With its stunning visuals and ambitious story, Blame! promises to be a hardcore science-fiction with an important message about technological evolution. Unfortunately, weighed down by some crappy screenplay and a plot that falls foul of cliche, the film never truly gets going. Despite some gritty action scenes and a few meaningful exchanges, I was left feeling stale by the fact that these wonderful animations were being wasted by an ultimately unoriginal plot.
The main criticism I have is the characters - they are all way too similar, each sharing a cause and each sharing their intentions. There's no hostility, there's no disagreement - everything is just a little too perfect. This is in stark contrast with the antagonists of the film - these safeguards who have immense power, and as is atypical with these futuristic science-fictions, have a penchant for eliminating Humans. Genuinely, the exterminators are pretty terrifying, but once you understand their capabilities, there's nothing more to add. A potentially terrifying threat, sidetracked by the fact that they were developed enough. If you just want to see it for the visuals, then that's a big positive. Every shot is made with care - I adore the landscape shots and the vast, dystopian architecture that now appear dilapidated and rusty. They really captured the post-purge atmosphere of the story just through the grimy imagery, and the hostile nature of some of the locations. Whilst the factory looked advanced in technology, it didn't clash with the dirty and hollow depictions of the city outside. The music also gave it that extra factor, hinting at a world that was once prosperous, but is now so changed that it can no longer be considered a safe environment. Plot-wise, the film is lacking. The opening scenes show great potential, and are shot so well that you're deceived into believing that this might be an intelligent, political science-fiction about a futuristic community attempting to adapt to an environment where they're considered illegal. In truth, while we're under the impression that these surviving Humans have adapted, this is no different from a story of survivors who've found refuge from their enemies. On top of the fact that the characters are so under-developed, there's no empathy whatsoever with anyone. They are walking corpses with no personality. I did, however, like the way Cibo was portrayed - a long-forgotten scientist who understands the nature of the hostile safeguards. But, her story quickly deteriorated as we're brought back to the village and she attempts to locate this missing technology that enables Humans to control the machines. This could have been so much better, especially considering the content Netflix have dished out before, but inevitably there are a few that get through and have little too substance. This had class and the visual aesthetic, but very little nuance to pass as top notch sci-fi. Nevertheless, some of it is appealing, and there will be a number of people who enjoy the doom-laden tone of the film as it gradually progresses to a simple, yet dissatisfying, ending. 6/10
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In darkness, we are revealed." I have great respect for Steven Moffat. He has a child's imagination and an adult's proficiency to write some of the most nuanced stories anyone can think of. In Extremis, despite having written countless other top-notch episodeS that each have their own slice of genius storytelling, Moffat has once again found a treasure trove of plot twists that continue to enrich the Doctor Who lore and confuse its fans. Confusion may sound like a criticism, but in this capacity, where Extremis is merely the introduction to a three-part story, it is definitely justified as a positive point. Here, the showrunner has laid down the seeds for an incredibly fascinating tale that will surely define the end of Capaldi's era as complete and utter triumph.
Honestly, I thought Missy was too obvious to be the one in the Vault, but I must confess that I got it wrong. The Master plays an incredibly important role in this story, and I imagine she will in the coming episodes too. Ever since they were children, members of the Prydonian Chapter, and walking the Mountains of Perdition, these two Time Lords have been the best of friends. In later years, their friendship may have turned sour as their moralities are in perpetual conflict, but in this episode, the Doctor's true feelings towards his longtime friend are revealed. In truth, he can't let go of his friend, and for better or worse, he has now promised to watch over her 'body' for a thousand years. As revelations go, it may have been an obvious identity, but the purpose of her being in the Vault definitely has more meaning that imprisonment. And here, Moffat swiftly integrates her into the story as the Doctor decides that she could be the key factor in stopping these mysterious monks. Speaking of monks, the new Who monsters are truly terrifying, the make-up and effort gone into their appearance is astonishing and it will surely put kids behind the sofa once again, after last week's zombie-filled adventure in space. Understandably, their intentions on Earth are unclear at this point, but they are clearly determined to conquer - they've precisely simulated the entire Earth to plan their invasion, something even the Doctor couldn't foresee (sorry, Doctor). But, it seems the monks have found a fault in their simulation. Humans are beginning to question their existence after reading 'the Veritas', an ancient book that tells a terrible truth, one that will inevitably lead to their death (or in this case, deletion). The simplicity, yet complexity (pardon the oxymoron), of this plot is why I consider Moffat so imaginative. He has thrown his audience into a simulation themselves, and gradually pulled away the cover to reveal the act inside. To many, this may seem like 'filler' (a description I have never liked), but in writing this episode, not only has Moffat shown the full extent of power that these new creatures possess, but he has shown that even in a simulation, and one where it has been so meticulously crafted that it is almost impossible to deduce, the Doctor has a way of thwarting them - by using their own technology against them. Now that the real Doctor is informed of the hostile invasion incoming, who knows what battle could ensue. It's also nice to know that Bill and Nardole are fine after their wonderful two-man team as they travelled through the portals between the simulation. They really are a fantastic TARDIS team. After five seriously toned-down, yet convincing episodes of Doctor Who, this one reasserts the series as an intelligent drama that challenges the audience, and demands that they take heed of every word that is spoken. It took me a while to fully grasp the timelines and the order of the scenes, but once it all comes together, it is one cohesive and incredible tale. References to River Song are also welcome as her diary shows up, promptly delivered by Nardole after he left Mendorax Dellora and after the Doctor left River for the last time on Darillium. As this is a time-travelling show, it would be sacrilege not to include some sort of time-bending chronology, but Moffat does it so subtly that it can sometimes be hard to find. As performances go, it's great to see Michelle Gomez return to reset the bar, owing to some wonderfully hilarious quips towards her so-called executioners. Pearly Mackie equally raised the bar this week, showing how comfortable she now is in the role, and how competent she can be alongside veterans of the art. And a veteran we have in Peter Capaldi, who is at this point in time completely and utterly sold as the Doctor - he is constantly breath-taking in the role, and that scene in the Oval Office is just another example of his unprecedented talent. Although I hate comparing actors, he can stand next to Tom Baker and David Tennant on my list any day. Nevertheless, Doctor Who is on top form, almost rivalling my love for Series 9, and I can't wait to see what Peter Harness can contribute next week alongside the Grand Moff himself. 9.5/10 It's a different time and a different place, but you kids are doing the same thing you always have." One of the most uplifting scenes from Attack on Titan has got to be Hannes describing Eren's tenacity and personal relationship with Mikasa and Armin. Mikasa's love for Eren is unconditional, ever since he saved her from those terrible men during her childhood and offered to become her adopted brother. Armin's love for Eren is also based on his childhood experiences - someone who would go as far as to get himself into trouble just for a few stolen loaves. Their small family and bond has been constant even after the Titan first broke through the outer wall and devastated Shinganshina. Eren may not be the only reason why the Survey Corps are conducting a mass search beyond their territory, but he's one of the most important, and that's what makes that final scene so compelling.
This episode may have speeded things up in terms of how long we spend on the story. But, at least now we're at a point where the goal is in sight and all our characters have a purpose in this vast, fictional world. We're still not fully aware of Reiner and Bertholdt's intentions with Eren and Ymir, but I'm sure that will be made clear in the coming weeks - indeed there's still an air of mystery around these concealed Titans who are finally showing their true selves. We had a nice sum-up of the events happening back at Trost District, as Commander Pixus awaits the return of the Survey Corps who went out to attempt to reseal the outer wall and hopefully find more answers to the Titans. Also, Erwin and Levi are back in the picture now that the Scouts have requested help following the situation involving Reiner and Bertholdt. Their contribution to the mission will no doubt be much-needed and fruitful. The flashback was another great addition to the episode, reminding us of the dangerous lives that Eren, Mikasa and Armin used to lead, whilst showing us how Hannes used to watch over their brawls from afar, knowing full well that Mikasa would be the one to sort the bullies out. She truly is an amazing character, and to see her subduing the bullies single-handedly is just as satisfying as watching her slice her way through a horde of Titans. Crossing between timelines as well, especially when Mikasa's fighting her feelings of despair for losing Eren again, is a simple way of depicting the parallels that their lives have now and the ones they had back then. The series can very easily prey on your emotions. Another step closer to finding out the truth, I hope. Whatever lies in wait for the reinforced army of Survey Corps remains to be seen, but I can guess that their plan to save Eren and capture the traitors will meet many obstacles along the way. It wouldn't be Attack on Titan without them. 8.5/10 I've decided to broaden my horizons with music. This album seems a bit far-fetched for my tastes, but there's something mesmerising about electronic pop when it's played well. This French group appear to have all the right ideas and enough imagination to conceive an attractive piece of music. The question is, wether the entire album has enough of an impact to keep me invested in their work.
The first track, Abysse, promises some eccentric rhythms and tunes. It's a nice introduction the album, offering up some soft synths with an almost medieval-styled tone. The constant rising and falling of the notes allows the listener to be lulled into a dream-state, and that's exactly what you want from this type of music. Aqualand turns on dance-mode. Far more in your face and with serious attitude, it's equally appealing. The shuffling of different electronic instruments might usually be a challenge, but they make it sound easy with this one. Even by its third track, the artist hasn't stopped adapting its genre, this time adding a quiet guitar riff to the mix, giving it that more realistic flavour, instead of relying too much on the electronic sounds. Unfortunately, towards the centre of the track, instead of continuing to develop the tune, they have opted to fall back on the lazy electronic manipulator that turns it too much into a formulaic dance floor song. In the end, it doesn't really get out of the repetitive cycle, which is a real shame. Coeur cruise is another eccentric listen, that provides a nice, catchy melody. Zoom Zoom is less appealing though and quickly stumbles into a messy furore of electronic madness that is really hard to get out of your head. For those who enjoy this type of bass-invasion will probably enjoy it, but with an unchanging tune, its hard not to be put off. Following on from this, Nana is definitely the most annoying of the album, offering some chaotic synths that have caused me to lost concentration, much less dream. Now, Kirghiz is a good track, with some heavy beats that are simple to dance to, but the song is quickly ruined by some high pitch synths that never shut up - they sound like an endless car alarm - how hard is it to keep to simplicity? Dorothy doesn't offer up anything original either and follows the same pattern as the others, sticking to the maddening electronic spirals. Plage Isolee, which is actually a track that has already been released by the artist, is genuinely great for dancing - it has an almost African rhythm, reminding me a bit of Paul Simon's Graceland. Despite the progressively complicated arrangements the artist has concocted for Mexicali, it doesn't quite escape the fact that it's still taking notes from previous tracks, making me feel like I'm listening to the same tracks again. But, in their final two tracks, Polo & Pan have struck gold, with some genuinely emotional synths that actually give you something to look forward to as you go through the album. Pays imaginaire especially has a psychedelic feel, owing to the angelic voices provided by the vocals. The slow beat might take away the dance, but it will hopefully have a different effect on your emotions. Rather more melancholy than exciting. A completely different side to the music spectrum that touches on aspects of dance, house, shoegaze and electronic pop, the album promises a lot of great music, but it often fails due to lack of originality or lazy musical arrangements. If you really like electronic pop though, this is definitely an album for you, and the first track and last two tracks do stand out as decent compositions that are letdown by the fact that they're sitting amongst less inventive content. 6.5/10 You may not like the truth, but it's still the truth." This is possibly Fargo's darkest story yet. Vulgarity and brutality take centre stage in a deceptively harsh segment of the series. You could almost be fooled by that wonderful scene on the bus as Ray swear profusely at his brother over the phone, before announcing to the other passengers that it was his 'mom'. The capability to balance comedy and threat in one episode is a great skill that Noah Hawley has demonstrated many times before. However, this particular episode suffers perhaps because it goes too far both ways. Suddenly, there's a tug o' war between the lighter Fargo and an incredibly dark Fargo that seems to be looming.
Far more Stussy brothers this week, with a wonderful double act performance from Ewan McGregor who seems to effortlessly swap between the two. For Emmit at least, things are looking dire as not only has his brother framed him in an affair that has concluded with his wife leaving the house, but also Varga is now tightening his hold on the business, and turning friend against friend. He definitely seems to be stirring up some terrible lies - perhaps in an effort to isolate Emmit and force him to complete all his evil plans. Sy got a heavy spotlight this week too, but perhaps not for good reason. Viewers experienced one of the most disgusting scenes imaginable in entertainment that will leave wanting to wash your cook wear three times before every using them again. This leads to a transformation of a character who was originally the comic relief. Now, Sy is a man lost in his own confusion, trying desperately to reassert himself in his work, but also maintain his authoritative figure as Emmit's partner in the business. This quickly deteriorates when Varga's henchmen interrupt his meeting with Swango and beat her almost to death. It's a sickening scene, and one that makes us question how Ray's plans will continue without his orchestrator and now wife-to-be. The imagery is always important in Fargo, but there was less of it this time around. I did enjoy seeing Varga in the background as Emmit discussed matters with the IRS employee. It gives the notion that he is always in control and will do anything to protect his investment. Sticking to his character trait, soon after the meeting, Varga confronts Emmit about whether he heard anything about a wife or kids, promptly stating that they could be useful. We know now, as avid watchers of Fargo, that a line like that is dangerous and is often foreboding of an event in the future, but there's something worse about Varga. He's not only devious in mind, but devious in body. He compares everything in life to food, but then at the same time, after eating heavy amounts of food, vomits it all back out again. He's an enigma in flesh, and one that will probably be the deciding factor in this ever-increasing circle of intrigue. Gloria and Winnie may not have the backing of the new chief on their investigation, but that won't stop them from digging deeper into this mystery. But, the question is, how much will they find, before they enter the danger zone and suffer the same consequences that Emmit and all the people he's touched so far. 8/10 S'all good man!" Following what was probably the best episode of Better Call Saul to date, it was difficult to prolong that energy. Despite the fact that Chuck was the biggest loser in Chicanery, Jimmy also finds consequences on his life path.The judgement stands as a one-year suspension, which means he can't practice law until that time us up - something I imagine could be very hard to keep up for a man like Jimmy.. Nevertheless, this episode shows he has tenacity enough to survive in the business world. Kim's reaction to this new venture is priceless.
An incredibly busy and populous episode - Off Brand shows how Better Call Saul can still tie-in nicely with Breaking Bad by revealing not just Crazy-8, but Lydia as well. These are notable characters in the Breaking Bad world, inexplicably connected to this drug cartel hub that eventually spirals into disarray. Their roles are merely cameos so far, but this season is clearly building up the map that will hopefully guide us to the beginning of Breaking Bad. Also, pretty much everyone appears in this episode, reminding us that even though some storylines do appear shoe-horned into the plot at times, they are present for a reason. From Chuck's perspective, he's at a turning point in his life - one where he starts to realise that he may have been fooling himself about his own mental health. And now he's starting to understand his irrational fears, he starts to fight them, even going as far as to walk into the city of lights and use a public telephone to call his doctor. The imagery of him walking through the streets, wrapped in foil, which is billowing in the wind like a dress, may seem comical, but in the moment it's actually quite sad. Now that Jimmy has pretty much hacked his brother out of his life, Chuck now has to fend for himself, whether he wants to or not. Nacho gets a decent spotlight this episode, as he we return to his parallel lives - one in which he is a facade of his true self, working for his father in a sewing factory, and another where he is Don Hector's finance collector and all-round right-hand man for his drug business. The only problem is, owing to a new suggestion from Hector, both worlds may be colliding. Unsurprisingly, Nacho doesn't want that to happen, and it begs the question of how he's going to stop it from happening. Isn't that pill on the floor a little too obvious, or is it a red herring for something else? Meanwhile, Mike is returning to normality as he spends more time with his daughter-in-law. Their relationship is lovely, and it's great to see him get some time to rest from his incredibly stressful life. But is this the quiet before the storm for all our characters? Is Vince Gilligan merely pretending that everything has died down, and is waiting to catch us out with something unbelievable. A lot of fans have already pointed out that there are a handful of characters who don't appear in Breaking Bad. The optimistic approach would be to say that they've moved away or are unimportant in that context, but the reality just might be that they suffer a so-far unknown fate. We're just waiting for the axe to fall. 8/10 Use that wealth to become invisible." I adore the abstract concept that this season of Fargo has gone for - last week had some heavy symbolism, something a lot of shows fear to use because it's not an audience grabber, but it does add some wisdom and colour to an otherwise flat story. This week's continues that symbolism with a narration provided by none other than Billy Bob Thornton, and an interesting theory that involves Gloria Burgle. That opening monologue was stunning, and such an original and compelling idea. A lot of movies and shows do have this feature in which a certain instrument is used only when a certain character appears on screen. To have it connected to a representative animal as well allows the audience to better describe the characters and their personalities.
Regarding Gloria, she seems to be having a constant battle with technology. This further expands on her technological ignorance, but also symbolically highlights that technology (or the passing of time) seems to be working against her. This leads me to believe that Noah Hawley is attempting to compare her to this robot from last week. A being that has never adapted to the surroundings around it, but has witnessed everything that has happened over time. Perhaps this is a way of telling us that Gloria is the truth-carrier, and as in the conclusion of that episode, she is the one who will deliver justice to the world. Following last week's meandering in Hollywood, the Narrow Escape Problem brings us back to the messy lives of the Stussy brothers, Varga and the Burgles of Minnesota. Except this time, the noose is tightening on the story, one in which the truth is finally coming out. Firstly, Ray is placed in an inevitable predicament when his relationship with Swango is unveiled at his workplace, forcing him to be suspended indefinitely. He may be in love, but his life is certainly taking a beating for someone who I have my suspicions about. She seems too devious to be doing all that she's doing just for reciprocated love. Whether my suspicions are revealed or not is left to be decided. Emmit's story is progressed well this week, with his right-hand man Sy now under the spotlight thanks to an inquisitive new law enforcer by the name of Winnie. Not only that, but Varga reveals his true intentions to Emmit at his own house after eating his own food. His speech about rich people is wonderful, giving us a flavour for the quality of his mind. This guy is more than just a powerful man who has enough money to remain invisible, but he is truly vile. For whatever reason, Varga regurgitates his food after every meal, something that could definitely be related to his mean-spirited attitude and his chiselled teeth. The show still hasn't sealed all the gaps yet - there's still a lot of open-ended commentary on the Russian connection, but it's clear Varga has far more secrets than the ones he's already revealed to his new business partner. But, now with Gloria finding a new ally in Winnie who has connected the same dots as she has, we could be looking at another nail-biting investigation that is as Fargo as it can be. Without the comic relief from Sy (Grandfather), who is genuinely laugh-out-loud funny, I don't think we could bear the tension that's growing in this wonderful drama. Fargo is still on excellent form. 8.5/10 Just to set records straight, I've never been a fan of One Direction's work - I thought their music was uninspired and devoid of character or individuality. Catchy, yes, but that's never a gateway to mainstay music or poignancy. Nevertheless, I have high hopes that Harry Styles' debut album as a lone songwriter could be promising. First impressions are always related to the cover, and it has already made me question my decision.
However, listening to the first two tracks, there's definite potential here. Sombre and dragging in parts, like someone pulling a sack along the floor, it's already clear there's a certain audience target for this album. I must admit though, that Sign of the Times is a good single, even if the guitar-play doesn't change, not even to change a chord. Styles does have a good voice though, and his capability in the higher octave does amaze me - he has clearly trained well. The second two tracks get a little more upbeat, and there's a genre transformation, becoming very old-fashioned in my opinion. More Beatles than anything I've ever heard in any new music. Two Ghosts is amiable with a nice guitar riff, paralleled by Styles' high voice. It's probably good to daydream to, but nothing further. I don't doubt that his music is nice on the ears, it just doesn't attempt to challenge me or engross me emotionally - even if the weepy guitar is begging to be loved. The second big single, Sweet Creature, is another example of good guitar work, that has me thinking about Fleet Foxes, but as the song is only filled with Style's voice and a guitar, there's not much happening at all - a pity, considering how good this might have been with some subtle percussion. It's clear that Harry Styles has gone back to the old classics to find inspiration, but it does nothing to shake up the current music field, most of the work in the second half of his debut album is filled with rehashes of old stuff - Kiwi in particular is actually a bit embarrassing especially as Styles doesn't change from singing one note constantly. Finally, Ever Since New Work demonstrates good use of percussion, that provides a sincere rhythm to the song, and it's complemented well by the already strong guitar and voice. Probably the best track on the album, but it still doesn't resonate with me as an instant classic, or anything that will stick with me for a while. The bass on Woman does have some great rock vibes, but it doesn't go beyond the reference, as the song is completely ruined by this incessant noise that keeps repeating throughout the song. Going back to sombre doesn't exactly help the denouement of the album, but it does define the album well. This is a bold attempt at nostalgic discovery of music that is invincible to modern touch, unless it's done by the same musicians who did it back then. 5.5/10 I bet in the history of humanity, nobody's ever done anything as bad as you." After last week's massive revelation, we could expect nothing less than a brutal battle. They certainly delivered. While juxtaposing flashbacks that explain the lead in and the feelings that all our heroes have at this point in time, the episode also depicts a pretty gory, unsubtle and maniacal battle between two formidable forces. Eren and Reiner. Now that the former has learnt of the latter's deception, he's not holding back his pent up anger.
It's a visually stunning episode, with heavy emphasis on the shots of the Colossal Titan towering over the wall. Whilst this great beast is slow, the Scouts encounter a new problem in that it can excrete hot steam to protect itself from ODM gear. This is an interesting skill and forces the Scout to hang back as they watch the impending doom approach with ever-increasing calamity. Meanwhile, Eren's chances are just as slim as he fruitlessly finds himself being battered to pieces by a considerably stronger Armoured Titan. In all honesty, this may seem like a monotonous pattern of punch and punch, but it's the way in which the animators describe the movements of the Titans that's important. As is explained in the flashback, Eren is introduced to a new combat move by non other than Annie, whom we all know to be the first traitor within the walls. The fact that he uses this move to temporarily incapacitate Reiner is poetic irony, but it might not be positive definite in stopping Reiner in his tracks. Regarding that flashback, I'd be interested to know who won the competition between Mikasa and Annie; my money's on Mikasa, but that's probably because I'm very fond of her. Not much on the exposition front, except that Hange, Mikasa and Armin happily learn that Eren is slowly gaining control of his Titan, even if he's struggling to match up to his colossal enemies. Considering Hange's been working with Titan for such a long time and has grown fond of understanding their nature, it's great to see her reaction when Eren nods his acknowledgement of her order. Cruel as it is, we're left with another cliffhanger, this time with the Colossal Titan seemingly falling head first onto the bodies of Eren and Reiner. What this means is left open, but it does beg the question of how, if they do ever manage to capture Reiner and Bertholdt, what do they do with them then? If there's one thing we've learned from Attack on Titan, is that it's not easy to keep a Titan close and harmless. It will require all the manpower and dexterity that humanity possesses. 8/10 You only really see the true face of the Universe when it's asking you for help." Oxygen presents Doctor Who as a darker, bolder and all round mature series. The claustrophobia and threat of this episode is heightened by the fact that the Doctor and his companions are in a situation that is far more dangerous than they've experienced before. For one thing, the TARDIS and sonic screwdriver are put out of action very early on in the story, resulting in the Doctor having to improvise and work things out simply by using his enormous brain. Initially, this seems normal, until all their lives are on the line, leading to the most satisfying denouement of Series 10 so far. Instead of going for the over-complicated, Jamie Mathieson has opted for simplistic.
The political angle is something that Doctor Who has been doing for years, but it feels fresh and inspired in this episode. Capitalism is actually the monster in this story, something that is not often considered dangerous, but is actually an invisible force that endangers everyone for one simple reason - money. It's the clever way in which the Doctor threatens the capitalist suits with expenses that saves their lives. The zombies, however, are less inspired, and despite their appearance adding to the scare-factor, it doesn't provide any sub-context to the storyline, just a way to put the kids behind the sofa. The story itself is well written by Jamie Mathieson. It's the atypical Doctor Who adventure, but this time, Nardole joins in. Whilst the subplot of the Vault is still very fresh in his mind, his character does get a chance to show off his knowledge of the Universe alongside the Doctor, even going as far as to discuss his love life with an AI called Velma. The comedy is integrated well into the fast-paced chase-fest that ensues in most of the episode, but it is overwhelmingly swamped by the grief we feel as not only does the Doctor lost his eyesight when saving Bill from suffocation, but also Bill is converted anyway. The supporting characters didn't provide much in the way of context, except for a quip against racism. But it's great to see the writers expanding our knowledge of what the future of the Human race looks like in the Whoniverse, perhaps somehow connected to the Great and Bountiful Human Empire that has been mentioned since Series 1. Performance wise, Capaldi has peaked so much that it's just an endless display of unprecedented talent. This time required to act blind, it doesn't seem a challenge at all to him - he embodies the Twelfth Doctor every episode without fault. Pearl Mackie is better than ever, this time required to portray Bill in a more threatening position than ever before, allowing us to grieve for the emotion she feels in her relationship with the Doctor. Also, the reference to her Mum was heartbreaking. I particularly enjoyed the opening sequence to the episode, with a combination of Capaldi's monologue and that beautifully shot scene in space being a highlight of a pretty strong episode. With that cliffhanger though and the next time trailer, this series has suddenly expanded beyond proportions. Not only have we got the Vault to ponder, but the Doctor's blind and and now there's a book known as the Veritas that apparently kills people after they've read it. The string of five episode that we've had so far have been the most consistent of any of the new series in my opinion - Series 10 has had not one dud. This is probably Mathieson's best in my opinion, and I hope he returns when Chibnall takes over. 8.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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