Spoiler-Free Review: Star Trek Into Darkness

When JJ Abrams was tasked with making the Star Trek franchise commercially accessible back in 2009, I’d say he did a pretty good job—characters and general situations that I’ve grown accustomed to seeing in parodies rather than in their native habitat suddenly became relevant and… well, I don’t wanna say “cool” since that would be pushing things, but at the least the franchise was back in the public eye for doing what it did best in the form of a blockbuster movie. And while the sequel didn’t necessarily disappoint in that respect either, I just felt like Star Trek: Into Darkness didn’t tap into the potential that is almost fifty years of source material to work with.

Star Trek: Into Darkness posterThis time around, the crew aboard the Enterprise isn’t the only ones in direct danger, as an unknown terrorist has their eyes set on the entirety of Starfleet. Revelations are made, people are killed, betrayals are had, and things are decently wrapped up in around 2 hours. I wouldn’t say it’s an incredibly by-the-book sci-fi movie, but it isn’t exactly groundbreaking by any means either. Similar to the previous Abrams Star Trek, all the tension and plot-building in Into Darkness isn’t your typical gradual climb up to a climax. Things slow down, speed up, halt completely, and meander in an almost aimless sense. Then again, the main characters are a crew of explorers, so such an aesthetic works to a certain degree. Still, something about the movie just didn’t sit right with me.

Perhaps the movie suffers from the standard sequel problem of simply seeing if it can get away with more of the same. Yes, performances are great, settings and costumes are visually stunning (Uhura’s covert “civilian” clothes are disgustingly stylish), and there were a good couple of lines that really did give me chills from their emotional impact, but nothing seemed to try to go above and beyond expectations. This is especially apparent in the character arcs of Kirk and Spock. Yes, their characters have already been established in the previous movie, but that only makes me wonder how said characters are further developed this time around, and (more importantly) how that will tie in with the story. What we get is an initial setup of Kirk and Spock’s conflicting opinions on following Starfleet protocol, only to have the general theme lost halfway through for the sake of plot twists, and then shoehorned back in for the finale. Maybe it’s not as bad as I put it, but I hesitate to say it’s spectacular by any means.

I did enjoy seeing where Earth sits in the Trek universe, with the first terrorist attack being on a Starfleet building in London, though it also led to my wondering why the scope was immediately broadened to space for the majority of the movie. From the get-go, it is made clear that the villain’s plans had some direct affect on Starfleet as a whole, so to have things solely focused on the Enterprise crew made it seem as if a lot of off-screen goings-on were being skipped over. Maybe such consequences will be told in the next movie, but to hold off until then results in the story not being as strong as it could have been.

Another point I must bring up are the little nods towards the old-school Star Trek material. Now, I am by no means well or even decently versed in Trek lore, but internet humor has made me privy to at least a handful of tidbits, nearly all of which were paid homage to in some shape and form in this movie resulting in my just being taken out of the movie’s world if only for a bit. That’s not to say little easter eggs in movies are horrible; if that were true, Stan Lee’s IMDB page would be considerably shorter. The problem is when the easter egg goes from being in the background (Iron Man’s Ultimate Comics suit in the third movie) to the front and center of the action (“I’m the Juggernaut, bitch”). And in the case with Into Darkness, one particular scene is near identical to a certain scene from an old-school Trek movie, to the point that any seriousness and emotional impact intended was just lost on me—a guy who at best has seen one or two DVR’d old Trek movies.

As a whole, Star Trek: Into Darkness is a serviceable action/sci-fi movie. Though from a franchise as long-running as this that has only just recently been put back on the map with the Abrams movies, you would think that absolutely every effort would be made to make sure the franchise doesn’t go back into obscurity. I wouldn’t exactly call this a popcorn movie, since the occasional Trekkie jargon does involve some form of thinking on the viewer’s part, but maybe that’s just the direction that popcorn movies are taking as of late.

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Spoiler-Free Review: Iron Man 3

Of the Marvel movie universe titles, the Iron Man franchise was clearly one of the more shining achievements of the bunch. Not only did it start off the string of Marvel titles leading up to The Avengers, but it was a smart, fun romp of a movie that was able to establish one of the lesser known comicbook heroes (at that time, at least) and turn him into a household name. That only made things so much more disappointing when its sequel Iron Man 2 ended up being such an uninspired, bland, movie-length commercial for The Avengers movie. Thankfully, the awkward middle-period remains just that, as the third installment in the Iron Man movies returns to its roots, while taking the bits and pieces from 2 that people will admit to liking.

Iron Man 3 movie poster

Getting past the initial shock of everything taking place around Christmas (guess around when this movie was supposed to be released) Iron Man 3 does an excellent job of not only bringing titular character Tony Stark back to the roots of his first movie in hunting down terrorists and bringing ‘em to justice (no quirky bird-obsessed baddies here!), but it also gives enough of a spin on his repertoire of abilities, making fight scenes feel fresh and not Iron Man 2-level boring. The movie baddie this time takes on the form of The Mandarin—a terrorist that takes pleasure in hijacking American broadcasts to spread his hatred of the country. The movie does a fine job of keeping any details on his true identity fuzzy, building up to a twist that while tension-deflating, works as a whole. Action is equally top-notch, with Iron Man having evolved his fighting style after three movies (and a spinoff movie). Rather than brute-forcing his way through fights with his standard repulsor blast, a new spin has been put to use that while somewhat unrealistic in comparison to the goings-on of the first movie, proves quite the spectacle to watch (the list of people under “Visual Effects” during the end credits understandably takes up a full one-and-then-some screens).

Story-wise, the movie takes place a while after the events of The Avengers, with Tony having seen better days, as the trauma brought on by risking his life to fight hordes of aliens has left him feeling far from refreshed. With all the pent up stress, Tony has been spending the majority of his time tinkering away at different iterations of the Iron Man suit, obsessing over wanting to protect those with the power he has been granted. What he fails to realize, however, is that being a hero doesn’t necessarily mean helping the helpless. And in that sense, the movie ends up playing out similarly to Spider-Man 2 (another spectacular Marvel movie). Time and time again throughout the movie, Tony is dropped into situations where he must rely on the help of others when he has become so accustomed to the reverse being true. It’s an incredibly humbling realization for the bold and brash Tony Stark, and serves as a fitting place to end his story movie-wise (though we all know that isn’t true).

As a whole, Iron Man 3 has done more than enough to escape the rut of mediocrity that was Iron Man 2, setting the bar for the second wave of Marvel movies disgustingly high.

“Pain is Power!” Unofficial Sentai Akibaranger Review

Mighty Morphin’ Power Rangers was one of those shows that essentially shaped me into the manchild I admit to being today. It had the kind of gratuitous imitatable violence that made soccer moms everywhere help push for the current parental guidance ratings and in general was just something nice and campy you could watch with your brain turned off. But while the Power Rangers have gone strong through a current total of (checks Wikipedia) 18 different series, I think we can all say that it’s dwindled in popularity since the Mighty Morphin’ era. Thankfully the guys at Toei have found a way to bring in old fans of the show in the form of parody series Unofficial Sentai Akibaranger.

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The Thieves – Korean Movie Review

When I heard that semi-recent Korean movie The Thieves was the third best-selling film in South Korean box offices ever, my interests were piqued to say the least.

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The Thieves is one of those movies whose synopsis alone doesn’t come anywhere near doing it justice. As the movie starts, you’re introduced to a myriad of thieves, each one of them with a particular quirk or specialty. Aiming for a rather pricey diamond known as the Tear of the Sun, thief Macao Park gathers thieves from both Korea and China to plan the heist. With the movie’s cast and general setting for the heist taking place in a casino, you may think of this as the Korean version of Ocean’s 11, though to leave it at that wouldn’t come close to explaining the rest of the movie.

While the cast has a certain charm that makes you root for their robbery, there’s another level to the characters in the form of their interactions with each other. Besides the tension brought about in the Korean thieves mingling with the Chinese thieves, additional tension is introduced in the form of backstories with characters. It’s this slow reveal of backstory, making you side with certain thieves over others, that gives a refreshing take on the genre. The intricate and sometimes overlapping stories certain thieves have is this movie’s biggest strength, making for a narrative that delivers on so many levels.

From my understanding, each thief is played by a big name actor, though my ignorant American know-how was only able to spot out Gianna Jun, best known as the main lead in Korean dramady movie My Sassy Girl. Jun’s performance does not disappoint, delivering an expected amount of sassiness that her previous works have made her known for and stealing practically every scene she’s in. Though that’s not to say that the rest of the cast doesn’t deliver either; the rest of the thieves from the false-mustachioed Popie to the dopey Andrew really make the characters their own, interacting with each other in a way that you really believe that they’re a team of professionals, albeit occasionally goofy ones.

Usually, when it comes to movies with large casts, there’s bound to be more attention given to certain characters over others. And while such is true for The Thieves, you don’t really mind it since each character is given the amount of screen time they deserve, with nobody getting absolutely shafted. It’s the kind of movie that knows how to deal with each of its characters and their personal character arcs, as numerous as they may be for just one movie.

Overall, The Thieves deserves every bit of praise it’s gotten, with my only gripe being that its American release isn’t as packed to the brim with special features as its native Korean release was. Still, if that means a cheaper price on amazon, then you have even more reason to blind buy it. I did so myself and loved every minute of it.

Initial Thoughts: Community Season 4; One Step Forward, Two Steps Back

dmncap00015Community is one of those shows that aired right around the time I was starting to give up on modern sitcoms. In an era where the laugh-track has overstayed its welcome, it felt as if sitcoms were settling for a safe middleground, treading on jokes and character archetypes that have been repeated time after time without giving any kind of unique spin, or at the least any sign of aiming for more than what the genre has become known for. Enter Community—a show that has essentially reached popularity by capitalizing on and mainstreaming the whole concept of “meta.” From the get-go, Community’s ragtag cast of characters were not only sitcom-status quirky, but were created with a certain amount of talent and grace that not only set them into an archetype (be it “jock,” “over-achiever,” etc.) but simultaneously broke said archetype, showing that their characters (and sitcom characters in general, really) can and should be developed to the point that they cannot be described with mere trope terminology.

And for the first three seasons of the series, that’s how things were.

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Solanin (manga and movie adaptation)

I’ve already shown my appreciation of manga-ka Asano Inio through his still-ongoing manga Oyasumi Punpun, but I’ve yet to get past the surface when it came to backtracking through the rest of his works. Having read Punpun as well as his first major manga What a Wonderful World, I was well aware of Asano’s care of balancing realistic stories and overall weirdness, but I’ve yet to find a title of his that was more grounded in the former until I read Solanin.

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Solanin is told from the point of view of Meiko—a recent college graduate that is struggling to find her place in the world—alongside her other friends/former classmates. The premise is simple enough, but Asano’s execution in storytelling gives it the life and personality it deserves. Each character, from Meiko and her boyfriend Taneda, to comic relief/bro characters Billy and Katou goes through their own daily life struggles that are easy to relate to, but never boring to read. As each person comes to their own realization of what it means to truly live, signs of a story begin to form and Solanin’s genre itself seems to transform from slice-of-life, to something more music-centric, following the death of a loved one. It’s this sudden shift paired with its already unique style that makes Solanin a stand-out title.

But what happens when you translate that to the big screen?

Four years after the original manga was released, Solanin was adapted into a live action movie in 2010.

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Story-wise, the movie is a near identical clone of the manga series, taking no shortcuts when it came to adapting each plot point and each character (both major and minor, surprisingly enough). And yet for some reason, I found the movie just “alright” in comparison to its source material. Perhaps it’s the exclusion of author Asano Inio’s slight deviations from the plot with his more dreamlike asides. While the story itself is bound in the real world, Asano takes advantage of the medium that is manga by illustrating some concepts in a more fantastical sense than normal. Things like Taneda having a thought process involving personifications of each of his emotions sorting things through, to more minor things like Billy dreaming of himself dreaming were a nice demonstration of what you can get away with in the manga world that just can’t work well in a live action adaptation, and thus were dropped from the story entirely. Without such asides, the Solanin movie doesn’t seem to stand out to me as much. And considering that a certain other movie involving a ragtag band that also cast Kenta Kiritani as a supporting character was released that same year, it just made the movie that much more forgettable.

Another debilitating factor would have to be the general hype for the film.

Not only does the trailer completely and utterly spoil a twist in the plot that shows up halfway through the movie, but it makes it out to be the central point that drives the entire movie. On top of that, posters and the like seemed to focus on the film more in terms of its cast creating their band post-(spoilers), shoving aside the whole “finding yourself after college” theme entirely. I know that trailers and movie posters are only a small part of the movie, but they do serve as an influence for audiences and should give a feel of what the movie has to offer rather than showing all its cards upfront.

But gripes aside, that’s not to say that the movie still isn’t a fun ride. It faithfully adapts its source material to the T, maintaining the likeable cast and relatable-ness of the overall story with a cast of actors that really brought the characters to life (again, allow me to mention Kenta Kiritani and his scene-stealing performance as Billy). But even with that in mind, I still can’t give it more than a “good but not great” rating.

Let the Skyfall: Skyfall Movie Review

James Bond certainly isn’t new to the film industry and as such needs some kind of touch-up every now and then to set it apart from the rest of its billion-and-something other films. Add to this that fact that it’s been four years since the first Bond film starring Daniel Craig and you can say that it’s about time we see some kind of overarching progression when it comes to his own take on the character.


Following the par-for-the-course (which still equates to spectacular in this case) chase scene and Adelle-accompanied animated credits that open the film, MI6, the agency Bond works for, is starting to show signs of wear as the powers that be challenge their existence in the first place. And with few people to turn to, M, head of the MI6, is forced to rely once again on Bond. However, it’s clear that while Bond is willing and able, there’s a certain air about himself that hints at him having seen better days. Unlike John McClane’s “action hero in a tech-savvy world” premise that was Live Free or Die Hard, though, the idea wasn’t so disgustingly blatant and was handled with the amount of grace that you would expect out of Bond. 007’s fish-out-of-water interactions with the techie Q are one of my favorite ones throughout the entire movie.

Skyfall continues in classic 007-style with its standard-yet-still-exquisite tropes of fun gadgets, sexy ladies, trips to foreign places. However, rather than being part of the main plot, these tropes end up serving as more of a lead-in to the main villain, Silva. As the story progresses, we learn that a hard drive was stolen, containing the names of every undercover agent within a terrorist organization. Silva, played by Javier Bardem, does an excellent job of making the most out of this stolen information, with every step he takes being not only an attack on the MI6, but also a slap in the face to them, mocking their lack of efficiency in an almost child-like manner (when YouTube and Robin Hood references are made, “child-like” was honestly the best word I could think of). And upon learning of the villain’s backstory and relations to MI6, things are only escalated that much more, with Bond now having someone that can match him hit for hit (in a Dark Knight type of way, and thankfully not in a Game of Shadows type of way).

By the final act, the audience is finally given an explanation to the title of the movie which I still have mixed feelings on. To delve as far back into Bond’s backstory as they did was interesting, yes, but felt unnecessary the more I thought about it. Regardless, the action built up in the first two acts still delivers in the finale and doesn’t come off as too aimless (again, I’m looking at you Game of Shadows).

All in all, Skyfall serves as the perfect end-point for Daniel Craig’s run as 007, with just enough wiggle room in the end for a possibility of him continuing his role for another handful of movies.

“In space no one can hear you make prequel movies” Prometheus Movie Review

Okay, like a month late on watching this, but that’s what I get for actually caring about graduating.

Let me first say that before this month, I never even gave the Alien movie franchise a second glance and pretty much grouped it along with the other franchises of Hollywood’s past that got run into the ground after one too many sequels.

Thankfully, impulse buys were able to slightly change my stance on the franchise (seriously, $30 for the quadrilogy on Blu-Ray is just too good a deal to pass up). My opinions are essentially the same as most I’ve heard: Alien redefined the genre of sci-fi; Aliens took a different route than I woulda have expected, but was equally good (and served as a good precursor to Terminator 2, who previously directed Aliens); Alien 3 just put me in a bad mood due to its overall crappiness; and I never even followed up with Resurrection since I didn’t want to be in too bad a mood for Prometheus. Still, an overall solid series that deserves its position in American film and pop culture (where would Freeza be without it?).

So a good 10+ years since the last sequel, I guess it was only inevitable that Hollywood would want to dip back into their old ideas with something of a prequel in Prometheus. The plot starts in the not-so-distant future of 2089, where archaeologists have found an odd link between multiple ancient artifacts from unrelated cultures—a depiction of a tall figure pointing towards circles in the sky. The archaeologists interpret the coincidence as an invitation from the race that preceded humans, and with some funding from Weyland Corp, a voyage to the star system depicted in those drawings from civilizations past is a go (with quite the diverse crew, might I add). But, as commonplace in sci-fi movies, nothing is as it seems, and things start going awry when the crew finds that the life they’re looking for may not be as hospitable as initially thought.

At its core, the setup of a crew of space explorers with good intentions only to be killed off one by one is pretty much what the first Alien movie was, too, but it makes for an instance of a good rehash that takes all positive influence from its predecessor without sticking too closely to its source material. For example, the deal with Weyland Corp, a group that pops up a number of times throughout the older movies without much backstory to them, is finally given something of a history that isn’t just “we wanna put people’s lives at risk for the sake of alien exploration” and advances the plot forward without merely serving as lip service to fans of the old series. Similarly, the claustrophobic sweaty visuals from the older movies are back in full force, taking classic cues and using them to the fullest here for a good horror-type of feel. You’re also given an equally large and quirky team in charge of the operation that makes sure that you find at least one person to root for to survive through all the nonsense thrown at them (the ship’s Captain and his two mates are the best characters in the movie; just saying). As a whole, Prometheus just does an excellent job of taking the themes present in the first Alien but taking enough of a different spin on them to be set apart from the franchise.

…though I will say in terms of use of sex / sex appeal in females, Prometheus takes something of an opposite approach than its forefathers did. The Alien movies, especially the first one, wasn’t afraid to be blatant with their use of sexual imagery, from the shape of the alien and the ship, to how main lead Ripley (Sigourney Weaver) was portrayed, especially by the movie’s finale. To have such imagery in something as mainstream as a Hollywood sci-fi movie seems so contrary to what would one would expect, but it worked. Compare that to how Prometheus took character Shaw (Noomi Rapace) who starts off as something resembling a cute, bright-eyed archaeologist in hopes of finding new life only to transform into (not literally, and without spoiling anything) something disgusting to the point that when she strips off her clothes you honestly wish she’d put them back on. It’s an equally unorthodox approach to a female lead, but it works just as well.

As the movie’s release approached, one particular thing I was wondering about was just exactly how much from the previous films would Prometheus be using as a crutch—something like a shout-out to the older works that in the case of a crappy movie would at least get the fanboys on the edges of their seats. Thankfully, no cues from previous movies were used in any way to make up for the film’s lacking. Though that’s not to say that the film tried so hard to go out of its way to work as a separate franchise altogether. On the contrary, the film works as something that takes place in the same universe as the prior films, but doesn’t rely on anything from them as a crutch in the slightest. You see things like similar species of alien with acid for blood, robot helpers that look like humans, and even straightup designs from movies past, but never are they used as an attempt to take away from what the movie itself has to offer.

It’s a rare case of a spinoff taking place in the same universe as its past works and combining the right mix of old and new to make something enjoyable for everyone that’s a fan of the genre as a whole.

Usagi Drop (Bunny Drop) Live Action Movie Review

Figured I’d kick off the summer posts with a title that’s pretty familiar to this blog.

Like the anime and manga of the same name, Usagi Drop tells the story of Daikichi, a 30-something that ends up taking care of his grandfather’s illegitimate child Rin—a six year-old that the entire family wasn’t aware of until the grandfather’s death. Oh, and it stars the guy that played L in the live-action Death Note movies as Daikichi.

Released right in the middle of the anime’s run, which in turn was right off the heels of the manga’s final chapter, the live-action movie essentially covers the same story arc that the manga does (thankfully), going over Daikichi and Rin’s experiences as the two begin to get used to their new living arrangements. However, unlike the anime and the first half of the manga, the movie seemed to lean more towards Daikichi’s perspective. Rather than an odd-couple type of storytelling, it’s clear that the movie’s focus throughout is Daikichi and the trials and tribulations he’s going through while raising Rin. Sure, some scenes are lifted right out of the source material, but rather than coming off as Daikichi and Rin working their way past a certain problem, it just comes off as the Daikichi show the entire way through. Perhaps it has something to do with popular actor Kenichi Matsuyama taking on the role of Daikichi that makes the movie want to bend to his every whim. Whatever the case, it just comes off as unbalanced when the story of a 30-something (totally doesn’t look like it in the movie, bytheway) and his adopted kid is cut to just the 30-something.

One aspect that I’ve heard a decent number of fans of the series want out of the movie was more interaction between Daikichi and Yukari—mother of Rin’s classmate Kouki. Well, we get what we’ve been asking for, but at the expense of the character’s… character. In the manga and anime, we don’t know much of Yukari’s life outside of the fact that she has a son, but the movie takes some liberties with her character, turning her into a model. Starting with the obvious, her change for the movie makes her come off as less of a single mother that tries to make it by on her own, and more of a needy model that struggles to balance her job and her son… which is a perfectly fine character-story, but just not right for this particular character (or movie, for that matter). Such a drastic addition to the character wouldn’t matter so much if it weren’t for the fact that it’s used as nothing more than a crutch to heighten the tension between her and Daikichi even more. The constant cutaways of Daikichi having fantasies of himself dancing with the Yukari, who ends up being the woman he sees in his magazines (yeah, I really have no clue why he’d even have fashion magazines since he’s supposed to be a bachelor) just seems out of place, unnecessary, and more importantly, results in Kouki’s character getting significantly less screen time and thus softening what’s supposed to be one of the more touching scenes in the movie.

That’s a feeling you get throughout the entire movie, really. As you watch it, you’re introduced to characters, such as Daikichi’s sister and parents, or his grandfather and Rin’s mother. But at the end of the day, no matter how important they seem to the plot, the focus still ends up going straight back to Daikichi, and in the case that she happens to be in the scene, Yukari. They’re like the magnetic North of the movie, except they end up steering things in the wrong direction entirely (ooh, zing!).

I will say I enjoyed how much Daikichi’s work life was fleshed out. Not only do we see him through his typical work day teaching trainees and juggling important phone calls, but we also get a much better picture of his life on the field as he works with other working class dads. You see a glimpse of these tough-looking, but kind-hearted fathers in the other iterations, but the movie is really where they shine as a whole.

Still, when you get down to it, Usagi Drop is a mediocre adaptation at best that tends to play to the strengths of its lead cast rather than the story itself, which is a shame since it’s really an enjoyable one when done right. Conclusion? I’d say the best version of the series to go with would be the anime. It’s short enough, and covers (the better part of) the manga, while cleaning up the writing here and there.

Holiday Catch-Up: Breaking Bad

The Incredibles is one of the only (if not the only) movie I own with a commentary track I’ve listened through multiple times, since it’s so crammed with interesting tidbits about the movie that it warrants multiple watches. One thing director/writer Brad Bird mentions multiple times throughout the commentary track is the movie’s use of alternating between the mundane and the fantastic—two polar opposites that built off the other’s unique type of energy (or lack of).

Breaking Bad is the cable TV equivalent of this.


We start with the mundane: Walter White—an ordinary guy with an ordinary job as a high school Chemistry teacher trying to make ends meet for his family. Then we’re introduced to the fantastic: Jesse Pinkman—local drug-dealing dropout well known in the underground world for selling meth with a hint of chili powder… and who happens to be a former student of Walter.

While the two aren’t exact caricatures of the average man and the superman—Walt is actually shown to have something of a temper from time to time while Pinkman is more of a humble dealer that’s fine with his position in the chain of command—the theme of the mundane and the fantastic is still able to work to an extent from episode to episode, showing Walt’s trials and tribulations from the everyman perspective and seeing him in a completely different light when the trials and tribulations are given the backdrop of making meth on the side for the sake of his family.

The amount of detail to the story in terms of intertwining characters is also admirable. Maybe not Durarara level admirable, but still pretty admirable. Characters you’d think were mere throwaways begin to slowly develop a backstory and are brought on screen with more frequency as the story progresses, making you think just how far in advance certain plot points were made. The downside to this, though, is that it makes the less story-intertwined characters stick out that much more, making you care for them that much less. To see multiple generations of a single family fall into the underground world of drug dealing only to have it interrupted by Walter’s kleptomaniac sister-in-law is less interesting than you’d think.

That’s not to say all of Walt’s “normal” life is nothing more than a means to show just how much more interesting his meth-creating life is. On the contrary, his brother-in-law happens to be an agent in the Drug Enforcement Administration, causing Walt’s separate lives to begin to seep into each other, and causing a Light/L type of relation with his in-law in the series’ later seasons. While Walt has the best intentions in mind, each step he takes forward as a meth “cook” under the name “Heisenberg” begins to warp his sense of morality. Meanwhile, in-law Hank is running out of options as Walt’s misdirections and accidental missteps have led Hank to jump to multiple red-herrings, thus putting his job on the line. The little similarities make me anticipate the final season that much more where I’m assuming shinigami and Death Notes are finally revealed.

A fun watch overall, giving me hope for American programming and its slight plot mimicking from our friends in the East.

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