Doc Oho Reviews...

Wednesday, 22 April 2015

Big Finish Spin Off CDs for sale on Ebay!

Tuesday, 21 April 2015

The Happier Dead written by Adam Usden and directed by David Darlington & Darren Gross

What's it about: 'Collinsport Hospital is where you come if you want to die.' But no one is dying at Collinsport Hospital, even those who wish to. When student parapsychologist Amy Jennings is rushed into intensive care, she reluctantly begins to investigate, and soon finds the hospital morgue is anything but empty. But who is behind it? And what could they possibly want? Amy might be guaranteed to make it out alive, but she is about to discover there are fates far worse than death.

Amy Jennings: Amy Jennings has always been unlucky in love. She loved her parents and they died. She loved her brothers and they died too. Amy is extremely sensitive when it comes to talking about werewolves. She's a hilariously inept investigator at times, asking professionals about supernatural happenings. She splits the world into two types of people, those who see cold spots and those who see ghosts. Which one are you?

Standout Performance: The best aspect of the first series of Torchwood by a country mile, Murray Melvin is one of those performers that excites because he never quite plays a scene in the way you might expect and is eye catching because of it. It's a similar technique that Tom Baker has, a compelling eccentricity and a feeling that anything can happen whilst he is acting. Edwin Beadle was the best character to feature, a witty and dry old codger who knows his time is up and wants to skip to the end of the book he is reading just in case he doesn't make it to the end.

Sparkling Dialogue: 'Collinsport hospital is where you come when you want to die!'

Great Ideas: Collinsport is cursed. You breathe its air, you choke. You drink its water, you drown. You even look at it on a map and you go blind. If anyone had any sense they would level it to the ground. Amy understands exactly what to expect from a mystery at Collinsport hospital - bodies being admitted clawed and mutilated. She's been in this town long enough for none of this to surprise her. But nobody could guess the plague that seems to have struck now - life. Nobody is dying at Collinsport hospital despite having some horrific injuries. It's Torchwood Miracle Day all over again. Just like Miracle Day it is a premise that has so many possibilities.

Audio Landscape: The sequence with the hysterical screaming failed to unnerve me because I was too busy turning the volume down. It was like somebody was grating my brain. Heart monitors are used in an imaginative way.

Isn't it Odd: Whoever played the coffee shop server has to be heard to be believed. The Happier Dead opens on a scene that really feels as though you are coming in at the middle of the story with no real clues as to what the beginning was. The dialogue occasionally made me wince ('And the Oscar goes to...', 'Cold hands, bad circulation') and it was overly descriptive in parts too ('He's charging the door!' could have been handled with a sound effect).

Standout Scene: Amy's Miss Marple moment when she realises that this wasn't meant to be such a sweeping reform where death is prevented...it was only supposed to work on one person. A clever twist that I never suspected. Suddenly the one responsible is blatantly obvious.

Result: 'Leave the dead to die!' Don't get appendicitis in Collinsport! A busy script with a busy cast, a little unfocussed but full of a nice ideas. The dialogue felt a little strained at times and the atmosphere a little forced...and even the direction erred a little too close to the melodramatic for my tastes in a range that is usually quite restrained in its horror. Saying that the plot unfolded in unexpected ways and there was always something interesting going on, I'm just not sure that the execution always worked. I prefer an economic cast (Bloodlust proved to be the exception) and this is a full cast drama with too many characters to give adequate attention to. I wanted to spend more time with Murray Melvin's gloriously oddball Edwin but he was spread amongst thirteen other characters. Halfway through the story and I wasn't entirely sure what the threat was in The Happier Dead, it felt like the script needed to go through a editor one more time to iron out its kinks. At one point the script is so ill defined one of the characters makes a supposition about the motives of who they think is the villain and says 'maybe we'll never know.' I really love the quirky idea of the heroes trying to kill people off as a mercy, the protagonists becoming the murderers in this insanely turvy topsy situation where immortality is a curse. The weakest Dark Shadows I have heard yet but it's still more involving than the worst of the other Big Finish ranges: 5/10

Monday, 20 April 2015

The Defectors written and directed by Nick Briggs

What's it about: Jo Grant is shocked to find most of her colleagues are missing. Then she discovers that the Doctor has inexplicably changed. But there’s no time to worry about it, as she and her misplaced Time Lord friend are whisked to the mysterious Delphin Isle on a matter of national security. There, they encounter a disturbingly odd form of local hospitality and learn of a highly classified incident that took place during the Cold War. Why exactly have they been brought here? And what is the truth concerning the bodies in the harbour and the vast project being undertaken beneath a cloak of secrecy?

The Real McCoy: McCoy seems quite at home in a lovely old Pertwee adventure, relaxing into the sort of atmosphere that his era rarely afforded him. If there wasn't much to the seventh Doctor's relationship with Jo Grant, he at least seems to be enjoying himself immensely stepping into his past.

Dippy Agent: This is more the snivelling, useless Jo of season eight than the competent and assertive Jo of season ten despite being told that it is set in the latter year. There's a bit of splash made about Jo being a capable member of UNIT but there really isn't much to back up that assertion in this story.

Camp Captain: Where was he?

Standout Performance: I have spent the last week listening to a number of companion chronicles, three of which were read by Katy Manning where she manages to perfectly capture the youth and enthusiasm of Jo Grant. Bizarrely The Defectors was the first time where I felt she struggled to do so, where her years felt as if they were fighting against Katy Manning. A shame because she is such an energetic and talented performer but the gruffness of her voice really took me out of the story at points and further reduced the idea that this was an older Doctor meeting a companion from his past.

Sparkling Dialogue: 'I'm guessing I'm not quite the Doctor you're expecting...' - hardly revelatory dialogue but somebody had to say it.

Great Ideas: For those of you who obsesses about such things this is definitely set after the Three Doctors because the events of that story are mentioned. The Doctor and Jo dragged to a mysterious coastal island by UNIT where the locals are all behaving suspiciously...it's fairly easy to get behind a premise like that because it is so Doctor Who. In 1951 an experimental Soviet craft ditched in the sea just off the island, containing a high ranking defector. They managed to salvage most of the craft and pilot has been helping them to rebuild it. The 'blue stuff' is a secretion from the aliens to help them control their cattle back home.

Audio Landscape: Helicopter flying overhead, seagulls screaming, waves crashing ashore, smashing into equipment, banging on a door, a pool, alarms, flowing water.

Musical Cues: I was a little distracted by the melodramatic nature of the music and it didn't have a signature of anybody that I recognised...upon investigation the soundtrack was delivered by Joe Kramer, a name I could not identify. Like the story itself, it isn't a terrible score, it just isn't a particularly distinguished one. On a completely unrelated note, I was listening to the scores of Russell Stone recently...whatever happened to him? His music in the early days of Big Finish was exceptional.

Isn't it Odd: When I first heard of the premise behind the locum Doctors stories my eyes rolled upwards and I sighed. Sometimes I feel like I am a right party pooper but the news came during a spread of stories where innovation was lacking and nostalgia was the order of the day. And this did not feel like an innovative idea (at least not in the way Big Finish were advertising it), it felt gimmicky and a bit wanky. Hardly the way to celebrate our way into the 200th Main Range release. I can even see the point of the idea, to give the companions of the early Doctors a chance to break into a the main range and prosper...but it still feels like something a 12 year old fan would do in their exercise book rather than the focus of a trilogy of adventures written by professionals. I remain to be convinced on the strength of The Defectors because putting the wrong Doctor with the wrong companions just feels...well wrong but not in a positive kind of way. The frozen inhabitants of the island is very reminiscent of The Android Invasion episode one, a story I know Nick Briggs is fond of thanks to the special features documentary he took part in on the DVD. The 'You called me Doctor' gag is repeated so many times I wondered if we had wandered into the Axon time loop by mistake as another kiss to the era. All the suggestions that the Brigadier is going to show up felt quite disrespectful to me. The creature depicted on the cover is a bizarre mish mash of creatures...it doesn't quite come together as the artist intended. It reminds me of the Lazarus creature, a hotch potch of interesting ideas that look cumbersome and unconvincing when brought together. All the aliens want to do is leave the Earth and resume their journey...which is hardly the most exciting modus operandi of your average alien species. For Briggs who is a Big Finish veteran there was more than your average overly descriptive dialogue. Given he is possibly the finest audio director it is a shame he doesn't think with that hat on when he is writing. It's the return of the aliens with modulated voices so indistinguishable that you have to strain like you are forcing out a curry to try and understand them. As for Mike Yates appearing in this adventure...was it really worth booking Franklin for such a small cameo?

Standout Scene: The seventh Doctor behaves in a very seventh Doctor way in the last episode, which the third Doctor would never have done. It stands out because it is such an aberration. But again it is hardly revelatory. The seventh Doctor should behave like the seventh Doctor, whether he is story-bombing one of his predecessors tales or not.

Result: Davison taking part in a Hartnell adventure and Colin being paired up with Hines and Padbury again are two ideas that excite me but I cannot say I have ever given much thought to the duo of McCoy and Manning or that it is one that particularly lights up my world now I have heard the story. It is an middling pairing in a middling tale, a love letter to the Pertwee era that ticks all the right boxes ('What sort of base? Or let me guess...a top secret one!') but lacks three important elements (Pertwee himself, the Brigadier and the Master) and the warmth of camaraderie that powered the top drawer early seventies adventures. The Defectors is perfectly entertaining without ever threatening to become anything more than workmanlike. You could slip it into the player and kill a few hours but I can't imagine you ever doing so again (which is not something I would say about some of the other main range stories of late that I would love to experience again, especially The Widows Assassin and The Entropy Plague). I've just finished listening to it and I can't really recall much of the story because so much of it was filler material. The truth of the matter is there is about enough substance to adequately fill a 45 minute fourth or eighth Doctor adventure (and it would still be quite a light piece at that length) and the slack is taken up with lots of creeping about and empty banter. Nick Briggs is such a busy man, contributing to so many ranges as a director, actor, sound designer and writer that I think some of his talent is being spread a little thinly. Once upon a time he wrote Creatures of Beauty. Years later he wrote The Defectors. The difference in quality between the two is conspicuous. McCoy's perky performance aside (and it always comes as a pleasing surprise to me when he is the most enjoyable feature of a story), this is disposable stuff. There is nothing here that justifies the 'Locum Doctors' format and that is a bad way to kick start things: 4/10

Sunday, 19 April 2015

The Harvest of Souls written by James Goss and directed by David Darlington & Darren Goss

What's it about: “My name is Maggie Evans, and this is the end of my story.” Collinsport is over. And, after recent events, Maggie Evans just doesn't care any more. She grew up here, she fell in love here, she grieved here. But no more. Maggie wants out. But there's a problem as this town won't let her go. Collinsport has unfinished business with Maggie. Maggie finds herself trapped in the empty streets, pursued by an old friend who wants only one thing. To make her happy. But Maggie Evans doesn't believe in happy endings any more.

Maggie: She is at her lowest ebb in this story, manic depressive to the point of feeling suicidal and the perfect victim for anybody who might be ready to exploit her psychologically. Be careful what you wish for...Maggie craves somebody to talk through her problems with and Gerald drops into her lap. Maggie is not the sort of person to give up normally but she has been pushed to her limit lately, especially with the death of Jim Hardy. Maggie has a chance to be happy, a second chance. But she isn't sure whether she wants to be happy, not after everything that has happened.

Gerald: When he first came to Collinsport he was at his wits end and had blown just about everything in his life. We charted Gerald's haunting and possession in The House by the Sea and now is our chance to find out a little about who has taken up residence. How can you answer the question of what it is like to bring somebody back from the dead? He has many faces and employers. His happy ending is to be able to do some good long after he should have died. Realising that doing a good deed is so rewarding.

Standout Performance: Nobody would be able to tell that Kathryn Leigh-Scott and Colin Baker weren't even on the same continent when recording this drama, such is the strength of their professionalism and performance. Of their respective ranges (Doctor Who and Dark Shadows) they are my favourite performers so bringing them together was a dream come true for me and affording them such a strong performance piece was a gift to the actors. The Harvest of Souls is a very intimate piece and all about the relationship between these two characters and it relies on two very strong actors to keep your interest when there is little else of note going on. They managed that effortlessly.

Sparkling Dialogue: 'Typical Collinsport! I can't even kill myself without some monster coming for me...'

'I've come back to Collinsport and I've made everyone happy.'

'An evil man can sometimes do good...if it suits his ends.'

'It's always darkest before the dawn and the sun never really rises in Collinsport.'

'All those captured dreams; planed, chipped and carved.'

'When you dream you don't dream of this world...you dream of the past or the future or other worlds where you made other choices.'

Great Ideas: How much does Colin Baker look like William Hartnell on the cover? Beyond the Grave gets a mention, the producers are trying to back track and pretend that it was a work of fiction rather than a documentary that went horribly wrong. I loved the mention of Alfie & Emma and Jim, characters from other stories that remind you that this part of a cohesive library of tales without their reference infringing on this as a standalone tale at all. There are so many dead and gone in Collinsport, Maggie is convinced that the town simply cannot get a happy ending. The flashbacks between Jim and Maggie as kids are vital to understand the bond between the characters, giving her actions at the start of the story a great depth. How atmospheric is the idea of Collinsport being deserted by the townsfolk who have been given the opportunity to follow their dreams whilst a manic depressive wanders the cliffs looking for a way out of this life? The creatures in the water are not of this world...not anymore and their methods aren't very subtle. They mean well but lack a friendly face. Long ago the Leviathans ruled this world and many others with ancient powers. It has been a long time since they existed in this dimension and they have forgotten how to interact with it. The Leviathan's don't give a fig about humanity, they just want to the planet back and if they can help to move people on to a better existence whilst 'cleaning out the kitchen' then so be it. Was there a single person in this town happy? Collinsport - the unhappy ones run away and the happy ones die. It is a cursed place, cursed by the shadow of the Leviathans. The science and physical laws of the Leviathans is pressing down on Collinsport like a storm. The Leviathans used to dance around the first tree in Collinsport. When they left the tree remained and grew and grew. One day a man chopped down the oldest tree and made a staircase out of it for Collinwood. The wood of the tree gave the house power, rooting itself into the ground. I can only imagine what a spectacular sight it must be to see thousands of Leviathans crossing over into our universe.

Audio Landscape: Lightning, thunder, rain, Maggie falling into the sea, bubbles raging under the water, crackling fire, the breathing, sucking, slurping creature, frying eggs.

Isn't it Odd: I realise it was a creative decision to have Kathryn Leigh-Scott play Maggie as a young girl but it can get a little confusing, especially when Jim calls her 'Miss Evans!' At one point I wondered if she was his teacher!

Standout Scene: 'You want me to take you to the moon, Maggie Evans?' 'No, I want you to show me the world!' The glorious sequence where Maggie explores her dreams and embraces a life of travelling the world. Unusual for this range but tremendously uplifting.

Result: 'On the worst night of my life you turn up to offer me a second chance?' Can evil be a force for good? That is an exciting idea to explore. If somebody were to offer you happiness, whatever your heart desires, in order to move on from this world would you ask for? These are the sorts of questions that James Goss' superb script dissects. There is also some fundamental exploration of Collinsport itself which makes The Harvest of Souls a must for anybody who is looking for an explanation for why so many terrible things happen in this town. I found the backstory of the Leviathans absolutely fascinating and would like to learn more in subsequent stories. But what really appealed to me were the character scenes between Maggie and Gerald, an intimate character drama between two lost souls looking for some meaning in their lives. Maggie has emerged as my favourite Dark Shadows character, partly because she has a formidable personality and strength of character (check her out in Bloodlust) but also because Kathryn Leigh-Scott delivers one knockout performance after another. Pair her up with Colin Baker (playing the embodiment of evil distributing good deeds) and you have something magical to deliver to your audience. Given that it starts with an attempted suicide, this is one the most uplifting dramas in the Dark Shadows catalogue. It reaches some sunny conclusions and sports some memorably poetic moments. If you are looking for the usual first class scares then move along but if you are prepared to try something a little different and more cerebral, it doesn't come much finer than The Harvest of Souls. The conclusion that it draws...that everybody is happier far away from Collinsport doesn't bode well for the next entry. Or the next. Or the next...: 9/10

Captain Jack Harkness written by Catherine Treganna and directed by Ashley Way

This episode in a nutshell: We discover that Captain Jack Harkness is not his real name…and far more besides.

Hunky Harkness: Excuse me whilst I go on a little rant for a moment but why can’t Jack be written this perceptively on a more regular basis? If you tuned in to this episode you would be under the mistaken impression that this shows lead is a thoughtful, gentle, awkward fellow that makes tough decisions of the heart. Anybody who has seen the first season of Torchwood will tell you that this is exception rather than the rule but that doesn’t take anything away from what this episode achieves and that is to make Jack likeable for the first time since the series began. That’s one miracle, the other is that they managed to pull of a gay romance without once ever making it feel sensationalist or gratuitous. Colour me impressed. But more on that later… Jack stole the real Jack Harkness’ name, he knows too much about his future and he doesn’t want to share. Being back in the 1940’s is like a nostalgia trip for him, almost a school reunion! Who was he before he took his false name? Isn’t it wonderful how sexy, flirty, confident Jack Harkness becomes a shy, awkward teenager again when he falls for somebody that he has an emotional connection with. Lets give John Barrowman plenty of credit where it’s due, he makes the scenes between the two Jack’s anguishing. He sends Jack after Nancy to kiss her goodbye, a sweet, selfless gesture despite how it clearly hurts him. A Captain has to explain the risks and tell his men what to expect. Jack was forced to watch his best friend be tortured by the worst creatures imaginable – it is unusual to hear him opening up about his past, he must really care about his the other Jack. The look on his face when Jack tells him he is scared to fight is regret; he has fallen for him now he has admitted how he is really feeling. When they lock fingers and pull apart awkwardly when people walk past it would take the most cynical person not to will them to be brave enough to show their feelings publicly. Jack admits to Tosh that Rose brought him back from death and ever since he feels as though he is alive for a reason and he’s still trying to find out what. The moment Jack finally asks our Jack for his hand on the dance floor and they hold each other, aching to be together with Tosh watching on proudly is one of those winding emotional moments that Torchwood can achieve that no other show can. They look at each other with such longing. I love how Jack has no witty quips, doesn’t pull out a gun once or hurt anybody throughout this episode, he leaves the story a broken man who has lost another love and it’s heartbreaking.

Jack’s Crew: What a fantastic episode this is for Toshiko! After a season of wafting around like a bad smell and not really connecting with the action (except for the uneven Greek Bearing Gifts) we finally get some really interesting material for Tosh. Her Grandfather is 88 today and she’s off to party! Jack grabs her and dances her around the derelict dancehall in an unexpectedly intimate moment. I love how Jack treats this all as a jolly adventure but Tosh is genuinely scared that they will be trapped in the 1940’s and she has a life that she wants to get back to. She awkwardly dances with a squaddie and Jack has to step in to protect her honour. She is terrified of what will happen to her after Pearl Harbour despite Jack’s promises to protect her. It is Tosh that drags Jack back to the 21st Century telling him that they need him. It’s not a pairing I would have thought of but Jack and Tosh have surprising chemistry. The power games between Owen and Ianto are great, at least initially as they give the former a reality check and the latter something to do at last! They insult each others failed romances, Ianto turned to Jack for solace but Owen is still bleeding. Owen describes Ianto’s way as safe and boring. Owen and Gwen only share two lines but they are loaded with tension and regret. You have to cheer when Ianto puts a bullet in Owen’s shoulder, he really is pig headed in this episode. Once we get to Fragments in series two his actions here become much more understandable, not wanting to lose another love.

Sparkling Dialogue: ‘I’ll look after you but there’s nothing I can do for him.’
‘It was wartime but it was beautiful.’

The Good Stuff: A temporal shift to the 1940’s, Torchwood has dragged characters from the past to the present effectively and it pulls kicking our regulars into the past with just as much style. ‘Why is George dancing with a Jap?’ – I really liked the inclusion of the bullish, intolerant blond showing that beneath the veneer racism was running rife. Scenes of Gwen hearing the dance music in the deserted dance hall is pure Sapphire and Steel. Who guessed the title was referring to the real Captain Jack Harkness? Bilis Manger was the best villain of the first season (he is great but his competition was a sex alien, fairies, a Cyberwoman, a rapist, Suzie and a bunch of inbred cannibals!), he is effete, delicate and very sinister, his piercing eyes bite right through you. How he appears in both time zones feels as though he is haunting the building. Another moment of unspoken feelings comes when Jack awkwardly handles his trophy girlfriend, you can’t help but feel sorry for Nancy who he doesn’t say I love you to before returning to Jack. Tosh sending the details to help them forward in time, written in her own blood, is a gorgeous idea. White Cliffs of Dover is sung in an air raid shelter as young boys lose their virginity before heading off to war, this episode oozes period atmosphere. I like the gentler moments like Jack looking over at our Jack as he tells Tosh about his death.

The Bad Stuff: What a shame the Ianto/Owen testosterone match grinds up to such hysterical levels, it would have been a flawless episode otherwise.

The Shallow Bit: Ianto looks as handsome as he has ever been in his red wine shit and waistcoat. Matt Rippy manages to be rugged and gentle, he’s absolutely gorgeous. Is this the most anticipated kiss between two men?

Result: Reading my reviews of Random Shoes and Captain Jack Harkness might lead you to believe that I have no issues with the first season of Torchwood. Nothing could be further from the truth but they are two exceptional diamonds amongst a whole heap of rough. It interests me that my three favourite episodes of Torchwood’s first year are all written by women (Ghost Machine is the other one) and Cath Treganna mixes war and romance to shattering effect here. It's dizzyingly effctive. Captain Jack Harkness might dress itself up as a time travel tale but it’s really a tender chance romance between Jack Harkness and the man who stole his name. I'm not keen on gay romances simply for the sake of it (there is nothing wrong with that, it is a purely personal problem I have about being defined by my sexuality, which I hate) but Captain Jack Harkness offers invaluable development to the titular character and great opportunities for the series' lead actor. John Barrowman gives his best performance of the season and shares passionate chemistry with Matt Rippy, their scenes together enchanting. I’m glad we got to see more of Bilis Manger since he is the first Torchwood villain to really impress. The episode looks gorgeous too and even finds the time to perk up forgotten character Toshiko. Rift opening hysterics aside, this is a blisteringly good episode: 9/10

Friday, 17 April 2015

The Day of the Clown written by Phil Ford and directed by Michael Kerrigan

This story in a nutshell: 'What happened to the children?'

Until Next Time...Miss Smith: Sarah's fear of clowns comes across as perfectly natural to me because it is one I share. Despite her apprehension, she faces up to her phobia and tries to laugh at it. It is only when she confronts it that she can really move on, like all fears. She is keen to stress to Rani that they don't just fight aliens but help out the ones who are in trouble too. Sarah admits that if she could turn back time she wouldn't have Luke or Clyde involved with alien skirmishes. It is a messy business. I really appreciated the flashbacks to Sarah Jane as a child hiding beneath the covers of the marionette hanging on the door. Like Whatever Happened to Sarah Jane? it feels like the writers are opening up new avenues and telling us more about a character that I thought I already knew back to front and inside out. And with the mention of losing her parents it looks like there is more to come. The writers aren't afraid to show the vulnerable side to this character and that makes her far more convincing a lead as a result. One fear that is even greater than clowns is the thought of losing Luke. Odd Bob preys on that at the climax.

Schoolgirl Investigator: This is a decent introduction to Rani and shows a great deal of potential but I would say the best is yet to come. You can certainly see in her perky characterisation and Anjili Mohindra's confident performance the seeds being sown for the formidable Rani/Clyde pairing, the best Doctor Who companion team that never got to travel in the TARDIS (step inside it, sure...but they were grounded by the Judoon at that point). The only beats that felt insincere was when Ford attempted to push just how into 'weird' Rani is. It feels forced, like Maria has just left and she is immediately the to fill the gap as the perfect replacement. But this was early days and you have to cut any character a little slack in their debut story before the kinks have been ironed out. I thought that Maria's absence was going to damage the series at the time (especially with the loss of Chrissie and Alan) but Rani managed to not only fill that void but mature into an even more attractive alternative. Gita pushing home the point that Rani is very curious and wants to know everything about everything is also driving the point home a little too much. I guess Sarah Jane has learnt from the on/off behaviour of Maria (sometimes loving her exposure to aliens, other times condemning Sarah Jane for bringing danger into her life) and when Rani expresses an interest she offers her the choice to walk away and back to her normal life or to step into the Attic. That way Rani cannot pull out the blame card if things get too serious. You get that little thrill of being let in on something magnificent all over again when Rani walks into the Attic.

The Folks: I will start off by admitting that I don't think that the Chandra's are quite as effective as the Jackson's. There was something truly special about Alan and Chrissie that really struck a chord with me, whether it was the performances, the writing or a mixture of both. Saying that I do think that Haresh and Gita are perfectly acceptable substitutes, a mismatched pair who seem perfect for each other because of it. My only real issue is the extremes of their characterisation; Haresh is the stern school Headmaster and Gita is the scatty wife. However Ace Bhatti and Mina Anwar subvert these clichés through their well judged performances. Anwar might err towards the CBBC norm in her interpretation of Rani's excitable mother but she imbues the character with such heart and enthusiasm that I smile every time she appears. What's important is that whenever Gita or Haresh interact with Rani they come across as genuine parents and over four years feature in some surprisingly affecting moments.

Sarah's Gang: Maria's departure allows the writing team to explore with another issue that children might have to face during their teens - losing friends. For Luke this is almost like a bereavement because whilst they can talk online, Maria had been one of the most important people in his life ever since his birth. Now the natural conflict between Sarah and Chrissie has been removed from he series (it always kept it from becoming too much of a love in) it has been replaced with tension between Clyde and Haresh, which is fascinating to watch develop.

Sparkling Dialogue: 'What encyclopaedia did you find that in?' 'Heat.'

'The fear of the painted smile...'

'If you really want me to count them all I'd pull up a chair, it has been over 700 years.'

'Can you imagine a bogeyman who brings children back from Never-Ever Land?'

The Good: Clowns. Brrr...One of worst phobias. Despite the laughable ending I still can't get through the film It without suffering nightmares afterwards. I don't know what it is that scares me more, the fact that there is an enforced jollity about them which comes across as false and sinister or the grotesque parody of human features smeared across their faces. And the laughter... It's quite a brave monster for The Sarah Jane Adventures to pull off because I can imagine many children have a similar aversion to clowns and they certainly don't hold back from making this teatime Pennywise any less monstrous (complete with disgustingly yellowed teeth and mad staring eyes) than his film counterpart. I like how the scenes of Rani and her family moving in play out in a similar fashion to Maria's arrival in Invasion of the Bane, they are deliberately filmed in a comparable fashion to drive home the point that her replacement has arrived. Rani's integration is helped by the fact that she is investigating weird goings on on her own and she draws closer to Sarah Jane because of it. If I looked into a mirror and saw a clown staring sadly back at me holding a balloon I would probably faint outright. If it reached out of the mirror to grab for me I would probably be locked in a padded cell. This is near the knuckle stuff. Plus scenes set in the toilets...that is a rarity for children's television. Even worse is the clown peering in through the window and then materialising, grinning insanely behind Rani in her kitchen...what the hell is Phil Ford trying to do to me? The role of the Clown/Piper needed to go to a versatile performer and I was surprised at just how good Bradley Walsh was in the role. Not because I thought he wasn't a good actor but because I was used to seeing him in Eastenders which is a fairly undemanding series to perform in despite its allusions to high drama. Spellman is all theatrical quirks, Oddbob the Clown is quietly husky and terrifying and the Pied Piper has an air of solemn regret about him. It's three remarkably different characters, all of which Walsh pulls off with some aplomb. Channelling The Greatest Show in the Galaxy, robotic clowns jerk into life and menace Sarah and her friends. The shows of them grinning straight to camera are shuddersome. Returning to the Pharos Institute gives the series a real sense of internal continuity and regardless of her CBBC inspired performance it is always a joy to catch up with Floella Benjamin's Professor Rivers. There s a glorious piece of music that accompanies the kidnap of the children from school and their march through the street with balloons, memorable because it is playfully menacing rather than bombastic. Such a simple idea, the balloons being filmed backwards floating down into the children's hands and yet it is very effective. What a fun riff on the Pied Piper miff brought into the 21st Century.

The Bad: Like any group of school kids would be cheering on the science geek. It's not often that the small budget on this show is exposed thanks to sympathetic directors, often surprisingly stylish resources and strong physical and CGI effects. Whilst it isn't poor by any means, the Circus Museum does come across as little more than a single room with a handful of exhibits. It should have been far more elaborate, quirky and chilling. Ultimately it should be a prison of grotesques but it feels like you could just step out of the door at any time. Walking through the deactivated clowns should be a genuinely unnerving experience (like the sequence where the Doctor walks past the statuesque Cybermen in The Age of Steel) but it isn't shot with any great care, the director in far too much of a hurry to make it to the cliff-hanger. Clyde's gags defeating Spellman with laughter is a pretty lame conclusion, especially given most of them are weak.

The Shallow Bit: Mohindra is gorgeous, no doubt about that. And she only gets more beautiful as she gets older.

Standout Scene: The gorgeous moment when Sarah and Rani stand on Bannerman Road at night and discuss the wonders of the universe. It should be unbearably twee but the tone is judged perfectly and it drives home the excitement of being let into Sarah Jane's world. I also got the early signs of the treasurable relationship between Sarah and Rani.

Result: 'Even clowns have their dark days...' Given that he directed Battlefield in 1989 I was doubtful of Michael Kerrigan's assignment to the series and whilst there are a few moments where I felt the tension could have been more tightly wound, he has a fair crack at the whip and populates the story with some memorable imagery. Day of the Clown has the unenviable task of integrating a new set of regulars into the mix after the departure of the unforgettable Jackson's and to its credit it does a great job of maintaining the stability of the show whilst introducing three brand new characters. Whilst I don't think Rani, Gita or Haresh are at their absolute peak yet, they all exhibit a great deal of potential. It helps that the story that is being told is peppered with some of the most chilling imagery yet to feature in The Sarah Jane Adventures, featuring a fearsome and grotesque clown that abducts children simply to scare their parents. Odd Bob puts the willies up me in the way the few monsters in this show manage and Bradley Walsh deserves a lot of praise for realising the multitude of personalities of the villain so effectively. Spellman's modus operandi, existing through the fear of the parents he haunts with the kidnap of their children, is well thought through. It makes his behaviour believable because his survival is based on his actions. The solution to the climax might be a little too simple but there are a number of fun set pieces along the way (Sarah in the hall of mirrors is awesome) and Ford's dialogue is strong throughout. Not one of the stories that I think of when considering the best of SJA, The Day of the Clown just goes to show how consistent this series was as this is still very good indeed: 8/10

Thursday, 16 April 2015

Death Match written by Matt Fitton and directed by Nicholas Briggs

What's it about: The Death-Match is under new management. The Hunt Master's Champion has been installed. All regular players are welcomed back to the Pursuit Lounge to observe the contest in luxurious surroundings. Privacy is assured. For this reason we ask our elite guests to abide by the strict security protocols. Please note, the house has no limits. In the Gallery, your combatants can be observed on the orbiting Quarry Station. A purpose-built environment filled with deadly traps and hidden dangers. Prizes are offered for every kill, with bonuses for rogue elements. Only an elite hunter can survive the End-Game. Do you have a worthy champion? Kill or be killed: the only rule of the Death-Match...

Teeth and Curls: Without Leela in the TARDIS to act as a mediator, the Doctor and K.9 are getting on each others nerves. It is clear that they both miss her terribly but neither one them is going to be the one to say it. Isn't it wonderful that in this season the Doctor is the spanner in the works to all the Master's plans rather than the Master turning up to ruin the Doctor's day. It really suits Tom Baker's cheeky, irreverent Doctor from this period. Not so much the Master's friends but his nemesis, similar interests but different approaches (too embarrass the Master completely he tells one of his guests that he was always a rotten cheat as a child and always picking his nose). It's only once he understands Leela's role in the Death Match that the Doctor drops his sarcasm and starts making demands. The Master sees them striding the cosmos like Gods, making moral choices, deciding who rules, who serves, who lives and who dies. I'm sure the Doctor just does it for a laugh. He looks at stars and he wants to visit whereas the Master looks at them and wants to snuff them out. It's fascinating to listen to the Doctor and Master attack a moral debate with such vigour without the threat of death to either of them. It breaks down their relationship and their different moralities to its rawest. For the Master his schemes are just a distraction, a diversion from the oncoming victory of death. The Doctor warns him that however many victories he might score he is still stuck inside his putrescent head with his madness. The Doctor's reaction to K.9 attempting to answer his question of how long is a piece of string is an absolute scream.

Noble Savage: Her reunion with the Doctor and Leela is a triumphant moment. He has missed her savage colloquialisms and she has missed his rational science. You realise in their absence from one another that they teach each other a great deal. I enjoyed Leela's romantic subplot because it made some in roads into revealing that she does have a loving side which sets up her (sudden) departure in The Invasion of Time. I think of all the Doctor's companions, she is the one that feels every emotion the strongest. Especially passion. So to see her behave in such a tender way is a surprising development and the gentle sequence where the Doctor comforts her even moreso. How better to honour his memory but to keep travelling and keep fighting.

Standout Performance: Did I hear John Dorney killed horribly at the beginning of this story?

Sparkling Dialogue: 'Is that a new rotting cowl?'

'I find the question of morality fascinating. How far can it bend before it breaks?'

'Why trap ten mouthfuls when you can secure a feast.'

Great Ideas: Straight off the bat there is something quite engaging going on in this story and it has to do with the range in general at the moment. Finally there seems to be some kind of innovation bleeding into the 4DAs, even if that means a dominating presence of the Master and the kidnapping of Leela. They aren't hugely imaginative ideas but they are different from the norm, not just more nostalgia kicks and standalone bits of fluff. There is an attempt to build up some kind of excitement for the range that is admirable, an ongoing story that is paid off from one adventure to another. The Master's involvement in this story is assured by his appearance on the cover but I rather like the way he is being treated as a regular character like he was during the Pertwee era rather than a (not so) shock villain of the piece. A touch of Marinus, this is set on an ocean world with the majority of the surface covered by acid seas. Like Requiem, the Master has insinuated himself into the setting with ease and it is a pleasure to spend time with him when he is simply going along with his normal activities rather than him popping up as the grand villain of the piece. One because Geoffrey Beevers is a great actor that is too good to waste on melodramatic posturing and two because this damaged Master is quite an interesting character in his own right. The Death Match is a pass time for rich and despotic, military leaders and fascist dictators need somewhere to relax and unwind. K.9 is used in a very amusing way too, trundling along and chatting to himself and attempting to puff himself up when he is in danger. John Leeson sounds like he is having a whale of a time. The Red Giant is built up as the most formidable champion but that just makes his combat against Leela all the more exciting. I think we all know what his ultimate fate will be in her hands. The Master is so deliriously evil that he will destroy a star system if he is just passing through, not for any particular reason.

Musical Cues: I recognised the musical signature of Jamie Robertson long before I looked on the website to see who was scoring. His themes have become indicative of the range and his uplifting bouncy soundtracks one of my favourite features. He takes what is an already amusing tale and elevates it to something even more entertaining.

Standout Scene: No matter how silky smooth the Master behaves around Kastrella you just know there will come a point where he will turn on her. It shows Geoffrey Beevers at his most diverse, from seductive charm to vicious malevolence. Scenes of the Master and Kastrella getting off on the chaos and destruction around them are just sublime, finally he's found himself a bird who can revel in all the death and destruction with him.

Result: The most blatant Blakes' 7 rip off I have ever seen in Doctor Who is pulled off with spectacular style. I thought Chris Boucher returning to his roots (both the 4th Doctor and Leela and the combat scenario that played out in the Blakes' 7 episode Death Watch) in the BBC Novel Match of the Day felt congratulatory and self plagiaristic but this takes things a step even further. If it wasn't all so deliriously enjoyable to listen I would probably take more of an exception to it. This is a range that is finally starting to deliver on a regular occasion (that's three strong releases in a row) which makes me very happy for Tom Baker, Louise Jameson and Nick Briggs who I am sure have figured this is the kind of success they have been achieving since day one. Death Match sports some delicious Doctor/Master dialogue, which Baker and Beevers relish like a fine wine and it provides some new insights into the relationship of the two rivals. The story is fast paced, set on a gloriously Terry Nation-esque world (acid seas and testosterone fuelled competitions) and features a terrific score courtesy of Jamie Robertson. Listening to this story was effortless and I had a smile slapped on my face throughout. This is a little longer than your average 4DA too so you'll get a little more enjoyment for your buck too. Matt Fitton deserves some recognition as one of the breakout talents of the last few years, he's delivered again (The Wrong Doctors) and again (The Fall of House Pollard) and again (Equilibrium) and again (Return of the Rocket Men). Give that man a pay rise, he's approaching the Dorney's and Morris' of the company. If you want to take this as Requiem of the Rocket Men as a four parter there is an argument to be made for that...but they are equally strong standalone stories too. The usual suspects will tell you that this is undemanding fare but it is hugely enjoyable and in this range that is a valuable commodity: 8/10