Hans Zimmer is best known as the king of the grand and grandiose, but he could always knock off a terrific cheesy 90s action flick soundtrack if he wanted to. Broken Arrow is as over-the-top as John Woo action films get, and as ham-tastic as a John Travolta villain action flick gets, but boy is it some dumb fun. The theme song is relatively simple, a sort of pseudo-Western, very whimsical and offbeat music perhaps more fitting to a lighthearted Western than a nuclear weapons thriller. Somehow, though, this dissonance works extremely well with the silly tone of the film.
29. 'The Way of the Sword' - The Last Samurai
Hans goes to Japan, and while even the maestro himself doubted he'd be able to achieve the very particular tone of reverence and respectfulness towards Japanese culture the film does, I do think he manages to nail it.This is a great action theme which is heart-pounding before seguing into a very heartfelt, reverential tone, and very much embodies the film's ideals of heroism and honour.
28. The Theme to Black Rain
Curious, though, that Zimmer was so nervous about taking on the themes of Japanese culture through his music, since he pretty much nailed it in one of his first goes with Black Rain. The film shares many similarities to The Last Samurai with its respectful approach to the Japanese, and is a fairly entertaining action film to boot. Zimmer's ending theme to the film is a fantastic example of him bringing about a great conclusion, as it so succinctly surmises the bond of the two men from different continents.
27. 'Stone in My Heart' - The Thin Red Line
Like the vast ensemble which was significantly pared down by Terrence Malick's brutal cutting process, Hans Zimmer's soundtrack for The Thin Red Line was apparently largely cut from the final product, with only several of his nearly 4 hours worth of music appearing in it. Well, say what you will about the man, but Terry M clearly knew what to pick out of Zimmer's bag of tricks. It's such a unique soundtrack for a war movie as there's absolutely no John Williams, James Horner or (more recently) Rupert Gregson-Williams sort of bombastic tone to any of its tracks. Which is not to diminish the work of those composers in their war sequences, they're amazing in their own ways, but Zimmer opts for a different approach to contrast with the visuals of horror and suffering. This track, set to the beautiful shots of C Company's trails in the South Pacific, shows the calm and serene surface, with the violin reprise of the tune towards the end symbolizing the men's own internal states as they move towards battle.
26. 'You're So Cool' - True Romance
As derivative from Badlands' score,as the film itself is in many ways indebted to that great Malick film, this is nevertheless another A+ quality score from Zimmer for a very entertaining, if a bit disorganized, semi-Tarantino-semi-Tony Scott venture. The sprightly and playful tune is absolutely pitch-perfect for the road trip of the two protagonists, mischievous and cheekily winning their way into your hears.
25. 'Agent of Chaos' - The Dark Knight
Starting off so calmly before setting off on another pulse-pulsating theme, this theme amplifies the escalating tension of Batman finding out about the Joker's 'Sophie's choice' dilemma, and the desperate mindset of Bruce Wayne. I have a particular affinity for how the Joker's theme subtly underlies this theme, and how it so cruelly ends its 'epic' theme to revert back to a calm, chilling score that shows the horror and tragedy of the Joker's actions.
24. 'God Yu Tekem Laef Blong Mi' - The Thin Red Line
This serene, beautiful piece of music is implemented into the film at its most understated, soothing and calm segments, to create this sense of the otherworldly. The instrumentals are minimal, but Zimmer wisely holds back in this regard to let the Melanesian choral songs and chants flourish all the more. They are a perfect representation of Private Witt's (Jim Caviezel) state of tranquility, and provides such fitting comfort in a film that so vividly depicts war's greatest horrors. It's never forceful in its emotions, fitting to the tone of the film, and provides the basis for some of its most emotionally powerful sequences.
23. Theme to Driving Miss Daisy
Atypical Zimmer, to the extent that I didn't realize till quite recently that this soundtrack was composed by him. It's sparkly and lighthearted in a fitting way to the sparkly and (mostly) lighthearted film it accompanies, and you can just see Morgan Freeman glowing and Jessica Tandy glowering/glowing herself as you listen to this catchy little tune. The use of synthesizers and samplers, very much an 80s staple and a Zimmer staple, capture that specific time period of the film despite the somewhat anachronistic use of this modern music making technique.
22. 'The Village' - The Thin Red Line
Like 'Stone in My Heart' the track begins in a tranquil fashion, before gradually turning into a darker, more tragic and mournful piece. The beauty of the strings instruments coalesce with the constant ringing and the use of bells to show how, try as one might to lose oneself in the beauty of the islands or the innocence of the past, the ringing of war is always in one's ears. The dissonance never feels jarring, but instead adds so much to the sequences in the film it's utilized in. It never 'raises its voice', so to speak, but you still completely feel how it represents the symbol of war weighing upon the men's shoulders.
21. 'Leaving Walbrook' - Rain Man
A neat subversion of the typical road trip theme song, as we get another synth-heavy Zimmer soundtrack which is entirely fitting to the very methodical, precise and yet heartwarming personality of Raymond Babbit (underrated Oscar-winning performance by Dustin Hoffman) and his relationship with his brother Charlie (underrated, period, performance by Tom Cruise). It's very straightforward in terms of the comfortable sweet spot it hits with the score, but effectively so, and brings a smile to one's face whenever it's heard in the film.
20. 'Is She With You?' - Batman v.s. Superman: Dawn of Justice
This off-kilter collaboration with Junkie XL works out surprisingly well, in fact I'd say this is a perfect example of a soundtrack that is greater than the sum of the completed film. Honestly, Wonder Woman's theme here suggests a far greater story and plot line than the final film gives her. It's utilized really well in her standalone film too by Rupert Gregson-Williams, but this is where it was established, and credits to Zimmer and Junkie XL for crafting a truly inspiring, epic theme song that puts many other superhero themes of today to shame.
19. 'Introduce a Little Anarchy' - The Dark Knight
The difficult part about praising the soundtrack to Nolan's Dark Knight trilogy, in particular The Dark Knight, is how the score in each given scene is mostly compromised of fragments of other parts of the score, combined to fit the varying tones and moods of the film - usually gritty and rather grim. This is an excellent example of this splicing, as we have a heart-pounding, rousing score to accompany the best action sequence in the film as Batman has to take out his own SWAT team and save a bunch of 'hostages'. Everything just kicks in at the right time here as you can clearly distinguish each rising line of action between the chords here.
18. 'The Corall Atoll' - The Thin Red Line
Begins the men's journey into war impeccably, as here we get a bit more of the expected Hans Zimmer gravitas to its ascending opening, as it rumbles in accordance with the ominous sounds of the ships, bringing men closer and closer to the battlefields where many will lose their lives. After that it switches between the meek and calm, and the rumbling and gritty. There is an ominous air to much of the music, symbolizing the 'great evil', but there also an otherworldly sense of someplace else, the 'beautiful light' Private Witt speaks of in the great beyond.
17. 'The Medallion Calls' - Pirates of the Caribbean: Curse of the Black Pearl
A grand collaborative effort by Zimmer, Klaus Badelt, and Ramin Djawadi (of Game of Thrones fame). It effectively acts as an entry for Jack Sparrow, for better or worse, and captures so beautifully that off-kilter and mischievous airs of Captain Jack. Its grandeur juxtaposes his silly antics and airs of pretension, with just the right amount of wry knowing-ness. In many ways the Pirates series features some of the most bare-bones and simple soundtracks of Zimmer's filmography. Doesn't matter because it fits the tone of the films perfectly, even when the films themselves aren't exactly on point.
16. 'Home' - Dunkirk
Zimmer's latest soundtrack is, for lack of a better word, quite the masterpiece. It should be said that the whole sound design of the film is perhaps its most remarkable quality, and the use of a ticking clock motif for the soundtrack is a stroke of genius, as it creates such a constant urgency throughout the film. The frentic pace and rhythm this creates throughout the film is palatable through the first part of 'Home', which makes its sudden transition to something more comforting and inspirational in its second half, perfectly correlating with Kenneth Branagh's impeccable acting in that scene, so moving.
What a unique surprise it was to see this talented and deservedly acclaimed cinematographer of early-to-mid 20th Century Hollywood be featured on the mantlepiece of of Google's search engine display. A beautiful oil canvas it must be said, aptly so for a man whose films were never less than good to look at, and when in black and white on a whole entire other leve.
Howe, a Chinese immigrant who made a start doing odd jobs here and there for film studios and capturing Cecil B. Demille's eye as a clapper boy, he worked is way into becoming a director of photography by finding ways to enhance the mode of black-and-white filmmaking. Whether it was using lighting or shadowing to make actresses' best angles flourish, to discovering how to use dark backdrops to create contrast, to the use of wide-angle lenses and color lighting, Howe was an innovator through and through; he was one of the first to use deep focus, one of the first the employ the use of the dolly camera movement.
Being Chinese, there is of course an added pride I take in the work of Mr Howe which extends beyond just his expertise. He was a strong, somewhat stubborn, and exceedingly hardworking individual who got his way with the films he worked on. He won two Oscars, for The Rose Tattoo and Hud, and should be more frequently remarked as one of the biggest breakthroughs for Asian Americans in Hollywood. His marriage to novelist and literary editor Sanora Babb was discriminated against by the Chinese Exclusion Act, prohibiting them from publicly acknowledging it till 1948. Yet still they persisted.
Of course, I could babble on all day about the man's aptitude, but perhaps it's best if I just show you all some of my favourite shots/scenes involving him. Enjoy.
The lighting employed in Sweet Smell of Success on Burt Lancaster's demenaour is breathtaking, turning the handsome leading man into a hulking, nasty monster.
It's a bit of a standard drama in many ways, but Howe's work on King's Row gives it a nice added touch of noir atmosphere and an unsettling undercurrent.
With Detroit having been released in U.S. cinemas, Kathryn Bigelow's gritty and pseudo-documentary style 'trilogy' of sorts comes to a suitably controversial conclusion. Some critics have opined that it's yet another example of Bigelow twisting the truth for thriller and exploitative means, some that it misappropriates the 'black perspective' of the 1967 Detroit riots and the Algiers motel incident; on the other side, some considering it to not only be the finest work Bigelow has ever done, but a rousing powerhouse that deserves to be in Oscar contention in multiple categories, come awards season.
Having not seen it yet, I'll await judgement of it, but needless to say I'm excited. Bigelow's one of the most talented directors in Hollywood, distinguished not just by being a female director dabbling in what some might deem atypical genres, but by just being a downright fantastic visceral talent at capturing such an in-your-face immersive quality of her films. Her earlier work like the iconic cheesiness of Point Break was already notable in this regard, but with her last two films - the terrific The Hurt Locker and the effective, if slightly wavering in focus, Zero Dark Thirty - she's established herself as the go-to person for adrenaline-drenched filmmaking with quality; a Bay with a brain, so to speak.
As we've watched Bigelow's gradual transformation into this talent, we've also seen the emergence of Peter Berg. An actor-turned director who helmed a decent adaptation of a great sports novella (Friday Night Lights, highly recommend the source material), a few flops (Battlefield) and problematic hits (Hancock's great first half and awful third act, anyone?), took awhile to get into stride in this 'grit and grind' brand of filmmaking, but with 2013's Lone Survivor he finally seemed to hit the mark.
It's a very solid war thriller, tautly directed and with excellent sound editing, and its third act switch to the Pashtun villagers isn't nearly as tonally deaf as some make it out to be. It tells the story of the failed Operation Red Wings in the War of Afghanistan, and how four soldiers assigned to track down and kill Taliban leader Ahmad Shah are forced to fight for their lives against the Taliban. It is in many ways, a traditional 'Team America' story of fighting against the odds, subverted in style by Berg's blunt and incisive direction, but not in spirit. It's an interesting counterpoint to Bigelow's The Hurt Locker in that regard, which told the fictional narrative of a bomb disposal expert (Jeremy Renner in his breakthrough role) going on tour in Iraq. Where the heroism in Lone Survivor is violently and bleakly depicted, it is also honoured with the due respect to the brave men fighting; in The Hurt Locker, Renner's William James is a maverick and daredevil who's technically being very 'brave', but in a way which creates great unease among his squadron (Anthony Mackie and Brian Gergharty).
Bigelow and Berg are not overly similar in style; Berg, as aforementioned, is a bit more stylized, a bit more 'gung-ho' and All-American in his approach, while Bigelow prefers to eschew heroism for more brutal interrogation of the human nature. Her protagonists, like Jeremy Renner's William James in The Hurt Locker and Jessica Chastain's enigmatic and feisty CIA operative Maya tracking down Bin Laden in Zero Dark Thirty,tend to be more morally murky protagonists than Berg's Mark Whalberg avatars in his 'real-life trilogy' of Lone Survivor, Deepwater Horizon and Patriots Day. In each of these films Marky Mark plays the hero our focus is primarily directed towards: real-life Navy SEAL survivor Marcus Luttrell, real-life electronics technician on the Deepwater Horizon oil rig Mike Williams, and a very fictional composite cop character investigating the Boston Marathon bombings.
The perspectives of these protagonists create a vast range of possibilities for both directors. The Hurt Locker achieves its claustraphobic, often quite troubling atmosphere of constant unease through us sticking with a 'decoy protagonist' in Guy Pearce's swiftly deceased bomb disposal expert, and switching to the unpredictable William: all bets are off, and Renner's terrific, rightfully Oscar-nominated performance only serves to enhance this destabilizing effect on the narrative.
Zero Dark Thirty is a bit less assured in this regard. Chastain is a very strong lead, and her co-star Jason Clarke is equally good as a fellow CIA operative who resorts to less than savoury means to track down Bin Laden, including extreme torture. But there comes an influx of subplots surrounding different members of the CIA, which is effective in showing the interesting behind-the-scenes drama and decision-making. I do prefer The Hurt Locker's more focused narrative, but then again these are very different sorts of stories Bigelow is telling. We're kept somewhat at a distance from all characters involved, and with Detroit I'm hoping there's a bit more proximity to our characters than this film.
Which isn't to say I dislike Zero Dark Thirty; while I may not love certain elements of the storytelling structure, and the facts themselves that are used for the narrative may be dubious at best, Bigelow's direction throughout Zero Dark Thirty is consistently strong, and when it ups the ante in the third act with the Navy SEALs carrying out the mission it's a very terrific procedural thriller. It sets up a rather intense third act with good build-up in the first two, similar to what Berg does with his disaster thriller Deepwater Horizon. Deepwater Horizon's effectiveness hinges upon how it shows the before as well as the during and after of the disaster. By introducing the various characters working at the oil rig and allowing us to embrace them, it adds to the effect of seeing them struggle out of their predicament.
It never feels exploitative of the real-life tragedy; one of Berg's strengths as a director is not letting the horrors of the situation being the all-encompassing attribute of his films, but rather the strength and heroism used to confront it. Similarly, in Patriots Day, while he does show the terrible events of the Boston bombers' actions, and decry the callousness of the terrorists, he also ensures we focus on the bravery of the cops and authorities who tracked down the two killers, as well as the many ordinary citizens who bravely stepped up to help their beloved city. Sentimental? Perhaps, but with just the right amount of it coupled with realism. Berg's pseudo-documentary approach is a fascinating contrast to Bigelow's; whereas she uses it to capture the ugliness of human actions, Berg often uses it to capture the bravery of them. What is similar is their shared interest of what drives humanity in the most extreme of circumstances: the thrills in their stories never seem like mere cogs in a machine, but rather truly vivid circumstances which their characters struggle through. The Hurt Locker puts us in a position to witness tropes we've seen again and again - the rescue of an innocent citizen, a shootout with militants - and twists and turns our expectations, and we are as emotionally drained as the characters onscreen. Lone Survivor, in particular out of the three aforementioned Berg films, is intent on showing us every wound and gunshot endured by the four men; each setpiece is most remarkable not just for the technical elements, but also the emotional intensity he finds within them.
It should be noted as well that beyond being just technically impeccable, both are terrific actor's directors. Bigelow turned out a starmaking turn from Renner as well as terrific supporting work by Mackie in The Hurt Locker, and uniformly strong performances from a varied character actor ensemble in Zero Dark Thirty.
And if critical reactions are anything to go by, it looks like John Boyega, and Will Poulter have truly knocked it out of the ballpark with Detroit; we'll see about that. Berg, on the other hand, has the ability to coax realistic and invested performances by Whalberg (which should never be a given, check out the latest Transformers film) as his leading man, as well as many dark horse standouts: the magnificent depiction of Matthew 'Axe' Axelson by the one and only Ben Foster in Lone Survivor, Kurt Russell's defiant rig supervisor 'Mr Jimmy' in Deepwater Horizon, and fantastic performances by Jimmy O. Yang, Kevin Bacon, and J.K. Simmons as people on both sides of the conflict in Patriots Day all are very notable performances.
Really, Bigelow and Berg have only upwards to go after the recent quality of their work; here's hoping they keep on with their brave and gritty style to stylistically 'in-your-face' filmmaking at its finest.
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.
