Bryan Cranston

Godzilla

How do Americans always lose track of Godzilla? Back in ’98, the big guy could slip behind a couple skyscrapers and the entire military would just stand around scratching their heads, despite the existence of planes and satellites and so, so much equipment that is perfectly useful for keeping tabs of a giant green dinosaur. Well, he’s slipped out of our fingers again. Judging from Bryan Cranston‘s powerful, shouty voiceover at the start of this new Godzilla trailer, it sounds like the government had themselves a slight Godzilla problem back in 1954, but they were able to sweep all that nonsense under the rug. From the looks of it, it somehow involved reducing him to a skeleton, which make the modern day monster Godzilla #2. And the American people never had a clue. Unlikely as it may be, it’s a neat conceit for a Godzilla movie and a clever little way of paying homage to Ishiro Honda‘s original film. It’s also an excuse to see a skyscraper-sized lizard stomp across human civilization, which is really all anyone cares about.

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Bryan Cranston Writer

Why Watch? This short would probably be worth it merely to hear Bryan Cranston‘s noir-perfect voice deliver lines like a construction worker shoved into a tutu, but the work from director Brandon Polanco has a moodiness to it that pushes beyond the star power. In Writer’s Block, Cranston plays a screenwriter suffering from the titular malady who invents a mystery woman to help him through the pain. Then, he sees her in real life. Suggestive and angsty, it’s shot in black and white with a crisp angle toward accentuating the writer’s aggravation (and loneliness). There’s a clear hint of Lynch to all of it, and it unsurprisingly leaves a palpable sense of unease on the tip of your tongue. An intriguing flick, it also has an interesting backstory to its production (which you can read more about here) as a contest Cranston held for production assistants working on Cold Comes the Night. Getting Walter White to star in your script is a hell of a prize.

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review cold comes the night

Chloe (Alice Eve) is single mom who works the desk of a small town motel when she’s not cleaning the rooms or taking care of her daughter. It’s a drudgery only made worse by a visit from a Child Protective Services agent who tells Chloe the motel is not a suitable living arrangement for her little girl. She’s given two weeks to fix the impossible situation, but before she can even dwell on her misery two men come looking to stay the night. One won’t survive to morning, but the other, a partially blind immigrant named Topol (Bryan Cranston), discovers that the Jeep he arrived in has been taken into police custody along with the other man’s body. He forcibly enlists Chloe’s help in retrieving a certain something hidden inside the vehicle, but Billy (Logan Marshall-Green), a local and very dirty cop, complicates things by being a greedy bastard. Cold Comes the Night is a simple little thriller that delivers the goods with a very economical style. It succeeds in part because it doesn’t extend its reach beyond the basics, but just as important are the trio of solid performances and some relatively sharp directing and writing by Tze Chun.

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Breaking Bad

That sound you heard coming from your computer, your phone, your tablet, your whosiwhatsit, and your web-enabled whatever over this weekend was the collective noise kicked up by the Internet as it broke, and broke in the best way possible – from joy! While television’s beloved Breaking Bad ended earlier this year, AMC’s game-changing series still has plenty of treats to offer its loyal fans, even if one of them leaked a touch too early on the interwebs. Fans of the Bryan Cranston-starring show have long toyed with a good-natured “theory” that the end of Breaking Bad would lead into the beginning of Cranston’s other well-known series, Malcolm in the Middle, with his Walter White going underground before turning into Malcolm’s dearly dysfunctional dad Hal. It was certainly a fun idea, if not a totally improbable one, but it seems as if the team behind Breaking Bad took it to heart, filming a jokey alternate ending to the series that sees Cranston reprising his Hal role, alongside Malcolm wife Jane Kaczmarek, and firmly nodding to the fan theory. It’s very funny and very clever – and it’s also very satisfying, and not just because it’s amusing.

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Breaking Bad Finale

The fifth season of Breaking Bad was all about anti-climax. That sounds bad, since we tend to think of climaxes as the best part of, ahem, several different things, and whatever comes after as an inevitable letdown. But after Season Four — wherein Walt engineered Gus Fring’s demise — the series lost its epic ambitions. Again, that’s not a bad thing. The fifth season demonstrated the impossibility of Walt’s transition back to civilian life. Once he’d gotten blood on his hands, he couldn’t wash it off. The question of how to live with stubbornly dirty hands drove this last season. It was an anti-climax that showed how difficult, complicated, and satisfying anti-climaxes can be. (This season’s climax, of course, was “Ozymandias.”) “Felina,” written and directed by Vince Gilligan, was the anticlimactic finale to an anticlimactic final season. It was also an extremely fitting one for the series. It showed Walter White, who made a (rather infamous) name for himself by producing the Southwest’s best crank and outsmarted his many, many enemies through his extreme methodicalness, closing up all the loose ends in his life. “Felina” was about Walter settling accounts: with Skyler, his children, Hank and Marie (in a way), Elliot and Gretchen, the Nazis, and, of course, Jesse. The machine gun he had in his trunk added just enough ambiguous tension throughout the episode to keep it from being a straightforward “Walter White visits his past” storyline. It also allowed to Gilligan showcase the chief strengths of the episode: its micro-detail-oriented plotting (the ricin!), its stomach-churning suspense (Walter framed like […]

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Breaking Bad Granite State

There was no way writer/director Peter Gould’s “Granite State” could top last week’s whirlwind. The writers may have known that, which is why yesterday’s installment was low-key by design — it’s the calm before the storm. Instead of the slowly churning and building dread the show offers at its best, the events of the episode were sped through — too quickly — to set up the circumstances for next week’s series finale (sob). (Kudos, by the way, to the Breaking Bad cast and crew for its Best Drama and Best Supporting Actress (Anna Gunn) Emmy wins. They’re long overdue — and still not enough.) Freedom dueled with greed in “Granite State,” and the latter won every freaking time. Todd, Lydia, and Walt were all given choices this episode, and their more craven selves prevailed at every turn.

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Trumbo Cranston

In 1953, Dalton Trumbo won his first Oscar for writing Roman Holiday, but the man who went up to the podium (and whose name was on the film) was Trumbo’s friend Ian McLellan Hunter. Three years later, Trumbo won a second Oscar for The Brave One, but the name engraved on the statuette was “Robert Rich.” Why did he need a human stand-in and a pen name if he was doing such stellar work? Because he had been blacklisted after serving nearly a year in prison for contempt of Congress. You see, there was a hilarious time in American history that we all look back on and laugh at because it was dominated by members of the government being terrified of ideas that were different from their own. Although it’s difficult to imagine a United States Senator (and a Republican at that!) railing against a leftist agenda in Hollywood today, it’s of paramount importance that we remember Trumbo and his experience as persona non grata. It was his Communist Party affiliation that Joe McCarthy and pals feared, but it was the studio heads who were cowardly enough to bar Trumbo and others from working. There’s already a documentary about him called Trumbo, and according to Deadline Hollywood, that will also be the name of a new movie from Jay Roach — following up on his political interests explored in The Campaign — and screenwriter John McNamara. Bryan Cranston will play Trumbo as the mustachioed artist battles against the blacklist while […]

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Breaking Bad Ozymandias

“Ozymandias” has got to be some kind of epic meta-dare. Vince Gilligan evokes Percy Shelly’s famous poem, in which the titular “king of kings” commands future generations, “Look on my works, ye Mighty, and despair!” In Shelly’s telling, though, Ozymandias was an accomplished fool. By his haughty, fearsome decree, “Nothing beside remains. Round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away.” In creating and crafting such an astounding episode of television (not to mention series), though, Gilligan has thrown down the gauntlet to TV critics, historians, audiences, and his peers: Breaking Bad is TV’s version of the Sistine Chapel. “Ozymandias” will likely be the scene in which God reaches out to Adam. Forget this at your own peril.   (Between “Ozymandias” and Walt Whitman’s “Leaves of Grass,” Gilligan sure is rewarding all his viewers with English degrees.)

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Breaking Bad Tohajiilee

So Hank’s definitely dead, right? Because it’s rare that a dogged pursuer of justice in a morally anarchistic universe calls his wife and tells her he’s solved the biggest case of his career, using boastful but foreboding language like, “Hey baby, I got him. Dead to rights” and “It may be awhile before I get home” and still gets to live. Don’t forget: Hank was this close to early retirement, too, since the shame of Heisenberg being his brother-in-law would’ve ended his DEA career. Though every meth cook and drug mogul fears the police, rare is the one who meets his end in a prison cell. Breaking Bad is not a show where law and order prevails. But Hank’s brains don’t yet look like the ones in his kitchen trash can, so let’s not mourn him. “To’hajiilee” wasn’t really about him anyway, but about the exquisite chess game Walt and Jesse played against each other. Their square-off begins as soon as the title sequence wisps off the screen, with Hank convincing Gomie to trust Timmy Dipshit’s plan. Thus begins another episode where Jesse is underestimated — which made Walt calling Jesse “stupid” while falling right into his plan wildly satisfying and may be the one thing that helps the unarmed Jesse survive the battle of the bullets.

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Breaking Bad Rabid Dog

“Rabid Dog” is a transitional episode, and not a particularly elegant one at that. Like Walt’s old Pontiac Aztek, it’s simply a vehicle that’ll transport us to where we need to go, style and good taste be damned. Thus we have Walt and Jesse plotting each other’s demise (Walt’s being more violent, of course), Skyler urging Walt to take “full measures” (in another sacrifice of character over story), and Jesse and Hank’s inevitable team-up to bring down Walt. The theme of transitions was telegraphed by the episode’s two hallway scenes. The first occurs at the beginning of the episode, when Walt, with his pocket pistol in hand, crouches along the main corridor of his gasoline-soaked house. The buzzy, clangy, twitchy soundtrack makes clear its homage to another empty, dread-filled, imminently bloody hallway – that of The Shining trailer. The second takes place at Hank and Marie’s house, when Jesse, after passing out cold, wakes up to find Marie down the hall. Worlds collide. She asks him if he wants any coffee. A new world is born from the wreckage of the old.

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Ferris Bueller

It’s the time of year when children head back to campus, but even if you’ve already graduated, it’s still easy to get into the trapper keeper mindset with movies. Beloved culture commentator Matt Patches joins us to celebrate and dissect the greatest movies about school (and escaping it) as we attempt to pinpoint the film that best encapsulates all the feelings we had waiting to be saved by the bell. Plus, Lords of Salem director Rob Zombie joins us to explain making bad career choices as a viable career choice (including his forthcoming hockey movie), we deliver the news in only 3 words, and then we leave the kind words at home for the giant kind of shouting debate that Ben Affleck’s Batman casting deserves. You should follow Rob Zombie (@robzombie), Matt Patches (@misterpatches), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more fun stuff on a daily basis. And, as always, if you like the show (or hate it with seething fervor), please help us out with a review. Download Episode #31 Directly Or subscribe Through iTunes

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Bryan Cranston

As a devourer of movie culture, you probably caught the Cosmic Book News “story” that Bryan Cranston had been cast as Lex Luthor in Man of Steel 2: Ben Affleck Boogaloo, and you most definitely recognized that it didn’t pass the smell test. Six appearance deal for the baddie? Matt Damon as Aquaman? Thirteen appearances as Batman for Affleck? Right. It’s weird to think the scoop came from a site notorious for making things up. But now that Rolling Stone has lazily broadcast the bullshit, simultaneously giving it credibility without lifting a finger to do any research, it becomes slightly more important to spread the word that Cranston hasn’t been cast in the role. Tell your excited Breaking Bad fans the news and be there to hold them or remind them to still hold out hope. And if Cranston eventually does get cast, can I lobby for a non-bald Luthor? There’s nothing like watching a Superman movie and wondering why he’s battling Walter White.

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Breaking Bad Confessions

For most of “Confessions,” Walt is the eye of Hurricane Heisenberg. While everyone else around him reels and whirls and wobbles, Walt observes quietly and manipulates gently. He plots while others plotz. Now a master of concealment and Plan Bs — so close to finally becoming Gus Fring – he dons his best father-knows-best voice and cardigan to reassure Junior, threaten Hank, and pacify Jesse. At least temporarily. Only Junior is clueless enough to still fall for Walt’s act, now almost campy in its wholesomeness. After Walt serenely suggests to his teenaged son that he’s on death’s door again, he and Skyler meet with Hank and Marie to instruct the in-laws that they’re not to use his children as pawns — a demand he makes while using his son as emotional ammunition: “This investigation, Hank. Do you realize what this will do to him?” When Hank challenges him to “step up, be a man, and admit what you’ve done,” Walt placidly responds, “There’s nothing to confess” before handing him his “confession” tape.

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breaking-bad-season-6-episode-2

Families that stick together are the best at beating the courts. That’s such a truism of mobster movies and TV shows that even Arrested Development drove storylines with it. Of course, the personal, legal, and moral antagonism between Walt and Hank immediately dispels any hope for a “we are family” scenario between the Whites and the Schraders. “Buried,” then, finds Walt and Skyler reuniting in desperation, and Skyler and Marie shirking their loyalties to each other — and rooting for their respective brother-in-laws’ failure. The episode begins with a teaser that could have come out of any episode of The X-Files. An ordinary man finds something extraordinary: bricks of cash strewn all over his street. He follows the money trail and makes an even stranger discovery: a dead-eyed young man, Jesse, spinning on a merry-go-round, thoroughly innocent and guilty at the same time. (Of course, if this were an episode of The X-Files, Jesse would start shooting lightning bolts out of his eyes or something.)

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Heisenberg

By now, you’ve seen the season premiere for the second half of the fifth season of Breaking Bad (and if you haven’t, good luck parsing what I just wrote and also, why haven’t you?) and gasped along with the rest of the Twittersphere at large (has there ever been a show so adored by the social media masses as Breaking Bad?). Having gone nearly a year without Walt, Jesse, and the rest of the blue-hued crew (by “crew” we mean meth, baby, and lots of it), anticipation for the final episodes in Vince Gilligan’s opus reached a fever pitch, well, probably long before the latest episode actually aired. And was it worth it? Man, was it worth it. With only eight episodes in the show’s final half-season, acceleration is the name of the game. After all, both of the fifth season’s premieres have opened with a flash forward that give us small but incredibly effective and intriguing glimpses into Walt’s world after some sort of earth-shattering event. A spiritual twin to the first episode of the season (that would be wonderful “Live Free or Die”), last night’s premiere (“Blood Money,” because that’s what it all is at this point) echoed and followed the events that began the season at large. Walter, seemingly post-birthday breakfast, returns to his abandoned and dilapidated home (which is also a new haven for pool-skating ruffians, damn kids) to retrieve his last pack of that deadly ricin. All of that is jaw-dropping enough – the broken-down […]

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Blood Money

Walter White is a cockroach. Breaking Bad‘s second-half fifth season premiere, “Blood Money,” is a perfect summary of the retired drug kingpin’s unbeatable survival skills: sociopathy, cunning, emotional manipulation, meticulousness, and violence – or at least the threat thereof. Even with the return of his cancer, the apparent front-page news of his crimes, and the likely target on his back (it’s probable that one of the ten thugs he had stabbed in prison have vengeful family members), Walt is seen alive and free in the future, covering his tracks by recovering a vial of ricin, while his house, the symbol of everything he had worked and sweated and killed for, sits rotting and condemned, picked at by teenage vultures. This was a flash-forward much more compelling than that of the fifth season premiere’s birthday breakfast, mostly because it suggests Walter’s imminent notoriety. The legend of Heisenberg will extend beyond the narco-corridos, which means the truth will come out: Walt will leave behind a trail of poisoned lives, including those of his somewhat guilty wife, his college-bound son and baby daughter, his inept-looking DEA brother-in-law, and his former accomplice. It’s a vision similar to the chilling end of The Shield, where survival becomes its own form of prison.

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Cold Comes The Night

August means the end of Breaking Bad (shhh, no tears), but it’s clearly only the beginning of great things for Bryan Cranston, who has really found his niche playing terrifying men. The trailer for the new thriller Cold Comes the Night has Cranston morphing into a menacing criminal with an impressive Russian accent, who’s hellbent on stealing back a duffel bag of cash from the cop who took it. Here’s the problem – even scary Russian thugs can be completely blind, so it’s going to take a little extra work to get that money back, like maybe using poor, struggling motel owner Alice Eve as collateral?

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god

Roland Emmerich‘s Godzilla was somewhat of a disaster. Not in how it was another “disaster movie” from Emmerich, but in terms of pure banality. With such a wonderfully iconic monster, the end result wasn’t what it should’ve been. Even the design of the creature felt all wrong. It’s been 15 years since we’ve seen Godzilla on a canvas that big and, despite the box office success of Emmerich’s film, we (thankfully) haven’t had to sit through more of that Godzilla interpretation. With next summer’s reboot, director Gareth Edwards (Monsters) doesn’t want to simply make another piece of disaster porn. He’ll have Godzilla, and plenty of other monsters, roaming the world, but during the film’s Comic-Con preview over the weekend, Edwards appeared far more interested in the characters we’ll see played by Aaron Taylor-Johnson, Bryan Cranston, and Elizabeth Olsen. For Edwards, in addition some realistic camerawork, the three of them are what will ground this movie. If you want to know more about how Edwards grounded this monster pic and what to expect come next summer, here’s what Edwards and the cast had to say about the film at Comic-Con:

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BB Header

If you’ve finally managed to catch your breath after a couple of notably bloody weeks across some of television’s best shows (hell, someone even got stabbed, twice, on Mad Men last week, and we won’t even comment on Game of Thrones’ Red Wedding in this space), it might be high time to start thinking ahead to what will undoubtedly be a bloody end of summer. High time? Get it? We’re talking about Vince Gilligan‘s Breaking Bad on AMC here. With the second half of the show’s fifth season (season 5.5?) finally hitting the small screen with a Bryan Cranston-directed premiere episode on August 11th, marketing has started to slowly waft out across the internet like so many meth fumes through your friendly neighborhood cook house. Sure, the first look at the show’s newest poster (and a very brief ten-second teaser trailer, which you can check out over at The Wrap if you feel like sitting through thirty seconds of ads before you get to what is also an ad and essentially a glorified motion poster) are tantalizingly brief (the poster doesn’t even bother to really name the show or its home network), they also make no bones about what is going to happen in the final eight episodes. “All bad things must come to an end.” Did you think this would go on forever? Did you think things were going to end happily? Did you forget about the meth? We haven’t and we can’t. And we also can’t wait to see just how things will end for the show when […]

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Tom Hardy

What is Casting Couch? It’s the casting news round-up that continues its jam-packed week with stories involving Jesse Eisenberg, Emile Hirsche, Matt Smith, Kristen Stewart, Pierce Brosnan, and even more. We’re bursting at the seams here, people. Hearing that übermensch Tom Hardy is going to get a chance to beef up and kick some ass on screen is never a bad thing, so rejoice in the news that he’s just been cast as the lead of an action film called Locke. Anthem announced today [via ComingSoon] that they’ll be financing the film, which comes from a script by and will be directed by Eastern Promises writer Steven Knight. Locke is said to be about a man named Ivan Locke who receives a fateful phone call one day that forces him to put his entire life on the line in a “tension-fueled ninety minute race against time.” Title is the main character’s last name, plot has a real-time element…yeah, this definitely sounds like it was supposed to be a Jason Statham movie. Looks like somebody’s got some competition.

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published: 04.20.2014
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published: 04.20.2014
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published: 04.20.2014
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published: 04.20.2014
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