FANTASTIC VOYAGE (USA, 1966) ***½
Distributor: Twentieth Century Fox; Production Company: Twentieth Century Fox; Release Date: 24 August 1966 (USA), 14 October 1966 (UK); Filming Dates: 25 January – mid June 1965; Running Time: 100m; Colour: DeLuxe; Sound Mix: Mono (Westrex Recording System); Film Format: 35mm; Film Process: CinemaScope; Aspect Ratio: 2.35:1; BBFC Cert: U.
Director: Richard Fleischer; Writer: Harry Kleiner (screenplay), David Duncan (adaptation) (based on a story by Otto Klement and Jerome Bixby); Producer: Saul David; Director of Photography: Ernest Laszlo; Music Composer: Leonard Rosenman; Film Editor: William B. Murphy; Art Director: Dale Hennesy, Jack Martin Smith; Set Decorator: Stuart A. Reiss, Walter M. Scott; Costumes: Bruce Walkup, Truman Eli, Ollie Hughes (all uncredited); Make-up: Ben Nye; Sound: David Dockendorf, Bernard Freericks; Special Effects: Johnny Borgese, Greg C. Jensen (both uncredited); Visual Effects: L.B. Abbott, Art Cruickshank, Emil Kosa Jr.
Cast: Stephen Boyd (Grant), Raquel Welch (Cora), Edmond O’Brien (General Carter), Donald Pleasence (Dr. Michaels), Arthur O’Connell (Col. Donald Reid), William Redfield (Capt. Bill Owens), Arthur Kennedy (Dr. Duval), Jean Del Val (Jan Benes), Barry Coe (Communications Aide), Ken Scott (Secret Service), Shelby Grant (Nurse), James Brolin (Technician), Brendan Fitzgerald (Wireless Operator). Uncredited: Brendon Boone (Military Policeman), Kenneth MacDonald (Henry – Heart Monitoring), Christopher Riordan (Young Scientist).
Synopsis: A diplomat is nearly assassinated. In order to save him, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew. Problems arise almost as soon as they enter the bloodstream.
Comment: Imaginative sci-fi memorable for its superb production design and photographic effects, which deservedly won Academy Awards. The script is solid, even if the dialogue is a little hokey at times, and provides the requisite set-pieces, helping build tension in the story. The concept of miniaturisation is fanciful, but once you get past that element there is much to enjoy in the fantasy it creates. Boyd makes for a likeable square-jawed hero and Welch adds glamour to the mix. Capably directed by Fleischer and with an eerily discordant score from Rosenman.
Notes: The picture marked the first major screen role for actress Raquel Welch. Won Oscars for Art Direction-Set Decoration (Jack Martin Smith, Dale Hennesy, Walter M. Scott and Stuart A. Reiss) and Special Effects (Art Cruickshank). Novelised by Isaac Asimov. Followed by an animated TV series in 1968.
Doctor Who: The Battle of Ranskoor Av Kolos (TV) (2018; UK; Colour; 49m) *** pr. Alex Mercer; d. Jamie Childs; w. Chris Chibnall; ph. Sam Heasman; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Mark Addy, Phyllis Logan, Percelle Ascott, Jan Lee, Samuel Oatley. On the planet of Ranskoor Av Kolos, lies the remains of a brutal battlefield. But as the Doctor, Graham, Yaz and Ryan answer nine separate distress calls, they discover the planet holds far more secrets. Who is the mysterious commander with no memory? What lies beyond the mists? Who or what are the Ux? The answers will lead the Doctor and her friends towards a deadly reckoning. Season finale lacks the sense of occasion of previous seasons. The story is okay, but again the alien threat is too easily nullified and there is no real sense of jeopardy as everything feels so rushed – it was a mistake (one of many) not to sprinkle some two-parters into this series. The performances are uneven, with Gill and Cole too wooden in their parts. The best performances come from Addy and Walsh. Jodie Whittaker appears to have settled into a one-tone approach to her performance as the Doctor and many of the jokey lines feel more than a little bit wearisome. It’s all nicely shot and the visuals are very impressive. The theme of “cause and effect” by tying into THE WOMAN WHO FELL TO EARTH feels tokenistic. It provides a bookend feel to the season, but there is no real sense of wonder or surprise. An average end to what has been a disappointingly average series.
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.
Doctor Who: The Witchfinders (TV) (2018; UK; Colour; 50m) *** pr. Alex Mercer; d. Sallie Aprahamian; w. Joy Wilkinson; ph. Tim Palmer; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Alan Cumming, Siobhan Finneran, Tilly Steele, Tricia Kelly, Arthur Kay, Stavros Demetraki. The Doctor, Ryan, Graham and Yaz arrive in 17th century Lancashire and become embroiled in a witch trial, run by the local landowner. As fear stalks the land, the arrival of King James I only serves to intensify the witch hunt. But is there something even more dangerous at work? Can the Doctor and friends keep the people of Bilehurst Cragg safe from all the forces that are massing in the land? A promising storyline with one or two effective scenes is undermined by a cluttered TARDIS crew trying to find enough to warrant their inclusion. Finneran delivers a strong performance, notably when she becomes possessed, but the script is not as strong as it should have been, failing to drive sufficient tension from the narrative. So, what could have been the strongest episode of this new set becomes yet another triumph of style over content. The visuals are what give the story its atmosphere and the make-up work is excellent too, but the story lacks depth due to the rush to cram a lot of material into the running time. The introduction of the alien threat late in the day leaves no room for further exploration of backstory or motivation. Ultimately, this is a story that would have benefited from room to breathe.
Escape from New York (1981; UK/USA; Metrocolor; 99m) ***½ d. John Carpenter; w. John Carpenter, Nick Castle; ph. Dean Cundey, George D. Dodge; m. John Carpenter, Alan Howarth. Cast: Kurt Russell, Ernest Borgnine, Lee Van Cleef, Donald Pleasence, Harry Dean Stanton, Isaac Hayes, Season Hubley, Adrienne Barbeau, Tom Atkins, Charles Cyphers, Frank Doubleday, John Stobel, Bob Minor, John Diehl, George “Buck” Flower. In 1997, when the US President crashes into Manhattan, now a giant max. security prison, a convicted bank robber is sent in for a rescue. Cult classic may have dated, notably in the visual effects, but still has much to enjoy. Russell deftly essays Clint Eastwood in his portrayal of Snake Plissken. Good support cast of oddball characters and some nice tongue-in-cheek touches from director/co-writer Carpenter. Grimy and decadent representation of Manhattan as a prison city is well realised. Followed by ESCAPE FROM L.A. (1996). 
Doctor Who: Kerblam! (TV) (2018; UK; Colour; 50m) ***½ pr. Alex Mercer; d. Jennifer Perrott; w. Pete McTighe; ph. Simon Chapman; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Julie Hesmondhalgh, Lee Mack, Callum Dixon, Claudia Jessie, Leo Flanagan. A mysterious message arrives in a package addressed to the Doctor, leading her, Graham, Yaz and Ryan to investigate the warehouse moon orbiting Kandoka, and the home of the galaxy’s largest retailer: Kerblam! Obvious links to the massive growth of companies like Amazon, this does not play to the expected corporate greed sub-plot in the traditional way – instead linking the threat to anti-corporate terrorism. As such this is a refreshingly straight-forward tale, which adds to the mix elements of robo-phobia (mirroring stories such as THE ROBOTS OF DEATH). The result is one of the better entries in this otherwise disappointing series to date and there is genuine tension generated by McTighe’s script and Perrott’s direction. The performances, however, remain variable – Cole seems to be becoming more wooden by the week – but at least the companions get to be split up and given equal roles to play. [PG]
Doctor Who: Demons of the Punjab (TV) (2018; UK; Colour; 51m) ***½ pr. Alex Mercer; d. Jamie Childs; w. Vinay Patel; ph. Denis Crossan; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Shane Zaza, Amita Suman, Hamza Jeetooa, Leena Dhingra, Shaheen Khan, Shobna Gulati. India, 1947. The Doctor and her friends arrive in the Punjab, as the country is being torn apart. While Yaz attempts to discover her grandmother’s hidden history, the Doctor discovers demons haunting the land. Who are they and what do they want? Bold attempt to add emotional depth and historical significance to the series partly pays off – notably in its heart-wrenching finale. The plot is reminiscent of the Christopher Eccleston story FATHER’S DAY, in its theme of returning to a companion’s past and a tragic outcome that cannot be avoided. However, the narrative still feels cluttered due to too many companions and a need to cover broad topics in a short running time. Some of the dialogue feels anachronistic too, belying the 1947 setting. Still, an improvement on recent episodes and Whittaker continues to grow into the title role. [PG]
Doctor Who: The Tsuranga Conundrum (TV) (2018; UK; Colour; 51m) ** pr. Alex Mercer; d. Jennifer Perrott; w. Chris Chibnall; ph. Simon Chapman; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Brett Goldstein, Lois Chimimba, Suzanne Packer, Ben Bailey Smith. Injured and stranded in the wilds of a far-flung galaxy, The Doctor, Yaz, Graham and Ryan must band together with a group of strangers to survive against one of the universe’s most deadly — and unusual — creatures. After a strong start to this beautifully designed episode things spiral downwards very quickly with a monster fresh out of a Warner Brothers cartoon (was the Pting based on Looney Toons’ Tasmanian Devil?) and some unnecessary emphasis on political correctness by having a pregnant man give birth to a baby boy in a world where seemingly gender parentage is the norm. If Chibnall and the production team could just have concentrated on what could have been an effective sci-fi chiller, without the need for constantly having to tick-box the PC list and with a better-designed monster, then this could have been a winner. As it stands the only real positive, outside of the production design, is Whittaker’s most assured performance to date as the Doctor. [PG]
Doctor Who: Arachnids in the UK (TV) (2018; UK; Colour; 50m) *** pr. Alex Mercer; d. Sallie Aprahamian; w. Chris Chibnall; ph. Tico Poulakakis; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Chris Noth, Shobna Gulati, Tanya Fear, Ravin J Ganatra, Bhavnisha Parmar, Jaleh Alp, William Meredith, Sharon D Clarke. The Doctor, Yaz, Graham and Ryan find their way back to Yorkshire – and Yaz’s family – only to find something is stirring amidst the eight-legged arachnid population of Sheffield. This episode is an ecological sci-fi/horror tale, which plays to the fears of arachnophobes by introducing us to toxically mutated spiders running amok. Some effective scares and jump moments are offset by a script with some unfilled holes and a performance from Noth as a Trump-like political figure that is over-the-top in the extreme. The TARDIS crew are developing nicely, however, and Walsh continues to bring warmth to his bereaved character. Whittaker is finding her feet well and overcomes some of the script’s weak dialogue with the force of her personality. The spiders are brilliantly realised by the effects team. An abrupt conclusion, which fails to explain satisfactorily how the spider threat to the city is overcome on a broader scale means this episode can at best be seen as entertaining but is undeniably dramatically flawed by overplaying its comedic elements. [PG]
Doctor Who: Rosa (TV) (2018; UK; Colour; 50m) **½ pr. Nikki Wilson; d. Mark Tonderai; w. Malorie Blackman, Chris Chibnall; ph. Tico Poulakakis; m.Segun Akinola. Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill, Vinette Robinson, Joshua Bowman, Trevor White, Richard Lothian, Jessica Claire Preddy, Gareth Marks, David Rubin, Ray Sesay, Aki Omoshaybi, David Dukas, Morgan Deare. Montgomery, Alabama. 1955. The Doctor and her friends find themselves in the Deep South of America. As they encounter a seamstress by the name of Rosa Parks, they begin to wonder whether someone is attempting to change history. A well-meaning episode that boldly tackles racism in 1950s Southern USA and the moral stand that leads to the raised focus on the Civil Rights Movement is hampered by a heavy-handed script and inconsistent performances. Whittaker is still finding her feet as the Doctor whilst Robinson is excellent as the dignified Rosa, but her performance is undermined by clumsy scripting and Cole’s increasingly annoying naivety as Ryan. Bowman’s time-travelling escaped convict, Krasko, has got to be one of the series’ least convincing villains. Composer Akinola tries to add menace to the character through his foreboding score, but only succeeds in making it seem like a parody. The South African locations double well for Alabama and again the technical credits are top-notch. The overwrought song delivered over the end titles lashes on the emotion with a trowel. With a more considered script and a stronger cast, this could have been a dramatically powerful tale, as all the elements are there, but we’re left with what feels like a missed opportunity.