El Camino: A Breaking Bad Movie landed on Netflix and in limited theaters on October 11, 2019, and it gives Jesse Pinkman the ending Breaking Bad left hanging. The story starts only minutes after the 2013 finale, with Jesse trying to get out of New Mexico for good.
The movie drops you right back into the aftermath of the finale: Jesse tears away from Jack Welker’s Brotherhood compound in Todd Alquist’s El Camino and scrambles to leave New Mexico before the police, or anyone still left who wants him dead, can find him. Vince Gilligan threads in flashbacks, Jane Margolis among them, and uses them to shape the film around trauma, guilt, survival, and the question of whether Jesse can still choose some kind of future.
It isn’t just fan service, either. The film moves like a lean neo-Western thriller, carried by Gilligan’s controlled direction, the same visual precision that defined Breaking Bad, and a performance from Aaron Paul that critics singled out for good reason. He plays Jesse as deeply wrecked, but not finished. The Television Academy also gave the movie an Emmy nomination for Outstanding Television Movie.
If you’ve finished Breaking Bad or Better Call Saul, it’s worth your time. I think Gilligan made the right call with the more compassionate ending, because it gives Jesse real closure without dragging Walter White back into the center of things, unlike an earlier draft that Vince Gilligan has said would have sent Jesse to jail.
You can stream it on Netflix, where it drew 6.5 million U.S. viewers in its first three days, according to Nielsen, and reached 25 million households in its first week, according to Netflix. As of early 2024, Vince Gilligan and Bryan Cranston have said no official plans to continue the story.
Author: Emmanuel Pina
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"en-US": "Emmanuel Pina covers entertainment at Softonic: film, television series and the tangle of platforms you have to search through to find them. He is as interested in the premiere as in the fine print: where something is available, until when, and why it vanishes from a catalogue without warning. He is part of Softonic's editorial team and works daily with AI tools applied to content production.",
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"fr-FR": "Emmanuel Pina couvre le divertissement chez Softonic : cinéma, séries et l'enchevêtrement de plateformes où il faut aller les chercher. La sortie l'intéresse autant que les petites lignes : où se trouve un titre, jusqu'à quand, et pourquoi il disparaît d'un catalogue sans prévenir. Il fait partie de l'équipe éditoriale de Softonic et travaille au quotidien avec des outils d'IA appliqués à la production de contenu.",
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