Top 15 Breaking Bad episodes; by Andrew Lambert

Recently, I've come to the realisation that Heavy Metal Mouth hasn't yet featured any TV articles so expect to be reading about the likes of The Sopranos, The Wire and Lost starting now as we list off our favourite episodes and characters on the silver screen.

To kick it all off theres no better place to start than with Walter White, Jesse Pinkman and AMC's astounding drama Breaking Bad, which recently concluded at the half way point of it's fifth and final season. We'll have to wait another year for it's return, but until then let's remember the reasons we love it so much in the first place. Here are Heavy Metal Mouth's Top 15 Breaking Bad Episodes.WARNING: For anyone who hasn't seen the show in full (that is to Season 5, Episode 8 at this point) do not continue. This article contains massive spoilers.

15. Breaking Bad (S1, E1)The debut episode of the show opened with a memorable sequence involving Walter speeding down the motorway in an RV loaded with chemicals as he is pursued by sirens and records a tearful message to his family. It's a remarkable opening and from there we are introduced to the mundane life Walter lives with his beloved and heavily pregnant wife Skyler, and teenage son Walt Jr. who suffers from cerebal palsy. Walt's terminal diagnosis leads him to embark on a dangerous scheme involving troubled former pupil Jesse Pinkman and so Walt begins his new double life as crystal meth manufacturer, albeit comically unsuccessfully at first.

The pilot is an excellent demonstration of the mix of black comedy with drama and serves as a terrific starting point which the show quickly developed on.

14. Dead Freight (S5, E5)The first of many highlights from the incredible fifth season, this episode sees Walt, Jesse and Mike carry out a train heist for chemicals that goes to plan until a passing boy witnesses the robbery and is duly executed by new recruit Todd. Other highlights of the episode include Walter installing a bug in Hank's office as he deviously cries to his brother in law to create a diversion. An action packed finale with a shocking conclusion.

13. 4 Days Out (S4, E9)The first of several so called 'bottle' episodes in the show, and in my opinion, the best. Walt's deteriorating condition and lack of substantial money to leave behind leads him to bring Jesse deep into the desert for a marathon cook, only for the RV to die on the pair, leaving them stranded. An episode that developed the relationship between the pair and the first real indication of a father/son bond that would later become clearer.

12. Peekaboo (S2, E6)An episode which significantly developed the character of Jesse as he is faced with the task of reclaiming stolen drug money from two meth addicts following their ambush of Skinny Pete. Jesse comes to realise he's not the tough enforcer he is expected to be, and forms a strange bond with the junkie couples child. The first time we see a truly empathetic side to Jesse and a real breakthrough for Aaron Paul as an actor in the series.

11. Hermanos (S4, E8)Simply a showcase for the acting powerhouse that is Giancarlo Eposito as we are given further insight into the past of fast food empire and drug kingpin Gus Fring through a series of flashbacks involving his dealings with the cartel. Mark Margolis is excellent as the despicible Tio but it's Eposito who steals the show, and it is a true testament to his ability that he could generate sympathy from an audience who already knew his evil nature all too well.

10. Live Free Or Die (S5, E1)The remarkable opening flash forward scene of season 5's inaugral episode is enough to ensure Live Free Or Die's position among the great episodes of the series, but this episode is notable for it's complex examination of Walt's character as he begins to transform into the monster he destroyed in the season 4 finale, Gus Fring. Walt's hunger for power and status has outgrown his love of family and he is no longer in need of money. He is simply a different man than the bumbling, desperate but kind-hearted teacher we met in the pilot episode and Live Free Or Die is confirmation of Walt's dominant alter ego. Anna Gunn is superb as Skyler, who is horrified at her realisation of Walt's change.

9. Box Cutter (S4, E1)The season 4 opener is once again dominated by one man's performance; Giancarlo Eposito is mesmerizing as Gus makes a menacing statement to both Walt and Jesse following the murder of Gale. His execution of Victor before their eyes is brutal, and Eposito's cold, silent demeanour is chilling and makes for one of the most intense scenes in the show's history.

To continue reading, Visit Andrew's blog; Heavy Metal Mouth. http://hvymetalmouth.blogspot.ie/2012/10/top-15-breaking-bad-episodes.html. There you will also find a plethora of reviews and features relating to the latest music and movie news as well as his latest piece on Breaking Bad.

Ruby Sparks

From writer Zoe Kazan and also starring in, comes a clever movie based on the would-be imagination of a not-so constructed novelist Calvin, played by the populated growth of (Paul Dano), who struggles to evolve from a "writers block" following a successful novel he wrote in college.

Far from social, Calvin lives with his dog and his type writer. While continuing to gain recognition through a book he wrote in his teens, he struggles to cope with handling routine lectures as well as constant pressure in terms of an eagerly anticipated follow up to a book that he is forever recognised with.

While Calvin crumbles under the pressure of staring blank at his type writer, it is when Dr. Rosenthal (Elliott Gould) encourages Calvin to write something "Crap", anything to show his desire is still at show. Agreeing to this, Calvin finds himself writing about a girl, Ruby Sparks who he knows all too well as just a simple imagination who makes routine visits to his couch dreams. Seeing the introduction a potential ball roller, it is when Calvin wakes up one morning to find Ruby Sparks (Zoe Kazan), his creation, wandering around his apartment like nothing out of the ordinary.

In humorous circumstances, Calvin struggles to believe his eyes. Worried of what might become of his mental health, he turns to older and not much wiser brother Harry (Chris Messina) who to his surprise can also see the character of Ruby in Calvin's apartment.

Harry, who sees this a goldmine in more ways than others, Calvin believes Ruby to be the love of his life, the girlfriend of his dreams, literally. Although Ruby is every bit human as the rest of us, emotions, love, and the core of Calvin's created relationship is depending on what Calvin decides to type. It is when he settles for this ideal relationship that Calvin realises that the "will" and "desire" from the two of them may collide, revealing a level of selfishness from Calvin, taking a more serious approach further down the line.

As silly as it sounds, it does manage to provide quite a humorous and clever concept, with a story mixed with the ingredients of a mundane relationship as well as the ups and downs of life. Obviously it would be ideal for us all to control our girlfriends, but sooner or later a karma of some sort will bite us in the ass!. What Ruby Sparks does so well is focus on the drama as well as the onscreen chemistry of Paul Dano and Zoe Kazan.

As far from convincing Ruby Sparks might actually be, the film takes you to a point so far beyond fiction that you forget that Ruby was created by Calvin. A fine example is when she pleads with Calvin to meet his parents; a scene that becomes all too strange. Calvin is happy to convince his mother (Jane Anne Thomas) and her boyfriend Mort (Antonio Banderas) of his newly found relationship.

A stand out performance from Paul Dano who I am growing to love lately. His acting abilities shine brightly, as they did in Looper. His overall presence, particularly in this movie and in my opinion was made for him to represent, resulting in some fine onscreen credentials. Zoe Kazan is also a joy to watch as she plays whatever she has to because after all, she is a puppet awaiting Calvin's fingertips.

Overall: Ruby Sparks was definitely one of the surprise flicks of the year. A clever, Indie premise supplied with comedic humour, drama, romance and heartbreak; not to mention Paul Dano turning in a stellar performance.

8/10

Sinister

                                           "Once you see him, nothing can save you"

Sinister is written and directed by Scott Derrickson, who judging by his resume, this guy loves his horror movies; that I don't have a problem with! I was really looking forward to this flick for two reasons; Insidious was one of my favourite horror movies of the last ten years, so my anticipation grew with the production of Sinister carrying the same producer. And B, prior to seeing Sinister, I watched "House at the End of the street" which left me desperate for something fresh.

Ellison (Ethan Hawke) is an accomplished writer who brews his career through the premise of true-crime stories. His obsession is based on the majority of murders and mysteries surrounding them with a weight of controversy surrounding his Journalistic morals.

Ellison is hell bent on reaching a peak he is yet to discover in his career while trying to convince himself of the stories he covers are for the people, and not for fame. It is no convenience when he moves his family into their new home, a suburban crime scene; a freakish killing spree that resulted in the hanging of an entire family. Desperate for his big break, Ellison has to manage the Ora surrounding the town and its unspoken crime and his wife Tracy (Juliet Rylance) who is convinced of a refreshing start to a troubled past.

Although the Sheriff (Fred Dalton Thompson) voiced his own opinion on Ellison's reputation, it doesn't stop the willingness behind Ellison's personality as he stumbles across a box of horrific surprises that hold a motive behind his current investigation.

Without hesitation, Ellison puts the mysterious reel of tapes together as he is disturbed but yet satisfied to witness a plethora of found-footage images that take him on a journey through a nightmare worse than he could have imagined.

Desperate to fulfil is unwanted duties, Ellison discovers a dark figure within the murders; a supernatural spirit that haunts those who discover the tapes.

Ellison's insight into the murders reveal an origin of secrets that is sure to shock the town as he believes, in cliche journalistic fashion, "the people must to know". Although Ellison is not prepared for the danger he could place on his wife and kids as a demon lurks behind his projector of evidence.

Judging a book by its cover is not my thing, but by its introduction, that is how I roll!. On the off, Sinister invites you down a dark and twisted path, most likely a journey that you will have never witnessed before. The first scene reveals a taste of refreshing initiative. Originality is not the main key to Sinister because to be blunt, it ain't original, but it is really scary.

The main premise is the constant suspense that is revealed within the tapes. It is not graphically gory, just down right disturbing with each video backed up with a frightening tune. Just like Paranormal Activity, the majority of scares are within the backing of found-footage. But apart from the mundane routine events in 21st century horror movies, Sinister succeeds in disturbing the mind of the viewer without actual "Jump-Scares".

The plot is fascinating in it's own sick way, following a puzzle that I had no idea how it would come together, but it did, and it did so in original fashion.

Looking at the majority of Horrors this year, it is obvious to label Sinister as the best and certainly the scariest movie of 2012 thus far. I adore my horror movies so I was quite satisfied with a concept that is not entirely fresh, but revealed scenes with simple ideas and found a way of visually implanting an image into the viewers head. It is not always about the full on graphic that disturbs the mind, it is the motive behind it that really gets the viewers asking questions, and better yet, remembering something that almost feels a supernatural reality.

Overall; Not entirely original with the folks behind the scenes nit-picking at Insidious and Paranormal Activity. However, the overall creation of horror is really frightening, with scenes that some viewers may find disturbing. Sinister is a successful result of a genre that has unfortunately been the subject of poor and effortless movies lately. Halloween is approaching, don't hesitate with this one!

7/10

Looper

Joseph Gordon-Levitt stars alongside his future self Bruce Willis in this sci-fi classic to be, Looper.

Joe Simmons (Levitt) is one of many cohorts affiliated with a criminal organisation running Loopers; assigned hit-men of the present who gain wealthy lifestyles through assassinating criminals who are sent from the future be shot an wiped in the outskirts of Kansas City. The organisation is altered through the use of time travel, invented in the thirty years ahead. The mob of 2074 sees the machine beneficial in terms of body disposal. Once the target is sent back to the year 2044, it is placed in the hands of Joe and Co to finish the task.

Kansas is home to the strangest of folks with a major decline in poverty as well as a fascinating trend of telekinesis. Abe (Jeff Daniels) who is head of Loopers, feeds off the low class of 2044 Kansas.

To Abe's disgust, Seth (Paul Dano)lets his target slip, leaving an outcry for him to be captured. Joe hesitates in covering for Seth however he finds a portrayal to come as Seth reveals the danger of the current Loopers as a future figure head calls for all Loopers to be closed - meaning their future self is next to appear which will leave them ultimiately terminated.

Joe is faced with the ultimate task when he is faced with killing himself, Bruce Willis. Joe suffers a similar consequence to Seth as he too lets his target escape, resulting in a chase of cat and mouse involving the mob and an older but much wiser Joe.

Joe; "I work as a specialized assassin, in an outfit called the Loopers. When my organization from the future wants someone to die, they zap them back to me and I eliminate the target from the future. The only rule is: never let your target escape... even if your target is you."

Older Joe follows is on a path to destruction as he sets on seeking the "Rainmaker"; the future figure involved in closing all the Loopers. The concept is blended between a general mix of future scenes and future flashbacks if you like, painting a picture of Old Joe's life from crime to love. Destined to make his future current, Old Joe is hell bent on changing the perception of his younger self, even if it means the introduction of Sarah (Emily Blunt). Sarah is caught up in a convenient piece to a time travelling puzzle.

Looper begins at great pace, offering a classic ingredient of science fiction, a genre we have recently come to forget. It is obvious to see the comparison of movies such as The Matrix, but it should take pride in enhancing its own premise. Time travel has been done before but not like this. Looper took this concept and kept focus keeping any possible exaggeration in tact.

The onscreen chemistry between Willis and Levitt is delightful. It is when they both sit across from each other for the first time you realise the hype surrounding Joseph's Die-hard resemblance. The interactions between Joe and Sarah shine nicely as it took aim in slowing down the movie, focusing on what is a potential romance that intervenes in what feels like an appropriate time.

Looper is an intelligent movie, creating some what a less confusing direction towards what many people believe time travel to be quite mindless, Inception and Donnie Darko are examples of showcasing a timetravel premise. Both fantastic films in their own way, although it still takes me some time to get to grips with the apparent aim of those movies. Inception was known for it's mind boggling asset, leaving Nolan to let the viewer decide. Let's just say you can enjoy Looper without any long-term debates.

Is it what the critics say; 2012's Matrix? No, I believe Inception was 2010's Matrix, and you can't have a film every year relating to the same film can we?

Director Rian Johnson made this movie his own, just like when Nolan got a hold of Inception. Not many directors and writers succeed in creating a time travel concept following the success of previous creations, however Rian has put together something original, with a not-so original cast, and made what could be my film of the year thus far.

Overall: Not only do the performances from Levitt and Willis make this enjoyable, the all round dark and twisted concept rates this as one of the best sci-fi thrillers of the last 10 years! It rocked!

9/10

The Campaign

Like nothing we haven't seen already, Will Ferrell plays a character that depends on comedy through the chemistry of his new on screen buddy Zach Galifianakis.

North Carolina is iconic for the origin and current congressman, Cam Brady (Farrell), who, despite rivalry through-out his career, the chances of Cam retaining position every year is pretty fat. While taking the personality of a modern day body of government, Farrell's character is a mocking portrayal of George Bush which he uses to air a lame comedic performance.

To lighten the mood is Marty Huggins (Galifianakis), a some what camp individual who is happy out walking his Chinese pugs and running his low budget tourism centre.

When two CEO's eye future profits, a devious plan is set on reforming the campaign by convincing Marty that he could out-way Cam's votes and become the next Congressman. As Naive as Marty is, he is easily convinced as he sets on proving his worth to his not-so proud father Brian Cox.

It is no ordinary campaign this time around for Cam as he is shocked to find Marty stepping up to the plate. Insulted by Marty's actions, a war of words turn into a war of media as Cam realises that Marty is not acting on his own. Mitch (Jason Sudeikis) is assigned to accompany Marty and to make sure he uses every trick in the book to out-wit Cam and win the pride of Carolina.

A simple slap-stick that offers nothing new in terms of originality and overall humour. Will Ferrell was anonymous as he remained on the outskirts while Zack Galifianakis tried savouring a dying film from start to finish. Ferrell's performances are quite boring this time around, offering a concept we have seen time and time again; Blades of Glory, Anchorman, Step Brothers, all rivalry concepts that were quite successful upon release. The Campaign had outweighed this concept, with unworthy results.

Zack Galifianakis is quite humorous as a quirky socialite with his presence adding a comedic ingredient to every scene. Although the chemistry between both looked well onscreen, it didn't play well as each scene they were tied up in was childishly played or just down right boring, with gags such as the baby punch desperate to win you over. You will find yourself laughing more at the stupidities of the film while you realise you are left abandoned from the iconic, witty dialogue that Ferrell and co once brought.

The Campaign comes with a complete lack of comedy freshness, with a partnership that was destined to happen since The Hangover. Sadly the performances didn't play to the hype. Zack Galifianakis will continue to move forward. I have doubts over Will Ferrell's next destination. Recent times have fed me that result.

Overall/rating; so mundane, offering the same old stuff! Although a cheap part-time gag is on the table, the performances and overall film results in 85 minutes worth forgetting!

3/10

MovieNewz: Did you Know?

*Same Concept, Different director.
In my last Movienewz article, I discussed the latest on the Rise of the Apes sequel, with the possibility of it being scrapped due to the previous director Rupert Wyatt confirming doubts over his return. It is fair to say, and quite unfortunate, Mr Wyatt is no longer part of "Dawn Of the Apes", rather the intervention of Director Matt Reeves.

Matt Reeves: You May know, 

Let Me In (2010)

Cloverfield (2008)
The Yards (1999)

Felicity (1998)

Under Siege 2: Dark Territory (1995)

Scheduled for May 2013, the folks behind the scenes remain tight-lipped for obvious reasons but touch on a direct continuation from where Caesar (Serkis) left off. The intelligence of Caesar will remain a huge factor, with Empire revealing a further take-over, resulting in the creation of devious apes we know too well.

For the full article see Empire Magazine http://www.empireonline.com/news/story.asp?NID=35353

*New "Bullet to the head trailer".
Sylvestor Stallone's upcoming ear-blaster "Bullet to the head" is well and truely viral, even more so with the second trailer released yesterday.

-"You don't just kill a guy like that!"...Stallone - "I just did!"

What can we expect? Well for those who don't know the story, it follows a New Orleans cop (Sung Kang) teaming up with a reputated hitman (Sylvester Stallone). Why? well, in typical nostalgic 80's fashion why not take down a vicious crime boss slash Henchman, Morel (Adewale Akinnuoye-Agbaje), who in my opinion has quite an onscreen presence. On a slightly amusing note: Christian Slater is also part of the crew. Remember him?


                                                            Trailer: Bullet to the head

*Too late Comic geeks, "Man Of Steel" will be darkly realistic, like we hoped!

Words we will thankfully embrace from screen writer David S.Goyer; "What Christopher Nolan and I have done with Superman is try to bring the same naturalistic approach that we adopted for the Batman trilogy. We always had a naturalistic approach, we want our stories to be rooted in reality". 

We would be lying if we felt the teaser trailer gave off any different. Don't be fooled, Chris Nolan has not got a huge part behind the scenes, but the realistic, human-like concept of Superman will definitely carry a slight ingredient from Mr Nolan.

Directed By Zack Snyder, the film will look to resurrect the return of Superman in better fashion than it's predecessor, adding a super-hero's origin to a concept that could almost feel believable. 

See the full article here: http://blogs.indiewire.com/theplaylist/david-s-goyer-reveals-man-of-steel-will-be-naturalistic-rooted-in-reality-like-the-dark-knight-movies-20121002

House at the end of the street Review

I have come to learn what was once described a "Horror" genre is now a word that is well and truly deceased. We think Horror and reminisce on classics such as A Nightmare on Elm Street, The Thing and many others I am sure to think of once I sign off! Suspense thriller is now a descriptive genre that has been around for a while, but I still find myself phrasing horror. The fact the majority of poor Suspenseful horrors have torched us over the years, I think I am finally ready let go of a genre that will always be remembered for its recognition through-out the 70's and 80's.

In terms of the review ahead, let's start off by referencing the quotes in the image above; The following movie is NOT deeply scary with a twist that is far from awesome but is in fact decent, a word equivalent to acceptable where I come from.

 What seems an ideal family dream home, Elissa (Jennifer Lawrence) is the first to find conspicuous events surrounding the landscape of their new home and the rural town within. Her mother Sarah (Elisabeth Shue) is desperate to remain optimistic and sees the move a fresh start from a troubled past we know little about.

Elissa is more than a little helpful after learning a murder had occurred in their new home, leading to flirty chats between herself and ideal genre heartthrob Ryan (Max Thieriot), the son and last remaining member of the murdered family. The long time suspect is Ryan's younger sister who, since the killing has never been seen. While a myth of the demented sister lurking the backyard of the woods, we see Ryan is holding her on basement arrest to savour himself of any further troubles.

With the plot praying on a routine escape from the enslaved sister, most of the movie focuses on a developing relationship between Elissa and Ryan, despite the despicable weight from the locals. Just like your basic romance concept, the mother isn't happy for obvious reasons, Elissa wants to be with him so there is nothing anyone can do. The film gets to the point where you forget there is a girl being starved in Ryan's basement. The movies backbone is depending on the occasional fright from the sister while trying to balance a chemistry of love that blends together like Tabasco and tea!

There is a twist that you feel quite privileged to have witnessed first off, but give it time. You ever find leaving a movie and thinking "yeah, somewhere in the back of my mind I enjoyed parts of the flick", but the more you think about it, clever twist or not, the majority of the film was rubbish. There is more suspense slash horror in the Gremlins, honestly.

Note; The House at the end of the street is indeed at the end of a drive-way surrounded by a concept of creepy woods. You won't find a street associated with any house in this film.

So with an old school introduction that was quite pleasing in terms of scary, it quickly changed course trying to develop something completely different to what the trailer had revealed. A twist at the end does not make up for the first 95 minutes.

Overall; A typically mundane attempt at a tiring genre. Just another cheap concept that although supplied an okay twist, the overall suspense and characters involved where downright careless. Wait for Sinister!