Alongside Gilligan’s engaging script, Breaking Bad alum Dave Porter’s score is another highlight of the film. And while no one is likely to confuse Jesse with James Bond, it’s exciting to see how well he handles stressful situations now, especially when he’s outmanned and outgunned. The action sequences, though sparse, are entertaining once the bullets start to fly. This directorial choice adds an appropriate amount of tension, giving the viewer a sense of what it must feel like for Jesse as the walls close in around him. (If it ain’t broke.) With Jesse on the run from the law after the Season 5 finale bloodbath, Gilligan keeps the camera and characters in confined spaces: houses, crammed in between a wall and a mattress, and ducking down in cars. Both Breaking Bad and Better Call Saul have already established themselves as visually striking small-screen productions, complete with stellar directing and gorgeous cinematography, so Gilligan’s move from the small screen to the movie theater (El Camino will have a limited theatrical run in addition to streaming on Netflix) doesn’t change Breaking Bad’s aesthetic all that much… Which is a good thing. Gilligan could have used some kind of digital de-aging technique that would look silly in Breaking Bad’s grounded world, but it is sometimes difficult to ignore the very noticeable differences. Because the series ended six years ago and these actors are portraying their respective characters as if no time has passed, their physical appearance can be a bit distracting. The one drawback to the cameos can be squarely put on Father Time.
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