![]() The quietness extends to the production itself, which punctuates bursts of mayhem with long stretches in which we sit back and watch people figure their way out of problems. Writer-director Gilligan builds El Camino’s plot around Jesse, and his largely reactive presence gives it a different vibe than the series, which focused on a resentful genius who couldn’t shut up. ![]() That tradition continues in the postscript movie El Camino, itself an unabashedly Western-tinged title, derived from the vehicle that Walter White’s former partner and pupil Jesse Pinkman (Aaron Paul) steals to escape his imprisonment at the end of the show. Co-executive producer and regular episode director Michelle MacLaren once told me that she tried to work homages to Leone’s Once Upon a Time in the West, her favorite movie, into every installment that she helmed. From its fondness for desert panoramas and Sergio Leone–style face-offs between rival gangs of outlaws to its jaunty country-western needle drops - including Marty Robbins’s “Felina,” which provided the de facto Greek chorus of its guns-a-blazing finale, and its title as well - creator Vince Gilligan and his collaborators stuffed every cranny of the show with allusions to the genre. Like Justified and Sons of Anarchy, Breaking Bad was always as much of a Western as a crime thriller. This is a full review of the film, and is intended to be read after you’ve seen it. ![]() Spoilers below for El Camino: A Breaking Bad Movie. Aaron Paul as Jesse Pinkman in El Camino. ![]()
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