I’m such a huge fan of Michael McKean’s Chuck, brother to Jimmy McGill in Better Call Saul, and “RICO” really underscored why. His casting was great based on looks alone, but soon it was clear that the character had a heck of a lot more to him than “looking like Bob Odenkirk”. The fifth episode “Alpine Shepherd Boy” delved into Chuck’s condition — a strange aversion to electromagnetism — and yet delved even deeper into the relationship between Chuck and Jimmy. Coincidentally, we also recently wrote about shots like the mailbox one above in our discussion of Michael Mann’s The Insider, so, yeah. There’s that.
First, though, before talking about Chuck’s medical/mental affliction, it’s worth recounting “RICO”s mini-flashback. Since “Uno” reached forward into Jimmy/Saul’s post-Breaking Bad life, each succeeding flashback has contributed to a portrait of who Jimmy used to be. As we discussed in last week’s review of “Bingo“, the answer to that question is really multiple answers: Jimmy’s a chameleon of sorts, shifting from street-level con-man to remorseful convict and now to mailboy at HHM, and there’s a sense that the “present-day” events are a continuation of this constant reinvention.
Continue reading Better Call Saul 1.8 – “RICO”
- Hugh Jackman has confirmed that he’ll only be playing Wolverine one more time, and that means he won’t be appearing in X-Men: Apocalypse. What happened to “playing Logan until you die”, Hugh? Can’t you just defy Hollywood studio machinations and somehow cameo in Avengers: Infinity War? Can’t you just come back and do an Old Man Logan movie? No Country for Old Man Logan? Please?
- Speaking of Marvel movies, Adam McKay is now rumored to occupy the director’s chair for an upcoming MCU film. Money’s on Inhumans, and money’s also on this still not being anywhere near as enticing as Edgar Wright’s Ant-Man. Sigh.
- The Walking Dead spinoff is now officially titled Fear the Walking Dead, and a brief tease premiered during last night’s WD finale. As our friends at Collider so eloquently put it, at least it ain’t as bad as The Walking Dead Into Darkness.
Continue reading Film & TV News: March 30
A smash cut can be a beautiful thing. It can also be a broadly-defined thing, somewhat unfortunately, which means I have to reel you into a conversation about Michael Mann’s The Insider by providing a narrowed definition of smash cut. Excited yet? The added problem, of course, is that one of you
damn dear readers will no doubt have the time to point out precisely where I’m mistaken in my definition, holding my hand and stating that, no, that’s not a smash cut, that’s a match cut, and that one over there is a jump cut, and over there is…my, oh my! Is that a Dutch angle shot in its natural habitat?
Anyway, the thing I’m thinking of might not even qualify as a smash cut, but for now that descriptor will have to suffice. Mann loves an extreme close-up, especially in his earlier works like Heat (I’m thinking of that early bouncing shot of Val Kilmer), and in his follow-up The Insider we probably get closer to the facial pores of Russell Crowe and Al Pacino than we’ve ever been before. But there are a few close-ups not of faces but of objects, inserted for a second or a half-second right smack in the middle of a scene, and those cuts are what I’m talking about. They smash to the forefront when you’d least expect them, these otherwise uninteresting objects. Why does Mann shove these in so boldly, and how does he get it to work so damn well?
Continue reading The Insider (1999)