Review: The Daleks: In Colour (2023)

Being a Doctor Who fan can be an excitement of ups and downs ... some things sound amazing and you look forward to them ... but then others just seem strange ... and then you get some PR/Hype and they sound great ...

This colourised version of the very first Dalek story, here called 'The Daleks' but actually titled 'The Mutants' by the production team at the time of transmission, sounded interesting. There's been a 'thing' about colourising black and white productions for some time, with everything from old scifi films of the 50s to episodes of old Laurel and Hardy comedies getting the treatment. Fans have been posting coloured clips from Doctor Who on YouTube for years with varying results, of course some episodes of Doctor Who which were originally in colour but for which only black and white prints existed have been colourised via a variety of clever means, and more recently AI has been used to apply colour to clips, again with varying degrees of success.

Add to this people like Clayton Hickman who has been superbly colouring black and white photos, and you have a lot of talent out there who should be able to produce something passable - at least if the BBC is then going to show it to the public!

So a colourised version of 'The Daleks' seemed like a good idea! But then we heard that it was also an edited version ... cut from seven 25 minute episodes (175 minutes) down to around 75 minutes ... so losing 100 minutes of runtime! Moreover, it was to have new dialogue from both David Graham, one of the original Dalek voices, and now 98 years old, and Nicholas Briggs, who has provided the voices for the modern Daleks ever since 2005. But there's more ... Mark Ayres, custodian of the BBC Radiophonic Workshop's material and member of that amazing group of musicians, was to provide a new score ... Hmmm ... Now it starts to sound all a bit much.

Then we have Exec Producer Russell T Davies, telling us that it's all to try and make these old black and white Doctor Whos accessible to the new generation who won't watch black and white stuff ... so it needed to be edited down, made snappier and faster, using modern techniques and so on ... which all sounded good. The edit was undertaken by Benjamin Cook, writer for probably 90% of Doctor Who Magazine's Nu-Who content, and who also collaborated with Davies on his book of script development for the show. He's also done trailers for the BluRay collections and such for the series before ...

So ... a new version of the iconic first appearance of the Daleks ... was it any good?

It's always really hard to review items where friends have been involved, but as I am a reviewer/commentator on Doctor Who, and as I believe in not whitewashing things, I have to say what I think ...

Overall: I enjoyed it. I think it manages to achieve what Davies wanted: to act as a new version of the story for new fans (or ones who just won't sit through 175 minutes of black and white television). But it is definitely a new take on the story. In the same way as the animated episodes take enormous liberties with the source material to present a totally different look and feel to the episodes (even though they have the same soundtrack), this version of 'The Daleks' takes the basic storyline and removes anything which is extra to that ... But it sort of works ... it's fast and furious and moves at pace.

The colourisation is okay ... but there was always going to be conflict as to what colour things should be. Should they be the colour they were in the studio, as evidenced by colour photographs taken at the time? Or should they be the colour which perhaps they might have been otherwise?  The issue is that in the black and white days, the designers coloured things so that the shade of grey they would then appear on screen would work with all the other shades of grey in the production. This is why the TARDIS control console was actually coloured a pale green, so that it looked a silver white on screen ...

It seems that they've done a bit of a mixture ... the TARDIS console has been coloured a silvery white, so following the intention rather than the actuality ... but the TARDIS floor (and indeed the floor of the Dalek city are a blue - the colour of the actual set floors. The strangest colour decision comes with Barbara's top ... this is a bright pink ... and while the actual colour of the top she wears at the start of  the story is unknown, the one she wears at the end was actually pale blue.  

In the original story, after the Thals are killed in the Daleks' ambush, the TARDIS team return to the ship in episode 4, and Barbara then changes her outfit. The original top, which was a sort of button-up-the-back blouse, is replaced with a shirt at this point, but she still wears her skirt. In episode 5, when they are on their way to the mountains through the swamps, she has now changed her skirt for a pair of black Thal trousers. In the edited version, Barbara's outfit changes as before ... but her shirt remains a bright pink ... Ian's jumper is also the wrong shade of brown - it's too light and should be darker, as should his trousers.

Overall though the colour choices are not bad and help to enhance the story. There's some lovely elements of coloured skies and the control panels in the Dalek city are smashing.  Some of the darker shots suffer from a lack of clarity and black 'artefacts' appear around the edges of the black areas - especially noticeable in the scene immediately before the travellers meet the Daleks for the first time. At least on my big television they do!

And the Daleks. Well they look amazing. Correct colour scheme, and as in studio too. I love the new extermination effect too. The main issue with them are the voices. Nicholas Briggs' modern more strident tones stand out a mile from the original, more subtle, voices. And it grates. Especially as the very first Dalek voice we now hear is new: 'Stay where you are!' rather than the original 'You will move ahead of us and follow my directions!' Whether this new voice is a new Graham or Briggs contribution, it really doesn't work.

And this brings the next element of the production to the fore: the music. The original had a brilliantly futuristic and distinctive score by Tristram Cary, but here several key cues have been changed and new music written ... in the case of the first appearance of the Daleks, instead of a sort of long whistle as the camera pulls back, now we have more modern music added in to make it 'dramatic'. The music overall is OK, though I frowned when I heard that the opening title music had been tinkered with, but in places it is jarring - like the addition of a sort of disco beat as the travellers escape in the lift: this reminded me a little of the music in the two Dalek cinema films. There were more cues from Cary's work used also: it sounded to me like his scores for some of the other Doctor Who stories he did had been plundered (but then I have a feeling that the future scores were mostly reuses of the cues for 'The Daleks' anyway).

Either way this doesn't really matter in my ear, as they're all from the same composer and match together. It's the more modern elements with drums and guitar sounds which seemed out of place in the story ... perhaps it's what the modern viewer needs: the music to 'tell' them what to feel at each point. If so it's a shame, and, for me, detracts from the drama that is unfolding. I often feel with music that less is more ... I dislike the 'wall to wall' music landscape of modern shows, much preferring the ambient and subtle approach to scoring a film or a show. There's an adage that if you notice it, then it hasn't worked. And here I noticed it big-time.

Back to the edit, and it's inevitable that there would be some sacrifices. I understand the need for shortcutting some of the storytelling, and using the Daleks watching on their rangerscopes was a nice way to speed the plot along. It is a shame that we lost the appearance of the first ever alien monster to appear on Doctor Who: the poor Magnadon. And the food machine sequence too. I guess you can't have everything. It was also an odd, but perhaps predictable decision to show the TARDIS arriving on Skaro, scenes never in the original story (the first time we saw the TARDIS materialise was in 'The Keys of Marinus'), and the new scene here looks very strange. I suspect it was achieved through CGI, and unfortunately it looks like it. Likewise they have replaced the shot of the TARDIS dematerialising at the end with a modern equivalent ... and again it jars. Why do they have the TARDIS sort of vanishing then reappearing, then vanishing, then reappearing in time with the sound effect? At the start of 'The Keys of Marinus', the TARDIS just silently and smoothly fades into view. It also silently and smoothly vanishes at the end of 'The Keys of Marinus', and smoothly appears at the start of 'The French Revolution'. In the original shot at the end of 'The Daleks' it also smoothly vanished ... so why this up/down visual approach? It's a strange decision to have made. 

A Magnadon. Yesterday.

Other anachronistic elements include the tolling of the Cloister Bell as the TARDIS has it's little hiccup at the start: this sound was not introduced until 'Logopolis' in 1980.

Overall then, a story from Doctor Who's very beginning has been given a new life through a 2023 'makeover', with almost all elements of the production re-edited, scored, coloured and jigged to create a modern take on a certified classic. It's not perfect, but then I wonder if anything like this really could please everyone. Maybe a straight colourisation would be better ... but then you have an arguably stodgy sixties pace to try and deal with ... and there's still the question as to which colours to use - especially when some stories have little or no original colour material to work from.

Like the animations, or indeed the two Dalek cinema films, this is best viewed as an alternative take on the story, with a tweaked plot, new music, and colours occasionally so bright they make your eyes bleed ... I think there is room in the world for both/all versions. It'll be interesting to see which one(s) are attempted next!

THE DALEKS IN COLOUR can be seen on iPlayer in the UK:   https://www.bbc.co.uk/iplayer/episode/m001snnz/doctor-who-19631996-season-1-the-daleks-in-colour

 

Review: Whotopia: The Ultimate Guide to the Whoniverse

Sixty years!  That's a long time by any measure ... and it's how long Doctor Who has been running ... Sixty ... In that time we've had 14 Doctors, or more, depending on how you count and what you include ... many companions, monsters, villains ... lots and lots of excitement and adventure ... and merchandise too ... including books looking at every aspect of the show.

So what might be left to cover? BBC Studios/Ebury Books have released Whotopia as their offering as the 'big book' for the 60th anniversary ... and one might expect something special ... something different.

For the 20th Anniversary we had Peter Haining's Doctor Who: A Celebration ... for the 25th Anniversary it was Doctor Who: 25 Glorious Years from the same author. The 30th anniversary brought Timeframe, a glorious full colour romp through the years via the mediums of Target book cover art and ephemera, by David J Howe (yes, that's me!).

For the 40th came Doctor Who: The Legend by Justin Richards, a full colour, over-designed but slight look at all the stories. This one was firmly based in the fiction of the series, and that, sadly, is where BBC Books/Ebury seem to have been mired ever since. For the 50th Anniversary there was Marcus Hearn's superlative Doctor Who: The Vault. A magnificent look at Doctor Who through the medium of props and paperwork and other ephemera - a really original way to explore the series. But there was also The Doctor: His Lives and Times, yet another in-universe look through the series.

Pretty much everything they have published over the last twenty years has been about the fiction of Doctor Who. There have been endless books of lists, encyclopaedias of the worlds of Doctor Who, art books looking at the concepts, a dreadful atlas which documented all the fictional planets, endless picture books of monsters, aliens, planets, technology and so on ... all reusing the same in-universe information about everything that ever appeared or has been mentioned. What there haven't been are any BBC-Published books which explore the making-of or the backgrounds to the stories ... looking at the writing, the production, the artistic skills ... for some reason this sort of behind the scenes history has not been in favour.

Given that many of the books have been published by BBC Children's books may give a clue ... BBC Studios has increasingly seen its publishing aimed at young children - kids who probably have not got a clue what was happening in Russell T Davies and Steven Moffat's increasingly complex and 'Timey Wimey' television take on the show. From the annual Annual, to fan art collections, a history of the Time Lords, the companions companion and the Doctor's guide to whatever and whoever ... these books aimed at the younger market have proliferated ... and have also been augmented with novella-length fiction, again written for the younger reader ...

All of which brings us to the sixtieth anniversary ... and what could the BBC bring to the table?

Given that they potentially have unparalleled access to the show and its makers, something looking at the changing face of the show perhaps, exploring production techniques and methods through the years?  No?

Or something interviewing the producers and actors, those who make the show what it is? No?

Or something exploring how the show has touched lives and inspired people? No?

In fact, many of these elements have been explored in publications, both licenced (rather than published) by the BBC and published independently (as no license was required) ...

What the BBC have given us is Whotopia.

From a very plain cover: simple gold foil wording and circles on a dark blue background, the book is in full colour throughout, but the design is very flat and uninspiring. A flick through reveals more white space than colour and imagery ... So it's certainly not overdesigned.

What is it? Well ... it's a collection of articles, letters and other writings purportedly written by the Doctor, the companions, the monsters, the guest stars and so on. There are other smaller paragraphs written in standard third person on other more minor elements of the show. So, once again, it's an in-universe guidebook to the Doctors, monsters, companions, aliens ... and ... zzzzzzzzz

There's nothing here about any behind the scenes elements ... and stories and plots from the sixties rub shoulders with those from the recent Whittaker era ... which is nice. All the pics are in colour, with any originally black and white shots having been colourised.

But substance? Not really. It's an encyclopaedia by another name, with a handy index at the back so you can find what there is to say about Time Cabinets, Morgus, Atraxi and so on.

I can see the book being diverting perhaps for the Who-obsessed kid who, for whatever reason, hasn't managed to pick up any of the hundreds of other books published with basically the same content, and it might act as a stepping in point for said child to start exploring the worlds of Doctor Who as the episodes are all now present on iPlayer (all those that still exist anyway). Maybe this is the intention.

But what of the fans of all ages who have been diligently following and collecting the various books and DVDs over the years? A visit to any charity shop in the UK will usually turn up a variety of these publications, and eBay is chock full of them too, so they're not hard to find ... Then this book will feel very familiar and disposable.

The authors have done a good job of stepping through all the elements, and some of the writing is amusing ... Kahler-Jex explaining his back story (from 'A Town Called Mercy'), Sutekh repeating some of his utterances from the show (from 'Pyramids of Mars'), Rocco Colosanto musing on his home-share woes (from 'Turn Left') and so on. But overall, there is little substance beyond that which the source episodes contained and, as it's all in-universe, there's no context to when and where in the Doctor's travels these people and creatures appeared (aside from referencing the story titles).

As a celebration of sixty years of Doctor Who then, Whotopia sadly for this reviewer falls completely flat. It's a book which contains nothing new, and which presents no great insights into the show, or covers an area which has not been covered a thousand times before.

It's such a shame as BBC Books could and should be doing so much better. A wasted opportunity.

Whotopia
Published by BBC Books 16th November 2023
£30 hardback

Review: The Evil of the Daleks Novelisation (2023)

Just when you thought there was nothing new in the novelisation arena, along comes Frazer Hines, the actor who played Jamie in the TV series, with a new book which adds a new twist to the novelisation idea ... novelising a repeat showing of a story ...

It's a nice conceit ... for the story 'The Evil of the Daleks' was repeated following transmission of 'The Wheel In Space', and before 'The Dominators', and the show even provided, at the end of 'The Wheel In Space', a little lead in to the repeat where the Doctor shows new companion Zoe the sort of thing she might face if she travels with them in the TARDIS.

Thus the book presents a straightforward and quite effective novelisation of the actual 'The Evil of the Daleks' episodes, and between each is a little piece from Jamie's perspective which shows the TARDIS trio's reactions to the events of the past story as it unfolds. It's all rather pleasant ... and a good read.

Having Hines also narrate the audio version is also effective, especially as the story presents Jamie in an excellent light - he even has an episode (5) pretty much to himself as he explores Maxtible's Victorian mansion in search of Victoria, meeting and befriending the Turk, Kemel, and avoiding the Daleks along the way ... all in the Daleks' pursuit of trying to discover what 'the Human Factor' is: what makes a human a human ... and Jamie presents all the right traits along the way.

Hines worked on the book with authors Mike Tucker and Steve Cole, and it's got a cracking cover from Lee Binding ...

If you want a signed copy, with a special bookplate from artist Adrian Salmon, then head to Frazer's own online store: www.frazerhines.co.uk ... otherwise the book is available from all the usual stockists.

Review: The Daily Doctor

Part of the BBC's book offerings for the sixtieth anniversary of Doctor Who comes The Daily Doctor: 365¼ Whoniversal Meditations on Life and How to Live It by Simon Guerrier and Peter Anghelides.

It's a tough book to review and I am friends with both the authors, and what I can say from the outset is that they set themselves a challenge and a half in doing this book ... and perhaps that is why Steve Tribe, originally announced as the author, dropped out ...

But that challenge is a double edged sword ... as while it is impressive to draw and spin life lessons off the slightest of mentions, dialogue, or happenings in the show ... some of them are a little too tenuous and seem clutching at straws to make up the numbers.

We have a lesson for every day of the year, and if there is a plan at foot here to match events/stories with dates then I can't see it ... it seems pretty random. At least Valentines day has a love-based one, even if it is about Susan leaving and 'letting love go' ... so not very happy.

I was considering how one might approach creating such a book ... probably thinking through each episode initially to find what 'lessons' there might be therein, but also searching through the transcript archive looking for keywords which might prompt a 'lesson' too ...

On the plus side, I enjoyed reading and dipping through it ... but on the negative, it's slight, and the text tends to tell you the plot of whichever story they have chosen the quote from (which of course I already know), with a skew towards whatever the 'lesson' is, and then give you the 'lesson' in the last sentence ... It's also all very serious, a step away from the flippant '365¼' in the title (I'm not sure what the ¼ lesson is to be honest - we don't have one for 29th Feb, but there is an extra 'Saying Goodbye' one at the end - which, rather oddly, given the number of great 'goodbyes' there are in the show itself, comes from the audio story The Pescatons!)

The design is nice, the layout loose and friendly ... but it feels very much like a filler book. Why does this book exist? Did it need to be written/compiled? The answer is tricky ...

Perhaps for the fan who might like to read and be enlightened each day with some words of wisdom from the show ... a good stocking filler for the year ahead ...

Review: Red 11 (2018)

We stumbled across Red 11 on Prime ... at the time it had one 5 star review and we smiled and said, yeah, like that's from the director's mum!  But then we looked closer and saw the director was one Robert Rodriguez, the man behind one of the greatest zombie films, Planet Terror ... and also the man who brought us From Dusk Till Dawn and Machete!  So we thought ... nothing to lose!

It turns out that Red 11 is something rather good. It's a sort of sci fi thriller set in a hospital where a chap volunteers to be part of a medical trial - earning $7k at the end for his trouble. The issue is that the trial seems very suspicious, with the various people taking part in different trials being given different coloured t-shirts - his is red, and he is number 11 in his trial, hence the title.

As we progress, so it starts to get wierd with some of the people starting to display telekenetic powers ... and what is it all about, who is running it ... and why ... and will Red 11 get out alive!

Red 11 is an accomplished and enjoyable thriller, well made and directed and with some great moments. I loved the subverting of the 'wall' by the inclusion of a character called Score, who has a small keyboard and who actually provides the music for the film as it progresses ... with themes for the characters and action and so on ...

But there's more ... in a short intro to the film Rodriguez explains that he made the film himself, with only his son, for $7k ... all the actors, crew and so on presumably all worked for nothing, and he also wrote, directed, produced, edited, and did the music himself. There are no other credits, so presumably he also graded it and did the titles and ... and ... basically EVERYTHING.

Now that's impressive. Very impressive.

So if you're interested in the genre, and want to see how a low budget film could be put together for next to nothing ... give it a look!

There's also a series on Prime called Rebel Without a Crew which breaks down his production process and shows just how the film was made ... again, excellent stuff for any would be film maker ...

Review: Doom's Day: Extraction Point

I'm really not a great fan of these Doctor Who multi-part multi-platform 'event' fiction things ... there's too much baggage to try and explain in a review ... and at the end of the day, I'm not sure who is engaged enough in the idea to want to try and seek out the various online, comic strip, graphic novel, CD, vinyl record, novel and, for all I know, Give A Show Projector slide and cardset given away with packets of tea bags ... it's all too much!

But this novel, Doom's Day: Extraction Point caught my eye, and so I thought I'd give it a whirl, and I'm actually glad I did as it's not bad as a novel.

It's not exactly stand-alone of course, and you need to have some understanding of what is happening beyond the events in the novel itself, which is a shame.

So there's this character called Doom, and she's apparently an assassin ... the Beeb released a video of her before this range started and, to be brutally honest, it was awful:

So I wasn't filled with confidence ...

The book covers four hours in Doom's life (fourteen through eleven). And each hour she has to kill someone. It's not clear at all why this is, or what would happen if she fails ... but there's a lot of agonising about it. She also seems to be looking for the Doctor ... but then, when she finds him - several times - she doesn't find out or ask why or how the Doctor is supposed to help her ...

Instead we're plunged into action as she tries to kill a chap on a snowy planet: it's all chair lifts and skis and fast moving action ... and then we discover that the planet isn't what it seems and the race behind it are an old enemy of the Doctor (who don't then appear again in the book!)  

It's hard to review with no spoilers at all as, to be honest, the book is FULL of old enemies and old Doctors and most of them are pictured on the cover! But from a snowy wasteland we're taken to Satellite 5 from the 9th Doctor adventure 'The Long Game' where Doom has to kill a ghost and the whole plot riffs around the Jagrafess, Cathica, and game shows, just the same as the TV episodes did ...

Then we're off to an asteroid which seems infested with insects which aren't quite what they seem ... and then finally we're back to the real planet the fake one in the first adventure was based on, and Doom has to kill two of the people there ... except that the Family Slitheen are also in attendance ...

It's fast and frantic stuff and M G Harris has an engaging style which drags the reader through with little time to ponder on continuity or plot holes ... or just how Doom manages to keep going through hour after hour of frenetic running, climbing, falling, death defying escapes while working out who to kill and how as she goes ... I'm not sure she even stops to drink, eat or to attend to ... personal stuff ... in the course of her adventures.

What's interesting though that all the Doctor Who continuity gubbins sort of makes this feel like a Doctor Who adventure, even though the Doctor is largely absent ... and when he does appear, it doesn't feel much more like Doctor Who at all ...

A final word on the title ... Extraction Point ... I can't really see what this has to do with the story ... it just seems to be a nice title that the publisher decided to hang on it ...

And of course, at the end, Doom is off to the tenth hour that she is counting down ... with no conclusion or answers to why she sees 'Death', all black cowl and scythe, in a cafe toilet on Earth in 2006 ... seems she might have seen it before ... but I've no idea.

There are, presumably, 24 of these 'hours' scattered throughout the various media and written, with various degrees of success, by different authors ... Here's a handy chart ...

It's a bold idea to be sure ... but I do feel that the overall execution is shaky ... and as to whether any fans will stay the distance and experience all the adventures is anyone's guess, especially as some are in limited-time form like a separate comic supplement given away with Doctor Who Magazine, or two of the adventures as part of a computer game called Lost In Time.

But as a rollicking adventure novel, full of action and adventure in the Doctor Who Universe ... it's not at all bad!

Review: More new Target Novelisations!

 Here's some thoughts on the final two Target novelisations released by BBC Books in the 2023 batch!

THE ZYGON INVASION by Peter Harness

This book was delayed from the last batch as the author was hard at work on a new TV series. It combines two episodes into one book: 'The Zygon Invasion' and 'The Zygon Inversion' with a nod to 'The Day of the Doctor' as well ... and it's complicated stuff, as Steven Moffat's Who was wont to be.

Here we have the Doctor, Clara, and a Zygon calling herself 'Bonnie' pretending to be Clara, the UNIT Doctor Who fan Osgood, and a Zygon pretending to be Osgood ... Kate Lethbridge-Stuart running all over the world, planes being shot down, Zygons going underground, no-one being quite sure who anyone is ... and there's some real world allusions to terrorism and race hate and so on running through it all as well. It's strong and important and has lessons for humanity to impart!

But sadly the confusion extends to the book, wherein Harness really seems to have just adapted the scripts, with only cursory additions and deviations. However maybe there are more changes than I think as I've not compared them directly to the transmitted episodes.  A similar sense of confusion came over me in watching the show ... struggling to keep up with who was who and who wasn't ...

I was surprised that Harness adopts the pronoun 'they' when talking about Osgood, as there wasn't, as far as I can tell, anything in the series to suggest this - indeed a quick scan of the Doctor Who Wiki article on the character never mentions or uses that pronoun. However the story arc of The Zygon Invasion is Osgood's, with 'the Osgood Box' being the ultimate deterrent to war between the races, and a cracking speech from the Doctor at the end - some of the very best writing that the show has presented.

Overall I was slightly disappointed with the novelisation. I think perhaps it is a story which doesn't really lend itself to prose form, being so rich in imagery and idea which was presented and realised so well on television. These days I think the novelisations have to work so much harder as the source material is easy to find and revisit.

KERBLAM! by Pete McTighe

The final title released in this batch was a novelisation of a story which received a fair amount of comment when transmitted. The issue was that it's looking at an Amazon-like retail giant called Kerb!am, a company which exploits the human workers and brings in AI-style robots to monitor them - all very pertinent stuff for our time, and the sort of exploration of real world issues which Doctor Who has always done well.

Sadly here, in the endgame of the story on television, innocent people are killed, and the Doctor does nothing to try and change the status quo, leaving the retail giant free to carry on doing what they're doing with nary a word of reprimand from the Doctor.

In the novelisation, McTighe manages to rectify this slightly, and we have an ending where things have been changed for the better - humans are put in charge of the robots rather than vice versa. But we still have the rather horrible death of a sympathetic character to deal with, and we also lose the little cameo from Lee Mack - or rather the character is there, but devoid of Mack's appearance and performance, is very forgettable.

What's good here is the interplay between the Doctor, Yas, Ryan and Graham - more than enough characters to try and get a grip on - but McTighe manages it, and makes them all likable and the dynamic between them works on the page.

Overall a decent adaptation which adds some additional nuances and thought to the episode as seen on screen ... one wonders if some of this was in McTighe's original scripts and ideas but got lost along the way.

Review: new 2023 Target DOCTOR WHO Editions

July 2023 and Ebury/BBC Books have issued five more novelisations under the Target banner ... Here's a review of three of them!!

WARRIORS' GATE AND BEYOND by Stephen Gallagher

Stephen is an old pal of mine, and it's great to see one of his classic series stories getting a new novelisation. The history of this one is interesting:  Stephen originally submitted the scripts to the Doctor Who Production Office, and then John Nathan-Turner, the producer at the time, wanted a hefty rewrite, so Stephen apparently took his scripts and cut them up, putting them back together again to create the story as transmitted. He then 'lost' the original version for many years until it turned up again, granting the opportunity for Stephen to return to the source material and to novelise that ...

And so 'Warriors' Gate' gets a new outing. To be honest, it's not that much different from the story as on television, and it reads well. It's very like one of those novelisations by the original author where they have taken the opportunity to expand and develop the scenario and characters to a degree that the television version could not. We still have the Privateer exploiting Time Sensitive Tharils as navigators; there's still the Gateway; and the idea that the Tharils were once the enslavers, and the Gundan robots were created to battle them ... Romana still wants to leave ... K9 is still damaged and needs to stay with Romana, and Adric is still ... well ... Adric. Of all the cast he has the least to do! Not really surprising as he would most likely have been a late addition to the cast/scripts, joining the show just two stories earlier.

What is good is that in this novelisation, the focus is shifted more from Rorvic and his Privateer chums to the Tharils and their predicament. It's a good move. I also liked how one of the great shots from the TV episodes, of the coin spinning in the air and stopping, is used here with a greater explanation and development on how the randomness of tossing a coin can help navigate through the Gateway portals. 

Overall it's a grand story, and as you would expect from a writer of Gallagher's calibre, very well written.

The book also contains a short story: 'The Kairos Ring', which was written as an audio for the BBC to release, and also an even shorter story 'The Little Book of Fate' in which the Doctor meets Romana again ... 

Overall it's a smashing package and well worth a look. If you're wondering, then the original Target novelisation of 'Warriors' Gate' was as by John Lydecker, which was Stephen Gallagher under a pseudonym...

PLANET OF THE OOD by Keith Temple

This novelisation is a revalaton! The TV story 'Planet of the Ood' was not one of the best ... hampered by a somewhat ridiculous CGI chase in the middle between the Doctor and a claw machine in a factory, and reintroducing the Ood from previous adventures, the story seemed a little disposable.

Here though, Temple writes with panache and delivers an excellent book that both expands on and explains much of what happens in the television story. Motivations are developed for all the characters, and Halperin comes over as just horrible and truly deserving of his fate!  Though I have to say that the explanation for just how what happens to him happens to him is not forthcoming. It was a bit of a leap of believability  on television, and remains so here.

But I really enjoyed revisiting the story through the lens of Temple's prose. It's excellently done, and I hope he gets to write some more!

THE WATERS OF MARS by Phil Ford

In contrast to Temple's novelisation, Phil Ford's adaptation of his scripts for the story seems perfunctory. However there is still a great deal to enjoy about this story of a Mars mission which falls foul of an alien entity trapped under the ice beneath the planet's surface, and which seems to be formed of the water itself.

I found myself not really engaging with the Doctor - Temple manages to capture him nicely, but here he seems distant. Maybe it's because there's no companion character for him to bounce off ... but also in the televised story, we also have Graham Harper's assured direction to propel us along, the superb action and direction stopping us from thinking too hard about the story.

Also, in terms of the series, this is the Doctor starting to go off the rails somewhat and to believe that he can do anything, anywhere, anytime and nothing can stop him ... it's the beginning of the end of the tenth Doctor in all honesty. These elements are all nicely explored, and the parallels between all the characters are well drawn. Even the annoying robot 'Gadget' seems to redeem itself.

It's a good, functional novelisation, but perhaps a little too 'by the numbers' in an age where readers are perhaps expecting more from their written-word Who ... I rattled through it quite quickly, and I found myself nodding along to the beats of the original ... it's very much an effective novelisation of what was seen on screen in that regard.

***

As well as these three, also published are KERBLAM! by Pete McTighe and THE ZYGON INVASION by Peter Harness ... Well worth checking out!

Review: What Lies Below (2020)

As an adjunct to my review of The Commuter, here's a film which pretty much delivers nothing of what is promised ...

What Lies Below is touted as a cross between Species and A Quiet Place and is written and directed by Braden R Duemmle (remember my Red Flag that seeing the same name in both those roles tends to point to a lack lustre end result).

The plot follows a mother, Michelle (Mena Suvari), and her teenaged daughter Liberty (Ema Horvath). Liberty returns home to find that her mum has a new boyfriend, the seemingly perfect John Smith (Trey Tucker) ... but as the film unfolds, so John is seen to be creepy as heck, and possibly not even human!

The only nod to Species here is that John is looking to procreate (and in a couple of scenes he has freaky alien feet), and A Quiet Place? No idea where they got that one from. The film drags its length as it's fairly apparent that they had no budget for any effects, CGI or otherwise, and so you're waiting for things to happen, to be revealed and they never are ...

It's also a Red Flag when the various websites which offer 'explanations' of plot points and endings are all over a film, as it simply tends to mean that the film has done a poor job of explaining them in the narrative they are presenting. And sure enough, there are lots of sites explaining 'the boat scene' and the ending of this film.

The film looks nice, and the performances are okay, though everyone seems to be the wrong ages, and the scenes of John watching Liberty shower, and then later on the attempted impregnations are a little too far on the side of the voyeuristic and inappropriate.  So watch it if you like a slow burn film ... some interesting ideas ... but don't expect it all to make total sense ...

And the title?  What exactly does lie below?  Are we talking about under the lake here, or is this a euphemism for what John keeps in his shorts ... we shall never know!

Review: The Commuter (2018)

There's so much substandard fare on Prime, that to come across a film which is actually exciting and interesting is worth shouting about ... The Commuter is one such film.

Over lockdown we have become used to seeing films with very limited casts and set in isolate locations. They're usually possession-type plots, or ghosts, as these are easiest to create on a budget, and many simply have no followable plot and disappointing endings - if you can even get there. You can usually tell this sort of film by the Red Flag that the writer, director, producer is all the same person (and sometimes they also do the make-up, costumes and probably make the tea as well!)

The Commuter however is just pre-lockdown and is written by Byron Willinger, Philip de Blasi and Ryan Engle, and directed by Jaume Collet-Serra, who you might remember helmed the superb Blake Lively vehicle The Shallows. The film stars Liam Neeson and Vera Farmiga and has a simple premise. A cop, Michael MacCauley (Liam Neeson), travels the same route to work every day, taking the same train. And so he recognises the same people on the train every day. Now hitting sixty, he is abruptly fired from his job, and travels home in some despair. But. On the train he meets a women, Joanna (Vera Farmiga), who asks him to locate 'Prynne', the alias of an unknown passenger on the train whom Joanna claims has a stolen item. Joanna tells Michael that he will find $25,000 in the bathroom and be paid a further $75,000 when his task is done. She leaves the train, and Michael finds the money in the bathroom ... it all seems genuine. But when he tries to leave the train he realises that his family is in danger, and that whoever Joanna works for is watching his every move.

The film then slowly escalates into a nightmare for Michael as he tries to track down the mysterious Prynne, with deaths and intrigue and a whole 'you cannot trust anyone' vibe. Very enjoyable indeed ... and the ending pays off what has come before.

My main concern with the film was why, if they had all the resources and money to pay Michael, terrorise his family, cause people to be killed, and to watch his every move, why didn't they know who this Phrynn was, what they were carrying, and do their dirty work themselves?  It all seemed a little contrived to set all this up just, it seemed, to torment Michael.

However Neeson gives a powerful performance of a man on the brink, and the acting from all the supporting characters is great (including Shazad Latif who you might recognise as Clem Fandango from the series Toast).

Well worth 105 minutes of your time!

Review: Laurel & Chaplin: The Feud Stage Play

From the outset you know that this play, Laurel & Chaplin: The Feud, is going to be something slightly different. In London's West End, it's showing at the Cambridge Theatre, but only on Monday nights ... the rest of the week the theatre is home to the stage production of Matilda ... and the theatre is done out with elements relating to that show: school desks, books on the walls and so on ...

But here, Jordan Conway, playing Chaplin, starts messing about in the seats before the show starts ... goofing with the people in the gallery ... before it all kicks into gear as the lights dim, and he introduces himself.

The play follows and documents the relationship between Charlie Chaplin, and Stan Laurel (Matt Knight) from when they first met in London (introduced to the stage by Chaplin's mother, a somewhat drink-addicted stage songbird) through to when Chaplin headed for Hollywood and beyond. The double act was indeed Chaplin and Laurel for a time as the two cavorted and performed and developed their schtick on stage: Chaplin 'the funny one' and Laurel 'the straight man' ... however nothing is that simple, and Laurel was the more talented of the two, and Chaplin developed a fear of being overshadowed, thus when Fred Karno (Richard Gauntlett) entices Chaplin to Hollywood, Laurel never hears from him again, and eventually teams up with Oliver Hardy to create the great comedy duo of early film.

The show is fast and furious, with some superb and occasionally jaw-dropping performances from the cast, who do all their own stunts and prat falls, and indeed magic and displays of dexterity ... it's simply amazing and very, very entertaining.

There's a sequence at the start of act two, where Chaplin puts together a silent movie, and three people from the audience are dragged up on stage to play the parts, as Chaplin explains what they have to do, and then they do it ... all with no words at all.  I have not laughed so hard for years!  There's so many small elements which make it funny, and seeing non-actors going through the paces was superb!

If you have any interest in the subject matter, it's a story of friendship, but also pathos and sadness as Chaplin abandons his friend. But it's also a rollicking great stage experience ... fun and hilarious ... and of course, highly recommended.

A footnote: we saw the show on the opening night, and also present was Jon Conway, father to star Jordan, who produced, co-wrote (with Jordan) and co-directed, and also the other co-director, Michael Barrymore - yes, the TV personality and comedian - who gave a very humbling short speech at the conclusion. This show brings together all the delights of old-style music hall, with the acts, the music and the sheer variety of talent on offer ... Superb!

Where: THE CAMBRIDGE THEATRE, LONDON

When: Monday evenings (to 28th August 2023)

How to get tickets: https://jonconwayproductions.com/laurel-chaplin-the-feud/

From 30 August - 2 September 2023 there are also four shows at the Blackpool Winter Gardens, also bookable at the above link

Review: Renfield (2023)

We had a sense ... a feeling that we were going to enjoy Renfield.  Nothing you could put your finger on ... but we love vampire films, and we also love a good Nick Cage film ... and also with Nicholas Hoult in the cast (who was amazing in both Warm Bodies and The Menu) it looked a good bet.

We were not disappointed.

Within three minutes of the film starting, as they are recreating scenes from the original Universal Dracula with Cage as Dracula and Hoult as Renfield, both doing startlingly good impressions of Bela Lugosi and Dwight Frye, we were beaming with joy!

From there we're straight into some fast and furious action as Dracula is cornered by vampire hunters and chased around a room, before he is captured in a circle and burned to a crisp ... just superb ... and the film has barely started.

In Renfield, the plot is broadly following the title character (Hoult) as he serves his master, Dracula (Cage). The difference is that eating bugs bestows Renfield with some of his master's power, so he becomes super strong, and can jump and leap around supernaturally ... Dracula's blood also heals him, so the various injuries he sustains from fighting down the bad guys in the drugs cartel are dealt with too ... So there's a bad guy with a cocaine smuggling ring, and Dracula and Renfield fall foul of them ... and we follow the threads to a crime boss (Shohreh Aghdashloo) who wants Dracula to help get rid of a rival gang ... There's also a policewoman (Awkwafina) who gets involved, and the whole thing rattles along at a good pace!

We loved the film!  The character of Dracula is superbly performed by Cage, the make-up and effects are brilliant, and Cage brings a lot of interest and pathos to the character, which is cast as a classic narcissist gaslighter, who dumps on poor Renfield at every turn, making him feel that everything is his fault. It's a great reading of the characters, and the script by Ryan Ridley does a good job of bringing it all to life.

Hoult, as expected, plays the downtrodden Renfield very well, and when he joins a kind of AA group for co-dependent abusive relationships, the smiles keep coming!  

I've seen people hating the film, turning it off and so on ... but for my money, if you like vampire films, and appreciate the broad and rich history of them, then you should love this one!  It's a romp, yes, and it doesn't take itself too seriously ... just serious enough for it to entertain without becoming a farce.

I'd give it probably eight or nine out of ten!!

Review: The Lunchbox (2013)

Wait a moment ... why is David J Howe of this parish, reviewing a film which seems to have nothing to do with his usual fare of zombies, horrors, vampires, ghosts or Doctor Who ... or TV SciFi/Horror?

The answer is simple ... like some of the other non-genre films that I adore (say hello The Holiday and Airplane! - and of course The Stranger in Our Bed :)) it's a brilliant film, and very underrated and overlooked ... so I thought I'd try and share some love and get people seeking it out.

Released in 2013, and written and directed by Ritesh Batra, The Lunchbox contains a simple idea. In Mumbai, when the menfolk (and I assume womenfolk too) have all gone off to work in the city, their partners prepare their lunches at home. From what we see, these are usually some curries, vegetables, some chapati and so on. Similar lunches can also be ordered from companies who provide the service. Once they have been prepared, the lunchboxes are packed and then collected by a small army of people called dabbawalla ... these folk cycle and collect the boxes, then consolidate them all to go into crates on the trains, to be taken into the city, and then, using some arcane system of knowledge, get distributed to the offices and onto the desks of the workers, so they have a hot, freshly prepared dinner at lunchtime.

It's a superb idea, and the film does well in showing the process at work ... in a crowded Mumbai, people everywhere, somehow these boxes reach their intended recipients ... well ... all except one.

The film is about two people: at home is Ila (Nimrat Kaur) who dutifully prepares lunch for her absent husband. She is aided by her unseen Auntie (Bharati Achrekar) and the two have a great banter as Ila prepares the food ... getting advice and help from her upstairs friend. The prepared lunchbox however doesn't get delivered to Ila's husband, instead it arrives with grumpy and about to retire Saajan (Irrfan Khan), who is surprised to receive such delicious food. The next day, realising the mistake, Ila pops a note in with the food, apologising. Saajan replies ... and so it begins.

The two begin a relationship of sorts through these notes and the food that Ila makes ... and it's beautiful. Ila is sad and lonely, and Saajan is a widower ... so the two share their stories and their lives and slowly it changes them ...

I love the film. It was recommended to me by a friend at work, and I managed to find a copy ... It manages to pull at all the right strings in presenting a very human story through the most unlikely of circumstances ... Ila's 'Auntie' is a brilliant creation. Never seen, but always there with advice and help and consolation. The scenes of Mumbai are brilliantly shot, and the offices and the people are as real a depiction of the culture and the people as I have ever seen.

The film is in Hindi, but has subtitles in English, but with such a good film this doesn't matter as the performances and the story pull you through.  I'm not going to reveal how it ends or the twists it takes as it's worth seeking it out yourself!

If you like a good romantic film, and don't mind subtitles, then please check it out! There are DVD copies on the big A if you look ... and it's available on Prime if you want to stream it.

But don't take my word for it ... according to the Wiki, the film won the 'Critics Week Viewers Choice Award' also known as the 'Grand Rail d'Or'. It was a box-office success and received unanimous critical acclaim. The Lunchbox was also nominated for 'Best Film Not in the English Language' at the 2015 British Academy Film Awards.

Review: Black Mirror Season 6

Thank goodness for Black Mirror. Just when you thought there might be nothing left to watch on Netflix, along come some more episodes of the best science fiction/drama/horror/fantasy series going!

Season five was some four years ago, so writer and creator Charlie Brooker has a lot of material to play with, and the opening episode is in many ways a typical Black Mirror scenario, concerned with technology, it's rapid rise, and where this might all eventually lead. It's one of the big strengths of the series that a simple 'what if' can launch you into some full blown horror scenario which still seems completely believable.

In 'Joan is Awful' we follow the character of Joan (Annie Murphy) who, with her distinctive white streaks in her hair is head of something or other at a large tech company. She has a bad day: she has to sack a colleague, sings in the car going to work, drops a cigarette on said colleague as they leave the building ... just a general, normal bad day ...

But when she gets home, she discovers that the streaming company Streamberry (a direct swipe of Netflix, even down to the onscreen visuals and sounds) has a new series on called Joan is Awful, and this follows the life of a lady called Joan, played by Salma Hyack, who looks exactly like Joan, and whose day unfolds in exactly the same way ... even down to secret text from an ex-boyfriend ...

As a result her current boyfriend (or husband, it's not important) walks out on her, she loses her job, and her life becomes more and more a living hell ... and of course the TV show matches this all beat for beat.

It transpires that, when Joan signed up for Streamberry, she ticked the box that said she had read and accepted the terms and conditions, and as a result, Streamberry was allowed to stalk her and to use her life as the basis for a TV show!  Shades here of the South Park episode 'Human CentiPad' where one of the children, Kyle, is stalked by Apple as a result of not reading the Terms and Conditions when agreeing to download the latest iTunes update, and as a result he has actually agreed to be part of a horrendous medical experiment!

Anyway, Joan takes her complaints to Streamberry, but meets a frosty reception as this is all part of their global plans. Salma Hyack is also displeased as they are using her likeness via an AI to make the episodes - and she has no say and gets no fees ... so she and Joan join forces to try and take Streamberry down!

The episode is a brilliant reflection on modern life where we're expected to read many-page terms and conditions online in order to access services, and in reality have little idea as to what we are signing up to. Plus the ruthlessness and cold-heartedness of Streamberry is notable, moreso as Netflix are airing the series, and this seems to not reflect well on them at all ... I guess someone there has a sense of irony or humour after all. I do wish they would agree to pay the writers fairly though :(

The second episode is called 'Loch Henry' and is a complete change of mood and style. Here we're with a young couple Davis (Samuel Blenkin) and Pia (Myha'la Herrold) who arrive at Davis' family home by the Loch, looking to make a documentary about a couple who went missing there years ago. There's various likely suspects, and we soon realise that this time we're in murder-mystery territory as the culprits are revealed ...

I don't want to say too much here as the pleasure in this episode is watching it unravel before you, and realising who and how the murders happened. It's a sad tale, and the ending isn't all happy ...

'Beyond the Sea' is a strange title for a character piece about two astronauts, Cliff Stanfield (Aaron Paul) and David Ross (Josh Hartnett) on a six year deep space mission.

What puzzled me a little about this episode was the time it was set in - apparently 1969 on Earth, but we're in some sort of alternate universe as the two astronauts are in a space station-like craft, and take it in turns to 'connect' their minds with a robotic body back on Earth, who looks and acts just like them, and which, when their mind is in it, carries on their life as though they had never left.

The robotic 'self' seems to be made from some quasi-organic material and 'bleeds' a silver liquid when cut. So when the men visit their wives and family, they can interact and carry on as normal.

This is, until a crazed Manson-like gang infiltrate David's home and viciously kill his family in front of him, objecting to his 'non-human' form.

David slips into depression, as he is now unable to take the breaks he would have done from the tedium of the space craft. But then Cliff has an idea, why doesn't David take Cliff's robot body for some periods ... to give him relief and to try and keep him sane.  Thus David does this, and meets Cliff's wife Lana (Kate Mara) and son. David can paint, which Cliff cannot, and so David persuades him to allow him to continue to visit in order to complete a painting of the house ...

As this is a Black Mirror episode, perhaps you shouldn't expect happy endings, and here where the story goes and how it ends is maybe the darkest the series has delved so far. Ostensibly a science fiction episode, it's actually a very dark treatise on loneliness, death, and the human condition ...

'Mazey Day' follows the life of a papparazo photographer, Bo (Zazie Beetz), who picks up a lead on a celebrity Mazey Day (Clara Rugaard) who has not been seen for two weeks after she left a film set. Bo has been recently disenfranchised by her chosen career when one of her 'subjects' commits suicide ... But the Mazey Day pictures are worth a lot of money, and so she sets out to try and find her, tracing her to a rehabilitation centre.  She and some fellow 'togs' break in, and find that she seems to be being held captive there ... but why?

As always, I'm not going to give the game away, but this is a great horror-based episode, with a neat twist that we certainly didn't see coming ... It's television firing on all cylinders, and giving us science fiction, horror, thriller, drama and everything in between ...

Finally in Season 6 comes 'Demon79', and Brooker's penchant for humour comes right to the fore (the episode is co-written with Bisha K Ali). Nida (Anjana Vasan) is a mild manner worker selling shoes in a department store, and she experiences imagined flashes of extreme violence against some who cross her. She is forced to eat her lunch in the basement, because others have complained of the smell of her spicy food, and one day she finds a talisman, cuts her finger, and accidentally summons a demon Gaap (Paapa Essiedu). Initially appearing as a very horrific vision, the demon realises that if he is going to get anywhere, he needs to look acceptable so pulls an image from her mind as to who to look like. And he chooses Bobby from the band Boney M in the video for their single 'Rasputin'!  Thus he tells Nida that she needs to kill three people in three days or the world will end ... but what will mild-mannered Nida do?  Surely there's some out there who deserve to die!

Thus the stage is set for a very entertaining episode, levened with humour and great characters, and with all the little touches that make Black Mirror so great. I loved Nida watching Sapphire and Steel one evening ... and the use of Bobby off the Boney M video is inspired.

I have loved this season of Black Mirror which again proves that it's one of the best shows on streaming. Every episode presents something new and different and we veer from science fiction to horror to comedy to thriller to drama and back again, and often all of them all at once.  It's inspired and accomplished writing, supported by great performances and direction.  A note too for the design, which manages to make the settings look like the years they're supposed to be - 1979 here in 'Demon79'.

Do yourself a favour and dive in. If you're not keen on a certain episode (we found the very first one in season 1 - about the politician and the pig - to be not to our taste) then go to another as there are sure to be some things here which will inspire and move you.  For me, the best episode remains 'San Junipero', a superior treatise on love and death ... but others may love other episodes.

Review: Run Sweetheart Run (2020)

We found this thriller on Prime, and decided to give it a go ... and were very pleasantly surprised.  It's an effective 'chase' thriller wherein Cherie (Ella Balinska), a young mother, agrees to go on a date with a client of the law firm she works for ... as she is preparing though, her period starts, and she is out of tampons, so has to extemporise.

Initially, this focus on her period and the blood seemed out of place and, well, icky ... but it actually has a lot to do with the action that follows. The man Cherie meets is Ethan (Pilou Asbæk), and while he seems kind and nice and fun to be with, he's actually something of an unpredictable maniac who dogs hate ... Cherie runs from him, not realise that he's actually some sort of supernatural demon who has scented her blood and so can find her wherever she goes.

Thus she runs ... and the film occasionally puts up a large red RUN on the screen each time she needs to get out of there ... shades of the Werewolf Break in The Beast Must Die!  But each time, Ethan turns up to slaughter whoever might be with or helping Cherie!  It's a great action concept and the film handles it really well. You never quite know when he might appear or who might get killed ...

Eventually she finds some help, but I'm not going to go there as it's worth enjoying the film for yourself.

The blood and gore is well done, and the sense of threat and terror is ratcheted up as the film progresses. Cherie is a good heroine, strong and capable, but she finds herself being tried by the supernaturally strong and unkillable Ethan. At times he reminded me of 'the Shape' in John Carpenter's Halloween and subsequent films ... a strong, mostly silent, stalker who is out to get you!

Run Sweetheart Run was directed by Shana Feste from a screenplay by Feste, Keith Josef Adkins and Kellee Terrell, and is another great slice of horror from Blumhouse Studios, who seem to be cornering the market these days in great horror thrillers.  Well worth checking out.