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"
Showing posts with label James Strong. Show all posts
Showing posts with label James Strong. Show all posts
Wednesday, 6 January 2010
Monday, 7 December 2009
"Partners in Crime"
The opener of the 2008 season is a jolly tale about a miracle slimming cure with some rather unusual side effects. Of course, the Doctor is interested, but we also see the return of the Runaway Bride herself, who has regretted her decision to not accompany the Doctor on her travels. The plot is quirky and easy enough to follow and, again, does not centre on an invasion of Earth, which is refreshing. The major niggle I have is that the Doctor and (especially) Donna’s involvement was the only thing that made the Adipose plan an actual threat- true, the Doctor does point this out, but a little guilt would have been nice. However, the writing is as good as ever, with the story being pitched as more of a light comedy- scenes of the Doctor and Donna missing each other are well staged and gags and great lines flow like wine. "Partners in Crime" doesn’t have to introduce a new character, but this does not mean that there is no character work- Donna is cannily written as being on the other side of a divide from Rose. Rose is young, but can see only a life of chips and TV in front of her, whereas Donna is in her mid-thirties and has the additional feeling that life has passed her by (Martha has purpose and a future even before she meets the Doctor). This means that her joy at being reunited with the Doctor is palpable and felt by all of us.
James Strong again helms the show with great skill in an episode with some stunning scenes. The Adipose babies are lovable, without being unbearably cute, and the CGI of them swarming (assisted by Weta Digital) is jaw-dropping. I love the Close Encounters inspired space-ship at the end and Stacey’s dissolution into Adipose. However, the best scene involves no special effects at all- the wordless conversation between the Doctor and Donna when they first meet. The performances are excellent, with Sarah Lancashire being great as villainess Miss Foster. The legendary Bernard Cribbins returns, with his character revealed as being Donna’s grandfather in a very likeable performance. However, it is the return of Catherine Tate that attracts the most attention. Here she is less brash, but still full of the same spirit she had in "The Runaway Bride". She is very likeable throughout, and I had no problem with spending the next 14 weeks with her. David Tennant clearly enjoys working with her and their on-screen chemistry is wonderful.
So it’s off into time and space again for new adventures- but hang on; who’s that girl?
NEXT: "The Fires of Pompeii"
James Strong again helms the show with great skill in an episode with some stunning scenes. The Adipose babies are lovable, without being unbearably cute, and the CGI of them swarming (assisted by Weta Digital) is jaw-dropping. I love the Close Encounters inspired space-ship at the end and Stacey’s dissolution into Adipose. However, the best scene involves no special effects at all- the wordless conversation between the Doctor and Donna when they first meet. The performances are excellent, with Sarah Lancashire being great as villainess Miss Foster. The legendary Bernard Cribbins returns, with his character revealed as being Donna’s grandfather in a very likeable performance. However, it is the return of Catherine Tate that attracts the most attention. Here she is less brash, but still full of the same spirit she had in "The Runaway Bride". She is very likeable throughout, and I had no problem with spending the next 14 weeks with her. David Tennant clearly enjoys working with her and their on-screen chemistry is wonderful.
So it’s off into time and space again for new adventures- but hang on; who’s that girl?
NEXT: "The Fires of Pompeii"
Saturday, 5 December 2009
"Voyage of the Damned"
"Voyage of the Damned" is pure action escapism, providing a Doctor Who spin on the likes of The Poseidon Adventure- by this time, Doctor Who had become a Christmas tradition like a big movie and the OTT nature of the story fits well in the festive season, even with a replica of the Titanic swooping over Buckingham Palace! The characters are engaging and Davies supplies us with his usual fun dialogue- Mr Copper’s unique take on Earth culture is a highlight. The ‘monsters’ are the host, very reminiscent of the titular automatons in The Robots of Death, but whose angelic form recalls a more recent adversary. If there is a criticism, perhaps it lacks the heart of so many other Doctor Who episodes- even Astrid’s passing does not quite move us in the way it should, in a rare case of inadequate character writing by Davies. This is the first time that the credited guest has died and it should really have had more impact. This is purely a character problem- the dialogue is wonderful, when it could be cheesy: 'You're not falling, Astrid; you're flying'.
The story looks and sounds fantastic and we know we are in good directorial hands with James Strong. The episode is stuffed with fantastic set pieces that are thoroughly exciting with stunning special effects. The cast is hugely impressive- Geoffrey Palmer as the Captain exudes dignity and regret, and Russell Tovey is very charismatic as Midshipman Frame. George Costigan is imperiously sleazy as Max Capricorn. The band of survivors are all engagingly played from Jimmy Vee’s Bannakaffalatta to Clive Swift’s hilarious Mr Copper and Rickston Slade, played by the fascinatingly bug-eyed Gray O'Brien. The big guest star is, of course, Kylie Minogue as Astrid. It is easy to forget that Kylie started off as an actress and she exudes the same charisma as she did on Neighbours, making Astrid a very likeable character.
The Doctor is more of an action hero, as befits a disaster movie and David Tennant makes this work perfectly- the moment where he takes charge over the loathsome Rickston makes you want to punch the air. The Doctor even gains a new companion, only to lose her, watching her ghostly form dissolve before his eyes. It is not surprising that at the end, the Doctor is on his own again and wishes to stay that way.
"Voyage of the Damned" lacks some of the substance or soul of previous stories, but it is very well made and supremely entertaining- if you are in the right frame of mind, you will have a blast!
NEXT: "Partners in Crime"
The story looks and sounds fantastic and we know we are in good directorial hands with James Strong. The episode is stuffed with fantastic set pieces that are thoroughly exciting with stunning special effects. The cast is hugely impressive- Geoffrey Palmer as the Captain exudes dignity and regret, and Russell Tovey is very charismatic as Midshipman Frame. George Costigan is imperiously sleazy as Max Capricorn. The band of survivors are all engagingly played from Jimmy Vee’s Bannakaffalatta to Clive Swift’s hilarious Mr Copper and Rickston Slade, played by the fascinatingly bug-eyed Gray O'Brien. The big guest star is, of course, Kylie Minogue as Astrid. It is easy to forget that Kylie started off as an actress and she exudes the same charisma as she did on Neighbours, making Astrid a very likeable character.
The Doctor is more of an action hero, as befits a disaster movie and David Tennant makes this work perfectly- the moment where he takes charge over the loathsome Rickston makes you want to punch the air. The Doctor even gains a new companion, only to lose her, watching her ghostly form dissolve before his eyes. It is not surprising that at the end, the Doctor is on his own again and wishes to stay that way.
"Voyage of the Damned" lacks some of the substance or soul of previous stories, but it is very well made and supremely entertaining- if you are in the right frame of mind, you will have a blast!
NEXT: "Partners in Crime"
Friday, 20 November 2009
"Daleks in Manhattan" / "Evolution of the Daleks"
"Daleks in Manhattan" / "Evolution of the Daleks" brings the deranged dustbins into play rather earlier in the season than is expected. However, we get a sumptuous looking story set in 1930s New York; an odd idea on paper but a look at this story confirms that, stylistically, the Daleks actually fit in quite well, especially with that grandest example of Art Deco, the Empire State Building. The production is outstanding with excellent design work that makes the viewer feel the atmosphere of New York in the depression, despite the fact that only a few background plates were shot outside of Wales. The special effects are of an excellent standard and the cast is very impressive, ranging from experienced performers such as Hugh Quarshie to very talented newcomers such as Andrew Garfield. I say this at the start, because this story goes horrendously wrong in a way that the programme has not done since it returned and there is one reason- the script.
The set-up is sound enough, which is why "Daleks in Manhattan" is actually a very enjoyable episode. The juxtaposition between the brand-new splendour of the Empire State Building and the misery of Hooverville is used well and forms a strong basis for the initial mystery. However, characterisation is unusually basic- Solomon is the strong leader, Frank the smart youngster. Even the star-cross’d lovers Tallulah and Laszlo are not sufficiently well-written to form a ‘heart’ for the story. The dialogue is OK, but shows a degree of clunkiness that was not evident before. This is all forgiveable in "Daleks in Manhattan", but "Evolution of the Daleks" provides explanations and solutions; both of which are woefully inadequate. The Daleks are dying out, with only the Cult of Skaro remaining. Dalek Sec merges with Mr Diagoras to form a Dalek/human hybrid, but there are other humans kept in hibernation. The plan is to use a solar flare (or is it lightning?) to change their DNA to make them ‘human Daleks’. The DNA is transferred by use of a blue liquid (or is it the Dalekanium on the roof?) Never mind, the Doctor adds a big dose of free-will (that pesky free-will gene!) by getting in the way of the lightning and replacing one of the Dalekanium panels (Er…) which means that the human Daleks start to question and are destroyed.
This is all utter rubbish scientifically, but pseudo-science can be forgiven dramatically- if it is consistent. Helen Raynor’s own pseudo-definition of DNA changes from scene to scene, as does the application of the genetic engineering, which makes the plot hard to follow not because it is too clever, but because it is anything but. This leaves us with situations that are solved by barrages of technobabble, which hints at the atrocity that was the Arc of Infinity plot, and has a clumsiness of construction more reminiscent of the awful Pedler/Davis Cybermen stories than classic Dalek stories. However, plot isn’t everything is it? Unfortunately, as we have seen, the characterisation and dialogue is not at its best. This means that Solomon dies after giving a bizarre speech that is a) is in no way a realistic reaction that a character would make given the events and (b) full of clichés. Solomon conveniently ignores the Doctor’s warnings and the evidence of his own eyes to die in a totally unnecessary manner. The Dalek Sec hybrid is a thoroughly wasted character- any success that it has is due to the performer and special effects.
James Strong puts in a valiant show as director and makes it all look wonderful- the scene where Mr Diagoras is consumed by Dalek Sec is profoundly disturbing, looking both like a devourment and a mating. The revelation of the hybrid at the end of the episode is also masterful (despite being ruined by the Radio Times!) The stage-show scenes are also brilliantly shot and form a very welcome diversion in "Daleks in Manhattan". However, Strong is hamstrung by the limitations of the script- although the end, where the Doctor saves Laszlo’s life is wrecked due to silly decisions in realisation that may not be Raynor’s fault. As said before, the cast is very impressive and largely give good performances. Hugh Quarshie is fantastic as Solomon, in spite of the atrocious writing for the character. Miranda Raison is very memorable as Tallulah and Ryan Carnes effective as Laszlo. I cannot judge the effectiveness of the American accents, but they seem fine, if a little mannered to me. The regulars both emerge with their dignity intact- Martha is especially memorable in this. However, David Tennant has to work with some very generic writing for the Doctor- fortunately he is so good, he gets away with it.
"Daleks in Manhattan" / "Evolution of the Daleks" is a considerable disappointment- an entertaining first episode whose potential is squandered by "Evolution of the Daleks"- the worst episode Doctor Who has had since its revival and the only one I have no desire to revisit.
NEXT: "The Lazarus Experiment"
The set-up is sound enough, which is why "Daleks in Manhattan" is actually a very enjoyable episode. The juxtaposition between the brand-new splendour of the Empire State Building and the misery of Hooverville is used well and forms a strong basis for the initial mystery. However, characterisation is unusually basic- Solomon is the strong leader, Frank the smart youngster. Even the star-cross’d lovers Tallulah and Laszlo are not sufficiently well-written to form a ‘heart’ for the story. The dialogue is OK, but shows a degree of clunkiness that was not evident before. This is all forgiveable in "Daleks in Manhattan", but "Evolution of the Daleks" provides explanations and solutions; both of which are woefully inadequate. The Daleks are dying out, with only the Cult of Skaro remaining. Dalek Sec merges with Mr Diagoras to form a Dalek/human hybrid, but there are other humans kept in hibernation. The plan is to use a solar flare (or is it lightning?) to change their DNA to make them ‘human Daleks’. The DNA is transferred by use of a blue liquid (or is it the Dalekanium on the roof?) Never mind, the Doctor adds a big dose of free-will (that pesky free-will gene!) by getting in the way of the lightning and replacing one of the Dalekanium panels (Er…) which means that the human Daleks start to question and are destroyed.
This is all utter rubbish scientifically, but pseudo-science can be forgiven dramatically- if it is consistent. Helen Raynor’s own pseudo-definition of DNA changes from scene to scene, as does the application of the genetic engineering, which makes the plot hard to follow not because it is too clever, but because it is anything but. This leaves us with situations that are solved by barrages of technobabble, which hints at the atrocity that was the Arc of Infinity plot, and has a clumsiness of construction more reminiscent of the awful Pedler/Davis Cybermen stories than classic Dalek stories. However, plot isn’t everything is it? Unfortunately, as we have seen, the characterisation and dialogue is not at its best. This means that Solomon dies after giving a bizarre speech that is a) is in no way a realistic reaction that a character would make given the events and (b) full of clichés. Solomon conveniently ignores the Doctor’s warnings and the evidence of his own eyes to die in a totally unnecessary manner. The Dalek Sec hybrid is a thoroughly wasted character- any success that it has is due to the performer and special effects.
James Strong puts in a valiant show as director and makes it all look wonderful- the scene where Mr Diagoras is consumed by Dalek Sec is profoundly disturbing, looking both like a devourment and a mating. The revelation of the hybrid at the end of the episode is also masterful (despite being ruined by the Radio Times!) The stage-show scenes are also brilliantly shot and form a very welcome diversion in "Daleks in Manhattan". However, Strong is hamstrung by the limitations of the script- although the end, where the Doctor saves Laszlo’s life is wrecked due to silly decisions in realisation that may not be Raynor’s fault. As said before, the cast is very impressive and largely give good performances. Hugh Quarshie is fantastic as Solomon, in spite of the atrocious writing for the character. Miranda Raison is very memorable as Tallulah and Ryan Carnes effective as Laszlo. I cannot judge the effectiveness of the American accents, but they seem fine, if a little mannered to me. The regulars both emerge with their dignity intact- Martha is especially memorable in this. However, David Tennant has to work with some very generic writing for the Doctor- fortunately he is so good, he gets away with it.
"Daleks in Manhattan" / "Evolution of the Daleks" is a considerable disappointment- an entertaining first episode whose potential is squandered by "Evolution of the Daleks"- the worst episode Doctor Who has had since its revival and the only one I have no desire to revisit.
NEXT: "The Lazarus Experiment"
Thursday, 5 November 2009
"The Impossible Planet"/ "The Satan Pit"
After the triumphant return of 2005, there were some who were a bit disappointed that the Doctor never journeyed beyond Earth orbit and yearned to see the Doctor walking on the surface of an alien planet. This happened in "New Earth", but it was this story that fulfilled that wish in a truly spectacular manner. The script by Matt Jones is excellent; the fact that, from the start, it is clear that we are beyond the Doctor’s and even the Time Lords’ knowledge takes some of the cosiness away immediately and the removal of the TARDIS soon afterwards makes the Doctor and Rose in a situation every bit as grave as the humans that they have encountered- a situation that is reminiscent of early Hartnell stories. And what a situation it is- an expedition that has ended up on a planet that is tidally locked inside the event horizon of a black hole (see below)- a planet that shouldn’t exist. ‘Welcome to Hell’ a graffito sanguinely states- and the feeling that they are in a region that operates beyond the laws of physics, where the only remaining explanation might be the most terrible legend of all. The themes are not original and have parallels with stories from throughout the programme’s history, most notably The Curse of Fenric- an evil from (before) the dawn of time, the Doctor’s faith in a companion etc. The presentation of the Beast’s character is probably influenced by C.S. Lewis’s Perelandra, but obviously written from a far less devout viewpoint. Such is the skill of the storytelling that you don’t notice these influences until afterwards. Even the usual clichés in this type of story are overturned, such as a new take on an escape up a ventilation shaft.
Newcomer James Strong puts in a phenomenal job behind the camera. It’s not just that he constructs memorable scenes, his direction is vital to the storytelling process itself. The possession of Toby is visualised by red contact lenses, marker pen and basic editing, yet the results are phenomenal. This is as a journey into the unknown for the Doctor as well, so Strong takes the simple, yet ingenious step of making his descend into the pit look like him abseiling into infinite darkness. He is aided by one of Murray Gold’s best scores- especially the terrifying scene where Scooti meets her end. The look of the story is wonderful, with the sets and costuming being perfect. The special effects range from beautiful to exciting to terrifying, but all are excellent- the visualisation of the black hole, the wonderful shot of Scooti floating in space and the subterranean city. The Ood are wonderfully realised and are both terrifying and sympathetic. Then there is the Beast. Demon or alien, it is a hugely impressive monster. The overall effect is a story that contains some of the most terrifying scenes the programme has ever had, scenes that will stay with younger viewers for a long time.
The script is not merely action and shocks- it is very talky, particularly "The Satan Pit", but such is the atmosphere that is created by Strong, that it all manages to hang together as a whole- I was actually reminded of Tarantino’s Kill Bill in the way that this was done. He is helped by a very strong cast. Shaun Parkes (who memorably starred with Tennant in Casanova) is excellent as Captain Zack and, with Rose and the Doctor separated for most of "The Satan Pit", Claire Rushbrook fills the companion slot with aplomb. As the voice of the beast, we have the very welcome return of Gabriel Woolf. Age has made his voice even more terrifying, a sonorous whisper that speaks of infinite evil- I have an mp3 of ‘Don’t turn around’ that I BlueTooth to people to frighten them.
The Doctor’s characterisation is very skilful- in a story about faith, his faith is unique- a faith in the fact that there are things he has not seen- but that faith finally bumps into his own prejudices. It is a reading of the Doctor that David Tennant puts his best work yet into. This does not mean that Rose is sidelined- with the Doctor facing the Beast, it is she who marshals the opposition to the Ood and it is she who finally defeats the Beast, justifying the Doctor’s faith in her.
There are a few niggles I have, mainly with the science. It is perfectly possible for a planet to orbit a black hole, for example. However, the story is so good that I can cut it a lot of slack- just imagine the words ‘inside the event horizon of...’ in front of ‘a black hole’ and the story works again. This is a wondrous story that does what it does with beauty, horror, intelligence and a dash of humour. Priceless.
NEXT: "Love & Monsters"
Newcomer James Strong puts in a phenomenal job behind the camera. It’s not just that he constructs memorable scenes, his direction is vital to the storytelling process itself. The possession of Toby is visualised by red contact lenses, marker pen and basic editing, yet the results are phenomenal. This is as a journey into the unknown for the Doctor as well, so Strong takes the simple, yet ingenious step of making his descend into the pit look like him abseiling into infinite darkness. He is aided by one of Murray Gold’s best scores- especially the terrifying scene where Scooti meets her end. The look of the story is wonderful, with the sets and costuming being perfect. The special effects range from beautiful to exciting to terrifying, but all are excellent- the visualisation of the black hole, the wonderful shot of Scooti floating in space and the subterranean city. The Ood are wonderfully realised and are both terrifying and sympathetic. Then there is the Beast. Demon or alien, it is a hugely impressive monster. The overall effect is a story that contains some of the most terrifying scenes the programme has ever had, scenes that will stay with younger viewers for a long time.
The script is not merely action and shocks- it is very talky, particularly "The Satan Pit", but such is the atmosphere that is created by Strong, that it all manages to hang together as a whole- I was actually reminded of Tarantino’s Kill Bill in the way that this was done. He is helped by a very strong cast. Shaun Parkes (who memorably starred with Tennant in Casanova) is excellent as Captain Zack and, with Rose and the Doctor separated for most of "The Satan Pit", Claire Rushbrook fills the companion slot with aplomb. As the voice of the beast, we have the very welcome return of Gabriel Woolf. Age has made his voice even more terrifying, a sonorous whisper that speaks of infinite evil- I have an mp3 of ‘Don’t turn around’ that I BlueTooth to people to frighten them.
The Doctor’s characterisation is very skilful- in a story about faith, his faith is unique- a faith in the fact that there are things he has not seen- but that faith finally bumps into his own prejudices. It is a reading of the Doctor that David Tennant puts his best work yet into. This does not mean that Rose is sidelined- with the Doctor facing the Beast, it is she who marshals the opposition to the Ood and it is she who finally defeats the Beast, justifying the Doctor’s faith in her.
There are a few niggles I have, mainly with the science. It is perfectly possible for a planet to orbit a black hole, for example. However, the story is so good that I can cut it a lot of slack- just imagine the words ‘inside the event horizon of...’ in front of ‘a black hole’ and the story works again. This is a wondrous story that does what it does with beauty, horror, intelligence and a dash of humour. Priceless.
NEXT: "Love & Monsters"
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