Tag Archives: Bryan Cranston

Film & TV News: April 24


  • Inhumans has been unceremoniously yanked from the upcoming Marvel Cinematic Universe slate, which means essentially nothing when all is said and done. Instead of waiting five or six years for the Inhumans movie, we’ll just have to bite the bullet and wait six or seven.
  • The 2016 Independent Film Festival Boston begins this week. Stay tuned for reviews of Ben Wheatley’s High-Rise, the delightfully odd-looking Hunt for the Wilderpeople, and many more.
  • A drove of new trailers premiered this week, which is great news if you’re a lazy Motion Stater who can’t be bothered to assemble an actual News post. Check out our formidable copy-and-pasting below.

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Film & TV News: October 13


  • Both the New York Film Festival and the New York Comic Con concluded this weekend. From the former, I’d like to give a sarcastic shout-out to the idiot who talks through the Closing Night premiere and is inevitably seated right next to me; from the latter, I’d like to give an actual shout-out to the girl dressed as Harley Quinn that I saw zipping through Grand Central. Nice mallet.
  • Quentin Tarantino is cutting two versions of The Hateful Eight (rather than, you know, eight versions), one for 70mm and one for the rest of the peons to check out in digital. I really cannot for the life of me think of a good reason for this, other than because he’s Tarantino.
  • Jeff Goldblum, Bryan Cranston, Bob Balaban and Edward Norton will be voicing a pack of dogs for Wes Anderson’s next stop-motion animation film. Even if you’re not a huge Wes fan, that’s a pretty top-tier voice cast.

Continue reading Film & TV News: October 13

Film & TV News: August 17


  • The D23 Expo was jam-packed with Disney goodies, primarily from Star Wars properties The Force Awakens and Rogue One. And a Star Wars theme park where I can go sit in a Mos Eisley cantina and listen to Figrin D’an and the Modal Nodes live? Take my money!
  • Pirates of the Caribbean: Dead Men Tell No Tales officially reinserts Orlando Bloom into the franchise, reminding everyone of the existence of Pirates of the Caribbean: Dead Men Tell No Tales and Orlando Bloom.
  • A Furiosa spinoff from Mad Max: Fury Road is still on the table, but no word on whether Charlize Theron (who had a hell of a time on the set of Fury Road) would be willing to return. Doesn’t seem worth it without Charlize, does it?

Continue reading Film & TV News: August 17

Better Call Saul 1.6 – “Five-O”

Better Call Saul mixed things up last night by completely switching the focus onto another character. Mike Ehrmantraut was a fan favorite in the later seasons of Breaking Bad, and his presence in the prequel/spinoff up to this point has been sort of a glorified cameo. “Five-O” took the reins away from Bob Odenkirk’s Jimmy and gave them to Jonathan Banks’s tortured, pouty-faced Mike, and it was one of the most ingenious moves yet from a show that’s already pretty fantastic.

At the close of the last episode “Alpine Shepherd Boy” we saw Mike engage in a bit of a staring contest with a young woman we presumed to be his daughter. We knew Mike’s granddaughter Kayleigh is part of his motivation for moneymaking during the events of Breaking Bad, but apart from a game of Hungry Hungry Hippos we never saw much of Mike in his family life. “Five-O” broke that wide open, answering a ton of questions and raising a few more in the process.

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Better Call Saul 1.1 – “Uno”

While the most obvious question was probably about how to spin a new series out of Breaking Bad, the more infrequent dilemma considered whether Better Call Saul even should be a new series. The idea of fidgeting with Bad at all is a tricky one. If you’re Bryan Cranston it’s probably a tough situation: on the one hand if you’re asked to step into Walt’s shoes again then of course you say yes, but on the other you maybe feel you’ve already done your job. You’ve done your job incredibly well, and a return might threaten to slide you into one-trick-pony status.

Though Cranston’s nowhere to be seen in the opening episode of Saul, Walt’s influence is still apparent. A nifty black-and-white intro is certainly set after the events of Breaking Bad, and we discover that Saul’s prediction about his future employment at a Cinnabon in Nebraska was prophetic. We also discover that the guy fears for his life as he pounds cinnamon into dough hour after hour, catching menacing glances from well-meaning customers. He’s miserable, and it’s both Walt’s fault and his own.

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