TV Review – RAWHIDE – SEASON 8 (1965)

rawhide cast | TV ACRES: Westerns > Rawhide (starring Eric Fleming ...RAWHIDE – SEASON 8 (USA, 1965) ***½
      Distributor/Production Company: CBS Television Network; Broadcast Dates: 14 September – 7 December 1965; Running Time: 13 x 50m; Colour: B&W; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.33:1; BBFC Cert: PG.
      Executive Producer: Ben Brady; Producer: Robert E. Thompson; Associate Producer: Robert Stillman.
      Cast: Clint Eastwood (Rowdy Yates), Paul Brinegar (Wishbone), Steve Raines (Jim Quince), John Ireland (Jed Colby), Raymond St. Jacques (Simon Blake), David Watson (Ian Cabot).
      Episodes: Encounter at Boot Hill / Ride a Crooked Mile / Six Weeks to Bent Fork / Walk Into Terror / Escort to Doom / Hostage for Hanging / The Vasquez Woman / Clash at Broken Bluff / The Pursuit / Duel at Daybreak / Brush War at Buford / The Testing Post / Crossing at White Feather
      Synopsis: Rowdy Yates is trail boss of a continuous cattle drive. He and his crew runs into characters and adventures along the way.
      Comment: The final season of Rawhide was curtailed to thriteen episodes. Ratings had been on the wane in the previous two seasons and Eric Fleming, who played trail boss Gil Favor, had left the series at the end of season 7 following a dispute on pay. That meant Clint Eastwood was promoted to trail boss. Eastwood by now had filmed the first two of his Italian westerns with Sergio Leone. It is interesting to note that his new found big screen persona began to crossover into his Rowdy Yates character, who is tougher and more mature here. Eastwood’s sqint and laconic approach are in evidence. Despite the flagging viewing figures and loss of the lead actor, the quality of the episodes remained high with some notable guest turns (Simon Oakland, Jeff Cory, Charles Bronson, James Gregory, Bruce Dern, Claude Akins, Rip Torn, Warren Oates, Cesar Romero, Ralph Bellamy, Rory Calhoun). Standout episodes include: Encounter at Boot Hill (stylishly directed by Sutton Roley); Six Weeks to Bent Fork; Walk into Terror; Duel at Daybreak (with Bronson in great form as a sadistic ranch hand). Eastwood can be seen as a much more confident lead than playing second fiddle and he would soon be catapulted to stardom on the back of his third Spaghetti Western, The Good, the Bad and the Ugly.

TV Review – THE DEEP (2010)

THE DEEP (UK, 2010) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: Tiger Aspect Productions; Release Date: 3-31 August 2010; Running Time: 289m (5 episodes); Filming Dates: December 2009-March 2010; Colour: Colour; Sound Mix: Dolby Digital; Aspect Ratio: 1.78:1; BBFC Cert: 15.
      Director: Jim O’Hanlon, Colm McCarthy; Writer: Simon Donald, Paul Rutman; Executive Producer: Greg Brenman, Eleanor Moran; Producer: Will Gould; Director of Photography: Adam Suschitzky, Damian Bromley; Music Composer: Samuel Sim; Film Editor: Chris Wyatt, Helen Chapman; Casting Director: Jill Trevellick; Production Designer: Simon Bowles; Art Director: Andy Thomson; Costumes: Trisha Biggar; Make-up: Gilly Popham, Linda A. Morton; Sound: Simon Gershon; Special Effects: Chris Reynolds; Visual Effects: Thomas M. Horton, Shanaullah Umerji,  Simon Carr, Becky Roberts.
      Cast: James Nesbitt (Clem Donnelly), Minnie Driver (Frances Kelly), Goran Visnjic (Samson), Orla Brady (Catherine Donnelly), Sinéad Cusack (Meg Sinclair), Sacha Dhawan (Vincent), Vera Graziadei (Svetlana), Tobias Menzies (Raymond), Tom Wlaschiha (Arkady), Antonia Thomas (Maddy), Dan Li (Hatsuto), Nigel Whitmey (Lowe), Molly Jones (Scarlet), Amit Patil (Cg generalist), Nick Nevern (Stas), Richard Brake (McIndoe), Goran Kostic (Zubov), Ron Donachie (Sturridge), Nicholas Pinnock (Charlie Goodison), Shonagh Price (Sandra), Simon Donald (Dr. Christianson).
      Synopsis: A research submarine beneath the Arctic stumbles upon a terrifying secret with Earth-shattering consequences.
      Comment: Whilst the story gets more and more preposterous and the dialogue is often risible, this underwater thriller still manages to hook you in for the most part through its makers’ sheer enthusiasm for the material. Nesbitt is part of a submarine crew captained by Driver to return to the site beneath the Arctic ice where a previous research team (including Nesbitt’s wife, Brady) and their vessel disappeared. On arrival, they find they are not alone and have stumbled across a covert Russian drilling operation in UN waters. The story moves along at a nice clip, slowing occasionally for cliched moments of character development. Moments of tension and suspense are built at regular intervals as the crew begin to find themselves out of their depth. The acting is generally good with the cast often overcoming the limitations in the material. The technical attributes and visuals are excellent for the most part, with great production design of the hi-tech submarine – notwithstanding the occasionally obvious CGI moment. After managing to hold our attention through the first four hour-long segments, the story goes off the rails in the last episode with lazy writing that fails to tie up the character arcs and the plot satisfactorily as it lays on the emotional trauma. The result is a generally entertaining but flawed story that may satisfy undemanding genre fans.

TV Review – THE VIRGINIAN: THE MOUNTAIN OF THE SUN (1963)

THE VIRGINIAN: THE MOUNTAIN OF THE SUN  ***
1963   USA   75m   Colour
National Broadcasting Company (NBC) / Revue Studios
Western (PG)
The Virginian (Drury) acts as guide to three missionary women (Hart, Nolan and Strickland) who wish to take medicine and the word of God into the desert to a tribe of Yaqui Indians. The story has a strong script by Kleiner, which explores the wone’s motivations (they are trying to complete the work their husbands started before they were killed). Drury is commanding as ever and his gradual falling for Hart and her ultimate rejection of him is well-judged and handled by McEveety. The story only suffers in its rushed climax, which seems too pat in its exposition. Otherwise, this is another example of how strong the first season of The Virginian was. This was the last acting role for Hart, who devoted the rest of her life to religion as a nun.
exec pr. Roy Huggins; sup pr. Frank Price;  pr. Warren Duff; d. Bernard McEveety; w. Harry Kleiner (based on a story by Lou Morheim); ph. Lionel Lindon; m. Sidney Fine, Richard Shores, Morton Stevens; m sup. Stanley Wilson; theme m. Percy Faith; ed. Edward Haire; ad. George Patrick; set d. John McCarthy Jr., James M. Walters Sr.; cos. Vincent Dee; m/up. Leo Lotito Jr., Florence Bush.
James Drury (The Virginian), Dolores Hart (Cathy Maywood), Jeanette Nolan (Helen Dyer), Amzie Strickland (Ruth Arlen), Joe De Santis (Gen. Rodello), Rico Alaniz (Bandido Leader), George Wallace (Dixon), Carlos Romero (Pedro), Clancy Cooper (Murphy), King Calder (Myers), Dale Johnson (Hotel Clerk), K.L. Smith (Bartender), Alex Montoya (Rafael), Gil Barreto (Mexican Peasant), Ida Augustian (Mexican Child), Rodolfo Acosta (Yaqui Leader).

TV Review – DOCTOR WHO – ASCENSION OF THE CYBERMEN/THE TIMELESS CHILDREN (2020)

Image result for doctor who the timeless childrenDOCTOR WHO: ASCENSION OF THE CYBERMEN/THE TIMELESS CHILDREN (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 23 February & 1 March 2020; Running Time: 115m (1 x 50m & 1 x 65m); Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Jamie Magnus Stone; Writer: Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Sam Heasman; Music Composer: Segun Akinola; Film Editor: Rebecca Trotman; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Sacha Dhawan (The Master), Jo Martin (The Doctor), Patrick O’Kane (Ashad), Ian McElhinney (Ko Sharmus), Julie Graham (Ravio), Alex Austin (Yedlarmi), Matt Carver (Ethan), Rhiannon Clements (Bescot), Seylan Baxter (Tecteun), Kirsty Besterman (Solpado), Steve Toussaint (Feekat), Rhiannon Clements (Bescot), Jack Osborn (Fuskle), Evan McCabe (Brendan), Branwell Donaghey (Patrick), Orla O’Rourke (Meg), Andrew Macklin (Michael), Paul Kasey (Judoon Captain Pol-Kon-Don), Nicholas Briggs (Voice of Cybermen & Judoon Captain), Matthew Rohman (Cyberman), Simon Carew (Cyberman), Jon Davey (Cyberman), Richard Highgate (Cyberman), Richard Price (Cyberman), Mickey Lewis (Cyberman), Matthew Doman (Cyberman), Paul Bailey (Cyberman).
      Synopsis: In the far future, the Doctor and her friends face a brutal battle across the farthest reaches of space to protect the last of the human race against the deadly Cybermen uncovering the secret of the Time Lords in the process.
     Comment: Enjoyment of this two-part finale will very much depend on the viewer’s willingness (notably die-hard fans) to buy into writer Chibnall’s re-invention of Time Lord history. The opening episode is an excellent scene-setter full of energy and drama, featuring the Cybermen on a mission to reassert their domination, with an injection of mystery surrounding the so-called “Timeless Child”. Then at the cliffhanger, the Master resurfaces along with a gateway through to a destroyed Gallifrey and we move into a second episode that will divide fandom right down the middle. Firstly, Dhawan’s take on the Master as some form of unhinged psychotic has taken the character away from the charm and subtlety established by Roger Delgado back in the 1970s, with more than a nod toward John Simm’s similarly unhinged portrayal. Dhawan’s performance is way OTT and ill-serves the character, robbing him of any real menace. Secondly, the Master’s appearance relegates the Cybermen to a mere side-show as his battle of wills with Whittaker’s Doctor in the Matrix takes centre stage. The Master’s motives are muddled and his seeming alliance with the Cybermen (mirroring that in The Five Doctors) lacks any core logic beyond the madness displayed in the character. The frenetic nature with which Chibnall tries to cram so many revelations and explanations ultimately weighs down the second episode. The story’s whole is very much less than the sum of its parts – the excitement of the first episode giving way to bafflement in the second. That said, the second episode still has its moments. Whittaker is able to stretch her range more, for the most-part dialling down the motormouth patter. The visuals are very good and each of the companions gets room to breathe. However, I can’t help feeling Chibnall has created a rod for his own back here, by trying to create his own vision and tying it with what has gone before. The result feels overly forced in its attempt to re-boot Time Lord history, leaving the viewer pondering how this will change things going forward. The likely answer is it won’t as the general premise of a time traveller fighting evil throughout the universe remains.

TV Review – DOCTOR WHO – THE HAUNTING OF VILLA DIODATI (2020)

Nadia Parkes, Jodie Whittaker, Mandip Gill, and Lili Miller in Doctor Who (2005)DOCTOR WHO: THE HAUNTING OF VILLA DIODATI (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 16 February 2020; Running Time: 49m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Emma Sullivan; Writer: Maxine Alderton, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Ed Moore; Music Composer: Segun Akinola; Film Editor: Agnieszka Liggett, Joe Skinner; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Lili Miller (Mary Wollstonecraft Godwin), Nadia Parkes (Claire Clairmont), Jacob Collins-Levy (Lord Byron), Maxim Baldry (Doctor John Pollidori), Patrick O’Kane (Ashad), Lewis Rayner (Percy Bysshe Shelley), Sarah Perles (Elise), Stefan Bednarczyk (Fletcher), Nicholas Briggs (Cyberman Voice).
      Synopsis: The Doctor and gang arrive at the Villa Dioscidati, Lake Geneva, in 1816 – on a night that inspired Mary Shelley’s Frankenstein. The plan is to spend the evening soaking up the atmos in the presence of some literary greats – but the ghosts are all too real. And the Doctor is forced into a decision of earth-shattering proportions…
     Comment: Another episode that has a lot right with it but still manages to frustrate. The story has a great setting in an old house at Lake Geneva and the premise is obviously geared toward events inspiring Mary Wolstencrof to create the vision for her novel Frankenstein. The house is suitably spooky, populated with quirky characters and some chilling surprises. But yet again there is too little time to cover all the ideas on show and the narrative appears muddled as a result. There are still too many companions to fully justify themselves Cole’s acting has been wooden at best and here he gives possibly his worst performance delivering lines with little conviction or flair for humour. The shoe-horning in of the Cyberman threat – which we could all see coming following pre-empts earlier in the series – raises more questions than are answered here. The closing two-parter will hopefully square these off. Whittaker has the occasional strong moment, whenever she is given more to do than just dial-up the quirky scale beyond Tennant levels. She is very good in the scene close to the finale where she debates the actions she should take with her friends.  The series is running out of time to hit the heights we have come to expect but hopefully, the season finale will deliver.

TV Review – DOCTOR WHO: CAN YOU HEAR ME? (2020)

Image result for doctor who can you hear meDOCTOR WHO: CAN YOU HEAR ME? (UK, 2020) ***½
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 9 February 2020; Running Time: 49m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Emma Sullivan; Writer: Charlene James, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Ed Moore; Music Composer: Segun Akinola; Film Editor: Agnieszka Liggett; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Ian Gelder (Zellin), Buom Tihngang (Tibo), Clare-Hope Ashitey (Rakaya), Sharon D Clarke (Grace O’Brien), Bhavnisha Parmar (Sonya Kahn), Aruhan Galiva (Tahira), Sirine Saba (Maryam), Nasreen Hussain (Anita Patel), Everal A Walsh (Gabriel), Michael Keane (Fred), Amanda Liberman (Mum), Willie Jonah (Old Tibo), Anthony Taylor (Andrew).
      Synopsis: From ancient Syria to present-day Sheffield, and out into the wilds of space, something is stalking the Doctor and infecting people’s nightmares.
     Comment: An episode with lots of ideas around the psychological impact of nightmares linked to a god-like race known as the Eternals who feed off the mental instability that the dreams cause. It’s an intriguing and creepy episode for two-thirds of its runtime powered by some wonderful visuals, an intelligent script and a deliciously evil villain in  Gelder’s Zellin. The companions all get their own sub-plots as each has an element of their psyche manipulated by Zellin.  Unfortunately, things unravel a bit in the final third and give us a finale which is resolved all too quickly – continuing the issues the production team have in trying to tell complex stories and deliver new concepts in a single-episode format. It’s a shame as there is so much promise here, but Chibnall either lacks sufficient editing skills to understand how to best land the ideas of his writers or he is trying to cram too many story threads together and as a result creating too much for the viewer to absorb.

TV Review – DOCTOR WHO: PRAXEUS (2020)

Image result for doctor who praxeusDOCTOR WHO: PRAXEUS (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 2 February 2020; Running Time: 50m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Jamie Magnus Stone; Writer: Pete McTighe, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Catherine Goldschmidt; Music Composer: Segun Akinola; Film Editor: Rebecca Trotman; Production Designer: Dafydd Shurmer; Supervising Art Director: Rebecca Brown; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Deian Llyr Humphreys; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Warren Brown (Jake Willis), Matthew McNulty (Adam Lang), Joana Borja (Gabriela Camera), Molly Harris (Suki Cheng), Gabrielle Tolol (Jamilia Velez), Soo Drouet (Joyce), Tristan de Beer (Zach Olson), Thapelo Maropefela (Aramu).
      Synopsis: The Doctor and her friends split up to investigate multiple mysteries across planet Earth. What connects a missing astronaut in the Indian Ocean, birds behaving strangely in Peru and a US naval officer washed up on a Madagascan beach
     Comment: There’s much to like in this episode through individual scenes and lines of dialogue but, as a whole, the story suffers from gaps in logic and character actions. It’s a shame because this episode is very effectively and visually directed by Stone, who manages to create a few moments of tension as well a sense of menace in those early scenes. McTighe and Chibnall’s script has some strong ideas around a viral epidemic being created through plastic pollution. But once again the production team feels the need to preach to the audience about populist issues via its heavy-handed messaging at the expense of solid story construction. Structurally, the story initially creates its mystery by having the Doctor and her companions split across three continents to triangulate seemingly independent events into a solution the answers each individual mystery. This works well and allows each companion a sub-plot. But as the story progresses the writers seem more concerned with getting over their environmental message of doom and ensuring they tick all the boxes on diverse and inclusive specifics, that they lose the plot with the plot. Historically, the series provided a haven from sexual politics but now it has almost become a campaign board, so much so that the relationships feel forced to fit the political agenda rather than add anything to the story itself. McTighe had written possibly the best episode of last season’s run (Kerblam!) and here too shows signs he potentially has a strong story in him. Whether or not Chibnall’s contribution knocked this off course cannot be discerned, but the early promise gave way to a disappointing conclusion.

TV Review – DOCTOR WHO: FUGITIVE OF THE JUDOON (2020)

DOCTOR WHO: FUGITIVE OF THE JUDOON (UK, 2020) ****
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 26 January 2020; Running Time: 50m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Nida Manzoor; Writer: Vinay Patel, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Sam Heasman; Music Composer: Segun Akinola; Film Editor: Rebecca Trotman; Production Designer: Dafydd Shurmer; Supervising Art Director: Rebecca Brown; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Deian Llyr Humphreys; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Jo Martin (Ruth Clayton), John Barrowman (Captain Jack Harkness), Neil Stuke (Lee Clayton), Ritu Arya (Gat), Paul Kasey (Judoon Captain Pol-Kon-Don), Michael Begley (All Ears Allan), Judith Street (Marcia), Katie Luckins (Tourist), Nick Briggs (Voice of Judoon ), Simon Carew (Judoon), Richard Highgate (Judoon), Richard Price (Judoon), Matthew Rohman (Judoon)
      Synopsis: Ko Sho Blo! Trigger-happy space police the Judoon are targeting 21st-century Gloucester. The Doctor, Yaz, Ryan and Graham race back to Earth in order to prevent them doing too much damage to the cathedral city. But who are they looking for, and what did they do to incur the wrath of the Judoon?
      Comment: Well, last week I said I felt a strong story may be just around the corner. It’s difficult to fully assess The Fugitive of the Judoon in isolation because it is really a set-up episode which should hopefully pay off over the remainder of the series. As such it achieves its objective splendidly by creating some genuinely surprising plot twists. The episode, co-written by Vinay Patel and Chris Chibnall, started shakily with the Judoon arrival in modern-day Gloucester initially failing to grab interest. However, once the true reason for their arrival is revealed the episode shifts up a couple of gears and moves into one revelation after another to set up a hugely promising conundrum for the Doctor to solve. The return of Captain Jack Harkness was intriguing and his involvement in the story is still to be fully explained. Barrowman clicks back into character and Jack delivers a message of warning to the Doctor’s companions before vanishing again. The character of Ruth is the most intriguing and raises even bigger questions around the direction Chibnall is taking us with this series. The tension builds through the episode as the Doctor discovers the true nature of the fugitive. Whittaker delivers her strongest performance to date and finally gets some moments of dramatic conflict to work with. There are now many unanswered questions and it will be a real test of Chibnall’s skills as a writer to resolve them all satisfactorily. For now, we can be glad we finally have an episode worthy of the brand name and whilst I am hedging my bets on the outcome, I have much more optimism, albeit cautious, than at any time under Chibnall’s stewardship.

TV Review – DOCTOR WHO: NIKOLA TESLA’S NIGHT OF TERROR (2020)

DOCTOR WHO: NIKOLA TESLA’S NIGHT OF TERROR (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 19 January 2020; Running Time: 51m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Nida Manzoor; Writer: Nina Metivier; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Sam Heasman; Music Composer: Segun Akinola; Film Editor: Tim Hodges, Rebecca Trotman; Supervising Art Director: Rebecca Brown; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Amy Riley, James Spinks; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Goran Višnjić (Nikola Tesla), Robert Glenister (Thomas Edison), Anjli Mohindra (Queen Skithra), Haley McGee (Dorothy Skerrit), Paul Kasey (Harold Green), Robin Gulver (Bill Tallow), Erick Hayden (Mr Sorenson), Russell Bentley (Mr Brady), Brian Caspe (Mr Martin), Shaun Mason (Foreman).
      Synopsis: 1903. On the edge of Niagara Falls, something is wrong at Nikola Tesla’s generator plant. Who or what is sabotaging the maverick inventor’s work? Has he really received a message from Mars? And where does his great rival Thomas Edison fit into these events? The Doctor, Yaz, Ryan and Graham must join forces with one of history’s great minds to save both him and planet Earth.
      Comment: An improvement on Orphan 55, but problems still remain with Chris Chibnall’s vision for the series. The positives include a more coherent story, excellent visuals and convincing production design. The story itself is rather generic, despite the interesting setting in turn of the century (19th to 20th) New York City. Chibnall continues his fascination with lesser remembered historical figures, who are given a platform to raise awareness of their important contribution. This time its Tesla and his innovative use of electrical current. The invading monsters here resemble the Racnoss from The Runaway Bride – substituting scorpion-like beings for spiders – but repeating the Queen of the Hive theme – even down to similarities in make-up design and the way Mohindra’s interpretation closely matches that of Sarah Parish. The story again needs more room to breathe and develop its theme of the competition between Edison and Tesla. There is again too little room for the three companions to contribute to the story effectively and the production team need to see the errors of their way in over-crowding the TARDIS. Whitaker is also partially sidelined here in favour of building up the historical elements in the story and the script gives her little scope to add depth to her performance. The need to cram as many elements into a 50-minute story as possible leaves the thing too crowded to fully satisfy, but there are signs that a strong story may be just around the corner. For me, two-parters are the way forward. Spyfall, despite its flaws, demonstrated this. Nikola Tesla’s Night of Terror is a standard Who story told at breakneck speed in a series that is finding it increasingly difficult to demonstrate the story-telling strengths that have kept it popular for nearly sixty years.

TV Review – DOCTOR WHO: ORPHAN 55 (2020)

Image result for DOCTOR WHO ORPHAN 55DOCTOR WHO: ORPHAN 55 (UK, 2020) **
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 12 January 2020; Running Time: 46m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Lee Haven Jones; Writer: Ed Hime; Producer: Alex Mercer, Nikki Wilson; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Ed Moore; Music Composer: Segun Akinola; Film Editor: Tom Chapman; Supervising Art Director: Joseph Wynne; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Laura Fraser (Kane), Gia Ré (Bella), James Buckley (Nevi), Julia Foster (Vilma), Amy Booth-Steel (Hyph3n), Will Austin (Vorm), Col Farrell (Benni), Lewin Lloyd (Sylas), Spencer Wilding (Creature).
      Synopsis: Having decided that everyone could do with a holiday, the Doctor takes Graham, Yasmin and Ryan to a luxury resort for a spot of rest and relaxation. However, they discover the place where they are having a break is hiding a number of deadly secrets. What are the ferocious monsters that are attacking Tranquillity Spa?
      Comment: An overly frenetic episode that tries to hammer home its environmental message about the threats humans create to the future of their own existence. It does so in a very ham-fisted way and with little finesse or time for reflection. The single-episode format for the series is not working in the hands of the current production team. The episode runs at breakneck speed and the intended irony of its core revelation falls flat. Hime’s writing is poor with cliched dramatic moments coming across as derivative of much that has gone before, attempting to recall Aliens and Planet of the Apes without either the style or resonance of those vastly superior offerings. The music score, which the director seems to feel needs to be underscoring the action 100% of the time, becomes overbearing and regularly drowns out the dialogue. The intention is obviously to create mood and tension, but the result is merely annoying and cloying. Whittaker tries her best to inject the required tension whilst still delivering an overly busy performance, but she shows signs of a potentially more restrained and effective portrayal that hopefully will emerge as the series progresses. The Dregs are no more than monster-of-the-week snarling creatures that give an opportunity for the cast to run away from them up and down corridors in a cartoon-like manner. I hope this episode is just a blip after the more promising, if flawed, Spyfall. The series desperately needs to up its game very soon by slowing down and allowing stories to breathe, tension to build and characters to have depth. On a positive note, the production values and visual effects are strong.