The Angels Take Manhattan

Tags

Arthur Darvill, Doctor Who, Dr Who, Dr Who Season 7, Karen Gillan, Matt Smith, River Song, The Angels Take Manhattan, Weeping Angels

The Angels Take Manhattan

Review by Paul Bowler

[Contains Spoilers]

The Angels Take Manhattan takes full advantage of New York’s famous landmarks

The Angels Take Manhattan opens in the shadowy streets of 1930’s Downtown New York as Sam Garner (Rob David) narrates the darkest day of his life. Garner has been given the task of investigating an old apartment block, Winter Quays, by an odious collector called Grayle (Mike McShane). When Sam arrives at the run-down building he explores its dark corridors, where he is shocked to discover a version of himself as a dying old man. His older self urges him to escape but before he can flee Sam is attacked by the Weeping Angels…

An idyllic moment of happiness for the TARDIS crew

We join The Doctor, Amy, and Rory in present day New York as they enjoy a relaxing day in Central Park. The Doctor has been reading aloud from a pulp-fiction novel that he has found, although his companions don’t quite share the Time Lords enthusiasm for the adventures of private detective Melody Malone. But this idyllic moment of happiness for the TARDIS crew soon gives way to horror when Rory goes to fetch them all some coffees, only to be hunted by a cackling stone cherub near a fountain that transports him back to 1938 where he is reunited with Professor River Song before they are both captured by Grayle’s henchmen.

The new “Cherub” Angels with their mischievous giggling are particularly unsettling

The Doctor and Amy must travel back to Manhattan 1938 to save Rory, as the Weeping Angels begin to unleash a wave of terror from within Winter Quays, but as The Doctor and River race against time to help the Ponds escape, the time has come for Amy and Rory to make the ultimate sacrifice…

The Angels Take Manhattan sees The Doctor faced with an almost impossible situation. Matt Smith is excellent in this episode, giving his most emotive performance yet as he effortlessly walks the fine line between the Time Lords turbulent eccentricity and menacing gloom. Indeed, Matt Smith has done some remarkable things with The Doctor’s character this season, nevermore so than here – when the stakes have been raised so high – do we get to see the strength and humility that makes The Doctor such a universal force of nature.

Amy and Rory’s lives are ripped apart by the Weeping Angles

As this is the last story to feature Amy and Rory as The Doctor’s companions, it is perhaps all the more poignant that Karen Gillan and Arthur Darvill are to depart just as the Ponds are at the height of their popularity. Steven Moffat’s incredible script for The Angels Take Manhattan sees the Ponds lives ripped apart by the Weeping Angles as their plot to ensnare the Time Travellers draws them inexorably towards the episodes tear-jerking climax. This is an episode full of fraught emotions: even the stoniest heart will melt when Rory tries to get Amy to push him off the roof of Winter Quays, and you’ll be dismayed as River Song is forced to allow fate to take its course, but nothing will prepare you for The Doctor’s heartrending cries of despair as Amy valiantly stands her ground against a Weeping Angel to be with the man she loves.

Steven Moffat’s quantum locked creations are utterly remorseless and without mercy

Ever since their first appearance in Blink (2007) The Weeping Angles have gone on to become one of the series most popular monsters. Here they are at their horrific best, lurking amongst the shadowy halls of Winter Quays, ready to strike from the dark without warning, and the startling new “Cherub” Angels with their mischievous giggling are particularly unsettling when  Rory is trapped with them in Grayle‘s basement. Steven Moffat’s quantum locked creations are utterly remorseless and without mercy, predators of time who feed on the timelines of sentient beings in order to survive. After their apparent destruction in The Time of Angles / Flesh and Stone (2010), the Weeping Angels are back with a vengeance, gorging themselves on the latent energy of “the city that never sleeps” to feed their relentless hunger: turning every stone statue, monument, and gargoyle around Winter Quays into Weeping Angels. Even the Statue of Liberty itself becomes a twisted monstrosity as it silently stalks its prey across the Manhattan skyline.

Matt Smith and Alex Kingston have some great scenes together

Alex Kingston makes a welcome return as Professor River Song, making her most timey wimey entrance yet as she inveigles her way back into the Time Lords life from the very pages of the Melody Malone novel he’s been reading. The Professor River Song we meet in The Angels Take Manhattan is as vivacious as ever, and still flies the TARDIS better than The Doctor, but the woman that Alex Kingston portrays here seems more akin to the River Song we first saw in her fateful encounter with the 10^th Doctor (David Tenant) in Silence in the Library / Forest of the Dead (2008). There are some great scenes between Matt Smith and Alex Kingston in The Angels Take Manhattan: when River is trapped by Grayle’s chained Weeping Angel we learn she has been pardoned for her crimes and that all knowledge of the man River was imprisoned for killing has been wiped from every data bank in the universe; which perhaps explains what The Doctor has been up to while the Ponds decided to remain on Earth between adventures. The Doctor now dwells within a mysterious veil of anonymity, even the Daleks don’t seem to know who he is anymore, leaving only River Song to weave the last remaining threads of his past, present, and future to form the unequivocal testimony of the woman who killed Doctor Who…

Amy know the risks inherent when The Doctor travels alone for too long

River may have been able to help Rory after he got transported back to 1938, whilst able to keep one step ahead of Grayle and his sinister plans, but even her incredible foreknowledge is no match for the power of the Weeping Angels. The Melody Malone novel holds even more secrets than River’s diary, binding them all too future events that cannot be changed once they are read. She lies about breaking her wrist to escape Grayle’s prized exhibit, the chained Weeping Angel, but the Doctor uses his regeneration energy to heal her – which leaves River none to impressed with The Doctor. A brief interlude between River and Amy after they’ve escaped Grayle’s building also foreshadows the gathering storm that will soon engulf them all. When River warns her mother never to let the Time Lord see the damage he does, adding that The Doctor“doesn’t like endings”, which is especially poignant as they both know the risks inherent when The Doctor travels alone for too long.

Grayle’s prized exhibit, the chained Weeping Angel

Mike McShane’s villainous collector has foolishly imprisoned a Weeping Angel. He needs River Song to help him find out what the creature is, but is unprepared for the full extent of their terrible power. Having tortured the latest addition to his collection, it is perhaps fitting that when the Weeping Angels come for Grayle, their revenge is sure and swift.

Nick Hurran’s lavish cinematic direction elevates this episode to a whole new level; the location filming in New York looks absolutely stunning. The impeccable attention to the period detail of the scenes set in the 1930’s also help Hurran to strike the perfect balance between the two time zones. The Angels Take Manhattan takes full advantage of New York’s famous landmarks: Tudor City, Central Park, Times Square, and The Brooklyn Bridge, all play a part in Doctor Who’s most ambitious transatlantic adventure to date. Hurran also filmed some key scenes in Cardiff: locations that range from Cardiff University, The Glamorgan building in Cathays Park, and Box Cemetery in Llaneli are all flawlessly enhanced by the magic of CGI to give them the distinct look and feel of the high rise buildings of New York.

The Doctor and Amy must travel back to Manhattan 1938 to save Rory

Murray Gold’s score for The Angels Take Manhattan is as equally spellbinding, enhancing every key emotional moment as the Ponds exit draws near; no doubt leaving many fans reaching for the tissues as we say goodbye to Amy and Rory for the last time.

Steven Moffat promised that Amy and Rory’s departure from the TARDIS would be truly heartbreaking, and he is true to his word. From the moment you see the black swirling vortex of the title sequence – and the Doctor Who logo wickedly tinged in green – you are propelled into one of Moffat’s most labyrinthine scripts ever as he effortlessly ties everything up, even finding time to include a lovely coda for the young Amelia Pond’s very first story: The 11^th Hour (2010.

Amy And Rory decide to face their destiny “together, or not at all”

The weeping Angels have been feeding off the residents of Winter Quays, using them like a battery farm, but when The Doctor, River, and Amy catch up with Rory at Winter Quays they find he has discovered an old man – and just like Sam before him – Rory is confronted by the fully horror of his elderly self dying in a bed. Rory and Amy witness the older Rory die as The Doctor and River look on, soon the Weeping Angels begin to come for Rory, determined to send him back in time again and feed off him like the other residents. But Amy has other ideas, leaving The Doctor and River to cover their escape, they plan to leave and cause a paradox – the only thing powerful enough to destroy the Weeping Angels. Trapped on the roof by a giant Weeping Angel, Rory decides to jump to his death to create the paradox. Amy refuses to let him, instead joining him on the ledge, and as Ponds decide to jump from the roof and  face their destiny “together, or not at all” they sadly find that the last page of their story has already becomes set in stone; and not even The Doctor can save them.

A Weeping Angel has survived and catches Rory unawares as he finds his own gravestone

As the Paradox wipes out the Weeping Angles it returns Amy and Rory safe and well to the Graveyard to rejoin The Doctor and River in the present – where we caught a glimpse Rory’s grave earlier. Tragically a lone Weeping Angel has survived and catches Rory unawares as he finds his own gravestone. As Rory is catapulted back into the past a distraught Amy confronts the Weeping Angel, ignoring The Doctor’s warnings, she turns and says goodbye to her “raggedy man” and fades away to be together with Rory in the past. As the wailing Time Lord sinks to his knees Amy’s name appears alongside Rory’s on the gravestone. River leads The Doctor back to the TARDIS, where The Doctor asks River to travel with him. She agrees, at least to joining him at some point in the future, as right now she has a date with history and a novel to write…

So as the credits roll and we leave the girl who waited and the last centurion to their fate, the brief teaser for the Christmas Special will at least go some way to easing the pain of Amy and Rory’s final adventure with the mad man in a blue box. The Angels Take Manhattan is one of the best episodes so far this season, full of grand spectacle and fantastic scenery; it also offers a thrilling finale for Karen Gillan and Arthur Darvill. Together they have found a place in our hearts, they will be fondly missed, and their time during the 11^th Doctor’s era will be forever in our thoughts.

The Power of Three

Tags

Amy Pond, Arthur Darvill, Chris Chibnall, Doctor Who, Doctor Who The Power of Three, Doctor Who The Power of Three Review, Dr Who, Dr Who Season 7, Jemma Redgrave, Karen Gillan, Kate Stewart, Matt Smith, Rory Pond, Rory's Dad, Steven Moffat, TARDIS, the 11th Doctor, The Power of Three, UNIT

The Power of Three

Review by Paul Bowler

[Contains Spoilers]

It should have been a day like any other on planet Earth, except the entire world has just woken up to find that millions of little black cubes have suddenly appeared everywhere. These strange cubes appear inert, and are apparently indestructible, but there seems to be no clue as to where they have come from or who created them. The Doctor, Amy, and Rory have to investigate this bizarre phenomenon, which has also caught the attention of UNIT, but it will take months to properly study the cubes so The Doctor has to take a break from his travels and move in with the Ponds…

The Doctor has to take a break from his travels and move in with the Ponds

The Power of Three is Chris Chibnall’s second story this season and is a very different beast from Dinosaurs on a Spaceship, primarily because it encompasses almost a year in the lives of Amy and Rory Pond as they struggle to share their home with the erratic Time Lord. Most of the story unfolds from Amy and Rory’s perspective, like a John Wyndham Sci-Fi page-turner, with Karen Gillian and Arthur Darvill turning in a superb performance as the married couple who are beginning to crave a life way from The Doctor and his non-stop adventuring.

Mark Williams also makes a welcome return as Rory’s dad, fresh from his travels around the world; Brian embraces this adventure with The Doctor and more than earns his honorary status as a companion in my book. Brian does everything he can to help the Doctor monitor the cubes, even making his own video log (Brian’s Log) to document events, but after The Doctor whisks Amy and Roy away for their Wedding Anniversary  – a visit to the Savoy in 1890 that unfortunately goes awry with the discovery of a Zygon spaceship – Brian gets an unexpected confession from The Doctor when he presses the Time Lord about the fate of his pervious companions.

An early wake up call for Amy & Rory

Meanwhile, it falls to the esteemed actor Steven Berkoff to chew up the scenery with his perfectly understated performance as the villainous Shakri, the alien menace behind the cubes. Shakiri isn’t introduced until the latter half of The Power of Three, but his presence reveals that his race was known, to the Time Lords – and it would seem that these legendary beings act like intergalactic pest control, wiping out whole civilizations to prevent “contamination” by those they deem unfit to evolve. The two Orderlies (David Beck & Daniel Beck), who carry out Shakri’s orders to harvest bodies from the Hospital where Rory works, are also eerily similar to Mr Oak and Mr Quill from Fury From The Deep (1968), particularly when Rory’s Dad finds himself cornered by the duo. Three are also a number of cameos by several famous faces: newsreaders covey the global scale of the invasion,  they are joined by Professor Brian Coxx who theorizes about the cubes, and  Lord Alan Sugar as the mysterious cubes begin to infiltrate every corner of society, encroaching on the populations everyday working lives.

If living with The Doctor wasn’t trouble enough for the Ponds, having UNIT turn their lives upside down doesn’t help much either (Particularly when they burst into the Ponds home while Rory is in a state of undress). The Power of Three features the welcome return of the United Nations Intelligence Task Force, and this episode also features Jemma Redgrave as UNIT’s new Head of Scientific Research – the charming Kate Stewart. Its great to see Matt Smith’s Doctor working with UNIT again, his first being The Sarah Jane Adventures episode: Death of the Doctor (2010), and this adventure is also reminiscent of some of the Pertwee stories from the 70’s (Where UNIT played a significant role in Dr Who), and Chibnall does a superb job of introducing Kate as Brigadier Lethbridge-Stewart ’s daughter while The Doctor and UNIT struggle to contain the cubes uncanny invasion by stealth.

The Doctor & Kate Stewart / the daughter of Brigadier Lethbridge-Stewart

There are plenty of fun moments too as The Doctor does his best to fit in with the Ponds linear existence on Earth, but the Time Lord is like a chaotic explosion in their lives, and after spending nearly a year with The Doctor we begin to see Amy and Rory wishing for an easier way of life. The Doctor has been a part of virtually every aspect of Amy and Rory’s lives, there have always been three people in the Ponds marriage, and The Power of Three ironically pushes The Doctor back into Amy and Rory‘s lives in a way that makes their bond even stronger. Even fish fingers and custard makes a welcome return, although it is almost upstaged by the humble Yorkshire Pudding!

The Power of Three is a rare instance of The Doctor not actually knowing what is going on. We are used to him knowing just about everything about everything, so to hear him admit to that he has no idea what the cubes are is quite unsettling.

While his attempts to fit in with his companions lives offers plenty of comic relief, especially when he gets hooked on the Wii and mowing the lawn, this episode also offers Matt Smith some great material to work with. There is one scene in particular, when Amy confesses to The Doctor that she is beginning to think about leaving The Doctor for her life on Earth with Rory. Karen Gillan and Matt Smith have an amazing chemistry on screen, never more so than here when she turns to him for some heartfelt advice when it comes to choosing between her “real life” and her “Doctor life” and The Doctor surprises her by telling her how much she means to him. She was the first face he saw after his regeneration, because of this the Ponds are destined to be emblazoned on his hearts forever, and that is why their adventure in the TARDIS are all the more meaningful to him.

Amy, Kate, & The Doctor watch as the cubes begin to countdown

Jemma Redgrave also has some wonderful scenes with Matt Smith’s Doctor when he visits the UNIT base beneath The Tower of London, and the moment when the Time Lord realizes that Kate Stewart is the daughter of his dearly departed friend – Brigadier Lethbridge-Stewart – we are treated to one of those rare moments in Dr Who where the past and present collide to give us something truly magical. Kate plays a pivotal role in helping The Doctor deal with the threat posed by the cubes, her links to the series past gives the inclusion of UNIT an added depth, and I sincerely hope Jemma Redgrave’s returns for more episodes.

The real shock comes after the cubes have finished their bizarre countdown to reveal themselves as instruments for the Shakri  – and induce heart attacks in anyone near them when they finally activate; including The Doctor! In some ways these strange cubes were oddly reminiscent of the same devices the Time Lords used to send psychic messages when they are in urgent need of assistance; like those seen in The Doctor’s Wife (2011). It’s a bold move by Chris Chibnall to hint that the Shakri are in some way linked to the Time Lords, but no real explanation is given. The hologram running the spaceship seems to converse with The Doctor, almost as if he knows him, possibly pointing towards an even greater threat lurking on the fringes of the future for the last of the Time Lords.

This episode rockets along under Douglas Mackinnon crisp Direction, hitting the perfect balance between the superbly choreographed action as UNIT make their spectacular return, effortlessly encapsulating the global panic as the cubes begin to count down to activation. This story holds the added significance of featuring the last scenes that Karen Gillan and Arthur Darvill actually filmed for Doctor Who, which also coincidentally happened to be filmed at St Cadocs Hospital in South Wales; the same location used for The 11^th Doctor’s 2010 debut: The Eleventh Hour. The Power of Three is a terrific showcase for Amy and Rory, in this, their penultimate adventure, as well as ushering in a new era for UNIT with the introduction of the wonderful Kate Stewart.

The Power of Three is a terrific showcase for Amy and Rory

The Power of Three almost feels like it has drifted in from the Russell T Davies era of Doctor Who, it’s a terrific episode, and breathlessly energetic as it plays out against the everyday backdrop of present day Earth. Although the invasion might be resolved a tad too quickly, there is still lots to enjoy here, not least the last chance to see The Doctor, Amy, and Rory before the encroaching darkness of the Ponds imminent departure breaks all our hearts.

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Batman #0 Review

Tags

Batman, DC Comics, Greg Capullo, Scott Snyder, The New 52

Batman #0

Review by Paul Bowler

Zero Month continues to celebrate the 1^st anniversary of The New 52 with Scott Snyder’s and Greg Capullo’s Batman #0. This issue shows us Bruce Wayne six years before he donned the mantel of the bat, having completed his training abroad, one of his first missions is to infiltrate the notorious Red Hood Gang as they carry out a bank robbery. Bruce’s inexperience in Bright New Yesterday almost costs him his life when his cover is blown, unfortunately he is also unable to save the hostages who have been poisoned by the Red Hood, and has to make a speedy escape by motorcycle through the sewers when Gotham’s finest show up guns blazing.

Batman #0 gives us a fascinating insight into the first base of operations Bruce has set up in the heart of Gotham City. This precursor to the Bat Cave is more like a giant workshop, bursting with high tech gadgetry, but without any of the order or atmosphere so inherent with the cave beneath Wayne Manor, even though this base is only forty feet from where Bruce’s parents were killed – it feels bland, sterile, and devoid of all emotion. We learn that Bruce has yet to find a real focus for his “war” on crime, he has the means, and the weaponry, but he still lacks the symbol he needs to give credence to his cause.

That epiphany at Wayne Manor is still some way off, but in the mean time Scott Snyder sets up a rooftop meeting between Bruce Wayne and Lieutenant Gordon where the two men discuss Bruce’s business dealings and the mysterious vigilante who has been sneaking around and preventing crimes from happening all over the city. As they discuss Gotham’s crusader you can sense the unique – and unspoken bond – being forged between them. This is a lovely little scene, full of the sublime characterization we have come to expect from Snyder, and leaves us in no doubt as the Red Hood arrives to attack Bruce Wayne’s apartment building that we have just witnessed the beginning of a legendary friendship.

Greg Capullo is on fine form once again in Batman #0. The bank robbery is a distinctly different environment to the gothic urban sprawl we have become accustomed to throughout The Court of Owls & The Night of Owls, but this, and Bruce’s first secret lair, are both astutely handled. I particularly liked the motorbike Bruce used to escape to his hideout, and the moment when Alfred calmly sets about figuring out how to work the computer and open the entrance as Bruce races towards the doors!

The second story in Batman #0 is handled by James Tynion IV and Andy Clark. Tomorrow features Gordon as he sets up the Bat Signal on the roof of the GCPD. It’s a cracking little story that shows just how pivotal this simple device has become in our imaginations. Think of Batman and one of the things you will immediately associate with the character – other than the Batmobile – is the Bat Signal gleaming over the Gotham skyline.

Here the Bat Signals first use is seen to influence four young people who will one day go on to become part of the Bat Family itself: Dick Grayson, Barbara Gordon, Jason Todd, and Tim Drake. Their lives intersect at the same instant when Gordon switches on the Bat Signal for the first time. It is the briefest of moments, as they each spy the Bat Signal in the night sky, and one that will inadvertently change their young lives forever.

Batman #0 is a great issue, giving us two very different stories, and a welcome spirit of nostalgia as Snyder, Capullo, Tynion, and Clarke embellishes The Dark Knights legacy with the fresh perspective allowed by The New 52. It may be a little disappointing that we don’t get to see the outcome of the Red Hood’s pre vat of chemicals encounter with Bruce Wayne, this brief glimpse of the madness clearly already evident beneath the mask of the Red Hood bodes well for the Joker’s return in this series next story ark: Death of the Family.

As part of Zero Month, Batman #0 delivers a pitch perfect tale of Bruce Wayne’s early career. It also finally gives some much needed back story to Jason Todd and Tim Drake, at least as they stand in The New 52 universe, but that final panel as Barbara Gordon stands alone, watching the Bat Signal beaming up into the night sky – and realizes what this symbol now means to the people of Gotham – is a truly magical moment indeed.

A Town Called Mercy

Tags

A Town Called Mercy, Doctor Who, Dr Who, Dr Who Season 7, Matt Smith

A Town Called Mercy

Review by Paul Bowler

[Contains Spoilers]

The Doctor takes Amy and Rory for trip to the American Old West. They arrive in a small town called Mercy, which has recently come under attack from a crazed cyborg called The Gunslinger (Andrew Brooke) – a creature hell-bent on tracking down its creators. The last person on The Gunslinger’s list is one of Mercy’s local residents, Kahler-Jex (Adrian Scarborough), a man with a mysterious past and a strange facial tattoo who also claims to be a space travelling doctor… When The Doctor is put in charge of Mercy after the Marshal, Isaac (Ben Browder), is killed by the Gunslinger, the Time Lord comes into conflict with Amy and Rory when both The Gunslinger and Kahler-Jex’s true identities are revealed. But as the Doctor finds himself stuck in the crossfire of this ancient conflict between cyborg and alien fugitive, he is faced with a moral dilemma – but which side will he choose?

A Town Called Mercy is not the first time The Doctor has travelled to the Wild West, The Gunfighters (1966) saw the 1^st Doctor visit Tombstone and become embroiled in the shoot out at the OK Corral, but in a bid to really capture the feel of the old Spaghetti Westerns this episode was filmed in Almeria, Southern Spain, which has also provided the settings for such classic films as A Fistful of Dollars (1964) and The Good, The Bad, and The Ugly (1966). The amazing Fort Bravo set is another highlight, it’s a wonderful setting for a Dr Who story, and director Saul Metzstein seizes every opportunity to utilize nearly every western movie cliché in the book – setting it all against the backdrop of Almeria’ incredible panoramic scenery.

He may have a good reason for wearing a Stetson this time, but as The Doctor finds himself caught up in the vendetta between The Gunslinger and Kahler-Jex, it also sets him on a collision course with his companions who are beginning to question the Time Lords increasingly erratic sense of justice and high-handed morality. Karen Gillan and Arthur Darvill are on fine form, especially when Amy stops The Doctor from handing Kahler-Jex over to The Gunslinger to be executed, but their role as part-time companions is beginning to cause friction between them and The Doctor. It’s almost as if neither party is willing to face up to the fact that they have grown apart, but are unwilling, or unable, to do anything about it.

Ben Browder is no stranger to being in cult Sci-Fi TV shows, and the Farscape & SG-1 actor certainly has an action packed role to play in A Town Called Mercy as the marshal Isaac. Much of the story revolves around Adrian Scarborough as the mysterious Kahler-Jex, who is actually a scientist responsible for carrying out terrible experiments on his own people to create the cycbors to fight a war. Scarborough has some brilliant confrontational scenes with Matt Smith’s Doctor, both are war veterans, and each has yet to really come to terms with the consequences of their actions. The make up for Andrew Brooke’s cyborg Gunslinger makes him a formidable looking adversary for The Doctor. A cross between the Terminator and The Man With No Name, he’s seven foot tall, dressed in black, sports a strange tattoo, and has a right arm that features a deadly Gatling gun. Even though The Gunslinger is really something of a tragic character, a relic from a terrible war and consumed with the need to make his creator (Kahler-Jex) pay for his heinous experiments, his showdown with the Time Lord is still nerve jinglingly tense. It’s also a fun idea when Rory and some of the townsfolk paint facial tattoos on themselves, running from building to building in ordet to confuse the cyborgs targeting systems. Garrick Hagon (Ky from 1972’s The Mutants) plays Abraham the town’s undertaker, Sean Benedict also stars as Dockery, Byrd Wilkins is the towns Preacher, and Joanne McQuinn features as Sadie – together they make up just a few of the colourful townsfolk of Mercy. There are some lighter moments, especially when the Doctor walks into a Saloon Bar to order a cup of tea, and then later when he is riding a horse he telepathically learns is called Susan, but thankfully the comedy is not as manic as Dinosaurs on a Spaceship.

Writer Toby Whitehouse delivers a cracking story that deals with the moral implications of The Doctor’s standpoint in the universe. A Town Called Mercy is Toby Whitehouse’s fourth Doctor Who story: after School Reunion (2005), The Vampires of Venice (2010), and The God Complex (2011). While it may not be on quite the same level as The God Complex (Read more about this story in my article: The God Complex A Retrospect From Room 11 https://scifijubilee.wordpress.com/2012/06/07/70/ ) there is still plenty of subtexts running throughout A Town Called Mercy; primarily those which question that fine line The Doctor so often walks between vengeance and mercy. Toby Whitehouse deftly handles the increasingly unsettling morality behind The Doctor‘s actions when he learns about Kahler-Jex’s past after inspecting his spacecraft; and also serves to show that the Time Lord is not as benevolent as he would like his companions to believe. Whitehouse’s scrip is full of nods to classic westerns, bristling with snappy dialogue, and an inhospitable atmosphere of impending dread as The Gunslinger strides into town for a duel with The Doctor. Kahler-Jex returns to his ship while The Gunslinger goes on the rampage, but instead of escaping in his ship he activates the self destruct – hoping that his sacrifice might atone for what he has done and offer some peace to his cyborg creation. The Doctor, Amy, and Roy depart in the TARDIS, leaving the cyborg to become the towns new marshal, a silent guardian to watch over them. All this is topped off with a rousing score by Murray Gold, his work here is phenomenal, and really helps complements the scope and scale of the production.

Whitehouse has done a great job of satisfying fans of the genre, drawing on many Wild Western movies such as High Noon (1952) and Bad Day at Black Rock (1955) to ensure A Town Called Mercy more than lives up to our expectation. It’s also great to see Matt Smith, Karen Gillian, and Arthur Darvill mosey on into this little town with a big problem, throwing themselves into the thick of the action with the unmistakable swagger of companions at the height of their game. A Town Called Mercy is a thoroughly enjoyable adventure, full of action, and sure shoot the hat off all the competition.

Avengers vs XMen #11Review

Tags

Avengers, Avengers vs X-Men, AvX, Marvel, X-Men

Avengers vs. X-Men #11 Review

Review by Paul Bowler

[Contains Spoilers]

The Mighty Avengers have succeeded in defeating three members of the Phoenix Five: Namor, Colossus, and Magik. But their victories have left many Avenges seriously wounded, Wakanda has been all but destroyed, and the last remaining hosts of the Phoenix Force – Emma Frost and Cyclops – are now more powerful than ever. Cyclops then attacked the Avengers in K’un Lun, determined to force Hope to return to Utopia, but Hope used her new power – The Chaos First – to punch the X-Men’s leader all the way to the moon!

Having witnessed how unhinged Emma Frost has become on Utopia, torturing the X-Men and subjugating them to her omnipresent will, Magneto decides to send out a telepathic cry for help to the one man who might be able to save the world – Professor Charles Xavier.

After Captain America makes an appeal for help from the Incredible Hulk we learn that the Avengers and the X-Men have set aside their differences and decided to unite with Professor X to bring an end to the threat posed by Cyclops and Emma Frost. Rogue is the last ember of the X-Men to join Xavier in Wisconsin, she is unsure what reception she will receive, but is soon welcomed back into the fold by Professor X before the task force he has assemble with the Avengers and the X-Men makes ready to depart for Utopia.

The Avengers and the X-Men have set aside their differences

Cyclops and Emma are now almost consumed by the power of the Phoenix Force as they survey all they have achieved from the gleaming towers of Utopia. This floating citadel was once the culmination of a dream made a reality, now it is a tomb of despair and greed, as its two rulers grow uneasy with the pitiful world they now rule over. Intoxicated by the limitless power they each possess, but also secretly crave to wield only for themselves. Sensing Professor X’s presence, Cyclops orders Emma to remain behind while he confronts his former teacher on the shores of Utopia.

Scott’s overconfidence is almost his undoing as he argues the merits of his new vision of Xavier’s dream, especially when he realizes that Xavier has shielded the Avengers and X-Men from his mind, but he is too late to repel their attack. Emma Frost rushes to help as Cyclops is floored by the combined might of The Scarlet Witch and Professor X, but she is felled by The Incredible Hulk. The Avengers press home the advantage, Magneto takes the full force of Cyclops’ counter attack, Thor is also brushed aside as Scott regains his strength, but he is distracted enough for one of Hawkeye’s arrows to streak though the chaos and find its mark. As Ice Man batters Cyclops to his knees Professor X tries to shut down Scott’s mind. In a last desperate bid to survive, Cyclops attacks Emma and steals her Phoenix energies – absorbing the full power of the Phoenix! He rises from the inferno of his rebirth and attacks Professor X, killing him outright in seconds, before transforming in front of Hope’s horrified gaze into the ultimate incarnation of fire and life incarnate – The Dark Phoenix!

Cyclops is now consumed by the power of the Dark Phoneix

We have seen some titanic battles during the course of Avengers vs. X-Men, yet none of them can hold a candle to the events that transpire in this penultimate issue. Brian Michael Bendis helms this outstanding foray into the darkest days of the Avengers and X-Men, united at last, nothing can really prepare you for the shocking conclusion of AvX #11. There have been rumours circulating about a “death” of a major character in this series for some time now, but the fact that it was Charles Xavier really took me by surprise. In some ways it almost mirrors the Professors last near fatal confrontation with the Phoenix, when he defeated Jean Grey after she became Dark Phoenix after being brainwashed by The Hellfire Club in Uncanny X-Men #136. Back then Jean actually helped him in their psychic duel, here he faces the young man who was like a son to him, and Scott Summer’s – although not an experienced telepath – is one of Xavier’s most exceptional students. Scott is like an angry son confronting a vexed father who is trying to set him back on the straight and narrow, no quarter is given, and none taken. Only when he has killed Xavier does he show any sign of remorse or regret; but that is soon swept away – along with his humanity – as he surrenders himself to the vast cosmic energies surging within him and becomes Dark Phoenix.

This action paced issue of Avengers vs. X-Men is superbly drawn: Oliver Coipel’s pencils are well complemented by Mark Morales inks, while the jaw dropping battle sequences are lavishly coloured by Laura Martin. There are times when the Phoenix energy almost seems to sizzle from the pages of AvX #11 as Scott and Emma fight the combined forces of the Avengers and X-Men. Its great to see The Hulk and Wolverine performing a “fastball special”, a momentous event in itself, and yes, Wolverine does get deep fried by a Phoenix blast again! I’m beginning to lose count of how many times Logan has had to regrow his flesh. Captain America has put together a crack squad to take on Cyclops, who he wisely perceives to be a greater threat than Emma, and his tactic of employing all the heavy hitters from both teams to wear Scott down almost works when Hawkeye’s arrow nearly takes him out.

Now that Cyclops has been transformed into the Dark Phoenix its beginning to look like there is no force on Earth that can stand against him, except for perhaps Hope, once chosen as the savour of Mutantkind, she now holds the fate of the world on her young shoulders.

Cyclops killls Charles Xavier!

Avengers vs. X-Men #11 has been the most enjoyable issue so far in this big season event. Although the series may have taken a few issues to find its feet, now that we can almost see them conclusively as a whole, this storyline has really managed to build on its somewhat flimsy premise and become something quite remarkable. The final conflict is set, and as the Dark Phoenix rises over the Marvel Universe once more only the combined strength of the Mighty Avengers, The Uncanny X-Men, and Hope Summers now stands in its way of  complete universal domination.

Dinosaurs on a Spaceship

Tags

Dinosaurs on a Spaceship, Doctor Who, Dr Who, Dr Who Season 7, Matt Smith

Dinosaurs on a Spaceship

Review by Paul Bowler

[Contains Spoilers]

The Doctor’s adventures have brought him to Egypt 1334 B.C. where he is accosted by Queen Nefertiti, fortunately a message on his temporal news fed helps The Doctor (Matt Smith) out of a very embarrassing clinch, and together with Queen Nefertity (Riann Steele) he travels by TARDIS to Earth 2367 A.D only to discovers that a huge space ship the size of Canada is on a collision course with Earth. A spokesperson from the Indian Space Agency – Indria (Sunetra Sarker) – informs the Doctor that because all attempts to communicate with the vessel have failed,  the Earths planetary defences are now primed to attack the craft as soon as it comes into range.

The Doctor, Amy, & Rory have nine hours to save the Earth!

With only nine hours left to save the spaceship The Doctor and Queen “Nefi” travel back to Africa in 1902 A.D. to enlist the help of the roguish big-game hunter John Riddle (Rupert Graves), before darting back to the present day to pick up the Ponds – who have taken a ten month break from their adventures in time and space. As the TARDIS whisks them all up to mysterious space ship they discover that Rory’s dad, Brian (Mark Williams), has inadvertently joined them in the TARDIS while changing a light bulb. While Amy (Karen Gillan) and Rory (Arthur Darvill) do their best to explain themselves to Brian, The Doctor enlists his new “gang” of travelling companions in helping him explore the spaceship where they soon discover that it is a giant Silurian Ark full of marauding Dinosaurs!

The spaceship has been hijacked by a pirate called Solomon (David Bradley) who uses his two bumbling robot accomplices to hunt them down after the Doctor gets separated from his friends. The Doctor, Rory, and his Dad are accidentally beamed into the engine room, an actual beach that doubles as a hydro electric power plant, leaving Amy check out the ships computer systems for clues while Nefertiti and Riddell become more acquainted with each other…

Rory’s dad certainly picked the right day to go for a spin in the TARDIS

Rory’s dad certainly picked the right day to go for a spin in the TARDIS, but Brian rises to the occasion, and its great fun seeing the retired school teacher as he struggles to come to terms with the adventures which his son and daughter in law now seem to take for granted. Introducing Rory’s father alters the whole dynamic between the TARDIS crewmembers, Arthur Darvill and Mark Williams (The Fast Show/Harry Potter) each play to their characters individual strengths, and there is a particularly moving scene where Brian gets shot by one of Solomon’s robots – forcing the Doctor to teat the Pirates legs which have been savaged by Raptors – and  Rory has to tend to his fathers wounds .

Amidst all the mayhem there are a number standout moments: like when Solomon scans the Doctor for his “value” and finds he is worthless because he apparently doesn’t exist, Amy’s discovery in the ships computer records that shows the  Ark is really a Silurian vessel, and yet another  reference to the Doctor’s part in the creation of a piece of classical music – Franz Schubert’s Fantasia.

Dinosaurs on a Space ship is a frenetic and exciting  adventure by writer Chris Chibnal, whose last story was the two part Silurian adventure from 2010: The Hungry Earth & Cold Blood. Its nice to see this story include a nod back to one of the series classic monsters – although the fate of the Silurian crew is actually quite horrifying. The Silurian spaceship is a brilliant CGI effect, and has a strange, almost organic design. Chris Chibnal juggles all the characters effortlessly, creating some nice double acts: there are some hilarious – and quite risqué – moments between Neferiti and John Riddel, and its great to see more of the Williams family as Rory and his Dad take their first trip together in the TARDIS – culminating in them both piloting the spaceship to avoid the incoming missiles as they are the only people on board who share a genetic bond. The Pirate Solomon makes an adequate foil for The Doctor, and his Robot henchmen are hilariously voiced by David Mitchel and Robert Webb (Peep Show), although the slapstick comedy may initially seem a little jarring after last weeks chilling encounter with the Daleks in the Asylum.

The Doctor, Rory, and Brian flee the Pterodactyls in the “Engine Room”

Of course the real stars of this episode are the Dinosaurs themselves. At last the embarrassing memories of 1974’s Invasion of the Dinosaurs with its cute plastic Dinosaurs that wobbled and “ROARED” can be consigned to history, the Dinosaurs in Dinosaurs on a Spaceship are beautifully rendered in some spectacular CGI sequences. The breathtaking effects astound from the moment The Doctor and his friends encounter the Dinosaurs on the ship: the sight of two Ankylosaurus’ charging from a lift, fleeing from Pterodactyls, stepping over a sleeping baby T-Rex, taking a ride on a Triceratops, and  fending off a group of hungry Velociraptors all form some of this episodes incredible action set-pieces.  Indeed, visual effects house The Mill has excelled itself for this episode, creating Dinosaurs effects of a quality that rival even those seen in Spielberg’s  1993 blockbuster Jurassic  Park!

With five companions, hordes of Dinosaurs, and some brilliant moments of comedy, Dinosaurs on a Spaceship could have easily descended into an almighty heap of primordial soup. Fortunately with Saul Metzstein in the Directors chair this episode never veers off course for a moment, in fact it almost seems to thrive on the runaway plot much like the spaceship itself as it hurtles towards Earth, which in turn seems to fuel the reckless abandon that often seems to emerge from within The Doctor’s personality when he travels alone for extend periods of time.

The Silurian spaceship is a brilliant CGI effect

The Doctor seems to have gone to extraordinary lengths to assemble his new “gang” of adventures and he goes to equally extreme lengths to protect them, especially when Solomon forces the Doctor to hand over Queen Neferiti as his new prize. Once more we see the darker side to the Doctor’s character as he outwits Solomon and rescues Neferiti, leaving the helpless Pirate to be destroyed after Rory and Brian have steered the Spaceship out of harms way – leaving the missiles from Earth with nothing else to lock onto except Solomon’s ship.

Riann Steel is wonderfully elegant as the alluring Queen Neferiti of Egypt, she is right in the heart of the action at all times, and much like Rory’s father, Neferiti does well in acquitting herself in the most extraordinary of circumstances. Rupert Graves plays the unlikely action hero John Riddel, an Indiana Jones type character who throws himself into this madcap adventure with The Doctor – relishing the opportunity to  live his life of the edge. These two seem like a match made in heaven, as the coda to this episode clearly shows, history has found  a place for this odd couple after all.

The domestic lifestyle of the Ponds is now clearly taking its toll on Amy’s relationship with the Doctor. More and more, real life seems to be getting in the way. The girl who waited is getting tired of waiting for her mad man in a blue box to show up, and he in turn seems to be loosing himself in a dark universe that has forgotten who he is. One moment in particular between Amy and The Doctor, as Rory and Brian prepare to pilot the spaceship, where Amy confronts the Time Lord about his absence; resonates like a terrible portent of thing to come…

The spaceship has been hijacked by a pirate called Solomon (David Bradley) & his robots

As the adventure draws to a close we get one of the most astounding sights ever seen in Doctor Who, as Rory’s dad sits on the edge of the open TARDIS doors gazing in wonder as the Earth spins below him in space. It a magical moment, one made all the more enchanting when we learn that Brian has started to travel the world upon his return.

Dinosaurs on a Spaceship has one of the most audacious pre-credit sequences yet, its so unashamedly bonkers that it makes you wonder if the episode will be able to sustain the frenetic pace that the plot requires. Once again Matt Smith delivers a terrific performance as The Doctor, he seems to have a knack of capturing  The Doctor’s child-like glee at discovering Dinosaurs and tempering it with the omnipresent power he wields like a scalpel. Although I don’t think Dinosaurs on a Spaceship will be the most popular episode this season, some might dismiss it outright as merely a childish run-around, but it is still nevertheless a hugely enjoyable episode.

Its a Triceratops!!

Earth 2 Issue #0 Review

Tags

DC Comics, Earth 2, The New 52, Zero Month

Earth 2 Issue  #0

Review by Paul Bowler

 

A year after DC Comics rebooted its entire range with the launch of The New 52, DC celebrates this massive event with Zero Month – a series of #o numbered comics – which introduce new characters, secret origins, or as in Earth 2 #0’s case; serve as a prequel of sorts to the first issues released last year.

Earth 2 #0 shows the full horror of the war with Apokolips. Vast areas of Earth have fallen before Steppenwolf’s otherworldly invasion, entire populations have been enslaved and turned into mind controlled Zombies, and even the worlds mightiest heroes are struggling to cope with the onslaught form Apokolips.

This story is narrated by Terry Sloan, the self proclaimed “smartest man on the planet“, who many will recall is the name of the original Mr Terrific from the JSA. Here we learn that Sloan was called Mr 8, who devised a plan with the Ternion of Superman, Batman, and Wonder Woman to destroy the Rapture Generators which Steppenwolf has constructed to subdue the countries his warriors have conquered.

Having decided to follow Mr 8’s plan and attack the main Rapture Generator, Superman and Wonder Woman beat back the defences while Batman helps Sloan get access to the generator. But Sloan has an agenda of his own, one that will lead to the ultimate betrayal, as he uses the Opal Kryptonite he has synthesized to turn Superman mad so he attacks Wonder Woman. While Robin, her mother Catwoman, and Supergirl do their best hold off the Apokolipitan horde, Mr 8 shoots Batman and then detonates the generators in Italy, Brazil, South Africa, and Pakistan – blasting these countries from the face of the world to in a bid to realize his own mad schemes of conquest.

As he teleports to safety, Mr 8 leaves the heroes to escape the explosive trap he has left behind, sure in the knowledge that his actions will have turned the tide of the war and left the worlds heroes facing a battle they could never win…

Writer James Robinson delivers an action packed glimpse of the events that transpired after Apokolips invaded Earth. This issue also shows the motives behind Terry Sloan’s grand scheme, as well as the shocking lengths he was prepared to go to in order to save the world by sacrificing millions of lives. In his self-absorbed narration Sloan considers himself to be “Eighth and Final Wonder”, having learned the existence of the parallel layers of reality as he attempted to calculate a way to defeat Steppenwolf.

Tomas Giorello’s art supports the frenetic pace of this issue, each panel seems vibrant and full of energy and the sequence where Superman goes mad after being exposed to Opal Kryptonite are particularly exciting. Although we don’t really get to see much interaction between Superman, Batman, and Wonder Woman it is great to see them fighting together side by side again.

A Hero’s Tale is not exactly an essential purchase, but it does offer a tantalising glimpse of the global scale of the conflict. It sets up the events that will form the beginning of the end of The Age of Wonders, it succeeds on every level, taking time to develop the character of the series main protagonists, as well as setting the stage for the triumphant rebirth of Earth 2’s superheroes.

The cover by Ivan Reis, Joe Prado, and Rod Reis is stunning; I think its one of the best so far from this range of #0 titles. This issue also leaves us wondering the identity of who Mr 8 refused to mention during his narration, no further clues are given, but it’s a point that is given too much significance to be just a throwaway line . Overall I’d say Earth 2 #0 will satisfy regular readers of this book, revealing the tragic origin of Earth 2’s greatest villain, although I’m sure like me you’ll be eagerly awaiting a return to the main storyline next issue.

Asylum of The Daleks

Tags

Asylum of the Daleks, Doctor Who, Dr Who, Dr Who Season 7, Jenna-Louise Coleman, Karen Gillan, Matt Smith

Asylum of the Daleks

Review by Paul Bowler

(Contains Spoilers)

You’ve gotten up early to see the trailers; stayed up until all hours for the latest images, and read every interview you could get your hands to prepare yourself for the return of Doctor Who. Now at long last the wait is over. Season Seven marks the beginning of the end for Amy and Rory as their adventures with the Doctor draw to a close over five blockbusting episodes, beginning with the return of the Doctor’s greatest enemies in Asylum of the Daleks!

The Doctor, Amy, & Rory in The Asylum of the Daleks!

The Doctor (Matt Smith), Amy (Karen Gillan), and Rory (Arthur Darvill) find themselves kidnapped by the Daleks and taken to a gigantic spaceship in deep space for an audience with the Parliament of the Daleks. Instead of exterminating their greatest “predator” the Daleks actually want the Time Lords help. There is a planet where the Daleks store the most deranged and terrifying of their own kind, a planet sized prison that even they fear to visit, the legendary Asylum of the Daleks. A strange signal has been transmitting from deep inside the Asylum and the Dalek Prime Minister wants the Doctor and his companions to investigate and prevent the insane Daleks from escaping the Asylum. The Doctor finds himself in a race against time to help Amy and Rory – throwing in some marriage guidance along the way – but as the newly awakened Daleks close in for the kill, a newfound friend offer them all an unexpected way to defeat the Daleks…

Season Seven gets off to a confident start. Right from the moment the slightly tweaked title sequence spins away you are thrown into one of Steven Moffat’s most intriguing episodes to date. Things have not been going well for the Ponds since we last saw them, they are on the brink of divorce because Amy has found out she was left infertile after the events at Demons Run. After they are kidnapped by the Daleks and reunited with the Doctor at the Parliament of the Daleks the TARDIS team soon fall back into their familiar roles – but it is apparent right from the start that the Doctor is already doing his best to try and get the Ponds into a situation that will force them into a reconciliation.

Karen Gillan and Arthur Darvill are on top form in an episode that really puts them both through the emotional wringer. When Amy loses her bracelet that protects her from the Dalek Nano Cloud that acts as the Asylums security system – a virus that turns you into a Dalek construct – the scene is set for the heartfelt reunion of the Ponds.

Rory Wakes Up The Daleks

The Asylum itself is a terrifying place, filled with Daleks from every era of Doctor Who. Although it would have been nice to have seen a few more of the older style Daleks, it was a great homage to the shows illustrious history, and offers up a number of highly atmospheric set-pieces. It’s incredibly creepy when Rory stumbles around in the Asylum as the Daleks begin to wake up. He mistakenly thinks that they are asking for eggs, the broken Dalek spheres on the ground, until they slowly come to life and begin to scream exterminate at him.

Even the Doctor is forced to reel in horror from the Daleks when he enters the Intensive Care section! This is the place that holds the most dangerous inmates of the Asylum of the Daleks, those who have survived the Doctor himself, rusting creatures of boiling hate who have been entombed ever since their fateful encounters on planets where the Daleks plans were once foiled by some of the Doctors previous incarnations. Matt Smith is superb as the Doctor throughout Asylum of the Daleks, running the gauntlet of the Time Lords emotions, his initial bravado before the Dalek Prime Minister giving way to pure undulated fear when he becomes trapped by the Daleks in Intensive Care.

The Parliament of the Daleks!

Director Nick Hurran gives Asylum of the Daleks a truly epic feel, playing to every nuance of Moffat’s incredible script, showing us new aspects to the Daleks as well as introducing us to the vast hierarchy of the Daleks Parliament and the Dalek Prime Minister. The episode is packed with fantastic action and CGI effects! The Asylum is one of the most creepy and unsettling places to appear in Doctor Who for some time, it seems to ooze with dread, and when the Daleks become active again the action never lets up until the last spellbinding moment when the Doctor outwit’s the Daleks by getting them to voice the greatest question in all creation: “DOCTOR WHO? DOCTOR WHO? DOCTOR WHO?”

One aspect Asylum of the Daleks that will astound many people will be the debut of the Doctor’s new companion Jenna-Louise Coleman as computer genius Oswin Oswald; the Junior Entertainment Manager of the doomed Starship Alaska that crashed landed on the planet a year ago. She helps the Doctor and his companions by hacking into the Dalek technology and guiding them through the labyrinthine depths of the Asylum. It appears that Oswin also has an extensive knowledge of the Daleks, which proves invaluable to the Doctor when he is trapped in Intensive Care. Having apparently spent her time baking soufflés in a secure area in the heart of the Asylum, Oswin does her best to guide her new friends to a teleport chamber, but when the Doctor goes back into the Asylum to get her out he is horrified to find that she is in fact a Dalek! After escaping her crashed spaceship, Oswin must’ve stumbled into the Asylum where her genius intellect was gradually subverted by the Dalek Nano Virus – encasing her inside a Dalek while her mind built a fantasy world for her to live in!

Jenna-Louise Coleman is in Asylum of the Daleks!

The fact that this aspect of the story has remained hidden until transmission makes it an extra special surprise. Jenna-Louise Coleman was a delight in every scene as she interacted with the Doctor. It is a shame that the two of them never actually meet in this episode, but it is a testament to Matt Smith and Jenna-Louise Coleman for creating such on screen chemistry in spite of them never actually sharing any screen time together. I was immediately won over by Jenna’s performance as Oswin; it poses a lot of intriguing timey-wimey questions that I’m sure Mr Moffat will have a lot of fun with in future episodes!

Asylum of the Daleks gets the Seventh Season of Doctor Who off to a fantastic start, Matt Smith has really made the role his own now, and as we move towards the Ponds exit from the series we have been treated to a glimpse of the wonderful partnership to come.

Amy Is Trapped By The Daleks!