---
title: "Better Call Saul"
year: 2015
kind: "series"
canonical: "https://film.one/tv/better-call-saul"
fi1m_id: "better-call-saul"
imdb_id: "tt3032476"
tmdb_id: 60059
wikidata_id: "Q14925221"
fi1m_score: 84
critics_score: 77
critics_reviews: 7
published: "2026-09-16"
updated: "2026-09-26T14:42:17.758872+00:00"
region: "AT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Better Call Saul (2015)

Created by Vince Gilligan, Peter Gould · FSK 16 · Crime, Drama

## Identity

Better Call Saul

- **Canonical:** https://film.one/tv/better-call-saul
- **Type:** Series
- **Fi1m ID:** better-call-saul
- **IMDb ID:** tt3032476
- **TMDB ID:** 60059
- **Wikidata ID:** Q14925221
- **Same entity:** https://www.imdb.com/title/tt3032476/, https://www.themoviedb.org/tv/60059, https://www.wikidata.org/wiki/Q14925221

**Fi1m score: 84** · Critics 77 from 7 reviews

*In a sentence:* We would hear the lawyer out, even if the nail salon office did give us pause

> Bob Odenkirk makes Jimmy McGill funny, aggravating and worth caring about. *Better Call Saul* takes its time getting started, but the performances and precise comic timing make the wait worthwhile.

## Synopsis

Jimmy McGill (Bob Odenkirk) is a lawyer with an office in a nail salon and a persistent instinct for a scam. He wants to make a respectable living, but his own shortcuts keep getting in the way. The people around him include Mike Ehrmantraut (Jonathan Banks), Chuck McGill (Michael McKean) and Kim Wexler (Rhea Seehorn). His attempts to get by involve schemes and persuasion, with violence never far away. Professional respectability means resisting the tricks that come most naturally to him, even when they seem to offer his easiest way forward.

## Review

We recommend *Better Call Saul* for the attention it pays to a man trying, not always successfully, to be decent. Creators Vince Gilligan and Peter Gould give Jimmy McGill enough wit to excuse himself and enough vulnerability to make those excuses matter. Bob Odenkirk is funny without making the character’s disappointment seem negligible. The slow opening asks for more patience than it immediately earns, but the performance gives us a reason to stay before the crime story does.

We laughed at Jimmy’s nail salon office, then felt mean for laughing. A man is trying to establish himself as a respectable lawyer, and his place of business makes that effort look faintly hopeless. The production-design team includes Mark S. Freeborn, and this choice of workspace explains Jimmy’s position without a speech about being overlooked. It also gives Bob Odenkirk somewhere suitably unpromising to bring all that determination, making even the business of turning up for work seem an effort worth noticing.

The acting keeps that mixture of irritation and sympathy alive. Bob Odenkirk lets the confidence and the wounded idealism sit close enough together that a scam can feel like a protest against being dismissed. We can understand the impulse without being asked to approve the conduct. Jonathan Banks, as Mike Ehrmantraut, provides a useful counterweight to the lead’s comic energy. Their exchanges give the humour some resistance: Jimmy’s presence does not oblige everybody else to find him entertaining.

The cinematographers include Arthur Albert, and the crisp images give the shabby details room to register. This is carefully directed television that considers a small professional embarrassment worth looking at. The editing team, including Kelley Dixon, allows conversations to establish character rather than simply carrying us towards the next piece of trouble. The schemes benefit from that care too, since their entertainment depends on timing as much as ingenuity. Dave Porter’s music is effective, although the timing of the performances makes the stronger impression.

The reservation is that the opening sometimes spends time confirming things we have already understood about Jimmy. Once his wish to be respectable and his appetite for shortcuts are clear, another stretch of patient observation can feel like a delay. The humour survives these pauses better than the suspense. The writing has such confidence in this man that it occasionally seems to assume our attachment is settled. His predicament needs more weight in these early stretches, particularly when the jokes have stopped.

As a prequel to [*Breaking Bad*](https://film.one/tv/breaking-bad), the series has a ready-made reason for people to arrive, but it does not need that connection to hold them. Its gentler humour makes room for the embarrassment of trying to pass as a successful professional. The violent passages have more force because the joking has encouraged us to relax. Crime dramas have no shortage of men who command attention merely by entering a scene; Jimmy has to work considerably harder to be taken seriously.

Six seasons are a commitment, and the opening will not persuade everyone to make it. We would make a start for Bob Odenkirk, whose ability to make a bad idea sound temporarily reasonable is a substantial pleasure in itself. Give the conversations time; anyone waiting only for the next outbreak of violence is likely to become impatient.

*Fi1m score 84, published 16 September 2026.*

## What the critics say

Most critics welcome Better Call Saul as a confident prequel, with praise centred on Bob Odenkirk’s ability to make Jimmy McGill funny, wounded and sympathetic without softening his defects. The reviews find plenty to enjoy in the dark comedy and the small, pathetic details of Jimmy’s working life. Direction and editing also draw praise, while the gentler tone and attention to character give the series enough of its own identity to avoid depending entirely on Breaking Bad.

The main reservation concerns how much these opening episodes deliver beyond a promising introduction. The Hollywood Reporter treats the slow start as grounds for patience, whereas Variety finds the pilot short of an emotional core and questions whether its origin story is compelling enough yet. The spread is otherwise fairly narrow: enthusiasm varies, but the dissent concerns dramatic substance rather than Odenkirk’s performance or the assurance of the filmmaking.

## Straight answers

**Is Better Call Saul worth watching?**

*Better Call Saul* is worth watching for anyone with the patience to let a slow-starting crime drama settle, and we scored it 84. Bob Odenkirk makes Jimmy McGill funny, aggravating and worth caring about, and the performances carry the early episodes before the crime story does. Six seasons are a real commitment, and viewers waiting only for the next outbreak of violence will grow impatient.

**How long is Better Call Saul, and what is it rated?**

*Better Call Saul* is rated 16 by the FSK in Austria. It is a crime and drama series.

**Where can I watch Better Call Saul in Austria?**

*Better Call Saul* is streaming on Netflix in Austria, and it is also available to buy from Amazon Prime Video. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Better Call Saul, and is it suitable for children?**

*Better Call Saul* carries a UK 15 certificate and is not suitable for children. The violent passages are infrequent, but they land harder because the gentler humour has encouraged us to relax beforehand. Older teenagers who can take a crime drama with adult language and occasional bursts of violence should be fine; the squeamish should know that a joke is often followed by something unpleasant.

**How does Better Call Saul compare to Breaking Bad?**

*Better Call Saul* is the gentler and more patient of the two, a prequel to [*Breaking Bad*](https://film.one/tv/breaking-bad) that shares characters and a taste for moral compromise but replaces an immediately threatening predicament with a small professional embarrassment. *Breaking Bad* is frightening from the start and harder to stop watching; *Better Call Saul* asks for more patience and rewards it with sharper comic timing. Viewers who want tension first should begin with the earlier series.

**What should I watch after Better Call Saul?**

After *Better Call Saul*, try [*Breaking Bad*](https://film.one/tv/breaking-bad) (2008, Fi1m 91): Shared characters and moral compromise, with a more immediately threatening central predicament. Then [*The Long Good Friday*](https://film.one/film/the-long-good-friday) (1980, Fi1m 88): A businessman’s respectable ambitions meet criminal habits he cannot leave behind; and [*The Apartment*](https://film.one/film/the-apartment) (1960, Fi1m 91): Office ambition, shabby compromises and comedy that notices who gets hurt.

### Reviews we read (8)

- **Radio Times**, Jonathan Holmes (85/100, inferred): The first episode meticulously builds Jimmy McGill's quirks and defects while delivering real laughs and Kermit-faced pathos from Odenkirk; it is better and more easily enjoyable than Breaking Bad was at this stage, with the return of Jonathan Banks as Mike offering classic double-act potential. [Read](https://www.radiotimes.com/tv/drama/better-call-saul-review-its-nostalgia-in-a-cheap-suit-and-i-cant-wait-to-return/)
- **The Hollywood Reporter**, Tim Goodman (80/100, inferred): Spin-offs are tricky, but Gilligan has earned the right to extend the franchise with a drama that starts with a slow burn but is full of promise and potential. It is very much its own beast, stylistically distinct from Breaking Bad, with Odenkirk superb as the introspective Jimmy McGill. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/better-call-saul-tv-review-765600/)
- **The Times**, Alex Hardy (4/5): The prequel feels like Breaking Bad but rewards newcomers too, with crisp visuals, dark comic sensibilities, and Bob Odenkirk's entertaining performance as the lead. [Read](https://www.thetimes.com/culture/tv-radio/article/tv-review-better-call-saul-taking-new-york-025h7jwt5mt)
- **Vulture**, Matt Zoller Seitz (80/100, inferred): The series is a slightly gentler prequel to Breaking Bad with a sad-sack charm, featuring capers, conversations, and character portraits spaced by bursts of viciousness. It stands out for its hilarious yet pathetic details of Jimmy's life and strong cinematic direction and editing. [Read](https://www.vulture.com/2015/02/tv-review-better-call-saul.html)
- **Variety**, Brian Lowry (60/100, inferred): The critic views the pilot as an extended origin story possessing Breaking Bad's flavor and black comedy but initially lacking its emotional core, resulting in a mixed verdict. The creative team is praised, but the series requires faith that it will build into something more compelling. [Read](https://variety.com/2015/tv/reviews/tv-review-better-call-saul-1201409820/)
- **The Guardian**, Sam Wollaston: The critic finds Better Call Saul compelling and not underwhelming despite high expectations as a Breaking Bad prequel. They single out Bob Odenkirk's performance as Jimmy McGill and Vince Gilligan's distinctive style for praise. [Read](https://www.theguardian.com/tv-and-radio/2015/feb/15/wolf-hall-better-call-saul-gift-asylum-bob-servant-tv-review)
- **Paste**, Shane Ryan and Josh Jackson (80/100, inferred): The critics praise the show's focus on Jimmy McGill obeying his natural instincts as Slippin' Jimmy rather than a respectable lawyer, seeing it as the opposite of Breaking Bad's arc. They highlight Bob Odenkirk's performance as bringing humanity and a wounded idealism to the character, a scammer with a heart of gold. [Read](https://www.pastemagazine.com/tv/better-call-saul/better-call-saul-series-premiere-review-mijo)
- **Den of Geek**, Nick Harley (3.5/5): The pilot goes down easy thanks to Gilligan’s direction and Odenkirk’s performance, with the show already feeling confident and practiced. It excels at keeping things light and fun while introducing new elements like the nail salon office and Mike’s presence. [Read](https://www.denofgeek.com/tv/better-call-saul-premiere-review/)

## Details

- **Created by:** Vince Gilligan, Peter Gould
- **Creator:** Vince Gilligan, Peter Gould
- **Director:** Vince Gilligan, Thomas Schnauz, Michael Morris, Peter Gould, Adam Bernstein, Michelle MacLaren, Colin Bucksey, John Shiban, Daniel Sackheim, Terry McDonough, Larysa Kondracki, Gordon Smith, Melissa Bernstein, Minkie Spiro, Jim McKay, Bronwen Hughes, Norberto Barba, Michael Slovis, Deborah Chow, Keith Gordon, Giancarlo Esposito, Rhea Seehorn, Andrew Stanton, Nicole Kassell, Scott Winant
- **Writer:** Thomas Schnauz, Gordon Smith, Peter Gould, Gennifer Hutchison, Ann Cherkis, Alison Tatlock, Marion Dayre, Vince Gilligan, Ariel Levine, Jonathan Glatzer, Bradley Paul
- **Cinematography:** Marshall Adams, Arthur Albert, Paul Donachie
- **Editor:** Skip Macdonald, Chris McCaleb, Kelley Dixon, Joey Reinisch, Joey Liew, Curtis Thurber, Christopher M. Meagher
- **Music:** Dave Porter
- **Production design:** Denise Pizzini, Tony Fanning, Mark S. Freeborn, Paula Dal Santo
- **Costume design:** Jennifer Bryan
- **Producer:** Bob Odenkirk, Robin Nelson Sweet, Diane Mercer
- **Cast:** Bob Odenkirk as Jimmy McGill; Jonathan Banks as Mike Ehrmantraut; Michael McKean as Chuck McGill; Rhea Seehorn as Kim Wexler; Patrick Fabian as Howard Hamlin; Michael Mando as Nacho Varga; Tony Dalton as Lalo Salamanca; Giancarlo Esposito as Gus Fring
- **Certificate (FSK):** 16
- **Release (Austria):** 8 February 2015
- **Genres:** Crime, Drama
- **Also in:** [Emmy Outstanding Drama Series winners](https://film.one/collections/emmy-drama.md) (Nominee, 2016)
- **Trailer:** https://www.youtube.com/watch?v=HN4oydykJFc

## Where to watch in Austria

- Netflix: streaming
- Amazon Prime Video: buy, sd

*Checked 2026-09-16.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Golden Globes 2023: Best Television Series – Drama (nominated)

## If you liked this

- *Breaking Bad* (2008), Fi1m 91: Shared characters and moral compromise, with a more immediately threatening central predicament. — [Fi1m page](https://film.one/tv/breaking-bad.md)
- *The Long Good Friday* (1980), Fi1m 88: A businessman’s respectable ambitions meet criminal habits he cannot leave behind. — [Fi1m page](https://film.one/film/the-long-good-friday.md)
- *The Bureau* (2015): Patient professional detail and private loyalties make each small decision feel dangerous.
- *The Apartment* (1960), Fi1m 91: Office ambition, shabby compromises and comedy that notices who gets hurt. — [Fi1m page](https://film.one/film/the-apartment.md)
- *A Separation* (2011), Fi1m 93: Competing versions of decency turn ordinary decisions into absorbing, painful drama. — [Fi1m page](https://film.one/film/a-separation.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/better-call-saul