Tag Archives: Doctor Who

Cinema, horror, New Releases, Reviews

CINEMA REVIEW: LAST NIGHT IN SOHO (2021)

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CINEMA REVIEW: LAST NIGHT IN SOHO (2021)

Directed by Edgar Wright

Screenplay by: Edgar Wright and Krysty Wilson-Cairns

Produced by: Nira Park, Tim Bevan, Eric Fellner and Edgar Wright

Cast: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Terence Stamp, Diana Rigg, Rita Tushingham, etc.

Cinematography: Chung-hoon Chung

*** MAY CONTAIN SPOILERS ***

Edgar Wright is one of my favourite directors working today. His films possess an endless series of cinematic techniques such: long takes, quick cuts, swooping camera moves, canted frames, Steadicam, camera holds, frame switches, pans, scans, tilts, low-angles, metronomic editing, blurred dissolves, point-of-view and god’s-eye view shots. Moreover, Wright’s use of humour, music, colour, casting choices, and cross-genre collisions are spectacularly imaginative and entertaining. His latest film Last Night in Soho (2021) is no different. I was enthralled and excited throughout this ripping big-budget exploitation film, which juxtaposes influences such as Stephen King, Brian DePalma and Doctor Who, with a suggestion of Dario Argento and giallo cinema.

Last Night in Soho (2021) is both a love and hate letter to the Soho area of central London in the 1960’s and the now. If hate is too strong a word then at the very least the myriad of storylines collide to create a cautionary tale of one young person’s move from Cornwall to London to study fashion at the University of Arts. Major acting talent Thomasin Mackenzie is Ellie Turner, a passionate young woman who loves the sixties music and style, but also mourns the loss of her mother at an early age. Leaving her comfortable home she shares with her Grandmother (Rita Tushingham), Ellie experiences London and student life with initially mixed results. Finding it difficult to connect with her obnoxious room-mate, Jocasta, she moves into an antiquated bedsit, with imperious Diana Rigg as her landlady no less. All of a sudden her incredible journey into the glamorous and seedy past of Soho begins.

As with many of his films Wright establishes several storylines simultaneously. He brilliantly crosses rites-of-passage with period drama, romance, musical, detective and finally the horror genre. Ellie finds her feet at University, gets a job in a bar, receives praise for her initial designs and starts a budding romance with fellow student, John (Michael Ajao). At the same time her life becomes entwined in a surreal twist with that of Sandie (Anya Taylor-Joy), an engaging character desiring showbiz stardom who happens to live in Soho, but in the 1960’s. Ellie’s psychic link with Sandie brings her vivid dreams, but a striking empathic connection.

While Ellie is nervous and insecure within her London experiences, Sandie is the opposite. The theme of duality in their polar characters is both emotionally and visually breathtaking as their twin journey brings positive change and developing confidence in Ellie’s character. Yet, when Sandie’s career desires are exploited for nefarious gain by a local face called Jack (Matt Smith), both woman head for darker spaces in the shadows and smoke of the capital. Here the issue of mental health is intriguingly explored too. As Ellie is drawn further into Sandie’s nightmarish existence, she struggles to hold on to reality and the present.

Despite some minor wrinkles in the narrative and geographical London liberties taken, Edgar Wright has delivered one of the most thrilling and spectacularly energetic films of the year. The nostalgic and heavenly soundtrack is to die for, with so many songs I recall growing up listening to. Likewise, the cinematography and lighting design sparkle in hues of black, fluorescence, shadow and neon. Sure, Edgar Wright has his cake and eats it with mild virtue signalling relating to the “Me Too” movement. The male gaze eats up Anya Taylor Joy’s stunning charisma on screen, making us complicit in her downfall. Nonetheless, with issues relating to grief, mental health, sexual exploitation, identity, doppelgängers, urban breakdown and many more all enveloped into a craftily structured plot, you won’t find a more breathless cinematic experience all year.

Mark: 9 out of 11

Articles, Cinema

R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

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R.I.P – HELEN MCCRORY (1968 – 2021) – SIX GREAT SCENES!

“I’m heartbroken to announce that after a heroic battle with cancer, the beautiful and mighty woman that is Helen McCrory has died peacefully at home, surrounded by a wave of love from friends and family. ‘She died as she lived. Fearlessly. God, we love her and know how lucky we are to have had her in our lives. ‘She blazed so brightly. Go now, Little One, into the air, and thank you.” — Damian Lewis

Sad news that one of my favourite actors, Helen McCrory, passed away on the 16th of April 2021 from cancer.

Helen McCrory had an amazing career on stage, television and in cinema. She began studying acting at the Drama Centre in King’s Cross, London. After which she rapidly gained fabulous onstage notices, appearing in theatrical productions at the Donmar Warehouse, National Theatre and Almeida Theatre. It didn’t take long before she was starring in prominent roles on television and cinema screens.

An actress of immense quality and charisma, McCrory would bring a sophistication and heart and magnificent class to every role she inhabited. Her characters were always strong, independent and a little bit dangerous. In tribute, I have chosen six scenes which showcase her incredible talents. No words can describe how big a loss Helen McCrory is to the world and my condolences go out to her family.

*** THE FOLLOWING SCENES CONTAIN SPOILERS ***

HESTER – THE DEEP BLUE SEA (2016 STAGE PRODUCTION)

I haven’t even seen this production, but this excerpt from the play immediately makes me feel so much for Helen McCrory’s character. She gives such a beautifully magnetic performance.

ROSANNA CALVIERRI – DOCTOR WHO (2010)

I personally would have loved to have seen Helen McCrory star as Doctor Who. But she made a wonderfully dark-hearted villain in this episode. This scene is so brilliant as it builds slowly with two fine actors bringing both humour and pathos and stirring drama to their characters.

NARCISSA MALFOY – HARRY POTTER AND THE HALF-BLOOD PRINCE (2009)

Originally cast in the role of Bellatrix Lestrange, McCrory had to leave the role out due to pregnancy. Eventually cast as the wonderfully name, Narcissa Malfoy, Helen McCrory’s evocative voice and elegance perfectly enlivened the character.

TABITHA – INSIDE NO. 9 (2014)

Many of Helen McCrory’s earlier roles found her portraying strong young women, however, as she matured she grew even more powerful and was also cast in darker more gothic roles. Once such character was the enigmatic Tabitha in the awesome anthology series, Inside No.9 episode, The Harrowing.

POLLY GRAY – PEAKY BLINDERS (2013 – 2019)

The BBC’s flagship drama is a muscular-bleeding-tattooed-up-parade-of-masculinity, but it also presents a set of powerful female characters too who are just as deadly. Helen McCrory as tough-talking, Polly Gray, more than holds her own as a leader within Cillian Murphy’s gang.

MRS POOLE – PENNY DREADFUL (2014 – 2015)

One of my favourite television dramas of recent years had a some incredibly beautiful writing, a wondrous cast and the most elegant of bloody horror. Helen McCrory revelled in the role of Evelyn Poole/Madam Kali, stealing every scene with an over-the-top performance as the immortal uber-witch casting spells and wreaking havoc throughout.

Cinema, Great Ensemble Film Casts

GREAT ENSEMBLE FILM CASTS #4 – HELL DRIVERS (1957)

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GREAT ENSEMBLE FILM CASTS #4 – HELL DRIVERS (1957)

Directed by: Cy Endfield

Produced by: Benjamin Fisz and Earl St John

Written by: Cy Endfield and John Kruse

Cast: Stanley Baker, Peggy Cummins, Patrick McGoohan, Herbert Lom, Sean Connery, William Hartnell, Alfie Bass, Sid James, David McCallum, Gordon Jackson, Jill Ireland etc.

**** CONTAINS SPOILERS ****

Often on this blog I will write about very well-known actors or films, however, sometimes it’s good to explore more forgotten cinematic gems. Hell Drivers (1957), is one such film from the past that certainly deserves revisiting. Not simply because it is an excellent action drama, but because it contains an incredible cast, with most of the players going on to have major parts in some iconic screen roles. I caught the film again on the cable channel, Talking Pictures, and it’s a really gripping low-budget British thriller.

The plot of Hell Drivers (1957) is quite simple. Tom Yateley (Stanley Baker), a drifter with an unknown past, turns up looking for work at Hawlett’s truck yard. Their group of drivers carry gravel/ballast from a quarry to site. The drama derives from the fact they must meet a certain quota per day, and this involves driving like maniacs to achieve this. Let’s just say that the Health and Safety executive would have a field day now. But that’s one of the strengths of the script. In post-war Britain men and women were desperate for work and money and therefore prepared to do anything to survive. Thus, the film, amidst the helter-skelter driving action, contains a strong social commentary in regard to the exploitation of the workers. There is of course camaraderie among the men, but fierce rivalries also develop. Such competitiveness drives the conflict within the film.

Cy Endfield, a solid American genre filmmaker, directs the ensemble cast brilliantly. What a cast it is too! It’s essentially a “who’s who?” of “before they were famous” actors, all combining to incredible effect. Stanley Baker as Tom carries the lead role. Baker would gain further success in Endfield’s war epic Zulu (1964), and become a renowned lead until his death at the age of 48. The supporting cast though, is something else. Patrick McGoohan, who plays the bruising antagonist, Red, would cement his fame in the incredible 1960’s cult classic, The Prisoner. Furthermore, we have the first Doctor Who in William Hartnell and of course, James Bond himself, Sean Connery. If that wasn’t all, The Man From Uncle star, David McCallum, features in an early role. So does the already established comedic actor Sid James. James would become synonymous with the quintessentially English, Carry On…, film series. Throw in great characters actors Herbert Lom, Gordon Jackson, Alfie Bass and a very young, Jill Ireland, and you have one hell of a cast; all starring in this excellent British film gem.

Netflix, Reviews, Television

NETFLIX REVIEW – OZARK (2020) – SEASON 3

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NETFLIX REVIEW – OZARK (2020) – SEASON 3

Created by: Bill Dubuque & Mark Williams

Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams

Director(s): Jason Bateman, Alik Sakharov, Ben Semanoff, Amanda Marsalis, Cherien Dabis

Writers: Chris Mundy, Paul Kolsby, Ning Zhou, Martin Zimmerman, Miki Johnson, John Shiban, Laura Deeley

Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Lisa Emery, Janet McTeer, Charlie Tahan, Tom Pelphrey, Joseph Bedford Lloyd, Joseph Sikora, Felix Solis, Jessica Frances Dukes etc.

Original Network: Netflix

**CONTAINS SEASON 1 & 2 SPOILERS**

So, the third season of the Netflix crime drama, Ozark, confirms its status as one of my must-watch TV programmes. It joins the likes of Game of Thrones, Penny Dreadful, It’s Always Sunning in Philadelphia, Breaking Bad, Doctor Who, Curb Your Enthusiasm, Inside No. 9 and many more, which became essential viewing. If you haven’t seen the show, Jason Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri, while working for a murderous Mexican drug cartel. Accompanying him are his wife, Wendy, portrayed by Laura Linney and their two teenage children, Jonah and Charlotte. The structure of the season one and two is to essentially place the American “nuclear family” at the heart of a noir thriller and watch them use their wits to survive. What is even more apparent though is that the ingenuity of the writing means we are rooting for the bad guys. Of course, there is always a bigger fish or predator, but slowly and surely the Byrdes are climbing a slippery ladder up the crime food chain.

Season 3 begins not long after season 2 ended. The explosive and brutal Mexican drug wars, involving the Navarro Cartel and bitter rivals, provides a violent back drop for the drama. It heightens the tension and danger for Marty and Wendy, who are now running a casino literally on the Ozark lakes. With the Cartel wars raging, the Byrdes also have major problems closer to home. They are attending marriage therapy, the FBI are about to audit their casino, Navarro himself is breathing down their necks about the flailing money-laundering operation, Janet McTeer’s devious lawyer, Helen Pierce, wants more control, and Frank Cosgrove Junior, from the Kansas City mob, is being a spoilt arsehole. His character and Julia Garner’s foul-mouthed Ruth Langmore face off many times during the season. In addition, Wendy’s erratic wanderer of a brother, Ben (Tom Pelphrey) is thrown into the heady mix, while always lurking is devilish Darlene Snell (Lisa Emery). The stakes are high, and the players are set for one almightily gripping game of life and death.

All the ingredients of what I loved in the first two seasons of Ozark are still present in the latest season. This is good old-fashioned crime and noir drama, with ultra-violence and shocking plot twists, presented via a stylish set of production values. The cinematography alone is just so stylish with natural lighting, shadows and silhouettes used to cloak the characters. Furthermore, many of the narrative twists and turns could be deemed as over-the-top, but the scriptwriting and lead performances are of such high quality you cannot fail to be drawn into this shady world of drug dealers, gangsters, assassins and liars. Indeed, pretty much every character is a liar and there are very few innocent or righteous characters in Ozark. Even the kids are in on the lies and have some of their own too.

Of the new characters introduced, FBI Agent Maya Miller (Jessica Frances Dukes) is a welcome addition to the machinations. Yet, her attempts to follow the rules leads her directly into dark water, as Marty attempts to manipulate her to his own ends. Not as innocent is Wendy’s brother, Ben. While he is lively and a bit of a maverick, he still has a good heart though. However, he has a secret which will come to the fore later in the season. This allows Wendy to face one of the most difficult life choices she ever has to make. In such scenes the acting from Tom Pelphrey and Laura Linney is incredibly powerful. Some may say that these episodes trivilize mental illness, but Ozark is not attempting to explore major issues. Instead, it uses them to serve the darker plot developments and continued tragedy within this savage world. Afterall, this is a show which literally had a character suffer a Caesarean section with a hunting knife.

Overall, season 3 of Ozark is a brutal and exciting wade through a swamp of vicious and calculating set of characters. There is also much dark humour, especially in the industrial language and biting delivery of the amazing Julia Garner. Even Jason Bateman as Marty Byrde, a cool and calm individual, continues to prove he will stop at nothing to keep him and his family alive. I think also that Marty enjoys the games and the gambles. He wants to win at all costs as demonstrated in flashbacks to his childhood experiences with a particular arcade game. Likewise, Wendy, whose character really came to the fore in season 2, is just as ruthless. To both of them death has become part of their everyday lives. As Bateman and Linney continue to give incredible performances, I’m hooked on where Ozark is leading us. Given season 4 promises old and new rivals to threaten the Byrde family, I bet it’s going to get darker and even more shocking.

Mark: 9.5 out of 11

Netflix, Reviews, Television

THE CINEMA FIX: 12 FAVOURITE TV SHOWS OF 2018

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12 FAVOURITE TV SHOWS OF 2018

I love television and watched a lot of it last year on most terrestrial and streaming services; especially the BBC, ITV, SKY and NETFLIX channels.  I must admit I am way behind on many AMAZON and ALL 4/CHANNEL 4 programmes so will be rectifying that this year. Indeed, there are probably some glaring omissions because of this.

For comparison I include last year’s favourite TV shows. This year I have not included South Park (Season 22) as it was not as good as prior years, despite clearly being one of the funniest shows around. Also, Doctor Who does not make my list as there were too many average episodes. Lastly, a special mention to The Walking Dead (Season 9), which at the mid-season break had somehow pulled itself out of the torpid decline that occurred around Season 6. It may make my 2019 list once the latest season has finished screening this year.

FAVOURITE 12 TV SHOWS OF 2017

BIG LITTLE LIES (2017) – HBO
CURB YOUR ENTHUSIASM – SEASON 9 (2017) – HBO
FARGO (2017) – SEASON 3 – FOX / CHANNEL 4
GAME OF THRONES (2017) – SEASON 7 – HBO
THE HANDMAID’S TALE (2017) – HULU/CHANNEL 4
IT’S ALWAYS SUNNY IN PHILADELPHIA (2017) – SEASON 12 – NETFLIX
LEAGUE OF GENTLEMEN – 20TH YEAR ANNIVERSARY (2017) – BBC
LEGION (2017) – FOX
MINDHUNTER (2017) – NETFLIX
SOUTH PARK – SEASON 21 – SOUTH PARK STUDIOS
STRANGER THINGS 2 (2017) – NETFLIX
THE YOUNG POPE (2016) – HBO

FAVOURITE 12 TV SHOWS OF 2018

ATLANTA (2018) – SEASON 2 – FOX

BILLIONS (2018) – S3 – SKY

Image result for billions season 3

BLACK MIRROR (2017) – NETFLIX

Image result for BLACK MIRROR SEASON 4

BODYGUARD (2018) – BBC1

Image result for bodyguard season 1

THE DEUCE (2018) – S2 – HBO / SKY

Image result for THE DEUCE season 2

HANDMAID’S TALE (2018) – S2 –C4

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HAUNTING OF HILL HOUSE (2018) – NETFLIX

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INSIDE NO. 9 (2018) – S4 – BBC

Image result for INSIDE NO 9 SEASON 4

KILLING EVE (2018) – S1 – BBC

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PATRICK MELROSE (2018) – SKY

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VANITY FAIR (2018) – ITV

A VERY ENGLISH SCANDAL (2018) – BBC

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Doctor Who, Reviews, Television

DOCTOR WHO –S11 – EP. 10 REVIEW – THE BATTLE OF RANSKOOR AV KOLOS (2018)

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DOCTOR WHO – REVIEW – THE BATTLE OF RANSKOOR AV KOLOS (2018)

Directed by: Jamie Childs

Written by:  Chris Chibnall

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Phyllis Logan, Mark Addy, Percelle Ascott, Samuel Oatley, Jan Le 

Produced by: Alex Mercer

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Music composer: Segun Akinola

**SPOILER WARNING**

Notwithstanding the New Year’s Day special coming on the first day of 2019, season 11 of Doctor Who came to an end with an episode which was certainly a big improvement on the last two episodes. As a whole this season has been very hit-and-miss and despite the lofty title, The Battle of Ranskoor Av Kolos, promised much but just about delivered more hit than miss. Arguably, it was a pretty simple narrative of return and retribution as the Doctor and companions came face-to-face with an old adversary.

Firstly, I must say it was a gorgeously shot with the craggy locations of the planet contrasting impressively with the futuristic spacecraft and alien technology. On the whole the series has, despite some very dodgy CGI in a couple of episodes been lovely to look at. Likewise the guest stars in many of the episodes have been very good and in The Battle of Ranskoor Av Kolos seasoned character actors Mark Addy and Phyllis Logan bring resonance to the drama.

Answering a legion of distress signals brings the Doctor and the Tardis crew to Ranskoor Av Kolos circa year 5425. There they find aplanet ravaged by conflict and an amnesiac soldier Paltraki (Addy) who has lost his mind and crew. Soon the Doctor comes face to face with an ancient race called ‘The Ux’; an all-powerful duo able to build worlds with their minds.Basically they are like a telepathic Minecraft player but dealing with complex chemical and physical reality rather than computers.

More dramatically, however, is the nemesis of the piece. Having dispatched the ‘Predator’-like villain – from the very first episode of this series – the Tzim-Sha into dimensional space they find him now wreaking havoc on Ranskoor Av Kolos. He exploits The Ux’s incredible power and religious naivety to create a weapon of mass destruction and terrorize the galaxy. But who will stop him we ask? The Doctor of course!  Well, with revenge on his mind (for the death of his wife, Grace) Graham has a moral choice of killing Tzim-Sha/Tim Shaw or being the better man. It’s this emotional conflict which gives the episode its’ most interesting aspect. Indeed, once again Bradley Walsh gets the most to work with out of the companions.

 

Overall, Chris Chibnall’s writing has been criticized on social media by irritated fans, however, I don’t actually think the concepts and general writing of the show are as bad as people say. What I think has been flawed is the rewriting and development of many of the scripts. I actually think ten singular episodes are probably too many, and like some of Capaldi’s episodes, they set-up excellent dramatic situations but had rushed endings. I believe they should go for say five stories (over ten episodes) at maximum and develop the characters more so we feel for them and the stories have a chance to breathe. Lastly, I think Jodie Whittaker has been excellent carrying the show but I never liked her costume and the direction of the Doctor as a breathless, wacky primary teacher sort did not gel with me. But as Sunday entertainment goes The Battle of Ranskoor Av Kolos, and the series as a whole was enjoyable, if slightly underwhelming television.                  

Mark: 7.5 out of 11

Doctor Who, Reviews, Television

DOCTOR WHO –S11 – EP. 9 REVIEW – IT TAKES YOU AWAY (2018)

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DOCTOR WHO REVIEW – IT TAKES YOU AWAY (2018)

Directed by: Jamie Childs

Written by: Ed Hime

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Ellie Wallwork, Kevin Eldon, Christian Rubeck, Lisa Stokke 

Produced by: Nikki Wilson

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Music composer: Segun Akinola

**MAY CONTAIN SPOILERS**

This episode, depending on your point of view, was either a strange, but moving science fantasy surrealist hybrid classic; or a collection of half-baked concepts that fell apart with an incredibly bizarre and silly ending.

Yet, It Takes You Away starts off very promisingly. For a start the title evokes suspense, mystery and an underlying sense of loss. The suspense builds when the Doctor and companions arrive in Scandinavia and are immediately faced with a mystery in the Norwegian wood. The beautiful landscape of blue fjords, green brush and scattered timber hide a dark secret within a boarded up cabin. The impressive cinematography also evokes an eerie atmosphere. Moreover, there’s a frightening monster hiding somewhere within nature. Or is there?

In the cabin, the Doctor finds a lone teenage girl, Hanne, blind and seemingly abandoned by her father. Of course, they all agree to help protect Hanne against the monster and find her father too. Up to this point the drama and mystery were intriguing and finely poised. Subsequent events descend to a strange place called the ‘Anti-Zone’. This is where it all begins to fall apart narratively speaking.

Emotionally the episode had some very powerful moments drawing on the breakdown of family relationships; Graham’s grief for the loss of his wife and whether it is better to live in or out of reality. However, within these fascinating themes were some stupid bloodsucking moths and the brilliant character actor Kevin Eldon was under-used as an underground demon-type creature. The less said about the ending the better, which I can only think was going for Twitter-like-clickbait trending rather than a coherent and believable pay-off.

The denouement, together with another massive exposition dump from the Doctor scrambling to convince us it all made sense, found the episode completely laughable.  It was a shame as it had some fine ideas and Bradley Walsh gave a moving performance as Graham. Ultimately though, this season of DoctorWho is flailing having started so promisingly and It Takes You Away plummeted to a new low.          

(Mark: 5 out of 11)

Doctor Who, Television

DOCTOR WHO– S11 – EP. 8 REVIEW – THE WITCHFINDERS (2018)

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DOCTOR WHO– S11 – EP. 8 REVIEW – THE WITCHFINDERS (2018)

Directed by: Sallie Aprahamian

Written by: Joy Wilkinson

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Alan Cumming, Siobhan Finneran, Tilly Steele, Tricia Kelly, Arthur Kay  

Produced by: Alex Mercer

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Composer: Segun Akinola

**MAY CONTAIN SPOILERS**

Well, after enjoying a number of this season’s episodes for fascinating writing and emotional exploration of important historical events, we finally got one that didn’t work for me on the whole. The Witchfinders found the Doctor and the now tiresomely named “gang”, in attempting to time travel to the Coronation of Elizabeth I, ending up in a bitter backward village in Lancashire. There they discover all manner of horrific deeds being dealt upon the women folk; all accused of witchcraft by the aptly named matriarch of the manor, Becca Savage.

It is announced by Savage – an excellent Siobhan Finneran – that Satan’s work is legion in the village and witches will be tried by dunking. If they survive and are able to breath under water then they are damned as a witch. Yet, if they drown they are not a witch. This medieval version of “Catch 22” was actually a real thing and while incredible to today’s woke audiences shows our ancestors in a very poor light. There is often some reflection and resonance to current times where Doctor Who is concerned and here there is no difference. Indeed, witch-hunts often occur in society now via the press or new-fangled “demon” – the damned social media.

Along with Finneran as Savage, Alan Cumming also guest stars as King James I. It’s a slyly camp and arguably over-the-top performance that Cumming excels at and was enjoyable nonetheless. However, as the episode proceeded the strength of the witch-hunt ideas gave way to a really badly written script and the Doctor and Graham wearing hats anachronistically for weak comic effect. I guess the Doctor has a bit more action, rather than being a cypher for history; and at least finds herself in a bit more peril too. But I have to admit I don’t think Jodie Whittaker is getting hold of the role of the Doctor in the way her predecessors did. It’s almost as if she’s copying David Tennant or Matt Smith too much. It’s a shame, but you cannot just blame sloppy writing or directing, as it’s now clear Whittaker is not owning the role.

The ending of the episode, while containing some brilliant monsters, was so hurried. We got a barrage of exposition in a final face-off scene which also contained some very shoddy effects. The Witchfinders was therefore a bang average episode, which started very promisingly but drowned by the end in a lake of mediocrity. Indeed, if you go to YouTube you will find a plethora of postings which are decrying the end of Doctor Who as we know it. I myself believe it’s far too early to grab a torch and join that mob. Because, on the whole, the series has had some great episodes, but unfortunately this wasn’t one of them.  

Mark: 6 out of 11

Doctor Who, Reviews, Television

DOCTOR WHO – S11 – EP. 6 REVIEW – DEMONS OF THE PUNJAB (2018)

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DOCTOR WHO – S11 – EP. 6 REVIEW – DEMONS OF THE PUNJAB (2018)

Directed by: Jamie Childs

Written by: Vinay Patel

Cast: Jodie Whittaker, Mandip Gill, Bradley Walsh, Tosin Cole, Leena Dhingra, Amita Suman, Shane Zaza, Hamza Jeetooa etc.

Produced by: Alex Mercer

Executive producer(s): Chris Chibnall, Matt Strevens, Sam Hoyle

Composer: Segun Akinola

**MAY CONTAIN SPOILERS**

Doctor Who Demons of the Punjab

This season of Doctor Who is now settling into a strong mix of diversity, narrative simplicity and emotional resonance. I’ve read some negative comments bemoaning the quality of the writing and weakness of the stories in general, however, as Sunday night teatime entertainment goes the show is a success in my view. Indeed, the latest episode, Demons of the Punjab was another involving and fascinating watch.

This week it was Yaz’ character which took centre stage as her curiosity about her grandmother, Umbreen, found the Doctor breaking time-travel protocol. If you’ve seen the Doctor Who episode Father’s Day and film classic Back to the Future (1985) we all know how dangerous it can be for anyone to cross their own timeline. Indeed, while the Doctor has actually crossed her own timeline before many times she should really know better!

Doctor Who India

Thus, Team TARDIS travelled back to 1947 as the Partition of India took place. Here Yaz gets to meet her own family members as her grandmother is about to marry. Of course the path of true love and time travel rarely goes smoothly and the course of history is threatened by Yaz’ presence and her and the Doctor must attempt to not interfere with events. Of course, it would not be a Doctor Who episode without some kind of alien threat and this is provided by the Vajarians; a mystical race who appear where chaos is ensuing across the universe. Their presence adds an air of mystery to the episode, but ultimately they are an emotional subplot to the main conflict relating to how the Partition of India affects Yaz’ family.

Overall, Demons of the Punjab successfully combined political, historical, romance and drama in amidst the usual science fiction concepts. It was especially strong from an emotional perspective. By the end as a family is torn apart by the situation I felt a real sadness in my heart. The division of India by the British Empire was an event which divided people based on their religion and ethnic background and created a huge schism between families, colleagues and friends. Doctor Who merely skims the surface of the impact it would have and the lives affected by the subsequent conflict. Yet, what the episode teaches us is that while we may not be able to change history we must learn from it. We must learn that division and conflict can only lead to heartache and pain.

Mark: 8.5 out of 11

Doctor Who, Reviews, Television

DOCTOR WHO – SEASON 11 – EPISODE 5 REVIEW: THE TSURANGA CONUNDRUM  (2018)

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DOCTOR WHO – SEASON 11 – EPISODE 5 REVIEW: THE TSURANGA CONUNDRUM  (2018)

Directed by: Jennifer Perrott

Written by: Chris Chibnall

Produced by: Nikki Wilson

Executive producer(s): BBC Productions, Chris Chibnall, Matt Strevens, Sam Hoyle

Cast:   Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Brett Goldstein, Ben Bailey-Smith, Suzanne Packer etc.

**MAY CONTAIN SPOILERS**

The_Tsuranga's_Passengers

Well, this was a lot of fun. I really connected with this latest adventure, which found the Doctor and her crew initially scavenging on an alien junkyard planet, before suddenly being caught in a surprise sonic explosion. They wake aboard the Tsuranga – which is an automated space hospital – like a flying version of the National Health Service. Discombobulated and injured from the mine explosion the Doctor, companions, Tsuranga’s crew and patients are soon to be faced with an even bigger danger.

Small but devastating the danger is called a P’Ting. It’s a creature that scoffs non-organic material; a cute looking eating machine that will devour the ship. It attacks the vessel and begins literally eating it out of space-ship and home.  The Doctor, aided by the ship’s medical staff Astos and Mabli; plus General Eve Cicero; her brother Durkas; synth robot Ronan; and Yoss, a pregnant man are all threatened by the darned P’Ting. I wondered if there was some sociological subtext to the P’Ting as it eats its way through the hospital in space, with Chris Chibnall critiquing the devastation of the NHS by the Tories. However, this message wasn’t to the fore and overall it was essentially a fun genre episode with lots of action and humour throughout.

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The standard genre set-up of a base/ship under siege is a Doctor Who staple. Despite the simplicity of the plot, it felt fast-paced and thrilling to me. The guest stars were excellent too, notably the comedian Brett Goldstein who stood out during his time on screen. There was some silliness with Ben Bailey-Smith’s Durkas rigging up a nebulous engineering control to pilot the crashing Tsuranga; nonetheless the entertainment levels remained very high. I especially enjoyed the humour and emotion gained from the alien bloke (who looked very human) giving birth; while Tosin Cole’s Ryan examined further his own relationship with his estranged father. Overall though, this was another light and uncomplicated episode from Chibnall, Whittaker and the team, but one that had me laughing and thrilled throughout.  

Mark: 8 out of 11