snoozejonc

Ron Howard and co did a great job of turning NASA's Apollo 13 mission into cinematic gold thanks to fabulous production values and a great cast.

The highlights for me include the amazing launch sequence, the various scenes of weightlessness, the incredible set design, the performances, and James Horner's score that ties everything together so well. Even though most people (reasonably versed on 20th century history) should know the outcome, there are even some moments of well worked suspense.

As with most Hollywood history lessons, the writers do a brilliant job of piquing an interest in its subject matter. However, you should do your own research for a more accurate depiction of events portrayed. Glynn Lunney felt hard done by for good reason. Also, certain moments feel like dramatic licence to the point of distraction, such as the uncertainty behind Jack Swigert's piloting ability and the moment where three central characters lose their tempers and argue.

Some lines of dialogue are slightly cheesy, but actors like Ed Harris, Tom Hanks, Kathleen Quinlan, and Jean Speegle Howard have the required charisma and delivery style to make it all sound great.

Some of my favourite aspects of Better Call Saul are the pre-credit intro sequences that starts off each season and this episode has one of the most compelling. It works as a fantastic juxtaposition of where Jimmy is before and after the events of Breaking Bad.

Magic Man follows strongly on his transition into the identity of Saul Goodman. I particularly like the nicely edited sequence involving the phone giveaway. The scenes at the courthouse are also very well made. It is tragic to witness the character going down this path, but they make it bearable thanks to entertainment value. Kim's reaction to Saul is what drives the story so well.

The cartel scenes are strong as well. I think the introduction of the character Lalo was a sensible move by the show runners. Some of the best moments in the episode come from Tony Dalton's presence. He gives the character and his scenes a great edge as you wait for something to happen. Mike's scenes involve some plausible fallout from the situation with Werner Ziegler.

Visually, it is splendid as always. The cinematographers make great use of narrow depth of field, particularly in those moments when the sequence starts with a blurred image until a character moves in to focus. We see same great examples of it with the opening shot and later scenes involving Kim and Lalo.

All actors are on great form, with Dalton, Bob Odenkirk, Rhea Seehorn and Jonathan Banks standing out.

Bambi stands out from other episodes of The Young Ones as the most mainstream and accessible episode of the series. It has a reasonably coherent plot and a constant flow of comedy dialogue and sight gags. The absurdity and surrealism featured in other episodes is not so prominent.

Many hardcore fans like it the least due to the above and its inclusion of Footlights comics. Alexei Sayle famously hated involving people he considered to represent an "enemy" social class in the production. For me the Oxbridge toffs are ridiculed so it's all fine with me, however I can appreciate how sharing a screen with the privileged oppressors would not sit right with someone like Sayle.

All the regular cast are on brilliant form, especially Rik and Ade as always. Motörhead give a great performance and the song is used well in the episode edit.

Personally I would not rate Bambi with other episodes in mind or the politics associated with its casting. It is not as clever, surreal and irreverent as other episodes, but it is simple, very effective and I personally think it is one of the show's funniest. In the grand scheme of BBC comedies, I think it holds up as a classic episode.

For me it's a 9.5/10 but I round upwards.