One of the many great things about Jonathan Banks' Mike Ehrmantraut is how he brings out an emotional core and depth to the character, despite him being easily the most gruff, no-nonsense and to the point character in the series. His relationship to his granddaughter Kaylee is a terrific part of this characterization, as it creates such a tender and heartwarming side to this ol' Gramps, and makes him an excellent counterpoint to Walt, a 'family man' but without the ego of Heisenberg. It makes the scene where he has to silently leave his granddaughter to evade the authorities so devastating. 29. Walt finds Jesse at the drug den - 'ABQ'
The climax of Season 2 is in contrast to the subsequent two seasons, much more subdued in terms of the stakes and threat posed to Jesse and Walt. What it does deliver in spades is in the emotional level, as we see Jesse Pinkman crumble into a wreck of his former self upon the death of his girlfriend Jane. This scene, where Walter comforts his partner in a drug den, is an exceptionally powerful moment for not just Paul but Cranston as well, as they deliver on this unspoken connection between the two men, akin to a father and son bond. A marvelously acted scene that is one of the highlights of both actor's work on the show. 28. Walt visits Elliot and Gretchen - 'Felina'
One of the lighter moments in the series finale, though still technically quite morbid as we have Walt essentially trolling, blackmailing, and psychologically torturing two individuals from his past who aren't quite horrible people. It's testament to the complexity of the series' writing that we're rooting for Walt in this scene, since it was Walt's ego after all which presumably caused him to leave Gray Matter, and was also the reason he rejected their money for his cancer treatment beforehand. Anyway, this scene shows Heisenberg at his most devious and entertaining, as he essentially forces his adversaries to help him out, while still gaining the upper hand with his money. In addition, the deft camerawork that builds up the tension of Walter entering the Schwartz household is incredible. 27. Jesse finds out about the ricin cigarettes - 'Confessions'
Having started on Better Call Saul, I'm seeing the side of Saul/Jimmy that this scene indicates, a more desperate man underneath that cocky and confidently sleazy exterior. Odenkirk and Paul are both incredible in this scene, the former at defending himself from the latter's extreme rage. Jesse, who'd been a relatively quiet presence for a couple of episodes, finally lets loose and it's beautiful to watch. We see Jesse wrestle his way out of Walt's control, while also becoming trapped in a mindless cycle of vengeance. Plus, there's ol' Huell always in the background for some nice comic relief. 26. The Last of the Salamancas - 'Crawl Space'
The genius of Esposito's work as Gus Fring is that his portrayal of restrained, intense villainy occasionally cracks to reveal the more emotional man underneath, while never quite losing that entire facade. This scene is a terrific example of it, as Gus approaches Hector in such a polite businessman-like manner, but takes such restrained glee at seeing his greatest foe so tortured by the loss of his entire family. Add onto that Jesse entering the scene, and we have a scene crafted to be excruciating, and even though we are watching the torture of a monstrous man, the satisfaction derived is balanced by an overwhelming sense of helplessness and even sympathy for Hector. 25. Walter and Donald have a chat at the bar - 'Phoenix'
A thoroughly unexpected little gem thrown into this episode where we get two father figures musing about their lives at a bar. It fits into the neo-Western style of Breaking Bad perfectly as we watch two world-weary men muse about the times a'changing, and briefly bonding over their concern for their offspring. Cranston and de Lancie are both terrific in the scene, the writing is impeccable too as John Shiban's dialogue flows so well between these two strangers. It works as both a thematic stamp of the series' preoccupation with the strains of providing for family, as well as a distinction between two men with the best interest of their children at heart, but are too late to stop their imminent corruption. 24. 'Go ahead...do it' - 'End Times'
An amazing scene that only strengthens once you've finished the season, as you see Walt apparently breaking down into the madness of Heisenberg, yet when you realize how Heisenberg manipulating Jesse behind the scenes, and seeing his every move played to perfection, it becomes even more remarkable. We get to see the hapless Walt getting threatened by Jesse, turning Jesse's sympathies against Gus, and then finally seeming to 'snap'. But on re-watch the scene is entirely Heisenberg in control, and it turns from a tense and emotionally volatile scene, into a chilling depiction of his utter control over Jesse. 23. Mike's death - 'Say My Name'
At this juncture in Season 5, it's as satisfying as ever to see Walt called out on his bullshit, especially by Mike and his utter distaste for all of Walt's posturing and egotism. Their argument scene is pitch-perfect acting by both Cranston and Banks, and Walt's instinctual moment of killing Mike is a perfectly played moment in that we're not sure if it's the emotionally volatile Walt acting in response to his pride being attacked, or the cold Heisenberg carrying out a necessary evil. Then there's Mike's death were he goes out the only way Mike does, quietly gazing out into the distance, and delivering a final 'shut the fuck up' to Walter. One of the most restrained and quiet death scenes in the series, and works just as well as any explosion or shootout.
22. 'Stay out of my territory' - 'Over'
An early transformation of Walter into Heisenberg, as he oh so inconspicuously instructs someone on how to purchase the right materials to make meth, before storming out to confront these miscreants daring to sell meth on his territory. It's another instance of perfect acting by Cranston, and perfectly accompanied by DLZ's 'TV on the Radio'.
21. 'Wire' - '4 Days Out'
THE most hilarious scene in the whole series. Walt and Jesse are already deep in the meth cooking business, and yet Jesse is as dim and wholly oblivious to science as ever, and Walt is still very much a chemistry geek within. Mr White explaining how he'll create his 'battery' to Jesse, and hopefully awaiting an easy response to a scientific question posed to his former F-grade student, is met with the iconic, confident delivery of 'Wire' by Paul. This is only topped by yet another unforgettable face of exasperation by Cranston. It's not all gloom and doom on Breaking Bad, and these moments of levity help make the central relationship so strong and affecting. 20. 'No half measures' - 'Half Measure'
Well I just finished 'Five-O' on Better Call Saul and that was absolutely incredible. The sheer intensity, guilt, overwhelming sadness and grief that gushed out of Mike was brilliantly delivered. Here Banks delivers a monologue with more of that taciturn Mike side, yet no less powerful in stating to Walt his personal philosophy, and giving some insight into his troubled past. It's an incredible scene, further amplified by the shading of Mike's face with darkness, juxtaposed with this reserved man revealing a very intimate side of himself to Walt.
19. Walt tries to save Jane, Heisenberg watches Jane die - 'Phoenix'
Walter White goes beyond just murder in self defence, and watches as Kristen Ritter's Jane chokes to death from a heroin overdose. One of the bleakest scenes in a series full of them, the painful death of a flawed but beloved love interest to Jesse is further intensified by Cranston's impeccable acting in this scene. He wordlessly shows what goes on in Walter's mind as he decides to let a spanner in the works die, and the combination of the callous Heisenberg coolly watching death to the tearful Walt knowing there's no going back makes for an immensely tragic scene. 18. The one minute in 'One Minute'
One of the most thrilling action sequences I've ever seen in a television series, the whole episode builds up to this titular span of time where Hank is hunted down by the vicious Salamanca twins, and having handed his gun to the DEA, he's forced to use wits, guile and brute force to take them down. It's a fantastic scene from every technical point of view, from the visual touch of having Hank's PTSD combine with the tension of the oncoming killers, to the impeccable sound editing of every crash and gunshot. 17. 'Run' - 'Half Measures'
Another tense and emotionally volatile Jesse Pinkman situation you know he's going to get out of, you just don't know how. The whole buildup of him taking these drug dealers head-on is nail-biting stuff, resulting in a truly rousing moment when Walt comes out of nowhere to 'save the day'. As always, Breaking Bad explores the moral quandries of the viewer, and we are impelled to feel both relief and terror at what an efficient killing machine Walter White has become. 16. 'You're goddamn right' - 'Say My Name'
I'd heard the phrase and seen the memes beforehand, but when I actually watched Bryan Cranston deliver these lines in the context of 'Say My Name' is when I realized how chilling a moment it really is. We see Heisenberg in all his deranged glory as he swiftly, so easily dominates both his companions and his adversaries with his limitless ego. The ease with which he proposes his side of the deal to the increasingly befuddled and afraid associates in front of him culminates in the immortal delivery of 'say my name', and the even more insidious delivery of 'you're goddamn right'. Think someone urging you to call them by their cute pet name or kinky bedroom name, notched up to eleven in intensity and creepiness. 15. 'We're a family' - 'Ozymandias'
In the best episode of the series, the highlight is clearly the opening sequence, but what comes after that should not be sniffed at either. This scene, where the extent of what Walter White has done is revealed to his son, and where he finally lashes out at Skyler, is an exceptionally acted scene by all parties involved. It's a terrifying sequence where we see the monster truly come out, and when Cranston delivers the first 'we're a family' we get a taste of the terrible, nasty mastermind Walter has become, using his family as a means to his selfish ends. Then with his second 'we're a family' you see the hints of a good, or at the very least remorseful, man underneath, shocked at his own actions. R.J. Mitte and Anna Gunn are both also absolutely astounding in this scene as well.
14. Jesse kills Gale - 'Full Measure'
A tense and immaculately directed sequence, first and foremost with the heartpounding depiction of Walter White's swift decision-making to one-up Mike and Victor's plans for him, and chillingly satisfying in Walt's delivery of 'you might want to hold off'. Then in the climactic cliffhanger between Jesse and Walt's lab assistant Gale (David Costabile) it's such a horrible and haunting scene, through the loss of a life by one of the less unsavoury and more sympathetic characters in the series, and the complete breakdown of one of the more upbeat characters in the series. It sets up Paul's best arc in the series, and features mesmerizing acting by not only him, but also the underrated Costabile.
13. 'Get back to work' - 'Box Cutter'
Gus at his brutal best, as he manages to subvert Walter's 'victory' over him into a terrifying display of his utter callousness, making his mark on the series as the best villain. Simply seeing Gus pace around is spine-chilling as you wonder what he's going to do next, and when he does what he's done it's so sudden and surprising, yet completely makes sense. It's a truly shocking moment in the series that causes even Mike to react with shock, and the best part is how Gus never flinches throughout, showing that all of this is simply business as usual for him. 12. 'Problem Dog'
Jesse Pinkman's interactions with his drug addiction support group, led by the Group Leader (a fantastic Jere Burns), are some of the highlights of the series, providing both heartwarming and hilarious moments (see the hijinks Skinny Pete and Badger get up to) as well as very sad insights into the lives of recovering addicts. It all culminates in this mesmerizing sequence where we see Jesse call out himself essentially, haunted by what he has become and all the horrible things he's done. It's an exceptional scene in almost every regard, but most notably in Paul delivering his best and most powerful scene in the series as we watch a man unable to live with what he has become, shunning all possibility of redemption and self-acceptance.
11. Robot gun on the Neo-Nazis, Jesse kills Todd and Jack - 'Felina'
The Neo-Nazis are the most simplistic villains in the series (besides Todd), which in turn makes their demise all the sweeter. Walt's final plan to rid them all is so ingenius and ballsy that despite all the horrible things he's done and the horrible person he is, this final sequence of Heisenberg's wrath is extremely rousing and exciting to watch. The slow and tense way he sets up the Nazis up for the big kill with his car keys, to that brief but oh so powerful moment of understanding with Jesse that makes him do what he does, all add up to a very satisfying finish to these despicable crooks. Then with the deaths of Todd and Jack we get such fitting revenges upon two despicable characters for Andrea and Hank.
10. The flashback sequence - 'Hermanos'
Breaking Bad rarely uses any non-intro flashbacks, and very few with this sort of length and importance to the overall narrative. Contrasting this flashback with say, the flashback in 'Five-O' in Better Call Saul, I'd say it only serves to show the strengths of this sequence all the more. Both reveal a poignant and sympathetic side to the great characters Mike Ehrmantraut and Gus Fring, and rely strongly upon the amazing performances of their respective actors, but this is by far the more overall well-acted, and captivating scene. Every line, every shot in this scene just builds upon what we've seen of Gus so far and shatters our preconceptions. Esposito's depiction of a younger, less reserved and far more desperate Gus is a highlight, but really everyone on this scene is pretty great, including Mark Margolis as a more mobile, and no less devious Hector Salamanca. The revelation of what caused Gus to be the man he is brings us sympathy for the devil, and makes this an amazing scene, amplified by his the present day framing of this scene in another confrontation between Gus and Hector.
9. Showdown at the hacienda - 'Salud'
The genius of Season 4 is that it somehow manages to make the 'villain' and his revenge story resonate as strongly as Walter White's own personal journey. Every moment of this takedown of the Mexican cartel is astounding, from the acting among Paul, Banks and especially Esposito, to the slow build up of tension and various fake-outs as to how exactly these three gentleman are going to get out of this situation. Every moment in this sequence is classic Breaking Bad from the cool and collected way which Gus handles his poisoning, to Gus' speech to the remaining members of the cartel, to the way the cinematography calls back to the flashback in the hacienda and makes the revenge all the sweeter. There's even a bit of comedy in the background if you look close enough, like Jesse's uncharacteristic awkwardness with the bikini-clad women and Mike's complete indifference.
8. Walt calls Skyler for the last time - 'Ozymandias'
The scene preceding this is pretty powerful too, in Walt's soft and tender interactions with baby Holly and her first words of 'Mama' showing Walt just how deeply he's divided himself from his family with his actions. It makes the transition to his heated, vehement and nasty phone call with Skyler all the more jarring until you get a grip on what Walt's trying to do: absolve Skyler from complicity in Heisenberg's actions. The voice of Heisenberg juxtaposed with Walter's weeping face is simply breathtaking acting by Mr Cranston, and not to be outdone Anna Gunn is also incredible in silently showing the struggle Skyler has in putting the final touches on the monster everyone finally sees him as. 7. Gus and Hector's final face off - 'Face Off'
The relentless tension of season 4 builds to an amazing sequence I've mentioned below, but the emotional undercurrent builds up to this explosive finale and showdown between two of the greatest characters on the show. It should be mentioned that the scene where Gus readies himself for his long-awaited revenge on the final Salamanca is an incredible scene for Esposito, as he internalizes all the emotions of hatred and sorrow within that chilly facade. His final walk towards Hector and his final fate is a surprisingly emotional moment since we know what's in store for him, and yet feel little satisfaction in this inevitable fate of the 'villain'. Then there's his showdown with Hector as he so callously mocks him for being rata to the DEA, still unaware of how he's been duped, and Hector finally looking Gus in the eye, which is an amazing scene for Mark Margolis as he does so much with a change of expression. The scene is technically two despicable people getting rid of one another, and feels so satisfying yet strangely moving as we've become so invested in both these characters. I should note that though Gus' final moments may be stretching the boundaries of realism a bit, it does make for a great and fitting end to his character. 6. The train heist - 'Dead Freight'
A train heist jumping straight out of an old-fashioned Western, this is simply the best action sequence throughout the whole series. It's pulse-pounding and tense all the way through, with nice doses of humour throughou in the various complications that come their way, and it momentarily turns Breaking Bad into a terrific heist thriller where we root for our loveable anti-heroes to get away scot-free. Which they do, and it's a great celebratory moment as we watch them congratualte one another over their success...and so swiftly undercut by that disturbing final moment which shows that really, crime never pays.
5. Walt says goodbye to his family - 'Felina'
A quietly devestating footnote to the White family as we get a proper resolution to Walter and Skyler's relationship, as the former finally admits that all he did was not for the family, but rather 'I did it for me'. It's an extraordinary moment for Cranston as he shows just exactly what compelled him through all his actions was how cooking meth made him feel alive, gave him power and a sense of purpose to his existence. We see what compels the side of Heisenberg to this man, as well as the love for his family despite all as he bids goodbye to his daughter, and watches his son from afar. Pitch perfect acting by Cranston (and Gunn), and a moving denouement to Walt the family man.
4. Walt and Jesse say goodbye, Heisenberg and cooking say goodbye - 'Felina'
The ending to Breaking Bad manages to wrap everything up in an unforced, organic and perfectly fitting fashion. There's Jesse's final confrontation with Walt where he forces the latter to admit to manipulating him all this time; Walt's 'I want it' and Jesse's 'So do it yourself' is such a powerful depiction of Jesse finally wresting himself out of Heisenberg's manipulations. There's even a bit of dark humour in the demise of Lydia (Laura Fraser), from Todd's creepy use of Groucho Marx's 'Lydia the Tattooed Lady' for his ringtone for her and Walt's unassuming 'goodbye Lydia'. The final wordless acknowledgement and goodbye between Jesse and Walter is as powerful as their final confrontation, as we see that beyond their hate and the various tragedies they've suffered, many caused by Walt, there were still some good times, and a mutual sense of respect, even friendship. Then there's the death of Walt, or rather Heisenberg, as he passes away not from cancer but from a ricocheted bullet from his own gun, gazing lovingly at the meth cooking lab that represents what truly made him happy in life. 3. The ending - 'Granite State'
One of the greatest cliffhangers of all-time. We watch an exhausted and devestated Walt finish a heartbreaking call to his son, call the authorities to inform them of his whereabouts, and sip his drink (without ice, he's given up trying to embody Mike's drinking patterns) as he awaits his arrest. That is until Elliot and Gretchen Schwartz, the founders of Grey Matter, appear on television, denouncing Walt and diminishing his significant contributions to the founding of the company. It's a mesmerizing moment as we watch an utterly defeated man transforming one more time into Heisenberg. All capped off with the brilliant use of the show's full theme song; I love how it's the first time it's utilized in all its glory, and it earns the rousing moment completely. 1. Crawl Space Laugh - 'Crawl Space'
One of the most harrowing breakdowns I've ever seen onscreen, and most certainly Cranston's finest acting in the series. The whole of season 4 is a non-stop nailbiter, and this episode gives the payoff. The soundtrack is so perfectly ominous and claustraphobic in showing the disintegrating psychological state of Walt, as he searches for a way out of his predicament. The final darkly glorious, darkly comedic touch as he learns most of the money he's saved up, which he desperately looks for to help protect himself and his family, has been given by Skyler to Ted Beneke. This is all capped off into a chilling, unbridled burst of emotion from Walt as he screams, unleashing the full monstrosity of Heisenberg as the scream turns into a terrifying cackle, as the madness that has been overtaking him the whole series, has finally overcome him. It's such a creepy and unnerving scene through and through down to the disembodied laughter in the background as Skyler takes the call from Marie, as it plays as almost a darkly twisted laugh track to how screwed the Whites and Schraders are. 1. Hank's death, and 'I watched Jane die' - 'Ozymandias'
The inspired choice for this climactic shootout to take place in the same area where Walt and Jesse started cooking meth in their old RV is just icing on the cake, of this amazing extended opening sequence of 'Ozymandias' which starkly contrasts the easygoing and lighthearted past and friendly rapport between Jesse and Walt before everything went wrong. The whole sequence starts off in an extremely cold fashion with the offscreen death of the loveable Gomez (Steven Michael Quezada). We then move onto the climax of Walt's relationship with his brother-in-law and former best friend Hank, and the tense buildup to an inevitable death, futilely prolonged by Walt dropping his facade of Heisenberg and showing the scared and meek man trying to use his book smarts to get their way out of the situation. It contrasts the delusions of Walt that he can use money to get Hank out alive, with Hank's world-weariness and final understanding with Walt where he indirectly praises and mocks Walt as being the 'smartest man' he's ever met, but too stupid to truly understand the harsh realities of their world. It's the saddest death in the series, of a flawed but ultimately moral and righteous man, and perfectly performed by Cranston and Norris. The silent breakdown of Walt and the callousness of the Neo-Nazis then culminates in another amazing moment where Walt confronts Jesse in what he believes will be the last time, coldly pointing out his hiding place, and heartlessly adding pain to Jesse's predicament as he recalls how he 'watched Jane die'. It's a despicable villainous moment but not just that, as when we watch Heisenberg exacting his wrath on Jesse, it's driven also by the grief at Hank's death, and traces of the tears wept by Walt when he had gone through that 'beyond the pale' moment.
Saul, and Bob Odenkirk's performance, are probably two of the most underrated aspects of the Breaking Bad series, and I'm glad that he has a spin-off series that I'll be checking out very soon. I do mention a few of his scenes underneath, but a lot of his highlights in the series aren't individual scenes but rather moments, one-liners and reaction shots at the margins of both comedic and non-comedic scenes that help lighten the mood. 62. 'Aint no Skank - 'Peekaboo'
Season 2 has a span of episodes where the going gets slightly easier for Jesse (Aaron Paul) and Walt (Bryan Cranston) as they enter the world of meth dealing. The episode for 'Peekaboo' is notable in that we get some insight into Jesse's love of kids, as well as giving him a taste of how drugs can truly mess up lives. This brief but haunting scene, bolstered by Dale Dickey's unnerving portrayal of a deranged drug addict, is effective in not only shocking the audience but also Jesse, and setting the stage for his gradual disillusionment over the series regarding the drug trade. 61. 'How much is enough?' - 'Gliding Over All'
Skyler, and the performance of Anna Gunn, are two elements that progressively improve throughout the series, to the point that she's actually rather great by the final season or so. This scene is another short but effective scene, in terms of the darkly comedic Scrooge McDuck setting of the money (which sets up a hilarious Huell and Kuby scene later on), and a short but cutting interrogation of Walt by Skyler as she expresses such disbelief at how far Walr wants to go with the drugs trade. 60. Gateway drug - 'Cat's in the Bag'
The Hank (Dean Norris) and Walt Jr (RJ Mitte) dynamic is one of the most tenderly sketched relationships in the whole series. Wheter it's Hank playfully insulting his brother-in-law's oldest son, or Walt Jr eagerly asking his DEA uncle for stories, every moment with them feels so genuine and heartwarming even as the series progressively darkens. This early scene is particularly golden, as we see Hank, suspecting that Walt Jr might be partaking in the occasional whiff of marijuana, tries to educate him in his own very Hank way. It's a crass, loud and very funny scene, but also a moving moment of family bonding so early on in the series, that helps enhance the emotional impact of this relationship later on in the series.
59. An awkward dinner - 'Buyout'
On the other side, we have the strained beyond repair relationship of Walter and Skyler in Season 5, shooting daggers at one another across the dinner table as Jesse (unwillingly) joins them for dinner. The scene is hilarious thanks to Paul's perfect delivery of Jesse's small-talk attempts, but also rather disturbing when it's revealed that Walt's intent in this scene was to show how badly his home life has deteriorated, and why Jesse helping him with cooking meth is all he has in his life. 58. Hector sends the DEA a message - 'Face Off'
There's a limit to how endearing a wheelchair bound psychopath and former Mexican Drug Cartel right hand man can be, and the more we learn about Hector Salamanca (Mark Margolis) the less sympathy one will feel for this man. Still, like many other characters in the series he's compelling despite all his detestable qualities, and this particular scene has the old and infirm man trolling with the DEA as a means to a very explosive end. Margolis and Norris are pitch perfect in playing off one another in this scene, and I particularly love the little wink Hector gives at the very end. 57. Traffic Lights - 'I See You'
A simple but beautiful scene. Gennifer Hutchison's writing for this particular monologue so eloquently expresses what remains of Walter White's more sympathetic side as he uses his own struggle with cancer to provide comfort to Marie (Betsy Brandt) as Hank lies in the hospital bed, gravely wounded from his infamous encounter with the Mexican Cartel. It's wonderfully delivered by Cranston, and powerful without being overbearing. Plus, it's around this juncture in the series where the writers seemed to get a hang of Marie as a character; in contrast to the muddled way they wrote her quirks beforehand, Brandt and the screenwriters have a much better handle on how she fits in the show after this point, to great effect. 56. Mike rescues Chow - 'Full Measure'
Just a plain enjoyable action sequence, one of the few in Breaking Bad which does not involve tragedy. It's just fun to watch everyone's favourite badass hitman/cleaner Mike Ehrmantraut (Jonathan Banks) take on a few cartel members harassing one of Gus' lackeys with precision, efficiency and even a bit of dry wit. For a few minutes we enter into a slightly breezier action comedy of sorts, and it's an enjoyable diversion from the otherwise dark and moody end to Season 3. Plus, the cinematography and lighting in this scene is particularly atmospheric. 55. Chekov Pie Eating Competition - 'Blood Money
Part of the brilliance of Badger (Matt L. Jones) and Skinny Pete (Charles Baker) as comic relief characters is how humorous and endearing they can be, while at the same time having an underlying poignancy as they show how drugs can affect the lives of otherwise not untalented, and kind-hearted young men. These two guys have their own standout scenes in the series, whether it's Badger trying to figure out if he's talking to an undercover cop, or Skinny Pete revealing hidden piano talents (and lack of aptitude at spelling). This is my favourite of their little interludes, as they shoot the breeze about a ridiculous (ly funny) Star Trek scenario that, like so many other comedic scenes, offers a welcome diversion from all the gloom and doom.
54. The bathtub - 'Cat's in the bag'
The first time Walt is exposed to the full brunt of Jesse's idiocy. Moments like these become increasingly infrequent over the series, as conflicts between Walt and Jesse morph from rows about the latter's ineptitude, into arguments over the former's morality. This early scene, where Walt watches in horror as Jesse neglects a very specific instruction of his, is a pitch-perfect black comedy scene, with an absolutely perfect reaction from Cranston. 53. 'A man provides for his family' - Más
One of those small little scenes that become a lot more effective upon finishing the series as a whole. Watching Gus Fring (Giancarlo Esposito) gently nudge Walt towards becoming a part of his empire by so subtly yet incisively contributing to his personal philosophy, involves terrific understated acting by both actors, and an awareness of both what has happened and will happen between these two characters. 52. 'Just the right amount of dirty' - 'Abiquiu'
Saul at his sleaziest, Skyler at her most 'no-nonsense' mood, and Walt's hilarious exasperated look make for one of the most memorable comic moments in the whole series. 51. 'Stop whining like a little bitch, and do as I say' - 'Salud'
With Walt momentarily out of the picture, Jesse briefly takes over the role of Heisenberg in the Mexican Cartel world. There's something extremely carthatic about how he sidesteps every difficulty he encounters in this sequence, from combating his lack of Spanish and phenylacetic acid with his customary swagger. It's strangely exciting to see Jesse be so adept at something, and bonus points for Mike and Gus looking like two very (silently) proud parents Jesse never really had. 50. Crystal Blue Persuasion - 'Gliding Over All'
I'll admit the montages are not my favourite part of Breaking Bad, although I don't dislike them, and they're certainly all very well directed. Michelle MacLaren directs this particular one to perfection, though, as each transition and the song are all so fitting to the casual rhythm which Walt and Co. have settled into with the meth business, but with also a certain underlying emptiness through the absence of Jesse. 49. 'It's all contaminated' - 'Fly'
I love 'Fly' as an episode. It's a filler episode, admittedly, which doesn't progress that plot whatsoever, yet provides such a compelling showcase for Cranston and Paul throughout that it doesn't really matter to me. This climactic moment in the episode, where Jesse comes so close to killing the fly and Walter comes so close to telling Jesse the truth about Jane, is a remarkably tense moment. You can feel the mutual pain of both characters about what happened to Jane, as well as the symbolism of the fly being Walter's way of trying to remove all 'contamination' from his life, his past...but in the end, 'it's all contaminated'. He's in too deep already to ever be truly clean again. Bonus points for Rian Johnson's great use of the blue lighting so expertly used throughout the series. 48. 'Do it' - 'Hermanos'
The whole of 'Hermanos' is an extended showcase for Esposito, and this is one of the many gems throughout. It's a taut and exciting sequence for starters, as Johan Renck, Sam Catlin and George Mastras subvert the usual 'placing a tracking device' trope by focusing the tension not on being discovered by the 'villain', but on alerting the 'villain' to Walt's actions. Only Esposito could make a friendly, smiling fast food store owner taking an order so quietly terrifying; what he does with his eyes and mouth while saying such pleasantries is incredible.
47. Hank interrogates Mike - 'Madrigal'
It's not really a complaint, but I do wish we'd gotten more scenes between Mike and Hank throughout the series. They balance each other perfectly, with Mike's deadpan and reserved ex-cop playing off the abrasive and wisecracking DEA agent as two highly competent, highly intelligent men trying to pry through cracks in each others' facade. And of course ol' Gomie (Steven Michael Quezada) always to help play the (sort of) good cop to Hank's bad cop. It's also a rather enigmatic and intriguing scene with what Hank digs up from Mike's past, and I look forward to see what exactly transpired in Better Call Saul.
46. Walt's 'confession' - 'Confessions'
A scene truly needed to be seen to be believed, as Walt's lies reach a point of no return as he issues a warning/blackmail to Hank and Marie that's so ridiculous, and yet so well thought-out by Heisenberg himself. The shock factor amplifies the scene, of course, but not to be neglected are the performances of Norris and Brandt as they watch their resolve to capture Walt gradually dwindle.
45. Walt, Jesse and Mike interrogate Lydia - 'Dead Freight'
Laura Fraser's Lydia is one of the weak links of the series, but I do think her performance and character works very well in this particular scene. Lydia's manic desperation not to be killed contrasts very well with Mike's casual desire to kill her off ASAP (and as we soon find out, for good reason), Jesse's desperation not to take other life, and Walt quietly presiding over the best possible outcome. It's just a very well acted scene.
44. Confrontation in the Junkyard - 'Sunset'
An extremely tense scene, perhaps slightly nullified for me in that I knew there was no way they'd get found out by Hank. Hank comes ever so close to nabbing Jesse and Walt, and what results is a complex game of cat-and-mouse between the two, culminating in a great performance by Norris as Walt plays off his greatest weakness, and hilarious moments like Jesse reading off his legal rights with a resounding 'Bitch' at the end. 43. Jesse and Walt vs Tuco and Hector vs Hank - 'Grilled'
Not quite the best shootout of the series, but it's up there. The whole gradual buildup to this confrontation is what really makes it work as a belated finale to Season 1. From Hector revealing himself to not be catatonic and very much aware of his surroundings, to Tuco (Raymond Cruz) and his raving antics, to his bloody shootout with Hank, this is more of a series of very good scenes strung out into one amazing sequence.
42. Donald and Jesse find Jane's body - 'ABQ'
John de Lancie's performance as Jane's well-intentioned father Donald is one of the most underrated in the whole series, and he should have received a guest performance Emmy nomination for his work in Season 2. Him and Jesse's reactions to the death of Jane are increidble, as they reveal the shattering effect of death, through one of the first truly affecting fatalities in the series.
41. 'I won' - 'Face Off'
A brilliant deconstruction of the 'victorious hero' trope, rather we see how one villain has usurped another, with the morality scale still firmly planted down on the dark side of things. Cranston and Gunn's performances are essential to the finale of Season 4 carrying the right amount of both satisfaction at Walt having 'won', but at the same time ruminating of how much of his humanity he has 'lost' in the process.
40. 'I am the one who knocks' - 'Cornered
More of an amazing quote than an amazing scene, in my opinion, though it's still quite a great scene. This is the first time where Skyler sees Walt morph into Heisenberg before her very eyes, and it's terrifying as she watches all his seething, underlying frustrations manifest themselves into his alter-ego, the 'danger', the 'one who knocks'. Credit to Cranston for handling lines that could have come off as cartoonish in the wrong hands. 39. 'What about a magnet? - 'Live Free or Die'
There are so many great scenes between the trio of Walt, Jesse and Mike that I left several off the list - the 'Jesse James' discussion and their conflict over the divison of money being a notable one, Mike's pep talk to the pest control squad - just to spread the wealth a bit. This is a great humorous scene as we watch Walt and Mike butt heads over how to extract Gus Fring's computer from police custody, their personal ideals of self-preservation, and loyalty conflicting, as an out-of-focus Jesse hilariously plays the role of the Donny, and recommends what proves to be their ultimate plan in the background. 38. Send you to Belize - 'Buried'
Saul, king of beating around the bush with colourful metaphors, makes one of his most daring ones here, to Walt's indignant response of 'I'll send you to Belize'. It's a hilarious moment for sure, but also a very dark one that shows just how far Walt has come from the meek and obedient chemistry teacher he used to be.
37. The shootout begins - 'To'hajiilee'
Hank, committing the error of phoning ahead to his wife and ensuring that 'it'll all be over', and Gomie come head-to-head with the Neo-Nazis led by Michael Bowen's Uncle Jack here. The scene's sudden change to intense violence is perfection, especially with the hopeless way we watched Walt surrender himself to the authorities in the previous scene. Cranston's acting amplifies the intensity here as we watch him desperately yell for a shootout he never intended to happen, yet also initiated with his command, to stop. The sound editing and soundtrack only add up too the sheer horror of the shootout, and it's a perfect precursor to the more subdued intensity of 'Ozymandias'. 36. Todd kills Andrea - 'Granite State'
Of all the villains in Breaking Bad, Todd (Jesse Plemons) is quite possibly the creepiest of them all. He seems to have no concept whatsoever of guilt, and his detached yet enthusiastic way of carrying out everything from uncomfortably flirting with Lydia, to killing people, makes Plemons' performance one of the most unsung masterstrokes of the series. This is up there with his other most horrible act of the series. The murder of Andrea is one of the most senseless in the series since it's not even required to tie up loose ends, it's just to teach Jesse a lesson. A dark and heartbreaking scene, made even more so by Plemon's chilling delivery of 'don't take this personally'. 35. 'This is what comes from blood for blood, Hector' - 'Hermanos'
I'll be reiterating my love for Gus and Hector scenes repeatedly over the course of this list, since together they really do create some of the most unforgettable moments of the series. This first one-on-one interaction we see between them has Gus giving the 'highlights' of how he disposed of Hector's two remaining nephews. The way this interaction provides the framework for this great episode, and concludes mysteriously with that image of blood on water, is an inspired and atmospheric opening to an episode fixated on what made Gus, Gus. We watch his cordiality in dealing with such horrible deeds he's done, that completely earns how cool and reserved he is while dealing with the DEA agents interrogating him later on, while also seeing hints of instability and anger at Hector that surface again and again throughout the episode through his reserve. And Hector, technically one of Walt and Jesse's biggest adversaries, gains our sympathy oh so momentarily with how broken he is by Gus' words. A great scene.
34. Hank realizes what W.W. stands for (and reference to another great earlier scene) - 'Gliding Over All'
A great scene that calls back to another great scene, allowing me to discuss the cumulative greatness of these two scenes across two seasons. Hank's reaction to seeing Gale's (David Costabile) dedication to 'W.W.' inscribed in Walt's copy of Walt Whitman's Leaves of Grass is superb and I must assume was an excruciating cliffhanger back in the day. The scene which it flashes back to is another great scene where Hank does in a way come very close to breaking through Walt's facade, and the way the lighting and shadows on Walt's face make his delivery of 'you got me' so much more creepy is perfectly utilized for 'Gliding All Over'. These scenes culminate in the deterioration of a deeply heartfelt friendship, and all it takes is a wordless reaction shot and a seemingly insignificant 'close call'. 33. 'If you believe there's a hell' - 'Say My Name'
A brilliantly written scene where Walt plays the devil's advocate by presenting Hell as the inevitable route for Jesse, as Thomas Schnauz writes yet another unforgettable Walter White monologue where he selfishly manipulates his partner into doing things his way, Jesse's own morality be damned. Cranston's performance here is magnificent in how he uses the kindly teacher's disposition of Walt to espouse the teachings of Heisenberg, so gently reminding Jesse of his murder of Gale and shifting over all the guilt to Jesse's already unstable state. It's a scene that truly makes you hate Walt, yet you can't take your eyes off of him. 32. 'What happens now' - 'One Minute'
Midway through season 3, we get a taste of how truly threatening and terrifying Jesse can be, but in a very different way to Heisenberg. In that we get a glimpse of a Jesse's crumbling psyche and vindictive desire for revenge against Hank, that is encapsulated in this great scene, perfectly performed by Paul. The camera slowly zooms in to Jesse's battered face as we too grow more and more deeply entrenched into Jesse's vendetta against one of the few truly 'heroic' characters of the series thus far, making the audience question their loyalties. 31. Hank and Walt trade blows - 'Blood Money'
A great thing about Breaking Bad is its pacing. It never stops for a breather outside of 'Fly', and the plot is always on the move. The confrontation between Hank and Walt, which a lesser show might unnecssarily turn the wheels with across a season, is dealt with very swiftly after Hank finds out about Walt's secret persona. It's a brilliant scene, from Walt's double-edged line 'looks like you've got the work coming to you' and how he moves in and out from his Heisenberg persona, to Hank's vindictive response of 'rot you son of a bitch'. It's both satisfying to see Hank call out Heisenberg for his actions, but also sad to see two close friends become enemies in the span of a few minutes.
I should note that I still have yet to see 'The Idiot'. I've heard varied responses from critics on it as a film, but they all seem to concur that it stands out from his oeuvre in a unique fashion.
Kurosawa's 1950's period started off with two films that could not be more different: the media and courtroom satire Scandal and the tense mystery period piece Rashomon. In terms of style, Kurosawa could not be more differentiated in his approaches to the two films.
Scandal, though not lacking in weighty moments, opens with a rather lighthearted tone where the friendship between artist Ichiro Aoye (Toshirō Mifune), and singer, Miyako Saijo (Shirley Yamaguchi) is ludicrously spun into an illicit affair by the press, and the weak-willed incompetence of their lawyer Hiruta (Takashi Shimura) is played for laughs. It soon becomes a far more affecting film, however, with Hiruta's moral dilemma between his clients and a hefty bribe, and though I don't think the film ever coheres these two sides together perfectly, it makes for two solid halves of a film, and overall a decent film.
Rashomon is often touted as Kurosawa's greatest film. It's testament to his talent that I don't quite agree with that statement, and would not put it in my top 5 of his films, yet I still do consider it to be a terrific film overall. It takes the now iconic storytelling technique of telling the same incident - the murder of a samurai (the underrated Masayuki Mori), and the rape of his wife (Machiko Kyō), by a nefarious bandit (Mifune) - through multiple perspectives, and playing with the audience's perceptions. The one thing that keeps me from embracing this as one of Kurosawa's best films is its clinical nature, which is of course a very subjective opinion. There's emotional power to be had in the margins of the woodcutter witness' (Shimura) arc, and some dark humour to be found in the lies and hypocrisies of the various characters, but overall I don't think it has quite the impact of Kurosawa's best works. It certainly is a meticulously scripted feature with astounding cinematography, and uniformly terrific performances, so even though I don't love it, I admire it a great deal. Definitely worth a watch.
Kurosawa's most famous, and most influential film, was Seven Samurai. The film directly influenced one of the most famous Westerns of all-time, The Magnificent Seven (and its surprisingly decent remake), and also set the precedent for the 'man on a mission' style of film. There'd been films of that sort done before this - from Hollywood's Sahara to all manner of British WWII films - but never in quite this fashion. The way we are introduced to the ensemble of heroes undergoing an ardous mission to save a poverty-striken village from nasty bandits, in a methodical, precise, informative and perfectly organic fashion, is something that's continued to be emulated in everything from The Dirty Dozen to Rogue One. The way each character leaves his mark on the film is an incredible achievement, and makes the already fantastic action sequences all the more powerful through Kurosawa's deftly drawn characterizations of these samurai risking their lives. It's one of Kurosawa's very best films, with a simple and straightforward story of good v.s. evil, that gradually becomes a rather compelling study of the cost of heroism. Plus the theme song ranks among the greatest scores of all-time.
Kurosawa's greatest film in this period though was, in my opinion, the underseen, underrated and incredible Ikiru. I'll admit I'm always a mark for Scrooge-esque stories of a miserable old man inspired towards the greater good, but Ikiru is no simple reworking of A Christmas Carol. Rather, it takes that inspiring tale and morphs it into a far more cynical, heartbreaking, and tragic tale which nevertheless ends up being one of the most stirring tributes to the human spirit in cinematic history. Mr Watanabe, played with incredible restraint by Takashi Shimura, is a lifeless office drone who becomes diagnosed with terminal cancer. I could draw comparisons all day with Shimura's Watanabe and say, Bryan Cranston's Walter White in Breaking Bad as both works so eloquently convey the shattering, devastating impact such news brings to the lives of these men, whom life has not looked too kindly upon. But where Walt chose to go down a dark route to provide for his family (supposedly), Watanabe ends up on a very different journey of self-discovery, trying to plumb the darkness of his soul for some light of hope, some way to provide to the happiness of the world, a happiness he so sorely lacks.
It's hard to describe in words what Kurosawa does with this film that's so impactful. Few have conveyed both utter hopelessness, and immense joy through a character's broken singing. Kurosawa's screenplay shows us the life of a man that is at times uncomfortable to watch due to his timidity, and reveals a growing resolve within him to do something with his life that is so compelling. It's Kurosawa's most emotional film, and contains some of the finest work he did in his career. And in Shimura he coaxed out a performance of sublime power, one which springs out on you so unexpectedly.
Well this was a teaser I was certainly not expecting this early in the process; I mean, this is a show which hasn't even properly finalized its cast for the second season. Still, I can't complain; Westworld was my favourite miniseries of last year, and its second outing, with this tantalizing little snippets, has risen my levels of anticipation to an all-new high.
We see the saloon piano motif, such a prominent part of the first season. And its now drenched with blood. Presumably, not host, but human blood.
We saw Bernard (the magnificent Jeffrey Wright) learning about the very nature of life and death and him being a host last season; this very interesting shot anticipates him going down further this route of discovery, without the guidance of Ford (Anthony Hopkins).
Bodies of hosts and workers at the park alike scattered all over the complex. Can't say I'm excited to see much more of Lee Sizemore (Simon Quaterman) seeing as he was easily the weak link of the past season's ensemble, but since he's acting opposite the fabulous Thandie Newton as the wonderful Maeve Millay, I have high hopes that this'll be a compelling storyline.
We see Dolores (Evan Rachel Wood) picking off guests to the park one by one on horseback. Dolores had the most drastic arc of last season, and here it seems like we'll be seeing a very different side to this particular host; it'll be a challenge for Wood, but she seems to be very much at home in the role.
Guess this means Ashley Stubbs (Luke Hemsworth) is alive.
Last season we were introduced to the Man in Black (Ed Harris) and how he came to be the Man in Black. This season, with all bets off and the hosts being allowed to kill/harm humans, he's bloodied and bruised, and couldn't be happier about it. I'm really excited to see what Harris and the writers will do with this character.
An underrated film in many regards. It might feature an unnecessary romantic subplot (with one of the most strangely directed sex scenes in recent memory), and the finale might feel a bit muted and emotionally cold, but all in all this is a pretty strong film focusing on Soviet sniper Vasily Zaytsev (Jude Law). Whether or not this is a historically accurate film, I'll need to do more research to find out, but it's a very thrilling and taut action film first and foremost, and also quite an intelligent exploration of propaganda and what it means to be a 'hero' in wartime. Performances are uniformly quite good (with particular mention to Joseph Fiennes' devout Communist comissar and Ed Harris' cool-headed German sniper), and each tension-filled set piece is fairly remarkable.
14. Kelly's Heroes
The most lighthearted film on this list, this is one you should go for if you're not really feeling too good and want something to brighten up your day. A wacky comedy about a bunch of wacky soldiers looking for hidden treasure in the battlefields of WWII, it mixes the hardened tough-guy shennanigans of Clint Eastwood and Teddy Savalas with the loopy antics of characters like Donald Sutherland's chilled-out Oddball and the great Don Rickles as the exasperated Crapgame. 13. Cross of Iron
A very violent, dark and brooding film (though for Sam Peckinpah's standards it's relatively optimistic about human nature in many regards), which takes the German perspective of the war (albeit seen through the very American eyes of James Coburn) on the Eastern front. Focusing on the power struggle between Coburn's upstanding, no-nonsense Sergeant Steiner and the cowardly and despicable Captain Stransky (Maxmillian Schell), it's a very interesting character study of conflicting attitudes to the military and war, and quite impactful in its short but unforgettable bursts of violence. I don't think it all quite adds up into a great film, but it's a very good one to be sure.
12. A Bridge Too Far
A sprawling war epic with every big name of the 70s from Britain to America to Germany and back again, this is a true spectacle of filmmaking. Not every storyline works, and the conclusion is like (I assume) Dunkirk's fairly downbeat due to the Allied defeat in this particular conflict, but when it clicks into action, it's fairly remarkable. There's the fortitude of Anthony Hopkins' Major General John Frost and his resilient band of British soldiers, to the gung-ho heroics of who other than James Caan and Robert Redford, and even perspective given to the Dutch citizens and how they were affected by the battle. It's technically immaculate, and though perhaps it could have trimmed out some of the lesser storylines, it's still a very strong film.
11. Empire of the Sun
Speilberg's best WWII film, well his best WWII film that focuses directly on the battlefields, whereas Schindler's List taking more of a perspective of the battle outside of the battlefront. In many ways this film resembles another great WWII film, The Pianist, in its story of a solitary individual Jim Graham (young Christian Bale) struggling across a war-ravaged landscape. It features the conflicts of war more prominently than The Pianist though, and part of the terrifying beauty of the film is how the loss of Jim's innocence is reflected in the war surrounding him, changing from a glorious series of aerial battles where planes seem to dance with one another, to the brutal death of a close Japanese friend. It's a harrowing but also very heartfelt film, that in classic Speilberg fashion shows the horrors of warfare, while also retaining a certain hopefulness in its face.
10. The Big Red One
A disillusioned war story that carries its air of cynical disenchantment with every breath and every step its protagonists take. Directed by WWII veteran Samuel Fuller, this trek across North Africa by a group of world-weary American infantrymen is rather episodic in nature, and yet effectively so. Each vigenette builds up the intensity of war, and each character is developed in a brisk yet effective fashion, particularly Lee Marvin's burly Sergeant and Mark Hammill's youthful marksman Private Griff. The film's conclusion is a particularly great one, and as a whole it's one of the less preachy war movies that still gets its message across fairly well.
9. Battleground
It's crazy how the inimitable William Wellman created such a vivid and realistic war film given the constrictions of the time. It was released in 1949 but doesn't feel at all dated when viewed today. It's one of the first war films to actually give its soldier characters characterization beyond mere caricatures, and it captures not only the terror but also the mental and physical strain of warfare in a very effective fashion. It helps that the film never feels like it's constrained by a narrative, rather it takes the approach of a 'slice of life' of a soldier's struggle, and paints with such brutally honest airs the decidedly unromantic world of WWII.
8. Letters from Iwo Jima
One half of Clint Eastwood's 2006 back-to-back films on the Battle of Iwo Jima. Where Flags of our Others took the perspective of the American troops and their (ultimately) victorious success, this film focuses on the futile but defiant struggle of the Japanese troops. Led by a terrific Ken Watanabe, we are introduced to a group of characters who are shown to be neither heroes nor villains, but rather just men doing their duty towards their country. It's a great film that explores so many complexities of warfare: notions of cowardice, bravery in a useless struggle, and what is right and wrong. It's violent but never gratuitously so, and though its emotional beats are handled in a very understated fashion, fitting to the reserved nature of many of the Japanese soldiers, it still packs quite the emotional punch.
7. Das Boot
Set predominantly on water, this fantastic epic from Wolfgang Petersen is directed with aplomb. Make no mistake, this is a BIG film, big and intense, but also focuses on the little details. It presents the German soldiers at its centre from a sympathetic perspective, unique in a Hollywood film (of sorts), without glorifying the Nazi cause. It has at its centre a great reactionary performance by Jürgen Prochnow and is commonly held to be one of the greatest war film ever, a distinction it most certainly deserves. I'll admit it's been a while since I've sat through this film, it's definitely not for a casual moviegoer, but it's a terrific one well worth watching.
6. Come and See
A sort of 80s precursor to Beasts of No Nation but even darker and more unsettling...if you can imagine that. Young Flyora (Aleksei Kravchenko) and his terrifying coming-of-age journey through the Nazi-occupied Soviet Union is an unflinching film that never shies away from the brutal realities of the war. It is gritty yet never exploitative; as grim as it gets, it always has hints of the boy's innocence lingering, making it all the more haunting the more it seeps away. Each sequence is amazing, from Flyora's shy interactions with a girl that gradually segue into something more terrifying, and a downright amazing and unsettling scene involving the shooting of Hitler's portrait. A terrific film that's again, not an easy watch, but essential WWII viewing.
5. Grave of the Fireflies
One of Studio Ghibli's best films (from what I've seen), this is another film where we are not necessarily present in the 'battlefields', so to speak, but the who atmosphere and environment we find our two young protagonists in is very much an unsparing war zone. Our protagonist Seita and his young sister Setsuko are essentially forced to be child soldiers of sorts, fighting against not fighter pilots or enemy soldiers, but a crumbling world torn apart by the deep-reaching effects of war. Deeply upsetting from start to finish, this is a tough film to stomach, and even the more lighthearted and sweet moments in the film only serve to make the hard-hitting segments even more heartbreaking. It's a great achievement, and I'd suggest watching it back-to-back with another Ghibli film, perhaps a more upbeat one like My Neighbour Totoro.
4. Hacksaw Ridge
An extraordinary directorial achievement from Mel Gibson, featuring an astounding central performance by Andrew Garfield (I'm considering shifting my 2016 win to him) as the almost mythical figure of Desmond Doss, and a mixture of some of the most brutal and some of the most inspiring war film scenes of all-time. I'd say more, but there's not much more that needs to be said: like the real Desmond Doss, you'll have to see it to believe it.
3. Ice Cold in Alex
A good old fashioned British war film, with none other than John Mills in the lead as an alcoholic Captain who with his Sergeant Major (Harry Andrews), escorts a pair of nurses (Sylvia Syms and Diane Clare) across the Egyptian desert during the Western Desert Campaign. It's a rollicking fun ride that is equal parts unbearably tense (see: a quicksand sequence, a tentative trip through the minefields), extremely funny, and beautifully shot and scored. The screenplay creates its characters on the go so well, and goes a step further through the writing of the character of Captain van der Poel (a brilliant Anthony Quayle). This character is what transcends the film from being very good to a masterpiece, a mysterious and shady enigma that ends up becoming the heart and soul of the film.
2. Paths of Glory
I feel I need to write an extended essay on why exactly, but upon rewatches I've come around to considering Paths of Glory Kubrick's greatest film. Set around French commanding officer Dax (Kirk Douglas) defending his soldiers against charges of cowardice by the sleazy high command, it's an amazing war film, first and foremost, on a technical level which is to be expected of Kubrick. The cinematography and use of smoke with the medium of black and white, is mesmerizing, and so far beyond its time. When the soldiers go over the top, you can feel every blow and every gunshot due to the terrific sound design. The atmosphere of the trenches is created vividly by the beautiful set design, and more importantly the screenplay which sets up the central debate of the film, and sketches its large cast of characters with such complexity, down to the smallest role. I think what truly makes this a masterpiece is how it refutes a commonly held view of Kubrick's fault as a filmmaker, that he was supposedly without humanity. Watching this film immediately disproves this sweeping statement. It is a film that practically pulsates with humanity, from the three men picked at random to by tried by the kangaroo court of the French high command, to Dax and his Atticus Finch-esque brand of morality that always feels so genuine (thanks to Douglas' terrific performance), and of course the ending, the greatest of all of Kubrick's endings, which is saying something.
1. The Thin Red Line (1998)
I wrote a full article on this film previously (http://actorvsactor.blogspot.hk/2016/08/terrence-malicks-thin-red-line.html). But to summarize it succinctly: I wouldn't consider myself the biggest Terrence Malick fan, but this is one film where I wholeheartedly embraced his style (though I love Badlands too). It is arguably the most beautiful film ever made in terms of cinematography, has one of the most beautiful soundtracks of all time (a mix of Hans Zimmer and Melanesian choral music), and an otherwordly and viscreal view of war as hell, and the virtues of peace.
