Rob London

Published Aug 18, 2026, 11:01 AM EDT

A cinematic obsessive with the filmic palate of a starving raccoon, Rob London will watch pretty much anything once. With a mind like a steel trap, he’s an endless fount of movie and TV trivia, borne from a misspent youth of watching monster movies on TV, perusing the sun-faded goods at the local video rental shop, and staining his fingers with ink from the Video Movie Guide. Areas of interest include science fiction, film noir, horror flicks, ’70s disaster pictures, Bond movies, ’90s action, giant robots, dinosaurs, super heroes, and the exuberantly schlocky output of Cannon Films. He also enjoys both Star Trek and Star Wars when they’re good, and maybe even more when they’re bad. As a Canadian, he also has a vested interest in Canadian movies and TV shows, especially the cheesier ones dubbed “Canuxploitation.”

An expert on Marvel Comics, he has also written for the Official Handbook of the Marvel Universe, and is a member of the Marvel Research Team. He can frequently be found pontificating on comic-book continuity or bemoaning the misfortunes of the Toronto Maple Leafs on his Twitter account.

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It’s hard to believe that it’s been 18 years since Breaking Bad first debuted in 2008. Once the show became a global sensation, fans began commemorating September 7, the date the series’ pilot takes place, as Breaking Bad Day. This year, one of the nation’s biggest theater chains is helping fans celebrate with one of the show’s most explosive outings. Collider is proud to exclusively announce that Alamo Drafthouse will celebrate the 18th Breaking Bad Day with interactive theatrical screenings of the series’ Season 4 finale, “Face Off.”

“Face Off” brings the conflict between science teacher turned meth cook, Walter White (Bryan Cranston), and fast food entrepreneur/drug kingpin Gus Fring (Giancarlo Esposito), to a head. Tensions had been building between the two since the previous season’s finale, when White sent his longtime cohort, Jesse Pinkman (Aaron Paul), to assassinate Fring’s would-be replacement “head chef.” Now, White faces certain doom unless he teams up with Fring’s onetime cartel overlord, Hector Salamanca (Mark Margolis), to take Fring down. The only problem is that after a severe stroke, Hector is largely immobile, and can only communicate via a bell. What can he do to stop Fring? The answer will blow you away.

And so will Alamo Drafthouse’s plans for Breaking Bad Day. For starters, you can get in absolutely free with the purchase of a $10 USD food and drink voucher, which is redeemable and refundable at the event. Attendees get a crawlspace full of Breaking Bad swag, including a Heisenberg hat, blue rock candy, a call bell, and a Gus Fring half-face mask. There’ll be a live host, clad in a yellow cleansuit, who’ll direct attendees to ring their bells whenever Hector does so on-screen, and they’ll also be the emcee for the costume contest, so wear your finest Saul Goodman suits, Los Pollos Hermanos uniforms, and Marie Schrader purple ensembles. You can reserve your spot today on Drafthouse.com.

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

Participating locations for Alamo Drafthouse’s Breaking Bad Day include New York, Los Angeles, Austin, Boston, Chicago, Dallas, DC Metro Area, Denver, Laredo, Omaha, Northern Virginia, Raleigh, San Francisco Bay Area, St. Louis, and Springfield. Check your local listings for showtimes. Unfortunately, Albuquerque, the home of Breaking Bad, does not currently have an Alamo Drafthouse, so all you Burqueños out there will just have to wait until Vince Gilligan starts filming the next season of Pluribus.

“Face Off,” the Season 4 finale of Breaking Bad, will screen exclusively at select Alamo Drafthouse theaters on September 7, Breaking Bad Day. Stay tuned to Collider for future updates.

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2008 - 2013-00-00

Vince Gilligan, Michelle Maclaren

Peter Gould, Gennifer Hutchison, Vince Gilligan, George Mastras, Moira Walley-Beckett, Sam Catlin, Thomas Schnauz

Bryan Cranston

Aaron Paul