The Walking Dead Season 4 Episode 1 Review

“Previously on AMC’s Breaki---” Hold on a minute, that brief sound clip will never again be heard on live television. AMC has said goodbye to the Vince Gilligan masterpiece but still retains the likes of Mad Men and The Walking Dead. Whereas Mad Men has a more niche audience, The Walking Dead grows ever-popular, with a group of geeks in adoration of their favourite characters (we’re looking at you, Daryl). With that in mind, The Walking Dead’s fourth season started with a 16.11 million viewership, the highest it’s ever had. It will never see the same hype as something like Breaking Bad, though its continual effort to be seen than something more than just “that zombie TV show” is very commendable. Season 4 begins in a far less exciting manner than the third season’s opening, yet is still able to have us completely transfixed.  

Major spoilers follow

AMC’s catalogue of soundtracks eclipses most other networks. Thomas Golubic, “30 Days Without an Accident’s” music supervision begins the episode, with a little ditty: “Precious Moments” by The Stanley Brothers. The irony is palpable – as Rick takes out the headphone buds, the sound shifts to that of growling, scratching Walkers – that memories in the Walking Dead’s world are mostly cutting as reality becomes filled with the undead. Golubic had also worked on Breaking Bad and Six Feet Under (to name just two), a great crew member, able to make a scene work on music worth alone. It sets up the workaday nature of the new colony, with that eerie quality that no matter how cheery you can try to be, death still surrounds everything.

Apart from the brief musical epilogue, season 4 starts with a harrowing image of an eyeless zombie “watching” Rick. Bleeding eyes and absent pupils, it sends a jolt through you; the work of the show’s master make-up team. Foreboding and distressing for relatively unknown reasons (as the show’s audience has grown used to the macabre), it is a moment than seems very definitive – an omen of what to come.

So in the six/seven months since we left off apparently a fair few things have happened. These mostly relate to relationships forming and duties assigned. Tyreese is with a beautiful woman named Karen, Beth is with a muscular newcomer called Zack, and Carol and Daryl may or may not be a couple. In addition, Everybody Hates Chris’ Vincent Martella shows up as Patrick, who will become the final moment’s most integral part. Lastly, established characters get given some development, such as Bob (The Wire’s Lawrence Gilliard Jr.), Michonne (returning from unsucessfully hunting “him” – the Governor), and Daryl (as much of a celebrity within the show as he is outside of it).

In terms of hunting, there are no suspecting villains ready to find and kill (though you can bet the Governor will return) so it’s only food needing the group’s time and effort. Hershel and Rick head out into the forest for game and vegetation whilst Daryl, Tyreese, Zack, Bob, Glen and Michonne go looting a supermarket. As Hershel leaves Rick, our protagonist stumbles on a starving, filthy survivor out in the woods. Greyed and skinny, she reeks of desperation and pity. Rick, helpful as ever, offers her food and a chance to bring her back to the prison.

Rick’s stint with the stinky Irish woman is a slightly confusing part of the episode – Clara takes him to her camp (for an interview situation, where Rick will determine whether Clara and her husband are safe for his sanctuary) where he finds her talking to a head under a blanket. Not easily distinguishable under that cloth, the decapitated husband is a mere mystery until a brief shot at the end of the scene. Her reasoning and emotions are somewhat baffling – her will to survive until meeting Rick and then offing herself. Rick stands there upset and perplexed by her motivations, finally asking her the interview questions that have only slight bearing on the poignancy of the programme. Her story would have been quite interesting to have learnt about – an exile of her homeland, carrying the head of her husband around, surviving on barely anything – but she’s dropped after such little screen time. Fans of the show should know this to be realistic and in-keeping with Kirkman’s universe, but on occasions there are missteps – Clara being one of them. 

Meanwhile, Daryl and company head to the store. Starting off fairly lacklustre, the camera pans up from the door they entered in to the roof – packed with zombies and a crashed helicopter.  It’s nothing jaw-dropping, nor is it when Bob makes a ruckus toppling a shelf full of alcohol (a great piece of storytelling where we realise Bob’s an alcoholic, faced with a haul of free wine). However, the damp, sunken tarp, holding the weight of 20 or so bodies and a helicopter means the undead fall through into the shop. Bob’s liquid temptresses become a danger not only to himself but those around him – an implicit part of the episode’s drama and action.

As the hoard drop from the ceilings the scene suddenly goes from tedious to tense. The effects and stunt work usually have their shining moment at some point in an episode and this is it. Just before the break, one zombie falls to the camera (a skewed POV shot of Bob’s), growling as he heads into focus. Put simply: it looks fucking cool.

Effects work are similarly superb, with purely gross moments of gore. Skin ripping away, heads being pealed apart and explosions of impact on the decrepit bodies are each scarily real. It adds to the electricity of the moment, where everything seems too messy.   

Daryl and Glen – two key players in the cast – have their moments of peril, worrying for a show that is known for killing off anybody. Fortunately they survive, something that cannot be said for Zack. As the helicopter looms over the crumbling roof, there is no time to save him and the only saving grace from it all is the helicopter would instantly smush him. 

“30 Days Without an Accident” gets its name from Beth’s reaction to Zack’s death. Not “crying anymore” – changing her X amount of “days without an accident” sign back to zero. Her maturity in accepting his death follows the tone of the developing show – now news such as Maggie not being pregnant, Tyreese fearful of walkers in most situations and Rick’s constant fear of losing people is dealt with more philosophically.

The Walking Dead can be the best thing on TV, and merely average other times. Season four shows plenty of promise, without being a game-changer. It’s the final shot – the cliff-hanger – that means business. Patrick, coughing and sweaty, stumbles to the bathroom where upon he drops dead. Closing his bleeding eyes (like that of the eyeless zombie outside), he lies there deceased. Until, of course, those eyelids open once again, revealing the smoky glaze of his lifeless pupils. He’s a walker, inside the sanctuary, probably set to cause some trouble. Episode 2, we’re waiting...

Also posted on Flickering Myth

The Walking Dead Season 3 Episode 10 Review

I labeled episode 4 of Season 3 “arguably the ‘best ever’” which I still stand by. However, in terms of the direction and editing of action, “Home” is superb. We pick up from the end of “The Suicide King” with Rick still hallucinating. One may wonder if it will become an episode dealing with the psychological trauma that Rick is undergoing; in a sense, it is. Whenever the scene focuses on Rick we are analysing his fragility, his strength and his sanity. 

The opposing Woodbury group are similarly shown in a meditative light to begin with; Andrea, Milton and the Governor under close scrutiny as to who is loyal. The Governor stays loyal to Andrea, promising her pacifism toward the prison group. Though, to the ever-wary audience, this just appears to be another one of his Machiavellian statements.

Cut to the newly formed third-narrative strand and Merle and Daryl are wandering the woods looking for food. This, at least for me, is what I wanted to see. Daryl is one of the best characters (if not, the best) character in the series and any chance of him disappearing would quickly sour the show’s sensationalism. And whilst seeing the two brothers up to very little is not everything we expect and desire it’s still better than nothing. Luckily, uproar and tension arrives with an isolated incident on a bridge with a group of survivors under attack from a hoard. In this brief but bloody scene Daryl shows off his independent, heroic, bad-ass persona – freeing the viewer from any worry about his future as a dullard double-act with Merle.

This scene’s violence and effects is top-notch and only a mere burst of energy compared to what’ll come later. One zombie drops to the ground, head by the wheel of a car, and has his head explode under the force of the tyre. It’s a small but excellent example of the effects team’s skill.

Balancing out the drama and action we return to the prison where Axel and Carol are having a friendly chat. This is the first instance where Axel’s character has been explored. He has never appeared malicious or unfriendly. The moment you finally say to yourself, “I’m liking this guy” his head snaps back with a sniper’s bullet. Sudden and completely unexpected it’s a bold move from the writers to kill off a character just about to be properly introduced. However, it was the case with Oscar and the original prison leader – dead within the space of an episode – and the no holds barred approach to story-telling is what makes The Walking Dead (and other hits including Breaking Bad and The Wire) so damn thrilling.

And so to the aforementioned action...

Axel falls, Carol lies behind his body; Rick, out in the fields trying to capture the Lori phantasm, leaps to safety under a bridge amidst the barrage of gunfire; the rest hide in the prison fortress, desperate to provide some cover fire. As unexpected as it seems, this is the Governor with a definite plan. With bullets aiming to hit as many of Rick’s group as possible, he adds walkers to the equation by driving a van through the gates and releasing a small swarm (followed by walkers surrounding the building). This has all happened within the space of two or three minutes and ends as quickly as Axel’s life. Speaking of Axel, the poor bastard is riddled with bullets as Carol shelters behind him – a weirdly noble sacrifice.

Just as each of our hero’s lives seem in dire jeopardy, the Governor leaves. Danger is not absent however, and the walkers still surround and invade the territory. No one is more vulnerable than Rick on the outskirts of the forest. He shoots and whacks his way through a few but looks surely to get injured. It’s here where the episode could likely end – leaving us with a spectacular cliff-hanger. Still, what happens next is even better. A close-up shot of Rick and a zombie’s gaping, biting mouth inches apart and then the beautiful sight of Daryl’s arrow piercing its way through the undead’s forehead. It is a moment of pure joy knowing our favourite has returned, and with such brilliant timing. Of course Merle is with him but in that moment it’s not an issue; just to see Daryl back where he belongs is divine.

The episode draws to a close with Daryl, Merle and Rick dashing back to the security of the prison walls. Nothing much needs to be said (that’ll be the next episode’s job), it’s a simple declaration of war.  

By Piers McCarthy. Also posted on Flickering Myth

Breaking Bad Season 4 DVD review (Spoiler-free)

Stars: Bryan Cranston, Aaron Paul, Giancarlo Esposito, Anna Gunn, Dean Norris, Betsy Brandt, Jonathan Banks, Bob Odenkirk, RJ Mitte

Created by: Vince Gilligan

For nearly every television series there is at least one seminal season; for Breaking Bad it is most definitely Season 4*. Vince Gilligan and his band of writers and directors have expertly crafted 12 episodes of pure dynamism, drama and delight, unlike anything seen on television before.

Having finished Season 3 on excruciatingly tantalising and tense events, Season 4 does not ease you in. Instead, it pins you to your seat from the moment the smoky title fades into the episode. Episode 1 has little dialogue and one gruesome murder that may deter anyone walking in on or randomly switching over to the Emmy award winning show, but to those that know and love Gilligan’s incredible programme, it is a welcome continuation to the rough and ready thrill-ride that is Breaking Bad.

Season Four mostly centres around Gustavo Fring (Giancarlo Esposito) and the “palpable fear that...[he] represents” (to quote Esposito) as he comes into conflict with Walter White (Bryan Cranston). Cranston, in interviews on the special features, explains the season with great clarity by stating, “Walt has to live with this tension [hostility from Gus] throughout the season – he doesn’t know what his fate will be...The noose keeps tightening around his neck, and around his family’s neck, and it’s just anxiety-ridden”. “Tension” does not begin to cover it and by the gripping, momentous finale you are left bawled over by the sheer bravado of the show.

Performance-wise it is flawless and multiple Emmy Award-winners, Cranston and Aaron Paul, are on top form as always. The latter, especially, has some incredibly raw moments of dejection and exasperation that he embodies with extraordinary prowess. As the two leads continue to win over the audience, the villain, in the form of Esposito’s cold, brooding Gus, never escapes your mind for a second. The presence of the “Chicken Man” is continually felt and, at times, you are intrigued as to his personality and back-story. Fortunately, one episode includes a brief but brilliant flashback to Gus’ humble beginnings which sets up a triumphant 10 minute sequence in a later episode and, overall, fleshes out this near-inhuman shadowy figure.

Along with an ever-evolving examination into the lives of Walter, Jesse, Skyler, Hank and Gus, the entire design of the show seems to have progressed. Michael Slovis’ cinematography is perhaps the most fascinating aspect of the design and the overall look is both ethereal and gritty – an inspired combination to present a story of a mild-mannered chemistry teacher turned meth cooker/criminal. In Season 4, Walter White’s narrative crux is based around his metamorphosis into a Machiavellian monster and Slovis’ darkened perspective does wonders at helping to represent that. It also adds a dramatic weight, much like Gordon Willis’ The Godfather: Part II cinematography (an interesting parallel with stories chronicling a man changed – sometimes for the worse – by power), by entrenching both the characters and the viewers into figurative black pits of peril.

Sound is similarly engaging and for those with surround sound systems, the cinematic style embraced by Gilligan and co can be truly experienced. One episode in particular – ‘Crawl Space’ – uses a low boom and bass of a heart-beat sound effect that ripples through your living room (and through your body, as you feel and hear the pump concurrently), leaving you completely worn out by the compelling final minute. Furthermore, with Dave Porter’s original score and a variety of well-chosen soundtracks, your eyes will not be the only bodily receptor being indulged.

For fans only used to streaming the episodes from internet providers, the DVD gives them the opportunity to educate themselves on the workings of the show with an array of behind-the-scenes features. On every disc is an ‘Inside Breaking Bad’ featurette where the cast and crew talk about a particular episode and elements surrounding it. These are always interesting and should not go unmissed (plus, who doesn’t want to see and hear more of Bryan Cranston and Aaron Paul). What’s more, there are some great segments on the show’s popularity, the colour scheme (which is the most fascinating) and set explorations. The deleted and alternate scenes are included but by no means necessary viewing because, as fans know, the show is crafted within a meticulous inch of perfection, and what hasn’t the made the cut hasn’t for good reason.

Breaking Bad is, without question, the best TV show on right now. The fourth season (if 2-3 hadn’t already) proves its worth and cements it as an immortal, unique series – as pure and addictive as Walt and Jesse’s cook. Go out and buy this DVD collection right now – its merit is immeasurable and whatever you pay for it, you will reap the rewards from the entertainment-factor alone.

*****

*(unless by the end of Season 5 that crown has to be re-established)

By Piers McCarthy. Also posted on Blogomatic3000

Breaking Bad Season 5: Episode 1 - 3 overview

For the past four seasons of Breaking Bad the two leads, Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul), have cooked mountainous amounts of meth, found themselves in the most dangerous situations, and been continually a stone’s throw away from being caught. There have now been five episodes aired of Season Five and many may be wondering how the show is continuing after the adrenaline-fuelled fourth season.  Beware; spoilers follow from here on in...

Season Four was perhaps the most thrilling of all seasons so far. It included a villain so smart and devious that bets on his demise were never confident ones. Even when Gustavo Fring’s semi-skeletal body walked out of an explosion, there was a brief moment where you thought, “oh no, he made it”. Obviously that was not the case and the “chicken man” finally met his match with Walt’s chemical bomb triggered at the bell-flicking fingers of his old nemesis, Hector Salamanca. In the last 40 minutes of Season Four, nails were chewed off and seat edges were firmly sat on. There was no better way to end the show than Walt’s gruff statement, “It’s over. I won”. The announcement of a fifth series came as a shock to many, though with expected elation. Confusion was expected, however, as Walt and Jesse parted ways at the end of Season Four as they had both metaphorically and literally burned their bridges toward their lab. 

The show’s creator Vince Gilligan is not a foolish man and any queries that flooded the forums of various web pages over the next steps in the story were clearly scrutinised by the man himself. Unlike something like Lost, Gilligan knows where he’s taking the programme. This is made apparent by the start of the fifth season with a flash forward to Walt on his 52^nd birthday, eating alone in a diner, with a head of hair and a scruffy beard. We have come to expect this type of chronology for Breaking Bad and the first image of Season One and Two were of things to come (in narrative terms); it always made for great TV, looking forward to that moment and wondering how it may come about. We wait with pure excitement as to why Gilligan’s Mr. White is out on his birthday shopping for a huge gun.

Returning to the present, we start off with some exposition that links the past season’s events to the current day. Hank is still surveying the ashen interior of the old lab when he comes across the camera that stalked Walt and Jesse throughout their time in the lab. For the memory of said CCTV he locates Fring’s laptop – this everyday item becoming the focus of episode one. Walt’s plan to tie up all loose ends of Fring’s death means retrieving, or destroying, that laptop. The Italian Job­-style ploy involves buying a huge magnet, driving it into the police lot and turning its dial up to 11 to yank the computer up against the evidence room wall, thus completely destroying it. He finds help from Jesse and Mike, who has now returned from hospital and, perhaps unconvincingly, teamed up with Walt and Jesse.    

  

Meanwhile, Skyler and Saul are worrying about financial and judicial issues which are not as interesting as they have been in the past few seasons, but still highlight the genius writing that interconnects these stories so meticulously. Saul is bullied by Walt about getting back into business and, in a frightening finale to the episode, you see Skyler facing a similar issue with Walt clearly putting on a new mask to pretend that they’re one happy family. Walt caressing Skyler is quite harrowing; she stands there frightened at her husband’s ability to take complete control and adjust any aspect of his indefinite personality to suit. 

Episode Two begins with a Germanic man taste-tasting a range of sauces. We can gather that this Mr Schuler is some way connected to Gus due to the fast-food condiments. His later suicide validates that thought all the more, with the police and Mike turning their attention to the co-conspirator. The ghost of Gus still lives on throughout the world of Breaking Bad and carries through to Walt and Jesse searching for the poisoned cigarette that Jesse believed Walt used to kill Broc (Jesse’s girlfriend’s son). Upon recovering it/finding where Walt cunningly placed it Jesse breaks down in tears, apologising for almost killing Walt over the matter. Long ago, Jesse’s character was to be axed yet Gilligan and co kept him on due to Paul’s acting. With Paul nervously weeping over his “mistake” it proves that the creators did right by having Aaron Paul as an integral part of the show. 

The masterminds behind the show’s choice of character and casting are never undermined and the increasingly important figure of Mike (superbly played by Jonathan Banks) serves to illuminate the point further. His cool approach to killing and organised crime is, like Walt’s Machiavellian mind-set, devilishly intriguing and entertaining. Up till now in the show, Mike has ran errands for Gus and helped Walt and Jesse out on occasion. After Schuler’s death and the assassinations of other Fring associates, Mike needs to work hard on not having any information leaked; in completing this task he has to spend a lot of money and so asks one of Schuler’s known acquaintances whether there is still Methylamine available. When the woman answers “Maybe”, Mike realises that there is still a chance to make some money. What is more, with DEA breathing down his neck and seizing his assets, he must embrace the White-Pinkman alliance and get to work with them.

This brings us nicely to Episode Three - the one where they get back to work. Gilligan inventive as ever, has the idea of setting up the lab ingeniously brought about. Saul is working hard under Walt’s demands to find a place for them to cook safely to which he brings them to various venues. The last and deciding place is a rundown warehouse that acts as a home for their equipment – the cooking is to be done in currently-fumigated houses. Every time a house is need of a bug-bomb, and fully tented for safety, the pair will carry out their cook, turn on the poison and leave no trace behind. Seeing the now-classic cooking montage brings a smile to your face instantly; Mr. White and Jesse back doing what they do best is a truly great sight to see. Their pay at the end whittles down to a few thousand, which an irritated Walt takes up with Mike. The pay has to be separated to all of Mike’s men doing what they need to do to keep things under wraps but it’s something Walt cannot rest easy on. The episode ends with Walt and Jesse discussing the cut and Jesse is thinking more optimistically with the “no owners” having to watch them. Walt, on the other hand, wonders how with all the “liberties” Victor (one of Gus’s henchmen) took that led to his death, how he and Jesse did not suffer the same fate. Certainly, by the end with Gus they were close to joining Victor but perhaps some of the positive outweighed the negative with Gus’ operation. In any case, Walt’s head is clearly devoted to the idea of business tactics and it cements the notion that Season Five will be just as cleverly crafted as the past four seasons.  

By Piers McCarthy