Drive

The best word to describe Drive might be "specific". It is very specific in its style and the tone it tries to create, and you have to have a very specific mindset to enjoy it appropriately. Because despite what you might assume based on the trailers, it is very much not a typical thriller or car chase movie. I would call it moody and intense before I'd call it exciting, and I would say it's much more plainly violent than action-packed. Tension is built through the careful application of suspense, of waiting for something terrible to happen until it finally does, rather than with fast editing and big special effects. There are all of two scenes in the film that could be called legitimate car chases, and only a brief third one that I would really call action at all. The scenes are masterfully done, telling you a lot about the main character and delivering moments that really quicken the heart-rate, but that's about as far as it goes on that direction. The rest of the movie is more of a character study, broken up by flashes of brutality that let you in on how badly the driver's world gets turned upside down when he steps outside his normal routine.

That driver is played just about perfectly in my opinion by Ryan Gosling, who portrays a nameless, quiet young man who hides his capacity for ruthless self-preservation under a calm, if slightly disquieting demeanor. Gosling, his costar Carey Mulligan, and director Nicolas Winding Refn spent a lot of time trimming out dialogue where they thought the film didn't need it, and the lack of speech is a big part of the creation of the character. He doesn't say much unless he has to, and even then his sentences are as short as possible. It makes him seem unusual, almost like he might have some sort of slight social disorder that prevents him from being normal. It's most pronounced in his scenes with Mulligan, a neighbor with a young son and a husband in prison that he develops feelings for, who also doesn't talk much, making their relationship a very simple and sweet one. Some people have said that Gosling is just too pretty to pull off a tough guy role, but I think his looks actually benefit the character. They help explain why someone might find him charming and attractive even though his conversations consist of little more than a few words and a smile, and they also make the revelation of his darker side more stark and surprising. The rest of the cast supports him very well, most notable Bryan Cranston as his talkative mentor and Albert Brooks as a gangster who's menacing in just how indirect the threats he makes are.

I haven't said much of anything regarding what the movie is actually about. It's pretty simple, really - Gosling does stunts for movies and works in a garage by day, and occasionally works as a getaway driver for crooks at night. He gets involved with a job that goes bad, and failing to extricate himself and his new friends from danger peacefully, is forced to resort to much harsher means of protecting them. It's a basic crime movie plot, which succeeds in driving the action without getting in the way of Refn's direction, which is what made me truly love the film. The film is dripping with style, from the expertly crafted moments of violence to the uniquely slow paced character moments to the memorable way they shoot LA at night to the singularly memorable soundtrack, which features songs that sound like they were produced 25 years ago but match perfectly with the character's identity. Drive is a movie where I can see why a lot of people would not respond well to it, and I can only feel sorry that they aren't able to enjoy a movie that's not quite what they expected. It's so sure of itself in every aspect, and so mesmerizing to watch that even tiny moments that don't completely work are easily forgiven. It's one of the best movies I've ever seen in a theater. That's a significant caveat, but one that shouldn't detract from the message that I thought the film was brilliant, and it's still in my head a couple days after seeing it.

Breaking Bad - Season 4

For the third straight year it seems that television can be broken down into two categories: Breaking Bad, and everything else. The show wasn't as filled as last year was with wall-to-wall insanity, taking more of a slow-burn approach to the story this time, framing the whole season as one big, terrifying game of chess. Walt wasn't quite as front and center as he'd been in the past, with his character frequently getting emasculated and sidelined, while allowing the other characters more of an opportunity to shine. With Walt not really understanding the consequences of what he forced Jesse to do last year, a rift forms between them, and Jesse ends up developing a bond with Mike that's one of the most interesting aspects of the season. We learn a lot more about Gus, both who he is and why he is to a force to be reckoned with. Skyler is forced to take a larger role in helping Walt cover his tracks, and starts to realize just what kind of mess Walt got them into. Hank is still recovering from what happened last season, and we get to see a lot of different sides of him over the course of these episodes, even if he's still hobbled by the end.

There's a lot of character development that occurs, and lots of false starts and pieces being moved into place for most of the season. People who are only into the show for its crazier side might be a bit disappointed in that. It's all worth it though, because eventually the tension that's been building all season between Gus and the cartel, and Walt and Gus, and Walt and Jessie explodes in the last four episodes, which all easily rank among the show's (many) best. People die, things explode, plot seeds that have been growing into plot plants get sown, and it's all done in the show's signature style, combining humor with harsh, occasionally otherworldly violence and a directorial flair that no other TV series even attempts. The show's still as good as it's ever been, and now that we know the ending is only 16 episodes away, it's hard to put away my excitement for what will hopefully be one of the best conclusions to one of television's best series. All the pieces are in place for something great, and I have confidence that this show's fantastic writing staff, cast, and production team will put it all together once again.

Saving Private Ryan

This is one of those movies where it seems like everyone is in it. The main cast of soldiers trekking across France is full of guys you recognize even if you don't know your names. Hey, Tom Sizemore! And Vin Diesel! And Adam Goldberg! And Giovanni Ribisi! And Ed Burns! And Daniel from Lost! And it doesn't stop there. There are plenty of other small roles without a lot of prestige but still played by famous actors. It's Bryan Cranston with one arm! And Paul Giamatti! And Ted Danson! And Dennis Farina! And one of Nathan Fillion's first roles! It honestly gets fairly distracting when you're playing spot-the-guy in the middle of an epic, dramatic war movie, but that's one of the only flaws in an otherwise quite remarkable film.

The two most significant parts go to Tom Hanks as the leader of the unit sent after Private Ryan to bring him home after his three brothers are all killed in action, and Matt Damon as Ryan himself, the object of the film, although he only shows up for the last hour. It's funny, he was cast because he was basically unknown, but by the time the movie came out he was already a celebrity. Remember that distraction thing? I spent a fair amount of time thinking "So when is Matt Damon gonna show up?" But yeah, the film itself is a remarkable one. Just a great combination of drama, acting, cinematography, and editing. The film has a washed out look to it that someone sets the tone of a period war film without having to say anything. The production values are pretty outstanding; even when nothing is blowing up, the bombed out, rubble-filled city streets and rolling countrysides always look amazing and authentic. There are many scenes of the soldiers arguing about the mission, hazing the new guy, or just killing time that always have a natural feel to them, making you believe that these men have grown used to each other through so much time training and fighting together.

And of course there are the battles. The film is bookended by two sequences nearly half an hour in length, including the famous Normandy landing scene, filled with bullets, screaming, and severed limbs. The stark brutality of it might seem exploitative to some, but I thought there was power in the harsh, blunt way it was presented. War isn't pretty, and few sequences have captured it as well as that. Besides that and the climactic final battle, there are multiple other sequences, although they're relatively brief. They're still well filmed and choreographed, and throughout all of them the different soldiers get their chances to shine, although the unit's best marksman gets a lot of the best moments. As you might expect with a war movie things don't end well for everybody, and there's actually a scene where an earlier act of good will has negative consequences, which made me wonder for a bit what exactly the script was trying to say. Although in some ways the film romanticizes heroic sacrifice, it's still effective at conveying what it really does to people. One of Steven Spielberg's best films, and an effective jumping off point for the HBO miniseries that followed.

Breaking Bad - Season 3

It doesn't seem likely that this show could keep getting better, but that's all it really seems to do. Season three was my favorite, and it's put to rest my qualms with calling it the best show on TV. This was one of the best single seasons of a show I've ever seen, and made it completely worthy of the "best" title. Season one was brilliant but a bit shaky at times, and even season two had me waiting for scenes to end on occasion. But there was hardly a single moment this year that wasn't masterful, as it seemed to do nothing but blow my mind every week and continue to excel at every aspect. When Breaking Bad tries to be funny, it's hilarious. When it goes for suspense, it's unbelievably heart-pounding. When it aims poignancy, it's deeply profound. It wasn't perfect, but it's about as close as you could ever ask a show to get.

There are a few complaints that could be made. I know a few people had qualms with logical gaps and story pieces that were either dropped or not fully developed. But airtight plotting has honestly never been the show's strength. While gritty and grounded for the most part, it's not exactly what I'd actually call realistic. In truth, its greatness comes from the fact that its outlandish dramatic moments contrast with the harshly believable backdrop of an Albuquerque that's losing the drug war. It's larger than life without being obvious about it, and it gets away with all of the insane stuff it pulls because the characters are so good, not because everything about police procedure and the criminal hierarchy is right on paper. You could make an argument that they lost the characters a bit this year, and I'd just have to disagree.

But yeah, if you watch to be entertained and surprised each week, it's hard to find something better than this. The show has to accomplish a lot in not very much time, and it does a great job of keeping a breakneck pace while maintaining the show's deliberate mood and not going too far with anybody. Everything feels earned, and it makes the bigger moments all the stronger. The cast expanded this year, and the guys seeing more screen time do a lot to expand the scope and stakes of the show. Bob Odenkirk's Saul Goodman is the perfect slimy lawyer who seems goofy but actually has a good criminal instinct and will to survive, Gus goes from a real enigma to an imposing underground tyrant, and Mike really gets to shine near the end as a guy who just gets things done. Bryan Cranston was great yet again, but the real standout performance this year was Aaron Paul's. He really impressed me all season long, and he's pretty much the linchpin to the entire story arc. He featured a lot into the best moments, and the very end of the season will prove to be very important for his character indeed. It's definitely going to be a torturous wait for season four.

Characters of the Decade: Part 4

One more to go after this one. Man, this really is TV heavy, isn't it?

Haruhi Suzumiya
Aya Hirano - The Melancholy of Haruhi Suzumiya


"Feelings of love are just a temporary lapse in judgment. Like a mental illness."

I might actually like mild-mannered narrator Kyon more, but the show's about Haruhi, and unlike the vast majority of characters, the universe really does revolve around her. She has a unique, eccentric personality that can make almost anything fun to watch, and is the sort of leader whose followers always wonder why they do what she says but do anyway. And there are enough glimpses at her normal, affectionate side in between world threatening crises that she's inadvertently responsible for that she comes through as a person and not just a cipher for the writers' wacky ideas. I guess I like that kind of character a lot, don't I?

Dexter Morgan
Michael C. Hall - Dexter


"Harry and Dorris Morgan did a wonderful job raising me. But they're both dead now. I didn't kill them. Honest."

In a lot of ways, Dexter is a flawed show. It's frequently predictable and there's way too much time spent on supporting characters and subplots we never actually care about. It's easy to keep watching though, because Hall's work is so good. I admit to being a little tired of his dry narrating style at this point but he can still carry the series through any low points. Until very recently he's been one of the best actors I can think of who only works in television, but he's really damn good at it, finally getting recognized by the Golden globes recently (although that award's tainted because Bryan Cranston wasn't even nominated), and is why I gave Six Feet Under a shot, which turned out to be a good decision. He somehow finds a way to sell the sympathetic serial killer angle, and still be menacing when required. All you could ask for from a lead.

Dr. Steve Brule
John C. Reilly - Tim and Eric Awesome Show, Great Job!


"For your health!"

Reilly is supposedly a very good serious actor, although all I've ever seen from him is his brilliant comedy work. His best role is most pathetic, as the befuddled and under-qualified local news correspondent Dr. Steve Brule. He's good for a few appearances per season, and they're routinely pure gold. In addition to his terrible advice and wacky outtakes, there are a lot of things about the character that make him endearing in a sad way like his chronic loneliness and crush on married news anchor Jan Skylar. He's getting his own show soon, and I can't see how it won't be fantastic.

Juno MacGuff
Ellen Page - Juno


"Nah... I mean, I'm already pregnant, so what other kind of shenanigans could I get into?"

Juno's a really divisive movie. Some appreciate its uniquely goofy dialogue and moments of indie cuteness, while others can't stand it. I'm with the former, and a big part of why the movie works for me is Juno herself. She has a unique vocabulary for a teenager, but I'm not selective on what I allow films to be fanciful about, and she really sells the whole teenage girl with problems thing that I usually can't stomach for very long. In a movie I saw for Jason Bateman and Michael Cera, Ellen Page is the one who impressed me most.

Leon Black
J.B. Smoove - Curb Your Enthusiasm


"Barack Obama! I'm the President of hitting that ass!"

Probably the least scripted character on this list. In a show where everybody just says what comes to mind during the scene, Leon takes it to the extreme. He can make any topic funnier than should be possible, from the proper way to respond to an insult to the appropriate amount of discretion required when discussing a friend's wife whose ass you're hitting. I enjoyed seeing Smoove pop up in an episode of Castle and hope to see him get more opportunities, but to me he'll always be Leon.

Emerson Cod
Chi McBride - Pushing Daisies


"Bitch, I was in proximity!"

After watching the rather bad previews for Human Target, I almost decided to give it a shot. That's how much I like the whole cast of Pushing Daisies, and I liked Emerson most of all. While the show lived off its saccharine sweetness, Cod was the bitter one who kept it from floating off into space. He's a perfect foil for pretty much everyone else, and his combination of intuition, wit, and resourcefulness made each case into a classic film noir. The show made strides to humanize him during its short run with love interests and a missing daughter, but it probably didn't need to. He's the kind of guy who'd be a pleasure to watch visit the DMV.

GLaDOS
Ellen McLain - Portal


"That thing you burned up isn't important to me. It's the fluid catalytic cracking unit. It made shoes for orphans. Nice job breaking it, hero."

Portal was already a unique and brilliant mind-bending puzzle game, but GLaDOS made it something that every gamer should try. Just one of the funniest and best executed character arcs in the medium. Encouraging at first, the artificial intelligence guiding you through a test facility you never quite understand slowly becomes more sinister over time, and downright hostile after a certain point. But she never loses her sense of humor, logging one of the best percentages of successful one liners in history (I just made that up, but it sounds right). Plus the song at the end is just icing on the cake. I just made myself groan.

Anton Chigurh
Javier Bardem - No Country for Old Men


"Would you hold still please, sir?"

It's rare to see such an intimidating force of nature in a film. Compared to the other people in the story, Chigurh is almost a caricature, a flesh and blood Terminator that will stop at nothing to accomplish his task. He also sort of rips off Two-Face's gimmick, although he pulls it off better. It's sort of his lack of humanity that makes him work though, taking the movie from being a solid, off-beat thriller and making it into a pretty impressive, unique work that stands alone. I'm not sure if it's exactly a brilliant performance, but it's certainly exactly what it needed to be.

Nathan Drake
Nolan North - Uncharted series


"I didn't think that far ahead!"

As video game protagonists were getting too grim and gritty, Nate came along and reminded people that heroes are allowed to be likable. Sure, his carefree attitude doesn't quite work with his near-genocidal kill count after only two games, but work with me here. It's shifted the tone of a lot of modern action games, and there's been so much demand for North's voice work that the Internet backlash is already well underway. It's clear from some of his roles that he has a good deal of range, but his classic sarcastic good guy voice is what people want, and I'll forever associate it with the first and still most interesting character I heard it from, Mr. Drake.

Daniel Plainview
Daniel Day-Lewis - There Will Be Blood


"One night I'm gonna come to you, inside of your house, wherever you're sleeping, and I'm gonna cut your throat."

I think my favorite single adjective I've heard used to describe Day-Lewis' work in this film was when Quentin Tarantino called it "volcanic". It just fits, doesn't it? There's really not much I can say about it that hasn't been said better by people who have a deeper understanding of acting. I just know that I've never been more impressed while watching somebody in a film. From his silent actions in the very beginning, to his dark charisma as his business gets going, to his increasing madness as the film continues and to the final scene which is both funny and startling, there's not a moment that could have been obviously improved. I won't forget it any time soon.

Walter White
Bryan Cranston - Breaking Bad


"We are going to make a good product that does what it is supposed to, as advertised. No emulsifiers, no baking powder, no bleach, no chili powder."

Despite the Golden Globes' continued negligence (Seriously, Avatar's the movie of the year? Why did I even look up the results?), even the slightly less maligned Emmys managed to see what everyone else has the last couple years with Cranston's great work on Breaking Bad the last two years. Watching a man learn that he was dying, turn desperately to crime to help his family, go back and forth hope and despair, and ultimately lose sight of what's important in his life has been a really eye opening experience. We always knew Cranston could be funny, but I've been a lot more impressed by this. I can only wonder what Walter will do next.

Bryan Mills
Liam Neeson - Taken


"That is what happens when you sit behind a desk. You forget things, like the weight in the hand of a gun that's loaded and one that's not."

What should have been a simple revenge-driven action movie ended up being pretty brilliant thanks to to lead's increasing willingness to abandon reason or sympathy in his quest to get his daughter back. More movies should just put guns in the hands of respected veteran actors and see what happens, because it totally worked out here with Neeson. In some ways it's a bog standard thriller, it's just that extra 10% of gravitas and brutality that makes it one of my favorite films ever of the type. Why exactly did they sit on this for a year before releasing it in America?

Concluded tomorrow.

Breaking Bad - Season 2

Season one ended up just being a preview of the amazing places the series would end up going. Season two is all about Cranston's Walter White's transformation from a chemistry teacher making some bad mistakes as he deals with his own mortality into a grizzled husk where a man used to be. You can see his humanity drain away as he piles lies on top of lies to hide the drug money from his family and he starts stepping out of his comfort zone trying to expand the business. It gets to the point where you wonder if he's trying to make the money he needs as quickly as possible so he can get out fast, or actually turning into one of the drug lords who disturb him. I think at least two more seasons are planned, and whereas before I was curious where they could really go with a dying protagonist, I'm now stuck waiting to see what fascinating turn it takes next.

The show is a unique mix of incredibly shocking plot turns with a pace and tone that are very deliberate and realistic. You could probably edit each episode down to the standard length for an hour broadcast without cutting anything important, but to me the way it lingers helps enhance and punctuate the unbelievable moments that make watching the show great. When you have a chance to watch the characters squirm, it makes it all the more uncomfortable and gripping when stuff's happening. One of the things I like most about the series is the unique chemistry between Cranston and Jesse, the deadbeat former student who connects him to the world of crime, and he really comes into his own this year, by the end being in a completely different place from when he started as just a punk. The final scene of the season is hinted at repeatedly throughout the previous episodes, and while at first it was pretty baffling, it really perfectly captured the series' mix of realism and there being something strange behind it all, as it really drives home what the consequences of Walter's decisions are. I don't really hesitate to call Breaking Bad the best drama currently on television, and I'm already waiting for it to come back.

Breaking Bad - Season 1

I'm not sure what drove AMC to get into the original programming market. They used to show older movies in widescreen, commercial free, and without edits, but they've shifted to a format much more typical of normal television. It's not too bad if it means they can create quality programs like this and Mad Men. Breaking Bad's definitely a different sort of show. It hinges on Bryan Cranston's performance, which is fortunately great, notable enough to get him an Emmy despite only having seven episodes so far. Cranston's been a likable actor for years, known for roles like the dentist that Jerry thinks converted to Judaism for the jokes on Seinfeld and the dad on Malcolm on the Middle. With Bad, he shows that not only can he be funny, he can legitimately carry a significant role. The show's premise is that a high school chemistry teacher decides to cook Crystal Meth to make money for his family after he finds out he has lung cancer. He's a normally timid man who starts changing as he sees the end in sight, and it's really interesting to watch how everything affects him.

He's the star of the show, but it's also about his family and the connections he makes with people in the business, such as an old student who's become a dealer. Things go really bad from time to time, and as much as the show is a subtle character study, it also has some shocking and even really cool moments. A fifty year old science teacher's not your typical criminal, and seeing how he uses his impressive base of knowledge to fight back intelligently against obstacles is really interesting. They still haven't done too much to put him in danger of being caught or hurt, but there's some really good places they could go with that. A second season is coming soon, and the show has plenty of ways it can expand and get better, although you have to wonder how long they can keep it going when the crux of everything is a character who could be dying. How he faces the cancer is a really important part of it, and there are a lot of ways that could go wrong as a story element. It hasn't yet though, and I'd really like to see more.