News & Reviews:

Breaking Bad: “Fifty-One” Review

Happy Birthday, Walt. “Fifty-One” is a big episode in the series; it’s been exactly one year since the pilot, and this episode manages to take us full circle and show us who Walter White has become. And, for the first time in the entire series, I think my lingering sympathy for Walt has vanished. That’s a huge step, and I suppose it means the writers have succeeded in their original vision.

“Fifty-One” - a episode that we assumed would be about Walt, considering it’s his birthday - is actually a Skyler-centric story. And it’s a damn fine one. Skyler’s catatonic state throughout Season 5 has led to this, and her melting point is handled perfectly. While Walt reminisces about the year (aka:the series), Skyler quietly slips into the swimming pool. The desperation and motivations are hazy at first; I suspected depression and exhaustion… after all, who else has could live with Walter White?

The reason, however - and this is a testament to the excellent writing - is that she wants to protect her children. What started as a subtle, “what about boarding school?” turns into a desperate attempt to get Walt, Jr. and Holly away from their father. The confrontation between Walt and Skyler is one of the most powerful performances of the series. I suspect Anna Gunn will be submitting “Fifty-One” for next year’s Emmy awards; she’d be crazy not to.

The escalation of the confrontation is handled beautifully. It almost feels like a physical alteration, though it’s all dialogue. Walt menacingly quizzes Skyler, like he’s back at the chess game with Gus. I love Skyler’s eventual surrender; she admits that she has no idea whatshe is doing. The scene culminates with a great reveal: she’s waiting for the cancer to return. It’s a brutal line, yet Gunn delivers it in such a way that it feels honest and genuine. She is not trying to punish Walt by saying this; she believes it.

I don’t often mention the directing on Breaking Bad - which is usually superb - but “Fifty-One” bears special mention. Directed by Rian Johnson, “Fifty-One” is gorgeous and oddly different. Johnson also directed one of my favorites from Season 3, “Fly,” and “Fifty-One” will surely be less polarizing. Every peculiar camera angle feels intentional, and I love the end image of the ticking clock. Time: the only thing Skyler has on her side. And speaking of “Fly,” did anyone else notice that fly poster behind Walt? You can see a bit of it in the above still.

There are numerous other significant moments in “Fifty-One,” such as Hank’s promotion, and Lydia’s batch of methylamine. All of these other moments feel significant but don’t resonant quite as strongly as the deteriorating White marriage. Still, it’s important set-up that will no doubt play into next week’s story.

I especially like how Walt compares Jesse’s story arc to Skyler’s at the conclusion. Let’s not forget that Jesse gave a similar speech to Walt in “One Minute,” detailing the ways in which Walt ruined his life. The same holds true for Skyler, as Walt continues to be cancerous to those around him. However, I have a feeling Skyler won’t be giving Walt any more gifts. His ego will no doubt come crashing down by the end of the series.

Overall, “Fifty-One” is a truly powerful episode of Breaking Bad - the strongest of Season 5 so far. It pushes Walt even further away from us, while managing to show us a very human side of Skyler. While we wait for next week, let’s take a moment to mourn the loss of the Aztek. God, I’ll miss that car.

What did you think of tonight’s episode? As always, share your thoughts in the comments.

-MP

Note: This review is taken from Review Hub Central.

Ordinary People Review

I’m not sure how I’ve been writing reviews for two-and-a-half years without posting about one of my favorite novels: Judith Guest’s Ordinary People. Dramatizing the tale of an upper-middle class family, Ordinary People is a story about love, loss, and healing. The story is a refreshingly honest work that manages to show a seemingly ordinary family’s struggle through grief.

Ordinary People follows the Jarrett family a little over a year after a tragic accident. We learn that a freak sailing incident led to the death of eldest son, Buck, and the Jarrett family is left to pick up the pieces and move on. The novel primarily follows Conrad, the younger brother of Buck, who is dealing with post-traumatic stress and survivor’s guilt. As the novel progresses, we learn more about each member of the family, and the varying ways in which individuals cope with their grief.

Conrad’s father, Calvin, primarily keeps his emotions internal, while the mother, Beth, tries to maintain order in her home. Beth is a fascinating character who keeps a facade going as long as possible to avoid facing her own inner struggles. Though many readers react negatively to Beth’s maternal instincts, I find it hard to condemn her; she simply grieves in a very different manner.

Ordinary People intensifies as Conrad comes to grips with his own guilt, and psychiatrist, Dr. Berger acts as a great foil for Conrad’s internal journey. Though the present tense writing might turn off readers at first, it works well once you adjust to this storytelling technique. In effect, it allows us to fully understand and appreciate Conrad’s journey as he learns to overcome his guilt and heal. The present tense provides an immediacy to the journey, as though it is happening in real time.

If you haven’t read Ordinary People, I cannot recommend a book more highly. Rather than providing readers with a tragic boating accident, Guest instead addresses the aftermath of this incident and the ways in which human beings move on and ultimately heal after tragedy. It shows us extraordinary growth through ordinary lives, and the result is riveting.

If you have read Ordinary People, I’d love to hear your thoughts. If not, I recommend you give this book a try. It’s well worth your time.

-MP

Note: This review is taken from Review Hub Central.

Anonymous asked: Walt's not thick enough to not fully understand why Victor had to die. He flaunted the icarus analogy in front of Jesse to continue to keep him under his thumb. Walt has shown himself to constantly have a dangerous mindset, but that doesn't mean his thinking is clouded. He knows and does exactly what he wants to do. Yes, it's incredibly dangerous, but that's been the progression of his character arc.

Not sure I entirely agree that Walt’s final lines of “Hazard Pay” were intentionally manipulative. Then again, Walt is an excellent deceiver and a master of manipulation so it’s certainly possible. And, if you’re right, Walt is all the more dangerous. That’s insightful; thanks for pointing it out.

Breaking Bad: “Hazard Pay” Review

The logistics of cooking crystal-meth are often taken for granted on Breaking Bad. Thinking back, the RV from Seasons 1 and 2 and the super-lab from Seasons 3 and 4 were staples of the series, and they helped define the aesthetics of Breaking Bad. “Hazard Pay” introduces us to the new ways in which Walt’s business pushes forward, further defining Season 5.

“Hazard Pay” begins with Mike visiting his co-workers in prison. Mike assures each that he will provide for them and their families with hazard pay - a way to make right for their continued loyalty. This season has already established Mike as a loyal, business-savvy man, willing to do whatever necessary to protect those he cares for. “Hazard Pay” reinforces this conceit, which inevitably leads to conflict with Walt.

By the end of the episode, Mike and Walt do not see eye-to-eye. Walt’s ego continues to expand as he literally compares himself to Gus. I like how he mentions Victor’s murder in “Box Cutter,” incorrectly assuming that the murder was because Victor cooked meth, thus acting out-of-line. In reality, it’s likely that Gus killed Victor because Victor was seen at Gale’s house. Walt’s skewed thinking begins to reveal his dangerous mindset.

On the cooking side, “Hazard Pay” is quite brilliant. Walt comes up with the idea to hide their business in plain sight using fumigation tents. I love the very notion, and it raises few concerns or what-ifs for me. Likewise, there’s a personality to the homes that is somewhat creepy. Something about Walt and Jesse hanging out in someone else’s home drinking beer doesn’t sit right. The domestic setting allows for a moodier atmosphere than the large, cold super-lab. This premise will make a fine landscape for Season 5 and answers any logistical questions almost instantly.

Though she wasn’t given much screen-time, Anna Gunn delivered a chilling performance as Skyler this week. In the previous episodes, she’d been a bit catatonic - a mindset completely out-of-character for Skyler. However, we recognize that her fear of Walt set her down this path, and it culminates in a frightening break-down in front of Marie. The “shut up!” scene was weirdly effective and believable.

Marie confronts Walt (pointing the finger without pointing the finger), who manipulates the truth once more. It was nice to see lying Walt back, and I almost forgot how good he is at covering his own tracks. Walt is a master of deception and his ability to lie to himself often puts him in such dire circumstances.

I have to say that the writers are doing a great job making Walt unlikable. While his subtle manipulation of Jesse (getting him to break it off with Andrea and Brock) was bad enough, I was most disturbed by his interactions with Skyler. I never felt more grossed out (this season, at least) by Walt than when he chose to eat an apple rather than talk to her. Likewise, Walt, Jr. and Holly watching Scarface was appropriately disturbing.

Overall, “Hazard Pay” is a very strong episode of Breaking Bad that manages to both establish the world of Season 5 and provide an emotionally-complex story. I am most intrigued by Skyler’s breakdown and how that pans out going forward. Will she ever go back to strong, aggressive Skyler? It seems unlikely, but I hope she still has a fight inside her.

What are your thoughts? As always, I’d love to hear what you think in the comments below. I’ll see you next week at Walt’s 51st birthday. It’s crazy to think that, contextually, it’s only been a year since the pilot.

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: “Madrigal” Review

“There’s no better reason than family,” Walt whispers in bed to an emotionally dead Skyler. This is the kind of storytelling that makes Breaking Bad so great, and it’s been somewhat absent in Seasons 3 and 4. This year, the show has hit a bit of a reset, and Season 5 already resonates as strongly as the early days of Breaking Bad. With Gus out of the picture, we can finally breathe again, and “Madrigal” feels like the calm before the storm.

This episode is very much about the aftermath of Los Pollos Hermanos. We learn from the opening shot, that “Madrigal” refers to the German distribution company overseeing Gus’ fast food chain. The opening shot is great, as an emotionally distant bureaucrat samples dipping sauces. He knows the police are waiting to question him, so he quietly takes a defibrillator into the restroom and kills himself. Obviously Gus wasn’t financing this operation on his own, and “Madrigal” opens the Breaking Bad universe up a bit.

A great deal of “Madrigal” addresses the DEA aftermath of Gus’ murder, and I like that we see some of the legal bindings that Mike and his fellow employees are facing. Newcomer, Lydia, is a strong addition to the show; she is a poor criminal, nervous about being caught by the DEA for her implication in Gus’ drug world. Her awkward encounter with Mike reminds me a bit of Walt in the early days of Breaking Bad. I especially like the end scene, when she pleads with Mike to kill her outright so her daughter can discover the body and not think she left.

“Madrigal” is essentially a Mike-centric episode, culminating in his decision to partner up with Walt and Jesse. His motivations aren’t entirely clear, though it is suggested that the money for his granddaughter has a lot to do with it. In this scenario, Mike’s story mirrors Walt’s early story-arc.

There are many great scenes throughout “Madrigal,” and I especially like the early moment between Walt and Jesse. When Jesse breaks down over his actions in “End Times,” it’s tough to watch. As viewers, we know that Walt manipulated Jesse into taking his side, and it’s only worsened by Walt comforting a weeping Jesse.

This episode also helps to get Walt and Jesse back into the meth world, and I love that they’re essentially starting from scratch. It reminds me of Season 2 of Breaking Bad, which still remains my favorite. Saul’s caution - “a man who wins the lotto doesn’t go out and buy another lotto ticket” - was a great little moment, putting Walt’s ego into perspective. Still, this new Walt - a man who has finally won at something - is frightening and more threatening than ever before.

These first two episodes certainly moved a lot of the pieces into the right places, and it seems like things are already heating up for Season 5. Skyler’s story-arc is especially interesting, considering she pretty much sleeps through most of “Madrigal.” There’s a weird depression setting in, and I suspect it stems from a newfound fear of Walt. Rather than scold her husband for his poor choices - as she’s done time and again on Breaking Bad - Skyler is now trying the path of least resistance. She’s become passive and afraid, and it’ll be interesting to see how than pans out going forward.

What did you think? Can this end well for anyone? As always, share your thoughts below.

-MP

Note: This review is taken from Review Hub Central.

The Sixth Sense Review

M. Night Shyamalan’s movies have become a bit of a joke in contemporary cinema, but let’s all think back to his first and most successful film: The Sixth Sense - a powerful thriller and ghost story. With this one movie, M. Night Shyamalan established a name for himself, allowing a multitude of inferior twist-ridden stories to follow. None of his follow-ups have matched the success and poignancy of his original film.

The Sixth Sense is a modern ghost story centered around eight-year-old, Cole Sear, a boy suffering from a secret psychological affliction. Dr. Malcolm Crowe begins to help Cole, becoming his new psychologist. Malcolm is continually haunted by one patient who committed suicide a year prior. He believes that helping Cole will in turn help the patient he was never able to cure. It’s similar to Clarice Starling’s dramatic needs in The Silence of the Lambs, and this structure works well for The Sixth Sense.

As the movie progresses, Cole confides to Malcolm that he sees ghosts - dead people, walking around as though they were still among the living. Cole is afflicted by fear and torment, and hopes Malcolm can help. The Sixth Sense works because the movie is able to use the frightening imagery of ghosts to highlight Cole’s private affliction.

In effect, the horror is kept to a minimum, and the real threat involves Cole’s personal life. His mother, Lynn (played wonderfully by Toni Collette) longs to know her son’s secret affliction, but he refuses to divulge, fearing her reaction. Cole has been isolated by the rest of society and fears his mother will do the same, thinking him “a freak.”

Though everyone talks about The Sixth Sense for its twist ending (which is a great reveal that works contextually), the movie is truly memorable because of strong performances and great character moments. The end scene between Cole and his mother while stuck in traffic is especially moving, and Malcolm’s revelations about his wife’s emotional distance is equally powerful.

If by some strange circumstance you have yet to watch The Sixth Sense and are unaware of its twist ending, you owe it to yourself to check this one out. Fortunately, the twist is not plot-driven; instead, it changes the relationship between characters and works well for a second viewing.

For any of you that have seen The Sixth Sense, feel free to share your thoughts below.

-MP

Note: This review is taken from Review Hub Central.

Breaking Bad: “Live Free or Die” Review

Breaking Bad returns for part one of its divided final season with “Live Free or Die” - a strong set-up introducing us to the rules of Season 5. There’s a lot to touch on here, so let’s jump right into it.

“Live Free or Die” opens with a flash forward, somewhat reminiscent of the pink teddy bear back in Season 2. I suspect these images will continue to reappear throughout the rest of the series, indicative of Walt’s fate. As of now, we know a few things: It’s Walt’s birthday (a throwback to the pilot and the turkey bacon), and he’s buying a crazy weapon from the arms dealer featured in the teaser of last year’s “Thirty-Eight Snub.” Walt is sporting a completely different look (hair, a fuller beard, new glasses) and it’s suggested that his cancer is back, as well.

The possibilities of this teaser are endless here, so it isn’t even worth speculating. After all, could anyone have predicted that pink teddy bear was from a plane crash caused by an air traffic controller’s grief? So I won’t go into my thoughts, but I’m glad the flash forwards are back, and I can’t wait to see more. I can’t help but wonder if Walt really did move to New Hampshire, who’s motto is evidently “Live Free or Die.”

But let’s get back to the present. This episode works well because it feels like a standalone - or, at least, the closest we can get to a standalone episode of Breaking Bad. Most of “Live Free or Die” focuses on how Walt, Jesse, and Mike can wipe Gus’ incriminating laptop without breaking into a police protected evidence room. The answer? “Magnets, bitch!” This provides a fun little diversion that helps ease us back into the series, and reminds us how everything always goes wrong on Breaking Bad. On that note, I loved the image of the truck being pulled against the side of the evidence room.

The most important difference this season is Walt’s ego. His pride has always been an issue on the show (such as his leading words to Hank in “Shotgun”), but it’s spiraling out of control now that he’s taken down Gus. His interactions with almost every character reveal an inner arrogance and pride, culminating in his “we’re done when I say we’re done” line to Saul.

But Walt’s not the only one taking advantage of his newfound power. Skyler, too, begins to see the benefits of being feared. Ted has survived after last season’s brutal fall, and his image is shocking. I like how we see Skyler’s reaction first; she is terrified by her hand in Ted’s accident, and her tears were a nice change from Walt’s typical discomfort at facing the consequences of his actions.

But that scene takes a strange and fascinating turn. As Ted speaks, we see that he’s scared of Skyler - that she will somehow harm the rest of his family. Rather than try and explain herself, Skyler uses Ted’s fear for her own gain, allowing a passive threat to unfold. It shows a new side of Skyler, and positions her even closer to Walt.

I loved the final scene of “Live Free or Die,” where Walt awkwardly embraces a visibly shaken Skyler. She explains her actions, and Walt says, “I forgive you.” The line was delivered perfectly, showing Walt’s arrogance and his newfound power-trip.

Overall, “Live Free or Die” is a great start to Season 5. We’re not overwhelmed by external threats, like the knife-wielding Gus in last year’s “Box Cutter,” or Tuco’s crazy cousins from the previous season’s “No Mas.” Instead, the threat is internal, and we’re forced to face the man Walt has become since the pilot… and I wouldn’t have it any other way.

What did you think? Was it worth the wait? As always, I’d love to hear your thoughts.

-MP

Note: This review is taken from Review Hub Central.

Nintendo 3DS: VVVVVV Review

This marks my first 3DS eShop review. VVVVVV (the game with the unpronounceable and annoying name to type) is a surprisingly addictive and challenging platformer for the 3DS. This one immediately pulled me in, and I couldn’t stop playing until I finished.

VVVVVV has a simple and elegant structure. You play as Captain Viridian (the adorable little sprite depicted above), captain of a spaceship that is transported through an alternate dimension. In doing so, the crew is separated, and your job is to locate and rescue the other five members of the crew. Each character’s name begins with the letter V, of course.

The game has an open-world structure conducive to exploration. In fact, VVVVVV has a Metroid vibe, as you explore and chart a large map. The dual screens work well, since the bottom screen constantly reveals your map, updating in real time as you explore your surroundings.

I especially enjoyed navigating the unique location since it wasn’t too large (a problem that plagued the Metroid: Prime series, in my opinion). You know the other crew members are hidden somewhere on the map, and color-coded clues point you in the right direction.

VVVVVV revolve around the idea of inverted gravity. You cannot jump in this game. Instead, you press a button (any of the face buttons work, in fact) and your character will float to the opposite side of the level. What starts as a simple gimmick is quickly realized in some truly ingenious puzzles. The developers slowly crank up the difficult, so as not to overwhelm.

But on the notion of difficulty, know this going in: this is one challenging game. I died just under one thousand times (yes, one thousand) in the two-and-a-half hours it took me to complete the game. But that’s the main appeal of VVVVVV. The developers generously provide checkpoints, and it’s often a manner of just getting to that next platform without hitting a spike. Doing so may take thirty or forty tries, but once you pass the checkpoint you never have to worry about doing it again. You just take a breath and move on.

This structure makes VVVVVV one addicting game. It’s hard to stop playing, and you’ll constantly tell yourself, ‘one more checkpoint.’ And when you finally find a missing crew member, it feels like you’ve run a marathon to get there. The fast reloads are especially important to the game’s low frustration/high difficulty balance. Unlike Mario games where you have to reload the level and see your life count, VVVVVV simply makes your sprite reappear instantly so that you can try again.

After beating the game - a truly enjoyable experience - there are several unlockable modes that work to extend replay value, including new levels and additional ways to play the original game.

I should also mention VVVVVV’s distinct art style. The subtle 3D effect is nice and the old-school neon colors and catchy classic music complete an already great game. A few of the tunes will likely remain stuck in your head after you close the system.

VVVVVV is a unique and wonderful experience on the 3DS, and it comes with my full recommendation. If you’ve already played this one, please share your thoughts in the comments.

-MP

Note: This review is taken from Review Hub Central.