be the one who knocks.

The Netflix announcement is expected Monday.

‘Hot Air’ Quickly Runs Out of Steam

Image result for hot air steve coogan

In 2013, Steve Coogan starred in a gem of a movie, Alan Partridge, about a self-centered disc jockey struggling with age, sagging ratings and the looming reality that a new generation had left him behind. While he played an egomaniac, the film deftly offset Partridge’s boorishness with sincere British charm — along with perhaps the best driving-and-singing scene ever captured on screen.Image result for alan partridge driving

In Hot Air, Coogan plays a similar character, just without the charm and the one-man carpool karaoke. And the loss is a crippling one.

Less a comedy than a broad swipe at America’s talk radio landscape and its right-wing followers, Air takes aim at everything from hypocritical Evangelicals to homophobic xenophobes to gun-toting proponents of a border wall. More troubling, it seems to call for the eradication of talk shows that echo those sentiments with an odd catch phrase: “Talk isn’t cheap. It’s toxic.” The result is 100  minutes of, well, hot air.

Coogan plays Lionel Macomb, a Limbaugh-esque radio personality whose world is capsized when his mixed-race niece Tess (Taylor Russell) unexpectedly enters his life. On top of his personal life’s upheaval, Lionel’s protege, Gareth Whitely (Skylar Astin),  is gaining on him in the ratings with a soft, fuzzy and bland brand of conservatism, threatening Lionel’s 20-year reign at the top of the radio heap.

Directed by Frank Coraci, who helmed Adam Sandler’s hits The Waterboy and The Wedding Singer, Air seems determined to take Coogan out of his affable screen persona and turn him into a modern-day Howard Beale, the darkly funny news anchor played by Peter Finch in 1976’s Network. But instead of earning followers with his anthemic “I’m mad as hell and I’m not going to take it anymore!” Macomb comes off as simply mad as hell. Air may see itself styled after Network, but its cliched dialogue plays more like a Network trailer.Image result for network howard beale

“You’ve done well for yourself telling other people how to think,” a character tells Macomb, a thinly-veiled shot at at Limbaugh’s “ditto heads,” fans accused of having no thoughts of their own until given conservative marching orders.

It amounts to a wasted opportunity to take a darkly comic look and the incendiary, polarized landscape of American politics. And it doesn’t help that Coraci overloads the film with unnecessary plot strands, including Macomb’s strained romantic relationship with  Valerie (Neve Campbell), a publicist who is trying to save her boss’ career while opening his heart.

Campbell and Russell do a serviceable job in the limited space they’re granted in an anemic script by first-time screenwriter Will Reichel, and Astin aptly plays a double-talker who uses the Bible for ratings, not redemption. But it’s undeniably Coogan’s movie, and he gets some laughs when he gets behind the microphone. Too bad he’s undercut by an American accent that slips in and out of his natural British cadence.

Earlier this year, Coogan faced a real-life scare: The comedian, known for being a lead foot behind the wheel, faced a six-month driving suspension for speeding through a British thoroughfare in his Porsche. After Coogan explained that driving was integral to his upcoming Alan Partridge travelogue TV series, the judge lessened the suspension to two months and told the actor to lay off the gas pedal. He probably should have suggested Coogan lay off the politics, too.

https://www.youtube.com/watch?v=Iwuy4hHO3YQ

When Obsession Turns Obvious

 

Brenda Song in Secret Obsession (2019)

Netflix has been thriving on the woman-in-peril sub-genre of filmmaking. It found an unexpected smash in Birdbox, starring Sandra Bullock as a mother fleeing unseen demons. It bought the TV show You, a half-season flop about a stalker boyfriend, from the Lifetime network and turned it into a series already greenlit for a second season.

Which makes the streaming service’s latest flick, Secret Obsession, so curious. It’s the kind of movie filmmakers don’t make anymore — and for good reason.

Suspense-free and trope-filled, Obsession is a particularly odd choice for Netflix, which is trying to establish its original features as serious, event cinema. But this latest entry feels slapdash and cheap, the kind of fare usually relegated to weeknight time-filler fare on dying cable networks. It feels like someone owed someone a favor to get this made.

Directed by television veteran Peter Sullivan (The Sandman), it’s difficult to know where to start with Obsession: its give-all-away trailer, its inevitable plot arc or its worst offense, boredom. This is one of those rare films that would have been better had it been worse; a good dose of camp would at least have made for a fun (or funny) way to spend an hour and a half.

Instead, we get a thriller that does not thrill, a suspense movie with as much suspense as a Beagle, and a production that will do little to fend off the competition of ascending streaming services.

Obsession’s opening scene begins with a glimmer of hope for entertainment: A woman flees a silent, sinister pursuer around a highway rest stop in driving rain. It’s nothing we haven’t seen before, but it’s too simple to screw up. After that, though, it’s all downhill.

Our protagonist, Jennifer (Brenda Song), evades her tormentor, only to be hit by a passing car. The driver gets her to a hospital while her husband, Russell (Mike Vogel), arrives shortly thereafter. The doctors tell him she’ll be okay, but she’s got a bad case of the most plot-forwarding injury of all, amnesia. Memento was the last film to use that device effectively, and woe to the director who tries to employ it as effectively.

Jennifer can’t remember a thing, leaving it to Russell to remind her who she is as he nurses her back to health. Something, though, seems fishy, raising the suspicion of Detective Frank Page (Dennis Haysbert), who comes with his own convenient and tragic backstory, along with a doubting police chief.

That Page (or Jennifer herself) wouldn’t notice the countless holes in the story immediately is Obsession‘s first major misstep. This is a movie that would have us believe that a patient can undergo a days-long course of medical treatment without ever being positively identified — and that same patient can subsequently be released into the care of someone who also hasn’t identified themselves. A good 10 minutes of “Secret Obsession” consists of people slowly realizing that they don’t have any idea who the main characters of this story actually are.

Still, Russell is allowed to bring Jennifer to a palatial home in secluded woods 20 miles north of San Francisco — and a mile from the nearest neighbor. A good 10 minutes is burned on Jennifer trying to find a cell-phone signal. (She never does.)

Though Obsession hoists as many red flags as the Kremlin, Jennifer is the last to see any of them, allowing her husband to let his own psycho flag fly. Instead of slowly revealing the dark side of our villain, as You, Misery, Fatal Attraction and innumerable others did, Obsession seems impatient to get to the point we all see coming, and the rush is needless.

Song is apt as the movie’s heroine, but the best performance by far comes from Haysbert. While he’s become known as the Allstate insurance guy, he’s a terrific actor whose credits include Heat, Major League and 24.

Alas, he’s not in the film often enough to make it entertaining, and by the end of Obsession, you’ll be the one pining for amnesia.