With a production block of only 13 episodes, there was no need for a ‘Doctor-lite’ episode this year, but it is clear that the notion of doing an episode that looks at the Whoniverse from a slightly askew angle is something that has become an integral part of the programme. It is interesting that the premise of this story- the Doctor must pass himself off as human- is very similar to the premise for "Human Nature"/"The Family of Blood"- with radically different results. "The Lodger" presents us with Craig Owens, an ordinary Essex lad who is so madly in love with his friend Sophie, that he cannot see the obvious signals that scream the fact that she is also in love with him. He only barely notices the mysterious and very fast-growing piece of dry-rot on his ceiling and the odd noises from the man upstairs. Not to worry- he has a new flatmate in the shape of a slightly weird man in a bow tie...
Gareth Roberts tells a wonderfully sweet story about two people in love, while the Doctor tries (and mostly succeeds) in passing himself off as a normal bloke- playing football, watching telly etc, but trying not to attract the attention of the thing upstairs. It is a paean for following your dreams at the expense of the apparent comfort that can stifle the soul. Roberts’s script has a real understanding of what makes people settle for second best. ‘I don’t see the point of (insert place here)’ says Craig a couple of times, but we don’t condemn Craig for it. The story is chock full of great lines and hilarious situations, as we have come to expect from Roberts, but this is also his warmest script for the programme- in fact the weakest element is the science-fiction aspect, with the threat raised by the machine upstairs being rather too rushed in its unfolding to have much effect, and I think that the perception filter is becoming something of a catch-all explanation.
James Corden is excellent as Craig, making him eminently likeable and very, very normal. Corden is a fine actor who has a lot of detractors due to two bad projects he did (his admittedly appalling sketch-show and Lesbian Vampire Killers, which I have not seen) but put in a great performance in The History Boys on both stage and screen. Here, he displays the qualities that made him a star. Daisy Haggard is sweet as Sophie and the two of them have a great chemistry. Dancing around them like a mad goblin is Matt Smith, in his best performance yet as the Doctor. Whether collecting junk at midnight or telepathically bonding with cats, he is mesmerising. Matt’s performance is both instantly recognisable as the Doctor and credible as a stranger who could merely be a slightly oddball human. This is, helped by Catherine Morshead’s inspired direction, making it seem slightly reminiscent of an episode of Spaced where Tim's fantasies are real. The comic and dramatic beats are expertly handled and there is, of course, the football match which, like the cricket match in Black Orchid is a sublime sequence- ‘Football’s the one with the sticks, is it?’
So the Doctor defeats the enemy and brings two lovers together. It seems everything is fine- until we see a crack behing Craig’s fridge and Amy finds a velvet box that is uncannily familiar...
NEXT: "The Pandorica Opens"/"The Big Bang"
Showing posts with label Tracie Simpson. Show all posts
Showing posts with label Tracie Simpson. Show all posts
Friday, 18 June 2010
Friday, 11 June 2010
"Vincent and the Doctor"
It seems the done thing to knock Richard Curtis nowadays. This is the man who has pretty much defined the British romantic comedy, a genre that critics are notoriously unforgiving with, plus he is, of course, very successful at what he does, which is offensively un-British. Speaking for myself, I have not been that enamoured of his more recent work, but it must be remembered that this man wrote for Not the Nine O'Clock News, co-created The Black Adder and wrote The Tall Guy. To this list must now be added "Vincent and the Doctor", a story that, I am sure, will rank as one of the best Doctor Who adventures of all time.
The story is simple- the Doctor notices a monster peeking out of the window in Vincent Van Gogh’s The Church at Auvers, so he travels back with Amy to help Vincent defeat it, even though only Vincent can see it. However, the story is only secondarily an adventure- it is, first and foremost, about Van Gogh. Vincent is not a madman by our standards- what he had would be manageable nowadays- and Curtis does not make him a figure of fun- there is not even the hint of an ear joke. The reason Vincent can see the monster is because he sees things like no other person has seen them before- colours swirl and coalesce into vibrant noumenal patterns in his mind to such a point that subjectivity and objectivity have no meaning. He sees the monster, because he sees what is there, not just what his eyes tell him. However, in a world before antidepressants, Van Gogh is tormented by despair that saps at his very being. Curtis’s depiction of Van Gogh’s depression is very moving, making it accessible to children as well- the Doctor’s summing up of what makes up a life is easy to follow, yet beautifully written. This is helped in no small way by Tony Curran’s performance. Despite, seemingly, never being out of work, Curran has never really been given the chance to shine, something which has been rectified here- possibly the finest performance of his film and television career and one of the best ever guest performances in Doctor Who. Curran vibrantly brings to life the unpredictability and passion of the artist in a performance that is worthy of a straight biopic of Van Gogh.
The production is a of the fantastic standard we have come to expect. Obviously, the cinematography owes something to Van Gogh’s style and Director of Photography Tony Slater-Ling makes this one of the most beautiful pieces of television I have ever seen. My misgivings over Jonny Campbell’s directorial ability have totally evaporated, with him constructing scene after memorable scene that makes the story more magical as it goes along and I must be predictable in drawing attention to the magnificent scene where Amy, Vincent and the Doctor are staring up at the sky, which slowly turns into The Starry Night.
The regulars continue to excel. Matt Smith shows the Doctor at his most barmy and his most compassionate with practically everything in between and the tender bond between Amy and Vincent is beautifully realised by Karen Gillan. The other major supporting role is Bill Nighy’s Dr Black. Nighy (who has been a favourite candidate for the role of the Doctor since the late nineties) brings an irresistible blend of authority and lovability to the role that works brilliantly with the regulars and Curran.
The end shows the Doctor proving to Vincent that his name will last forever, that his life will have been one that made an indelible mark. This scene should have been cheesy and manipulative; instead, it is utterly gorgeous and Curtis rounds the story off in the best way it could have- depression is not logical and Vincent Van Gogh, in the knowledge that he would be acclaimed as one of the greatest artists who ever lived, took his own life. His genius will last forever, but so will the sadness.
This is a glorious story, one which reminds me of the great historical of the Hartnell era. It is as gorgeous, evocative and moving to viewers now as Marco Polo must have been in 1964- and I can think of no higher praise than that.
NEXT: "The Lodger"
The story is simple- the Doctor notices a monster peeking out of the window in Vincent Van Gogh’s The Church at Auvers, so he travels back with Amy to help Vincent defeat it, even though only Vincent can see it. However, the story is only secondarily an adventure- it is, first and foremost, about Van Gogh. Vincent is not a madman by our standards- what he had would be manageable nowadays- and Curtis does not make him a figure of fun- there is not even the hint of an ear joke. The reason Vincent can see the monster is because he sees things like no other person has seen them before- colours swirl and coalesce into vibrant noumenal patterns in his mind to such a point that subjectivity and objectivity have no meaning. He sees the monster, because he sees what is there, not just what his eyes tell him. However, in a world before antidepressants, Van Gogh is tormented by despair that saps at his very being. Curtis’s depiction of Van Gogh’s depression is very moving, making it accessible to children as well- the Doctor’s summing up of what makes up a life is easy to follow, yet beautifully written. This is helped in no small way by Tony Curran’s performance. Despite, seemingly, never being out of work, Curran has never really been given the chance to shine, something which has been rectified here- possibly the finest performance of his film and television career and one of the best ever guest performances in Doctor Who. Curran vibrantly brings to life the unpredictability and passion of the artist in a performance that is worthy of a straight biopic of Van Gogh.
The production is a of the fantastic standard we have come to expect. Obviously, the cinematography owes something to Van Gogh’s style and Director of Photography Tony Slater-Ling makes this one of the most beautiful pieces of television I have ever seen. My misgivings over Jonny Campbell’s directorial ability have totally evaporated, with him constructing scene after memorable scene that makes the story more magical as it goes along and I must be predictable in drawing attention to the magnificent scene where Amy, Vincent and the Doctor are staring up at the sky, which slowly turns into The Starry Night.
The regulars continue to excel. Matt Smith shows the Doctor at his most barmy and his most compassionate with practically everything in between and the tender bond between Amy and Vincent is beautifully realised by Karen Gillan. The other major supporting role is Bill Nighy’s Dr Black. Nighy (who has been a favourite candidate for the role of the Doctor since the late nineties) brings an irresistible blend of authority and lovability to the role that works brilliantly with the regulars and Curran.
The end shows the Doctor proving to Vincent that his name will last forever, that his life will have been one that made an indelible mark. This scene should have been cheesy and manipulative; instead, it is utterly gorgeous and Curtis rounds the story off in the best way it could have- depression is not logical and Vincent Van Gogh, in the knowledge that he would be acclaimed as one of the greatest artists who ever lived, took his own life. His genius will last forever, but so will the sadness.
This is a glorious story, one which reminds me of the great historical of the Hartnell era. It is as gorgeous, evocative and moving to viewers now as Marco Polo must have been in 1964- and I can think of no higher praise than that.
NEXT: "The Lodger"
Friday, 21 May 2010
"Amy’s Choice"
Simon Nye’s debut for Doctor Who is based, as many great Doctor Who stories are, on a simple premise- what if we couldn’t tell what was dream and what was real? There is one reality where the Doctor visits Amy and Rory 5 years after their parting, with Amy heavily pregnant and Upper Leadworth about to face an attack by possessed pensioners. In another, the incapacitated TARDIS is drifting inexorably towards a ‘cold star’. Seemingly in control of both realms is a seemingly unassuming, yet ultimately frightening figure of the Dream Lord. Nye presents us with exciting threats in both scenarios, but he uses the story to delve into the structure of the human unconscious- how do our dreams reflect our desires and our personalities? The quiet domesticity of Upper Leadworth is clearly something Rory wants, yet even that is invaded by the type of menace that the Doctor is usually involved with- perhaps the kind of menace that the Doctor needs to operate. The fact that all this is wrapped up in a very entertaining and funny story is fantastic. As befits Simon Nye, there are some fantastic comic touches- Rory’s (truly awful) pony-tail, Amy’s pregnant running and her false alarms, facing death ‘looking like a Peruvian folk band’, the Doctor as Mr Cool, with some excellent one-liners. The shift towards the sinister is very skilfully done, helped, in no small respect, by Catherine Morshead’s direction. Although the camera is rather static, the scenes in Leadworth and the Drift towards the cold star are both impressively handled, with great special effects and cinematography. Crucially, the attack of the Eknodine in the bodies of the old people comes off as both sinister and ridiculous, with shades of Shaun of the Dead and the Father Ted episode "Night of the Nearly Dead". This sets us up for the very emotional scenes at the climax- Rory’s apparent death and Amy’s willingness to risk her death (without a thought for her unborn child’s) to be with Rory again.
The Dream Lord is brought to life by the wonderful Toby Jones, who, wisely, never overplays, making the character funny, yet menacing. His true nature is simple, but, fanboy that I am, I was too busy thinking of the Celestial Toymaker or the Trickster to notice. The Dream Lord is a manifestation of the Doctor’s own darkness, his guilt and self-loathing (how is unimportant- the criticisms levelled at The Space Museum and The Edge of Destruction do not apply here, as the situation is not the most important aspect of the drama). However, the story is called "Amy’s Choice" for a reason- while the desires of the menfolk are obvious, what is it that Amy dreams of, or desires? It is Amy’s choice which, indeed, is the decisive step in solving the crisis. The Dream Lord has many choice words for the Doctor, but in the end it is Amy’s simple ‘Then what is the point of you?’ which is the most devastating criticism of the Time Lord. Matt Smith improves with every episode and Arthur Darvill is hugely likeable. However, it is Karen Gillan who is the biggest standout- her playing of Amy’s grief over Rory’s death is subtle, never going into histrionics- and all the more heartbreaking for that.
Simon Nye is most famous for writing Men Behaving Badly, a sitcom that was far cleverer than it appeared to be, so there were a few raised eyebrows when he was announced as a writer for Doctor Who, just as there were when another comedy writer was announced as a writer. This is a story of real subtlety and sophistication, an absolute joy from beginning to end.
NEXT: "The Hungry Earth"/ "Cold Blood"
The Dream Lord is brought to life by the wonderful Toby Jones, who, wisely, never overplays, making the character funny, yet menacing. His true nature is simple, but, fanboy that I am, I was too busy thinking of the Celestial Toymaker or the Trickster to notice. The Dream Lord is a manifestation of the Doctor’s own darkness, his guilt and self-loathing (how is unimportant- the criticisms levelled at The Space Museum and The Edge of Destruction do not apply here, as the situation is not the most important aspect of the drama). However, the story is called "Amy’s Choice" for a reason- while the desires of the menfolk are obvious, what is it that Amy dreams of, or desires? It is Amy’s choice which, indeed, is the decisive step in solving the crisis. The Dream Lord has many choice words for the Doctor, but in the end it is Amy’s simple ‘Then what is the point of you?’ which is the most devastating criticism of the Time Lord. Matt Smith improves with every episode and Arthur Darvill is hugely likeable. However, it is Karen Gillan who is the biggest standout- her playing of Amy’s grief over Rory’s death is subtle, never going into histrionics- and all the more heartbreaking for that.
Simon Nye is most famous for writing Men Behaving Badly, a sitcom that was far cleverer than it appeared to be, so there were a few raised eyebrows when he was announced as a writer for Doctor Who, just as there were when another comedy writer was announced as a writer. This is a story of real subtlety and sophistication, an absolute joy from beginning to end.
NEXT: "The Hungry Earth"/ "Cold Blood"
Friday, 14 May 2010
"The Vampires of Venice"
With Amy's hormones seemingly in overdrive, the Doctor has no alternative but to arrange a date for her and Rory, and where better than Venice? However, as the title of the story makes obvious, all is not what it seems. "The Vampires of Venice" sees the return of Toby Whithouse to the Doctor Who fold. Since "School Reunion", Whithouse has created the excellent supernatural drama Being Human, so vampires should be familiar territory for him. Only there are no vampires in the story. There is a mysterious aristocrat who fears the sunlight. There are buxom maidens with severe orthodontic problems. But all is not what it seems with what it seems not to be, for the creatures are not vampires- "The Vampires of Venice", in classic Doctor Who style, takes a horror trope (two actually- the true nature of the ‘vampires’ is very Lovecraftian) and reinterprets it in a science fiction context- this is pretty much a Hinchcliffe/Holmes story for the 21st Century- I love, for example, the reason why the ‘vampires’ cast no reflection. Whithouse tells us the classic Doctor Who tale of the aliens who arrive in a notable time and place in Earth’s history to wreak havoc and have to be stopped by the Doctor. However, there is more to it than this- the alien Saturnynians, though callous in their disregard for the ‘savages’ do not actually want to conquer the Earth- just Venice- Whithouse fills the story with majestic dialogue: ‘Can your conscience carry the weight of another dead race. Remember us. Dream of us.’
However, the story has a problem, in that it has some of the flaws of the Hinchcliffe/Holmes era. There are some glaring inconsistencies in the plot- the sensitivity of the Saturnynians to sunlight varies from slight discomfort to grievous harm, which comes to a head when Amy destroys Francesco using the light reflected from a cloudy sky using a make-up mirror! Like many Hinchcliffe/Holmes stories, there is a somewhat pat solution to the crisis- the Doctor simply turns the evil alien device off! This was a funny solution in "School Reunion", but it just seems unimaginative here. Also, I’m no expert, but I wonder how Venice could have any tunnels? The character writing is effective enough, but the final effect is mainly thanks to a superb cast. Guido’s plight is not that effectively written, but Lucian Msamati puts in a very effective performance. As Rosanna, the queen of the Saturnynians, we have the wonderful Helen McCrory who gives a charismatic, yet very subtle performance.
The production is a triumph, with every scene having fantastic design, great costuming and cinematography, making the episode hugely evocative of the most vibrant city of the Early Modern period. Jonny Campbell’s direction, however, is problematic. Sometimes he assembles scenes with aplomb, but at other times (thankfully only a few) the editing or pacing is sloppy. The pre-titles sequence works, but I’m not sure if it is due to skilful editing to emphasise the awkwardness, or just plain awkward editing.
The regulars are on fantastic form. The interplay between the Doctor, Amy and Rory is well written and very funny, with Arthur Darvill being very likeable as Rory. We see the Doctor confronting an adversary and making ultimatums- just as his previous self does. It is obvious that the Eleventh Doctor does not wear his heart on his sleeve as much as his predecessor, delivering the line 'I'll tear down the House of Calvierri, stone by stone.' with a sinister smile on his face. Whether popping out of a cake or deactivating weapons of mass destruction, Matt Smith remains utterly captivating.
Despite some large-ish problems, the energy and great production values make "The Vampires of Venice" a hugely enjoyable story. Plus, when are a bevy of buxom vampire girls ever a bad thing?
NEXT: "Amy’s Choice"
However, the story has a problem, in that it has some of the flaws of the Hinchcliffe/Holmes era. There are some glaring inconsistencies in the plot- the sensitivity of the Saturnynians to sunlight varies from slight discomfort to grievous harm, which comes to a head when Amy destroys Francesco using the light reflected from a cloudy sky using a make-up mirror! Like many Hinchcliffe/Holmes stories, there is a somewhat pat solution to the crisis- the Doctor simply turns the evil alien device off! This was a funny solution in "School Reunion", but it just seems unimaginative here. Also, I’m no expert, but I wonder how Venice could have any tunnels? The character writing is effective enough, but the final effect is mainly thanks to a superb cast. Guido’s plight is not that effectively written, but Lucian Msamati puts in a very effective performance. As Rosanna, the queen of the Saturnynians, we have the wonderful Helen McCrory who gives a charismatic, yet very subtle performance.
The production is a triumph, with every scene having fantastic design, great costuming and cinematography, making the episode hugely evocative of the most vibrant city of the Early Modern period. Jonny Campbell’s direction, however, is problematic. Sometimes he assembles scenes with aplomb, but at other times (thankfully only a few) the editing or pacing is sloppy. The pre-titles sequence works, but I’m not sure if it is due to skilful editing to emphasise the awkwardness, or just plain awkward editing.
The regulars are on fantastic form. The interplay between the Doctor, Amy and Rory is well written and very funny, with Arthur Darvill being very likeable as Rory. We see the Doctor confronting an adversary and making ultimatums- just as his previous self does. It is obvious that the Eleventh Doctor does not wear his heart on his sleeve as much as his predecessor, delivering the line 'I'll tear down the House of Calvierri, stone by stone.' with a sinister smile on his face. Whether popping out of a cake or deactivating weapons of mass destruction, Matt Smith remains utterly captivating.
Despite some large-ish problems, the energy and great production values make "The Vampires of Venice" a hugely enjoyable story. Plus, when are a bevy of buxom vampire girls ever a bad thing?
NEXT: "Amy’s Choice"
Friday, 7 May 2010
"The Time of Angels"/"Flesh and Stone"
The Doctor has had a host of recurring foes in his television adventures, but most of the time he only has to defeat an enemy once. Sutekh, the Drashigs, Magnus Greel, the Malus, Scaroth and the Beast are just a few of the memorable one-night stands the Doctor has had. Until now, the Weeping Angels would have been near the top of the list- "Blink" remains one of the greatest stories the programme has produced in any era and the Angels one of the most chilling race of monsters ever seen on the small screen. It could be argued that a return appearance would ruin the impact of the Angels- but it took very little time for me to conclude that the return of the Angels was nothing short of a resounding success.
The basic plotline of "The Time of Angels"/"Flesh and Stone" is simple- the Doctor helps to locate the Angels in a crashed spaceship and get his friends out safely. This is a canvas for Moffat to paint his exquisitely shaded opus. As with his stories in the Russell T Davies era, this adventure is brimming with fantastic ideas and concepts. The squad of soldiers featured in the story are not Army, but the Church which has, as the Doctor says ‘moved on’; trees are cybernetically augmented to form oxygen factories in starliners; Moffat’s ability to build worlds is phenomenal. However, this would be for naught if the monsters did not work- the reason the Angels worked the first time was that they were based on a very strong, but idea. Betray that idea or employ excessive casuistry to circumvent its limits and the impact of the Angels is disastrously dampened. However, Moffat only builds on the ideas- that which holds the image of an angel becomes itself an angel, resulting in a very tense scene with Amy. Building on this, we find that looking into the eyes of an Angel for too long results in an image of the Angel forming in the mind, which leads to the horrifying idea of Amy having to walk through a group of Angels with her eyes shut. The Angels are given a personality for the first time, gleefully sadistic and chillingly psychopathic. As with his previous two-parters, Moffat does not merely rely on the ideas brought up in part one, he brings in more to complement them. A very familiar crack has opened, a crack which destroys time. People approaching too closely are erased from existence as if they have never existed- and even the Angels are terrified. This leads to the dénouement, where seemingly minor things raised in the story come together perfectly- the ship’s failing power, the quirks of artificial gravity- to solve the crisis in a simple way that works without insulting the viewers’ intelligence.
Moffat’s mastery is not just about plot and concepts, obviously. The dialogue is wonderful, ranging from the funny that we expect, to moments of beauty (‘What if our dreams no longer needed us?’) and real poignancy (‘I wish I had known you better’/ ‘I think, sir, that you knew me at my best’). In such a packed story there would appear to be no room for character- yet Moffat, for the first time, has succeeded doing what RTD did deceptively easily- making every character seem real, no matter how minor. This is helped by a very strong cast, including Mark Monero and Darren Morfitt (who was so memorable in Neil Marshall's Dog Soldiers). Even Mike Skinner’s cameo works well. We also have a reliably solid performance from Iain Glen as Octavian.
Directing the story is Adam Smith, who does stunning work throughout. I must draw special attention to the first 5 minutes which is one of the most awesome sequences I have ever seen on the small screen. Smith constructs each scene perfectly. Amy’s encounter with the image of the Angel on the screen is a well-realised homage to Ringu, well worth the eight minutes it takes up on screen. Amy’s walk through the forest of Angels wrings every bit of tension out of the script. The script asks for something that has the potential to be disastrous- we see the Angels move for the first time and it is testament to Smith’s skills that these scenes work magnificently- the first one in particular is a real jump moment.
The story, of course, also has the return of another memorable Moffat creation- River Song. Alex Kingston effortlessly makes her the irresistible character she was in "Silence in the Library"/"Forest of the Dead" and it is clear that there is more to her than we thought. Matt Smith and Karen Gillan continue to build their fantastic rapport with their best performances yet. The rapport builds to such an extent that we get something that we have never seen before- the Doctor fighting off the ravishes of his companion. The scene is funny and believable in terms of what we know about the character and her situation- Amy is clearly bit more forthright than Martha!
"The Time of Angels"/"Flesh and Stone" is an astounding adventure, destined to become one of the true classics of the programme.
NEXT: "The Vampires of Venice"
The basic plotline of "The Time of Angels"/"Flesh and Stone" is simple- the Doctor helps to locate the Angels in a crashed spaceship and get his friends out safely. This is a canvas for Moffat to paint his exquisitely shaded opus. As with his stories in the Russell T Davies era, this adventure is brimming with fantastic ideas and concepts. The squad of soldiers featured in the story are not Army, but the Church which has, as the Doctor says ‘moved on’; trees are cybernetically augmented to form oxygen factories in starliners; Moffat’s ability to build worlds is phenomenal. However, this would be for naught if the monsters did not work- the reason the Angels worked the first time was that they were based on a very strong, but idea. Betray that idea or employ excessive casuistry to circumvent its limits and the impact of the Angels is disastrously dampened. However, Moffat only builds on the ideas- that which holds the image of an angel becomes itself an angel, resulting in a very tense scene with Amy. Building on this, we find that looking into the eyes of an Angel for too long results in an image of the Angel forming in the mind, which leads to the horrifying idea of Amy having to walk through a group of Angels with her eyes shut. The Angels are given a personality for the first time, gleefully sadistic and chillingly psychopathic. As with his previous two-parters, Moffat does not merely rely on the ideas brought up in part one, he brings in more to complement them. A very familiar crack has opened, a crack which destroys time. People approaching too closely are erased from existence as if they have never existed- and even the Angels are terrified. This leads to the dénouement, where seemingly minor things raised in the story come together perfectly- the ship’s failing power, the quirks of artificial gravity- to solve the crisis in a simple way that works without insulting the viewers’ intelligence.
Moffat’s mastery is not just about plot and concepts, obviously. The dialogue is wonderful, ranging from the funny that we expect, to moments of beauty (‘What if our dreams no longer needed us?’) and real poignancy (‘I wish I had known you better’/ ‘I think, sir, that you knew me at my best’). In such a packed story there would appear to be no room for character- yet Moffat, for the first time, has succeeded doing what RTD did deceptively easily- making every character seem real, no matter how minor. This is helped by a very strong cast, including Mark Monero and Darren Morfitt (who was so memorable in Neil Marshall's Dog Soldiers). Even Mike Skinner’s cameo works well. We also have a reliably solid performance from Iain Glen as Octavian.
Directing the story is Adam Smith, who does stunning work throughout. I must draw special attention to the first 5 minutes which is one of the most awesome sequences I have ever seen on the small screen. Smith constructs each scene perfectly. Amy’s encounter with the image of the Angel on the screen is a well-realised homage to Ringu, well worth the eight minutes it takes up on screen. Amy’s walk through the forest of Angels wrings every bit of tension out of the script. The script asks for something that has the potential to be disastrous- we see the Angels move for the first time and it is testament to Smith’s skills that these scenes work magnificently- the first one in particular is a real jump moment.
The story, of course, also has the return of another memorable Moffat creation- River Song. Alex Kingston effortlessly makes her the irresistible character she was in "Silence in the Library"/"Forest of the Dead" and it is clear that there is more to her than we thought. Matt Smith and Karen Gillan continue to build their fantastic rapport with their best performances yet. The rapport builds to such an extent that we get something that we have never seen before- the Doctor fighting off the ravishes of his companion. The scene is funny and believable in terms of what we know about the character and her situation- Amy is clearly bit more forthright than Martha!
"The Time of Angels"/"Flesh and Stone" is an astounding adventure, destined to become one of the true classics of the programme.
NEXT: "The Vampires of Venice"
Friday, 9 April 2010
"The Eleventh Hour"
There is a threat against the Earth and only one man can save the planet. This is a sentence that can describe many Doctor Who stories, but in this one, the familiar plot helps anchor the viewer, for the rest of the story is suffused with the unfamiliar- a brand new Doctor, brand new companion, brand new everything. There is a new hand at the tiller in the shape of Steven Moffat, who wrote some of the best stories of the Russell T Davies era. It is immediately obvious that Moff-Who has a slightly different feel from RTD-Who, without jarring the viewer. As with Moffat’s previous scripts, something mundane becomes something to fear- in this case, the crack in the wall in the bedroom of a child- a crack that opens to reveal a vast Cyclopean eye. The basic plot is simple- a prisoner has escaped through the crack and the captors, the Atraxi, want him recaptured at any cost- but the Devil, as always, is in the details. Steven Moffat gleefully plunders his own previous Doctor Who work, from "The Girl in the Fireplace" to his excellent short story "Corner of the Eye", but it is to serve a greater purpose. With a new broom sweeping clean, the audience needs a new identification figure and we are given that in Amelia ‘Amy’ Pond. Like Reinette in "The Girl in the Fireplace", the Doctor is a figure from her youth. However, Amelia belongs to a more rational, touchy-feely world, so her night of wonder results in years of therapy. So when she suddenly finds her imaginary childhood friend stalking around her house, her feeling is not one of wonder, but of disappointment and mistrust- the Doctor has to convince her, and, indeed, us, that he is the man we hope he is.
And, he suceeds. Matt Smith had the daunting task of following the most popular Doctor since Tom Baker (and, in my opinion, the best one since Hartnell). As far as I was concerned he had me from the second he clambers out of the toppled TARDIS, with a look on his face that could illustrate every non-scientific definition of the word ‘mercurial’. This is followed by a brilliant sequence where the Doctor (like Tigger) discovers what foods he likes. This immediately tests Smith as an actor, having to give the same reaction in different ways. By the time he is eating fish-fingers dipped in custard, we know this Doctor well enough- far less patient than his predecessor, but with the same sense of fun. People always try and see the actor’s predecessors in a Doctor’s first story and, for the first time, there is a hint of Colin Baker, only with an infinitely superior writer and director at the controls. Like Patrick Troughton and Peter Davison before him, Matt Smith drags us out of our mourning for his beloved predecessor- Matt is Doctor Who!
Amy is given the most detailed back-story of any companion to date, but the vitalising spark is the wonderful performance by Karen Gillan, being very sassy and clever, but struggling with her impractical clothing throughout. Gillan can work wonders with the smallest change of expression in her beautiful face and it looks like we are in for another great companion. I must also mention the wonderful performance by Gillan’s cousin Caitlin Blackwood as the young Amelia. There are a plethora of great guest performances, although it’s odd that performers of the stature of Nina Wadia and Olivia Colman have such minor roles. Colman, in particular, is one of the most physically versatile actresses in the world (she can play anything from an irresistible sexpot to a sour hag, with only minimal make-up) and I would love to have seen her in a larger role- but it was good to see her nevertheless. Patrick Moore makes a well-judged cameo (something he’s invariably good at) and the rich, distinctive voice of David de Keyser is heard as the voice of the Atraxi. The always delightful Annette Crosbie will hopefully return alongside Arthur Darvill’s Rory.
Steven Moffat has assembled a new stable of directors and Adam Smith helms shooting and actors with aplomb. Although the pacing as frenetic as it was in the RTD era, there seem to be fewer shots, as befitting the setting in a small village, rather than London. Andrew Smith creates scenes of tension and beauty, from Amy’s encounter with Prisoner Zero to the adorable scene where Amelia waits for the Doctor to come back. There is also the best use of a lens flare that I have seen for years. The production values are excellent, although the CG creatures seem a tiny bit unfinished, the imagination shown in the design of the Atraxi ships is laudable and there is, of course, the wonderfully lavish, yet retro, new TARDIS interior.
This is an excellent debut story for Matt Smith. If there is any criticism, it is that Moffat doesn’t quite have RTD’s knack for creating ordinary characters- compare with "Smith and Jones" (still the best series opener, in my opinion). The story is 20 minutes longer than "Smith and Jones", yet we know more about Martha’s family than we do Amy’s friends, by the end. However, the characterisation is more than adequate, and Moffat’s conceptual ingenuity counts for a lot. Matt stamps his authority on the programme with ease, so that we unreservedly accept the moment when he walks through a hologram of Tennant’s face. Doctor Who is back with an era that promises to be fantastic. However, there are questions raised, and as we notice, the cracks in the universe have not been ignored by the TARDIS...
NEXT: "The Beast Below"
And, he suceeds. Matt Smith had the daunting task of following the most popular Doctor since Tom Baker (and, in my opinion, the best one since Hartnell). As far as I was concerned he had me from the second he clambers out of the toppled TARDIS, with a look on his face that could illustrate every non-scientific definition of the word ‘mercurial’. This is followed by a brilliant sequence where the Doctor (like Tigger) discovers what foods he likes. This immediately tests Smith as an actor, having to give the same reaction in different ways. By the time he is eating fish-fingers dipped in custard, we know this Doctor well enough- far less patient than his predecessor, but with the same sense of fun. People always try and see the actor’s predecessors in a Doctor’s first story and, for the first time, there is a hint of Colin Baker, only with an infinitely superior writer and director at the controls. Like Patrick Troughton and Peter Davison before him, Matt Smith drags us out of our mourning for his beloved predecessor- Matt is Doctor Who!
Amy is given the most detailed back-story of any companion to date, but the vitalising spark is the wonderful performance by Karen Gillan, being very sassy and clever, but struggling with her impractical clothing throughout. Gillan can work wonders with the smallest change of expression in her beautiful face and it looks like we are in for another great companion. I must also mention the wonderful performance by Gillan’s cousin Caitlin Blackwood as the young Amelia. There are a plethora of great guest performances, although it’s odd that performers of the stature of Nina Wadia and Olivia Colman have such minor roles. Colman, in particular, is one of the most physically versatile actresses in the world (she can play anything from an irresistible sexpot to a sour hag, with only minimal make-up) and I would love to have seen her in a larger role- but it was good to see her nevertheless. Patrick Moore makes a well-judged cameo (something he’s invariably good at) and the rich, distinctive voice of David de Keyser is heard as the voice of the Atraxi. The always delightful Annette Crosbie will hopefully return alongside Arthur Darvill’s Rory.
Steven Moffat has assembled a new stable of directors and Adam Smith helms shooting and actors with aplomb. Although the pacing as frenetic as it was in the RTD era, there seem to be fewer shots, as befitting the setting in a small village, rather than London. Andrew Smith creates scenes of tension and beauty, from Amy’s encounter with Prisoner Zero to the adorable scene where Amelia waits for the Doctor to come back. There is also the best use of a lens flare that I have seen for years. The production values are excellent, although the CG creatures seem a tiny bit unfinished, the imagination shown in the design of the Atraxi ships is laudable and there is, of course, the wonderfully lavish, yet retro, new TARDIS interior.
This is an excellent debut story for Matt Smith. If there is any criticism, it is that Moffat doesn’t quite have RTD’s knack for creating ordinary characters- compare with "Smith and Jones" (still the best series opener, in my opinion). The story is 20 minutes longer than "Smith and Jones", yet we know more about Martha’s family than we do Amy’s friends, by the end. However, the characterisation is more than adequate, and Moffat’s conceptual ingenuity counts for a lot. Matt stamps his authority on the programme with ease, so that we unreservedly accept the moment when he walks through a hologram of Tennant’s face. Doctor Who is back with an era that promises to be fantastic. However, there are questions raised, and as we notice, the cracks in the universe have not been ignored by the TARDIS...
NEXT: "The Beast Below"
Monday, 11 January 2010
The End of Time
The final adventure of the Tenth Doctor would always have been a significant story in of itself- David Tennant is the only actor to have successfully challenged Tom Baker for the title of most popular Doctor. And what a story it is- two and a quarter hours in length (a six-parter in old money) with cameos from every actor to have played a regular role and the return of the Time Lords. The plot is simple and just about works, albeit with an odd structure. There are a few problems with the script. The resurrection of the Master is presented as a necromantic ritual, a move which could work had the emphasis been different. However, mentions of ‘potions of life’ and ‘the secret books of Saxon’ are a bit too Harry Potter. The plot means that the critical characters of Naismiths are given short shrift in the second episode- a pity, considering David Harewood’s fine performance. The means by which the Time Lords escape, although comprehensible, is in danger of being misread. Donna’s ‘defence mechanism’ seems to have been constructed purely to season the cliffhanger.These are all valid criticisms all raised by perceptive critics of the programme (together with others raised by those who cannot tell the difference between a plot hole and something that they have failed to spot). However, like The Evil of the Daleks, like Logopolis, The End of Time manages to overcome these shortcomings to produce a story of real wonder and excitement.
However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.
The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.
Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.
There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.
But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.
David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.
However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.
The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.
Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.
There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.
But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.
David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.
Wednesday, 6 January 2010
"Planet of the Dead"
The first Doctor Who story of 2009 is a simple tale of the Doctor trying to rescue some people on a bus that has travelled through a wormhole. The planet that the passengers arrive on is a barren desert, but he commuters are not alone. A Tritovore ship has crashed, with two of the fly-like beings surviving. But they are not the danger. The planet was once teeming with life and one of the Doctor’s travelling companions can hear the screaming of the planets inhabitants as they died - the danger is a swarm of flying creatures like metallic stingrays who strip planets of anything organic and open wormholes to their next feeding ground- the Earth.
Fortunately, his fellow passengers are more willing to trust him than the last time he was stuck on a bus. The story has a nice, straightforward plot- perhaps a bit too straightforward and not without problems- first on the ‘Why didn’t they just...’ list is why UNIT didn’t just chuck the TARDIS through the wormhole! The commuters are not exactly three-dimensional characters- they are characterised purely by their intended destination rather than anything more detailed. However, the performances manage to compensate for this somewhat. The role of companion is filled by Lady Christina de Souza, an adrenaline junkie with a taste for grand larceny. She is nicely played by Michele Ryan, and she is a resourceful and sparky foil for the Doctor- however it is hard not to see her as being mildly sociopathic. By far the most interesting characters are the UNIT characters. In the Doctor’s absence, they have a new scientific adviser, Dr Malcolm Taylor. Malcolm is a wonderful character, naming units of measurement after himself and making references to Quatermass. This may be another instance of Gareth Roberts letting his inner geek run wild (most kids nowadays would have to ask their grandparents who Quatermass was) but I love him as a character, especially with Lee Evans’s wonderful performance. Although I’m not exactly a fan of Evans as a comedian, when his considerable comic talents are correctly channelled, he is unstoppable. Noma Dumezweni also returns as Captain Erisa Magambo in a performance that refuses to be overshadowed by Evans. Magambo is clearly on the right side, but she is not above pulling a gun on her subordinates for the greater good. She has a hint of the Brigadier in Season 7 about her and, if the Doctor is stranded on Earth again, she would make a good Lethbridge-Stewart for the 21st Century. David Tennant has a last chance to play the Doctor as a fun-loving wanderer and- surprise, surprise- he is excellent.
James Strong makes it all look wonderful and makes sure the actors give it their best. Of course the main production talking point is the move to high definition. The cinematography by Rory Taylor is sublime (for how hi-def Who could have gone wrong, look at the picture on Torchwood Series 1). The special effects are good (although the stingrays look a bit ‘unfinished’) with some great animatronics for the Tritovores and the location filming is great- although I fail to see why they couldn’t have shot it at Camber Sands (or the Welsh equivalent) and used CG matte paintings.
"Planet of the Dead" is good fun, well made with some witty dialogue. It is a bit inconsequential, but there are hints of something dark coming for, as we all know, the Doctor’s song is drawing to an end.
NEXT: "The Waters of Mars"
Fortunately, his fellow passengers are more willing to trust him than the last time he was stuck on a bus. The story has a nice, straightforward plot- perhaps a bit too straightforward and not without problems- first on the ‘Why didn’t they just...’ list is why UNIT didn’t just chuck the TARDIS through the wormhole! The commuters are not exactly three-dimensional characters- they are characterised purely by their intended destination rather than anything more detailed. However, the performances manage to compensate for this somewhat. The role of companion is filled by Lady Christina de Souza, an adrenaline junkie with a taste for grand larceny. She is nicely played by Michele Ryan, and she is a resourceful and sparky foil for the Doctor- however it is hard not to see her as being mildly sociopathic. By far the most interesting characters are the UNIT characters. In the Doctor’s absence, they have a new scientific adviser, Dr Malcolm Taylor. Malcolm is a wonderful character, naming units of measurement after himself and making references to Quatermass. This may be another instance of Gareth Roberts letting his inner geek run wild (most kids nowadays would have to ask their grandparents who Quatermass was) but I love him as a character, especially with Lee Evans’s wonderful performance. Although I’m not exactly a fan of Evans as a comedian, when his considerable comic talents are correctly channelled, he is unstoppable. Noma Dumezweni also returns as Captain Erisa Magambo in a performance that refuses to be overshadowed by Evans. Magambo is clearly on the right side, but she is not above pulling a gun on her subordinates for the greater good. She has a hint of the Brigadier in Season 7 about her and, if the Doctor is stranded on Earth again, she would make a good Lethbridge-Stewart for the 21st Century. David Tennant has a last chance to play the Doctor as a fun-loving wanderer and- surprise, surprise- he is excellent.
James Strong makes it all look wonderful and makes sure the actors give it their best. Of course the main production talking point is the move to high definition. The cinematography by Rory Taylor is sublime (for how hi-def Who could have gone wrong, look at the picture on Torchwood Series 1). The special effects are good (although the stingrays look a bit ‘unfinished’) with some great animatronics for the Tritovores and the location filming is great- although I fail to see why they couldn’t have shot it at Camber Sands (or the Welsh equivalent) and used CG matte paintings.
"Planet of the Dead" is good fun, well made with some witty dialogue. It is a bit inconsequential, but there are hints of something dark coming for, as we all know, the Doctor’s song is drawing to an end.
NEXT: "The Waters of Mars"
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