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Breaking Bad 3.8 – It’s All, Like, Shiny Up In Here

Last week’s episode so wreaked havoc on my theory on how the next few episodes would play out, thanks to Hank’s parking-lot battle with the Cousins (I was sure they’d stalk him for awhile before going after him), that I walked into this week’s “Breaking Bad” with absolutely no clue about what to expect. I even said as much to Dean Norris when I talked to him, but he assured me that the show would stay intense and action-packed right through to the end of the season, adding that, despite the status of the Cousins, “There are plenty more bad guys where they came from.” I wouldn’t say that this week’s installment was entirely action-packed, but it certainly had some moments of intensity, that’s for sure.

Things kicked off with a battered and bruised (and, lest we forget, tattooed) Jesse preparing to leave the hospital, but as he’s waiting at the curb for his ride to show, he happens to see Hank rolled in on a gurney, looking decidedly worse for wear. The initial look on Jesse’s face was horror, and one wonders if maybe he thought that his own life might be in danger as well, which is a pretty reasonable consideration if you’re thinking in terms of, “If they can take down a DEA agent, they can take down anybody.” It doesn’t take long, however, for the horror to turn into bliss at the realization that the man who kicked his ass nine ways to Sunday has been taken down a peg himself.

Poor Gale. He thought that he and Walt were simpatico, but, uh, not so much. And, no, it’s not about his screw-up in setting the temperature that set Walt off last week. It’s apparently more to do with rhythms…or, at least, that’s the story that Walt’s trying to spin. Classical vs. jazz? Yeah, that explanation lasted about as long as it took for Jesse to open his dumb-ass white trash mouth. I don’t believe we’ve seen the last of Gale.

We have, however, seen the last of Walt at the SuperLab for this episode. Turns out that the lack of cell phone reception in the facility means that Jesse actually knew about Hank’s condition before Walt did. Once he finds out, however, he’s off to the hospital, where he meets up with Skyler, Walt, Jr., and, of course, Marie, along with quite a few of Hank’s fellow DEA agents. In addition to finding out that one of the Cousins survived, albeit in critical condition, we also discover that Marie had no idea that Walt’s weapon had been confiscated from him. Cue a royal ass-tearing from Mrs. Schrader, one which finds Hank’s ex-partner, Steve, getting reamed. Unfortunately, Walt finds himself on the receiving end of her venom, too, thanks to the very reasonable suggestion that none of this would’ve happened if it hadn’t been for Walt’s connection to Jesse. You can see in Walt’s eyes that he did indeed feel some guilt over the situation (though it’s likely less because of his former student and more for his own disgraceful actions a few episodes back), and the next thing you know, he’s turned into Super Family Man. You can see him actively struggling with his desire to be elsewhere and to just be doing something other than sitting around, but he’s trying his best to be there for a change…even at the expense of the deal he’s made with Gus.

Meanwhile, Jesse’s being about as loud, obnoxious, and useless as any human being can be. He’s really been all up and down the emotional spectrum over the course of this season, and I have to admit that it was good fun to see him acting so utterly irresponsible as he giddily explored the SuperLab to the strains of Prince Fatty’s “Shimmy Shimmy Ya,” but it struck me as being a little ridiculous. Yes, he’s been through a lot of the past few days, and he’s more earned himself the chance to blow off a little steam, but after he kicked so much ass as a meth maker on his own, it still rang untrue to me that he wouldn’t at least be trying to figure out the lab on his own. But it was a typical dumb-ass move for Jesse to call Walt at the hospital, and it was a cruel but character-appropriate closing comment that Jesse made: “Tell your douchebag brother-in-law to head to the light.” Nice. The guy’s a complete dumbass, but you can’t help but love him. Well, we can’t, anyway. Victor – Gus’s right-hand man – doesn’t appear to feel the same way…at all.

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Weekend box office: poor, poor “Iron Man 2″…

“It broke no records” seems to be the fairly silly refrain. According to Box Office Mojo, “Iron Man 2” made only an estimated $133.6 million Paramount and Marvel Productions. Why, that’s not even enough money to buy a pound of Kobe beef for the entire state of Hawaii! Of course, at $163,193,428.00 they’ll hit that milestone shortly. (Yes, I did the math, based on the $380.00 it costs to buy four pounds of Kobe New York steaks via mail order from Neiman-Marcus.).  That’s the problem with all this bar setting, it makes massive success look like failure.

I personally succumbed to that mania partially on Thursday. I did that mostly in deference to the gurus who generated the mania, even knowing that, while it’s not a bad movie, almost everyone seems to agree it’s some level of let down from the first film — the only real disagreement is how much. (There are people out there who didn’t even care for the first film for perfectly legitimate reasons, shocking as that might be to some of you.)

Jon Favreau has made some charming movies — I love “Elf” — but “The Dark Knight,” this ain’t. However, Anthony D’Alessandro points out some good reasons why, in terms of box office at least, that might be an unfair comparison. He also mentions that it pulled a 31% improvement over the original’s opening, which is “well within the perameters [sic] for most sequels.” It’s worth noting that the movie more than justified the one record it really did break — the number of theaters it was booked into. It’s 4,380 screens enjoyed by far the week’s best per screen average (which usually goes to a limited release film) with a terrific per-screen average of $30,502.00.  Still, I can’t help wondering if Favreau’s improvisational approach, which he discussed in some detail at the film’s press conference, might have limited the power of the film’s story and hence it’s long-term appeal. We’ll see.

In any case, given the film’s international take of $194 million so far according to Nikki Finke, it’s already significantly exceeding its $200 million production budget by roughly $127 million. That is not shabby. ($200 million is now considered low for this kind of movie, I guess. Marvel is the stingy maker of efx laden epics. I guess there are a number of big salaries to pay.)

Freddy contemplates his rapidly dropping grosses in despairComing in a very poor second indeed is the latest horror remake, “A Nightmare on Elm Street.” It dropped a gigantic 72% in its second week, obviously not generating a whole lot of excitement in terms of word of mouth and also probably sharing a big part of its youngish audience with “Iron Man 2.” Coming in third place is Warner’s extremely strong “How to Train Your Dragon” which is leggy as all get out and made $6.76 million in its seventh week. It cracked the $200 million mark this week, though it’s $165 million budget shows just how risky a gamble this kind of movie can still be. However, if you can make a family picture that parents truly enjoy, you can be reasonably sure the world will beat a path to your door.

It’s also important to remind everyone that Sunday hasn’t actually happened yet as I write this and I’m not sure the Mom’s day factor is all that easily predictable. One movie that could benefit from a Sunday surge is the “awww” generating documentary, “Babies,” which did okay in it’s 534 theater release, earning $1.575 million and a per-screen average of $2,949.00. The week’s second highest per-screen according to Box Office Mojo (which is missing several key movies on its list) also benefits from a mom’s day tie-in as its title, “Mother and Child,” makes clear. It earned about $11,000 per screen at four theaters for Sony Classics. According to Indiewire, that figure was nearly matched by a movie that is just a few years younger than Betty White, Fritz Lang’s once-again re-restored “Metropolis” which — visually, anyhow — blew me away at the TCM Classic Film Festival just a weekend or two ago.

Actually, there’s much more going on regarding limited releases than I have time to discuss, including strong business for “Please Give” and “Exit Through the Gift Shop” as well as not-bad biz for “Harry Brown” and perhaps some spectacular showings on individual screenings for that horror movie I’m not talking about. The above-linked Indiewire is the place to go for such information.

Do not f*ck with Michael Caine. Trust me.

Something we missed…Betty White badgers Ryan Reynolds, butters up Sandra Bullock, on “The Proposal”

With Betty White at last hosting SNL tonight in just a few hours, it seemed like a good time to reach back a bit in time and present this humorous little Funny or Die viral video in which the astonishing Ms. White exercised her trademark gift for combining sweetness and brutality. I actually hadn’t seen this until just now, and also didn’t see “The Proposal,” so I could be wrong, but something tells me this is funnier than most of the movie.

A somewhat creepy, very late night end of week movie news dump

It’s late, so I’ll keep it brief tonight/this morning.

* Given the wave of movie science fiction we’ve had since the release of “Star Wars” back in 1977, it’s always been a disappointment to me how few of the most respected SF novels (“sci-fi” isn’t a term literary science fiction geeks approved of back in my day) have been made into movies. So, even though the book kind of baffled me when I read it not too long after it’s original release in 1984, it’s nice to see that a film version of William Gibson’s Neuromancer, the novel which is the original source of the word “cyberspace” — whatever that means. Vincenzo Natali (“Cube”) appears to be the helmer.

* It’s looking like “Iron Man 2” will not be a huge record breaker after all and may make (horrors!) significantly less than the $140 million “floor” we were originally given.

* The RZA (pronounced “The Ri-zuh”) is joining the select club of successful pop musicians turned movie directors that includes Prince, David Byrne, Rob Zombie, Paul McCartney (on the ill-fated telefilm, “Magical Mystery Tour”) and I’m sure some others I’m forgetting. Not surprisingly for the Kung-fu loving Wu-Tang Clan founder who worked on part of the “Kill Bill, Volume 1” score, it’s a stylized martial arts epic co-written with fellow Tarantino associate Eli Roth.

* Speaking of Paul McCartney, the one time Beatle, an outspoken vegetarian in real life, may be going in a very different entirely unauthorized and fictional direction as a brain-eating mop-topped zombie in a possible film version of yet another comic zombies-in-history novel, “Paul is Undead” which envisions a zombified fab four.  Sure, why not.

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An audience with the “Iron Man 2” crowd

So, a couple of weeks back, a volcano went off in Iceland. That meant that planes in Europe couldn’t fly for several days, which meant that suddenly a London press junket was canceled and rescheduled in Los Angeles, which meant that, one recent Thursday night, I wound up seeing “Iron Man 2” at the AMC Theater in Century City instead of “A Star is Born” at Grauman’s Chinese for the TCM Classic Film Festival. (The world is getting much smaller…)

Moreover, thanks to the volcano, the next morning, instead of my Crunchy Raisin Bran and 1% milk, I was instead being buttered up by with French toast and applewood-smoked bacon buffet at the Four Seasons, a free Iron Man action figure, and a theoretical chance to ask a question of the all-star cast of “Iron Man 2” — i.e., Robert Downey, Jr., Gwyneth Paltrow, Scarlett Johansson, Don Cheadle,and soon to be super-villain of the year Mickey Rourke — not to mention director/co-star Jon Favreau, writer Justin Thoreaux, and producer Kevin Feige.

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Of course, considering the 150 or so people in the room, I wasn’t surprised that I didn’t get to ask any questions, but it was a pretty entertaining event. Robert Downey may have famously given up a number of vices, but being a perpetual class clown does not seem to be one of them, and it wasn’t like he was the only interesting person in the room.

The first question, about whether Favreau or he felt any pressure in terms of living up to the success of the first “Iron Man,” set the tone. Favreau admitted he had never been involved with a sequel before, unless you count his “under five” bit part as “Assistant” in Joel Schumacher’s notorious “Batman Forever.” It certainly is a change from small independent films like Favreau’s career-making acting and writing debut, “Swingers,” which he compared to throwing a party and hoping people would come.

“…[On ‘Iron Man 2’] we knew that people were going to show up,” Favreau said. “We just wanted to make sure that everyone who showed up had a good time and that this was going to be as fun or more fun than the last party. So it’s a different kind of pressure.”

Downey then felt the need to start listing sequels others on the panel had been involved in, real and fictional. “Scarlet Johansson was in ‘Home Alone 3.’ Don Cheadle, 11, 12 and 13.”

That led to a question that was geeky in a way that anyone whose ever been a superhero comics fan will recognize, and which wound up being answered by producer Kevin Feige. It was about the “time-line” of the film. It turns out that, if viewers pay close attention, they can figure out that “Iron Man 2” actually takes place before 2008’s “The Incredible Hulk.” (Having seen both movies, I have no freakin’ clue how you’d deduce that.)

The Incredible Hulk

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