Jamie Mathieson's script is clever and insightful, whilst remaining hugely engaging throughout. The story is a fantastic monster tale and can easily be enjoyed on that level, but it cannily uses the monster to draw out character in truly inspired ways – the monster attack is, effectively, the same attack repeated. This moves the spotlight away from the mummy and onto the people reacting to it and the nature of their reactions, which leads to an inspired left-turn, when it is found out that the Orient Express is, in fact, a laboratory, with the scientists being the subjects as well as the conductors of an experiment.
The supporting characters are drawn in enough detail for them not to be simple Christie clichés, and are brilliantly performed by a stellar cast – Janet Henfrey is always worth watching, even in such a small role and Christopher Villiers is very effective as the doomed Professor Moorhouse. Daisy Beaumont, almost unrecognisable in a blonde wig, makes Maisie into something more than the usual shrinking violet and David Bamber brings unexpected depth to the role of the Captain. Frank Skinner is clearly having the time of his life as Perkins and I’m sure it was a wrench for his character to refuse the Doctor's invitation. Paul Wilmshurst puts in another sterling effort in the director's chair The uniformity of the mummy attacks do not mean that Wilmshurst makes them all look the same, as he finds fresh ways to make those 66 seconds look scary. He is helped, of course, by a truly terrifying monster that will live on in the nightmares of a generation of children. The opulent design is another triumph for the production team and the cinematography is exquisite.
However, it is the regulars who do the most demanding work of all of the actors. The spotlight is frequently on the Doctor, in his attempts to not only deal with the mummy, but the ways in which he helps those around him. The collateral damage in Doctor Who is always high and we get a rare glimpse of how the Doctor reacts about the bodies left in his wake, rather than how he reflects later. The Time Lord is calculating, but he always tries to make the best choice, even when the choices aren't good. This is, crucially, after Clara's damning rebuke of the Doctor at the end of "Kill the Moon" and Clara is prepared for this to be their last great adventure. However, the Doctor respects her enough to not modify his behaviour and be honest with her as far as it is possible. Jenna Coleman is vital in making us feel why Clara, in the end, wants to stay with the Doctor, but it is our leading man who takes the laurels. The scenes with the Doctor talking to himself are mesmerising, with a wonderful scene where he channels one of his previous selves. He is affected by the deaths, but, as he says, 'People with guns to their heads cannot mourn'. However, he carries jelly babies in a cigarette case and would rather talk about planets than relationships. Most importantly, the joy in his face when Clara decides to stay is wonderful to behold.
Again, we have been given an excellent 45 minutes entertainment that uses an old concept to tell a wonderfully fresh story.
NEXT: "Flatline"
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