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.

TV Review – DOCTOR WHO: IT TAKES YOU AWAY (2018)

Doctor Who: It Takes You Away (TV) (2018; UK; Colour; 50m) ***½  pr. Nikki Wilson; d. Jamie Childs; w. Ed Hime; ph. Denis Crossan; m.Segun Akinola.  Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Eleanor Wallwork, Kevin Eldon, Christian Rubeck, Lisa Stokke, Sharon D Clarke. On the edge of a Norwegian fjord, in the present day, The Doctor, Ryan, Graham and Yaz discover a boarded-up cottage and a girl named Hanne in need of their help. What has happened here? What monster lurks in the woods around the cottage – and beyond? For the most part, this episode is intriguing and tense. The mystery is well plotted and has characters emotionally invested. Whilst conceptually this has been the most challenging episode of this series it has also been the most rewarding, showing that strong writing is what has been missing for most of this series. But the episode threatens to implode into silliness with the talking frog, which deflates much of the tension that has been built up to that point. Why did the writers and producers think this would make the episode more dramatic? It comes across as a gimmick which derails what could have been the best episode of the season by far. As it stands it is still one of the better representations of Chibnall’s vision in this disappointing run of stories. That the last three episodes, none of which have been written by Chibnall, have come closest to the series’ template show that there is still life in the concept with thoughtful writing. Let’s hope Chibnall can pull the rabbit from the hat in the last episode and the New Year special – otherwise, this will almost certainly go down as the worst series of the new run.