cuddlesatusc Reviews

Better Call Saul: Saul Gone (2022) Season 6, Episode 13

Goodbye, Jimmy

[10/10 · 16 August 2022]

A stunning and beautiful episode that ends in the best way possible. I can't express how much tremendous effort has been put in from the cast and crew; and how damn well it's payed off. This episode is another flawless hour that will go down as one of the best in television. The opening has us ponder fate on again fatalism; all themes posed throughout the entirety of Better Call Saul. The episode pinpoints flashbacks in Jimmy's life where he talks to Mike, Walt, and Chuck about the possibilities of a time machine and which places they would change. Mike's response seems to reference stolen money. Walt and his arrogance goes on wishing he took his old company back. But Chuck flips the question. Chuck believes that it's never to late to change one's fortune-redemption is possible. And that's exactly what Jimmy does.

Instead of taking those 7 years in prison, Saul takes the big 86 and brings up all the awful and deplorable things to the judge that have devastated numerous lives. It's a powerful moment, one which certainly deserves Bob that Emmy. His cathartic final line, "Call me Jimmy" had me roaring in my seat. He's accepted who he is and how he can change. I love the callback shot with Kim and Jimmy smoking in that film-noir style and I especially love Jimmy's final shot of the entire series: A man slowly panning out of sight whose only regret is that he didn't confess earlier.

Thank you so much Peter Gould, Vince Giligan, the cast, crew and everyone who worked on this tremendous show.

Better Call Saul: Breaking Bad (2022) Season 6, Episode 11

Embracing Old Habits

[10/10 · 2 August 2022]

The previous episode hinted at a slight awakening of the Saul persona in Gene. In this episode, Saul is out and open to the streets of Omaha."Breaking Bad" opens with an integral scene of doom. Francesca is now a cleaner, and she manages to get in contact with Gene over payphone at a Gas station (coincidentally the same one Jesse was at in Breaking Bad when he was handing the meth over to the clerk). But it's not a warm call: Francesca tells Gene his previous funds from the nail saloon and lastertag are gone. It's over. Marshall Adams' brilliant cinematography elevates a typical conversation of Francesca and Gene into a contemplation on the futility of life. After all the blood spilled and lives shattered in the events of Breaking Bad, was it all worth it in the end? Adams' angular, open, and wide shots of Francesca and Gene over the phone seem to evoke that empty feeling within them. With nothing left on the plate, Gene starts a call to Kim that ends in a chaotic frustration. Gene's bitter emptiness invites the thrill of his old Saul ways again, spiraling into a identity theft scam with help from Jeff and Buddy.

It's a no-brainer that Better Call Saul has always had superb editing--especially episodes from Kelley Dixon--and Skip Macdonald is no exception. His montages and transitions are hypnotic, just as are the scams of Gene. What I think his most fascinating in this episode is its use of the cameo. Yes, Walt and Jesse are back but not in the dazzling way you'd think an ordinary cameo would be: there's purpose in such an appearance. The flashback cameo, intercut with Gene's conversation at a bar with a man who has cancer just as Walt did, emphasizes Jimmy's obsessive trait. It's a trait present in his past life as Saul and current life as Gene. Thomas Schnauz wonderfully weaves these two stories together that parallel both the beginning and ending for Saul and Gene.

In the flashback storyline, Saul is kidnapped by Walt and Jesse and becomes curious about their work as the meth dealing "Heisenberg" and "Igor". Later back at his office, his curiosity gets to the ears of Mike. Mike tells him to drop the idea of putting Walt and Jesse on as clients but Saul believe's they've got something. He thinks the duo can bring him in some good money. It's this exploitive and obsessive side of Saul that begins the birth of Walt and Saul's collaboration for the series to come. Yet it's the same side that may soon lead to his pivotal downfall, as Gene seeks to finish the scam by breaking into the caner guys house. The final scene--a juxtaposition of Gene breaking into the guy with cancer's house and Saul arriving at J. P Wynne High School to meet Walt-- is a devastating reminder of Jimmy's bleak fate.

The Rehearsal: Orange Juice, No Pulp (2022) Season 1, Episode 1

Everything Great about Nathan For You, but way more complex and empathetic

[9/10 · 20 July 2022]

Nathan Fielder is no stranger to comedy, having released a show on Comedy Central-- of which "The Rehearsal" tweaks-- and executive producing the lavish "How to with John Wilson." The awkward and deadpan humor remains in this series, however the twist that differentiates this show from his previous works is the attention too empathy. Nearly 15 minutes into the series and we're prompted with ideas on human connection and interactivity. In modeling these ordinary scenarios that help people with their lives, what do these "Rehersal's" mean for Nathan and respective people he helps. Is this practice even necessary to bend an individual's outcome? Such strong questions proposed in the first episode alone make this show a strong contender for brilliance.

Better Call Saul: Hit and Run (2022) Season 6, Episode 4

Turn up the heat

[9/10 · 3 May 2022]

Things are starting to get a bit tense for Jimmy and the crew. Kim is finding out more about the cartel world, Gus is as tense as ever, and Jimmy is starting to become affiliated with the Salamanca headline. Another great episode that brings the worlds of the cartel and the law together. Every character seems to have their own stances and interactions of paranoia. Again the filmmaking is pronto, with directing from Rhea Seehorn herself. What she seems to have an eye for is knowing when to pull out shots and how to frame the same shot but in a different way, splicing in between some uncanny movement that evokes the anxiety heavy tone of this hour. Part 1 is looking scary for the crew.

Better Call Saul: Rock and Hard Place (2022) Season 6, Episode 3

Pivotal point in Television

[10/10 · 26 April 2022]

This series is without a doubt going down as the most under appreciated show of all time. This hour is a full on character renovation, eventually reaching a catharsis for the character (I won't mention who). I'm still in shock and I will be for the next coming week. To think this is only the third episode of thirteen total and it's one of the best written of the entire series so far. Major props to Gordon Smith's writing and directing. The opening scene all makes sense at the end as a beautiful portrait of Nacho's character: In a world saturated of evil, he's the only one trying to do good.

The Face of Another (1966)

A Timeless Warning

[9/10 · 27 February 2022]

Strikingly relevant and layered with style, The Face of Another contemplates the masquerades we hold against ourselves and others. The film pitches cold, black and white cinematography to derive scenes that encapsulate Post-WWII Japan's social depression. The score shifts from gleaming waltz symphonies to brooding, ambient soundscapes, pitted with obscure imagery. The story follows a man named Okuyama, and his desperate measures to conform himself after an industrial accident.

Like Mary Shelley's Frankenstein-where she criticizes the pursuit of knowledge through its modification of domestic sphere-The Face of another critiques science through not only its effect on private world but also the public and social. One scene has the doctor theorize the negative potential of the mask, citing how the increased isolation blurs friendship and loneliness. It's scary how true his statement is, as the evolution of technology-like the doctor hints through the mass production of the mask-has further separated people from one another. Okuyama's industrial accident is explained briefly but it provides further context for his alterfication. Post-WWII Japan's adoption of modernism has caused an imbalance in Japanese society, creating people like Okuyama and people that condemn him. He dons the mask out of disgust for society's ostracism but doesn't realize that he too takes part in his own alienation. He fails to accept his own individuality, and, through the mask, derives some of humanity's darkest and primal urges. There's this really amazing shot of Okuyama, during a meeting with his doctor and the man to preform the face experiment on, staring out from a window at a new and industrial city. The intersection to which he stares at creates an "X" around his head, almost as if he believes to be the target of society.

Of course the film is a tad experimental-jump cuts out of nowhere, freeze frames, choppy editing, over-layered compositions-but the adoption of the surreal isn't utilized to its full potential. The second narrative that the film incorporates relies on the unconventional, but doesn't evoke much significance until the very end. This implementation is flawed to my taste but also represents how daring this film is. Whatever ones opinions on the matter, The Face of Another commentary on drifting individualism is one to be adhered, especially now.

Jeen-yuhs: A Kanye Trilogy: Act I: Vision (2022) Season 1, Episode 1

The First Act

[8/10 · 11 February 2022]

A deep and honest portrayal of a man with a passion. Coodie and Chike do an incredible job revealing the determination and persistence of Kanye; he combats his opposers by flipping the script on themselves. In one scene Kanye explains how the major labels say he can produce but he can't rap. Well no worry, in order for West to achieve his dreams, he'll send the labels a beat CD. Now, the labels will have search for a vocalist to compartmentalize the production but ah, littered through the CD contains Kanye's own vocals, placing the label in no other option but to distribute his songs. Even in banter does Kanye establish his persevering demeanor. Yet his attitude can lead to a downfall of undeserving moments.

We all know Kanye can be somewhat arrogant-his mother even makes light of this in the film-but it's now what defines him. Rather, his perceived arrogance is a false perception the public must view from the eyes of those putting him down: the media, butthurt producers(Dug Infinite in the film), and labels. Kanye wants for one thing to remain in state: his authenticity and art. The documentary subtly hints Kanye's conflicts as a result of his originality, forever experiencing a form of hate. Consider Kanye's confrontation of Dug Infinite over a radio diss. Infinite, who helped Kanye understand music production, dissed West for not name dropping him in an interview were West acknowledges No ID as his true mentor. Kanye had to jump on the hit Chicago radio and cement his comments toward Dug, claiming that No ID furthered his knowledge on the art of production. A man achieving greatness will always experience detestation.

It's only Act 1 but I can't praise the directing and editing enough. They weave a story that not only provides new context for Kanye-examining his relationship with music, the industry, and his mother-but also foretells and acknowledges the future. I don't want to give it away but one amazingly placed scene of Kanye rambling in his hotel alludes to a very recent event. I encourage anyone to view this documentary, even if you dislike Kanye. More people will be able to understand his humanity than flamboyant "larger than life" persona. Jeen-yuhs Act I is not your average biographic documentary. Much like "Hoop Drams," to which the documentary mentions, this new film uses one man to expand upon larger and reflective subjects.

The Passion of Joan of Arc (1928)

The Shape of Cinema to Come

[10/10 · 27 January 2022]

An absolute landmark in cinema. I wasn't expecting this to be so intense. The directing and cinematography are peak and the performances, mainly Renée Falconetti, scorch the retina of both agony and crucifixion. The additional impeccable score acts as a guiding force that tethers the film together. It's all too perfect right here. Love the religious symbolism and god do I love the composition. Joan is framed with the camera looking down, but as she remains steadfast, the camera hoisters down a bit and views her upward, emphasizing her moral superiority and power over the court.

What fascinates me the most is the how the film challenges both a Catholic and Atheist viewpoint. A catholic may view the corruption of the court as elites who have abused their free will granted by God. Whereas an atheist may believe that the court's antithetical use of God suggests there is no true God. Carl Theodor Dreyer also uses imagery to enhance the conflict. The obvious cross symbol is ever so present but Dreyer twists its inherent nature, embodying cruelty rather than redemption. Consider the shadow of the religious cross reflected through a window. As Joan makes a slight smile at the shadow, it instantly vanishes, blocked by the two-faces judge's white garment. Religion has the divine opportunity to heal and console, but when challenged with a perplexed evil, it can do nothing but scurry in fear.

Man, it's the movies like these that inspire me to create and pursue all the passions. They're also clear examples of the often neglected silent age of film. Most people won't watch this simply because it was made in a time without spoken language. But if a film can get across as many points and ideas as this one without the need for vocals, then it's begging to be seen.

Six Feet Under: Brotherhood (2001) Season 1, Episode 7

Meaning

[8/10 · 22 January 2022]

This hour is a great reflection of how we can make things matter and why we do it under our own dilemmas. Nate faces most of his problems with a cool guy approach, always trying to curry up to someone's needs. But the death of a man's brother who disregards his brother's positive feelings toward Nate forces him reevaluate what he stands for: Doing the right thing. And it comes with its payoffs. The brother remarks "All these years and even after my brother is dead I still don't know him." It's cold but the truth.

Euphoria: And Salt the Earth Behind You (2019) Season 1, Episode 8

Style over Substance

[7/10 · 11 January 2022]

Overall, Euphoria S1 didn't impress me much but was pretty good. It has great filmmaking put to use, but lacks on the writing side. You've got characters like McKay that just don't sit well in the show's narrative and characters like Nate that don't help with the show's mood. The show does have some meaningful things to say on addiction but nothing entirely new, rather it's told with empathetic characters. I'm a bit mixed on the ending; the ambiguity of Rue's future is set up well but told through a crammed music video. I didn't particularly mind the video itself as it highlights Euphoria's visual appeal with musical symmetry but it's implemented so arbitrarily. All this show really needs is an addition of writers, elimination of futile characters/cliches, and supplemental emphasis on unused characters (Lexi).

Euphoria: The Next Episode (2019) Season 1, Episode 6

Redundant

[6/10 · 11 January 2022]

I'm enjoying my binge with Euphoria as it has spectacle filmmaking and a good selection of characters. However this episode is a pretty big outlier; it's stagnant and repeats the content featured in the carnival episode. They really want to drill in that Daniel storyline with Cassie to the point where its just an eye-roll.

Twin Peaks: Northwest Passage (1989) Season 1, Episode 1

A Start of a Classic

[9/10 · 29 December 2021]

A very gripping pilot indeed. It keeps you on your feet and guessing. I'm familiar with David Lynch and I'm hoping we can get more of his surrealist imagery he is known for later in the series, which I'm sure is to come. Badalamenti has an enthralling score that fits the tone of Twin Peaks well, and man do I love the composition of the visuals in this pilot. And the actors give good performances. I've been meaning to watch this show for years now, and if you're like me don't wait on this. Watch it immediately.

The Matrix (1999)

Better than Ever

[8/10 · 23 December 2021]

I practically grew up on this film and its sequel. I can recite it word for word but I couldn't tell what the words imply about the movie itself. So to rewatch it all these years later and say it holds up pretty well is very satisfying. The combination of overt philosophy, -- ranging from Plato's cave to Descartes' intellectual autonomy-- cyberpunk aesthetic, and balls to the wall action is utilized so well. It shouldn't work at all, but it does. Now the film isn't perfect by any means: Trinity is reduced in the second half of the movie to character on standby mode and while the ending is cool, it leaves the viewer with too many questions that have to be lazily answered in a sequel.

Licorice Pizza (2021)

Compelling as ever

[9/10 · 20 December 2021]

A marvelously romantic journey with biting humor, Licorice Pizza concurs with every bit of praise given to it. Never thought Anderson would be so well at creating awkward scenes into comedy. He continues to be surprised throughout his career. Anderson pays fine attention to character nuance in his films, and it pays off well in Licorice Pizza.

I got a chance to see this at the Regency Village Theatre and boy does 70mm bring out the life in a movie. The unmatched detail of character faces and San Fernando Valley scenery pales to the digital format. At times I found myself in aw, not only the beauty of the scene but also the clash between the two characters Alana and Gary. Alana wants to be taken seriously, but internally she has this childish immaturity, arguing with her parents, siblings, and even Gary. Cooper Hoffman plays his character, Gary, as an antithesis to Alana--an ecstatic boy with a deeply focused individuality. So when the two collide, a satisfying sense of euphoria is reached. An incredible supporting cast aids in the euphoria. The legend Tom Waits plays one of my favorite roles in the movie as he brings a drunken craziness to a film director. Bradley Cooper plays the real-life Jon Peters, adding a comedic and ferocious attitude with the character. The soundtrack is also pure perfection. No song is wasted or placed in for filler. Classics like The Doors's "Peace Frog," Berry's "My Ding-A-Ling," and Wings' "Let Me Roll It" evokes a distant nostalgia that amalgamates to a lover's search.

This is the most fun I have had with a movie in a while, contemplating loneliness, rejection, and self-discovery with the aid of comedy. Performances are at their best with the filmmaking being top-notch. Anderson delivered his all in one of the best films of the year.

Drive My Car (2021)

A Stunning experience like no other

[10/10 · 19 December 2021]

Drive My Car is brilliantly able to breathe and function as its own living thing. The movie acts like a fluid that permeates your body and sticks with you, whether destructive or illuminating. The film follows theater actor Kafuku, who after the death of his wife, moves to Hiroshima. The expedition is depressing yet authentic, and the way the film explores the emotion is powerful.

For starters, the thematic lens that the film encompasses is done with such elegance. After the death of his wife, Kafuku treated his car as a symbol of grief and freedom. Moving to Hiroshima, he reluctantly accepts the driver Misaki to take him to rehearsals for his Uncle Vanya play. The tapes he would play of his wife, Oto, speaking corresponding lines maintain Kafuku's composure and well-being. The car is then initially used as a coping mechanism, to suppress the vulnerability from one's trauma. Kafuku's stoicism is what blocks his true self. Much like his adherence to the script during rehearsals, Yûsuke believes conformity is required to move forward. But through the connection with his driver Misaki, Kafuku changes his perception.

Misaki as her internal struggles, as she too flees her home in an escape from trauma. By observing Kafuku's rehearsals and the mutual interactions in the car, a strong connection between Misaki and Kafuku is formed. The car transforms into an empathy machine, where both characters, through specific nuances, can express their discrete nature and guilt. I must give praise to all the performances but Nishijima as Kafuku and Miura as Watari are both incredible. Their chemistry builds as each scene and day goes on, where it's hard to believe this is even a movie.

I love the way Yamaguchi conveys the opening of the heart through feeling rather than language. Kafuku's play assembles a cast of actors from various places that speak different languages. While not understanding one another verbally, they acknowledge sentiments psychologically. Acting itself can communicate feelings far more powerfully than language alone. Once Kafuku reaches his final catharsis, an astounding liberation of concealment arises.

The subject permeates onto the cinematography of Hidetoshi Shinomiya. Wide shots of bridges connect Yûsuke and Misaki of their internal griefs and mutual respect; long takes of character faces slowly breaking down their inner-self honor what the film generalizes about self-expression. Drive My Car is an honest insight into the conflict of oneself, and I hope to see it again soon.

Six Feet Under: Pilot (2001) Season 1, Episode 1

Flawless

[9/10 · 19 November 2021]

Without a doubt one of the best pilots I have ever seen. The hour makes you laugh and also reflect on the dilemmas of each character. I am hooked from the beginning, I really have to commend the writing and acting. In terms of visuals, many of the scenes arise through rich compositions, which I am sure will be improved upon over next episodes. I'm just so surprised that this is a great pilot.

Dune (2021)

Great Kickoff

[8/10 · 24 October 2021]

An epic experience from start to finish. The cinematography is just lush eye-candy and Hans Zimmer's score is one of his best. The production design is another big winner, heeding heavily toward Frank Herbert's writing. I remember being entirely skeptical of the cast when it was released but I am so happy that I was proven wrong, because everyone is amazing. Jason Momoa proves himself to be a formidable actor and Timothée Chalamet shows his versatility through the callous Paul. An overall great visualization of the original novel's first third, cementing Villeneuve among the finest this generation.

The Suicide Squad (2021)

What the modern blockbuster should be

[8/10 · 23 August 2021]

Stupid, good fun. Haven't had this much of a ride with a movie before. Love its approach to characters and its combination of violence and humor. Gunn also fixes the flawed character introductions in the first Suicide Squad, by dropping us into a bunch of characters in tons of action, then flipping the switch to another group of smaller characters. Another thing is how Gunn takes these goofy characters (Polka-Dot Man) and take them seriously to an extent. I'm also glad Elba owns his role as Bloodsport, proving he is a versatile actor. Another thing is the camerawork in this film. It utilizes a slow and light shaky cam while also panning. You need to see it to know what I'm talking about, but the escape scene with Harley Quinn is a beautiful example. The Suicide Squad sets the stage on what a modern age blockbuster can be.

FLCL: Furikuri (2000) Season 1, Episode 1

A Modern Classic

[8/10 · 8 August 2021]

I haven't seen FLCL since it first aired on Adultswim but I needed to rewatch this once in a lifetime piece of originality that captures the struggles and banalities of adulthood. For the pilot episode, it gives you a somewhat avant-garde--if you can call it that--look into Naoto's interaction with a pink haired, punk-styled lady on a motorbike. This episode also expresess that the chaotic atmosphere of the show has some meaning to it, but doesn't not need to be thoroughly analyzed in order to engage with the series; dont seek answers, seek astonishment. The last thing I love--and also on what improves-- is the cinematography and shot composition. And of course the wonderful visuals that also only get better. If you wanna see something "Fooly Cooly" look no further than this spectacular work of authenticity.

Dave: Enlightened Dave (2021) Season 2, Episode 9

More than makes up for it

[8/10 · 5 August 2021]

Although the firs half of S2 I found to be somewhat dull and repetitive, this second half is making up for it, especially this episode. It evokes a "The Test Dream" feel of The Sopranos with its dreamlike nature. It was exhilarating to see Dave jump into the studio and know what song he would record next.

Dave: The Burds (2021) Season 2, Episode 8

More episodes like this, please.

[8/10 · 5 August 2021]

Definitely one of the best of the season so far. Good exploration of Dave's selfishness. I would like more episodes like this than some of the previous ones.

The Wire: -30- (2008) Season 5, Episode 10

Beautiful finale

[10/10 · 5 August 2021]

Absolutely one of the best series finales I've seen. At the end of the day, it's all about the character of Baltimore and America. I like the fact that this finale's closure is somewhat similar to The Sopranos finale, the ambiguity element for the fate of Baltimore. It wrapped up every character fairly well, namely Bubbs/Reginald's ascent up the stairs. Those final shots will stick with my forever. Thank you to everyone who worked on this masterwork of a series.

Samurai Jack: Episode I - The Beginning (2001) Season 1, Episode 1

The Journey Begins

[9/10 · 31 July 2021]

Samurai Jack is without a doubt a masterwork from Tarkovsky, and the first episode is only a glimpse into what the show will become. The minimalism, tone, music, composition, and editing are shown wonderfully in this pilot alone. Like his other masterpiece Clone Wars, Tarkovsky relies on silence and the minimal, yet it works so well through his visual storytelling. A great pilot for a great show.

The Wire: Clarifications (2008) Season 5, Episode 8

Everyone goes down in Baltimore, eventually

[10/10 · 19 July 2021]

Like many have already said, Omar's death is a point made throughout The Wire. In the end, Omar isn't really a hero and just another body in the morgue. All part of The Game. This is easily the best of the season so far.

Zach Stone Is Gonna Be Famous: Pilot (2013) Season 1, Episode 1

Severely underrated

[9/10 · 12 July 2021]

It's insane how underrated this series is, even today. I've decided to rewatch this show, and the pilot is one of its best. Watching this now, this series really highlighted the inauthenticity of internet stardom that we've been saying for the past 5-6 years. If this series receives a S2 somewhere down the line, you better believe I'm watching this immediately.