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Black panther review- You’ve never seen a superhero film like this

It’s only February, but Marvel have wasted no time in giving the world the first superhero film of the year, and it’s set a huge bar for the rest of the year. Considering Infinity War is next, you’d think Black Panther would mainly act as an excuse to set it up, but I was surprised at just how different and standalone this film was in relation to the rest of the Marvel Cinematic Universe. Yes, the awesome intro is there, Stan Lee has his usual hilarious one-liner and there are after credits scenes but for the most part Black Panther is the most unique and out there Marvel film. You’ll never see a blockbuster or superhero film like it. This movie serves as a massive statement to critics who complain about all superhero films being the same- I dare the superhero cynics to find another mainstream blockbuster film that features a mainly black cast which serves as a celebration of African culture whilst also dealing with Shakespearean ideals about loyalty, disillusionment, identity and colonialism, tackles modern day issues such as immigration and inequality, has an utterly unique, Oscar-worthy visual design and world building that presents a fully detailed country with its own laws and customs which also happens to be plain fun (Black Panther 2 won’t count). Until there’s another one, I’m going to assume those critics have no idea what they’re talking about.

 

As the film’s been out in most countries for about a week and it’s been released in America now, I will be spoiling the film, although not massively.

Continuing on from his awesome introduction and arc in Civil War, T’Challa/Black Panther/The coolest character in the MCU returns home to Wakanda to be crowed king. Things are not so easy though, as he soon gets involved in a global plot which revolves around vibranium smuggling, the return of Ulysses Klaw and a threat to the throne of Wakanda. Already the film sets itself apart from the rest of Marvel by having a relativity contained plot- after the awesome action scene in South Korea (Marvel really loves filming there) the rest of the film is set entirely in Wakanda and has very personal stakes. But the uniqueness doesn’t end there, as this is a very thematic and dramatic film a world away from the buddy comedy of Thor: Ragnarok. Through the different tribes of Wakanda, incredibly topical issues are raised that are very relevant for today’s world. T’Challa believes in Wakanda’s isolation as he does not want the resources of his country being taken away by foreign powers like the rest of Africa, but at the same time he rules the most technologically advanced nation on the planet and believes this to be the right way, leaving the rest of the world behind to face their own problems. W’Kabi fears that Wakanda’s involvement in world affairs will bring unneeded immigration and integration, which risks Wakanda being just another country and Killmonger believes that Wakanda should be the leaders of the world and that it is justified, seeing how Western cultures took over Africa during the 19th century and how black people have been treated even now. His motivations make absolute sense. I was very surprised as to how political this movie was, but it wasn’t done in a hamfisted or preachy manner. It enhanced the film and made it a lot more complex than the usual blockbuster.

Speaking of Killmonger, he’s probably the best villain Marvel has ever done. Like Loki, he is a very complex and interesting character who opposes the hero in a far more interesting manner than just being evil. His motivations make total sense, his actions are justified and he gets a complete character arc which is immensely satisfying to watch. There’s also the return of Ulyssess Klaw, who is great fun to watch. The film’s villains are all great and Marvel have definitely improved on this front. This bodes well for Thanos. A great villain is nothing without a great hero, but fortunately Black Panther is an awesome character. He commands the screen every second he is on screen and in his solo film he is perhaps even more well thought out than his amazing introduction in Civil War. He is a hero who doesn’t see himself as one and definetly doesn’t see himself as a superhero, yet his actions and character are all heroic. He’s become one of my favourite Marvel heroes as he isn’t afraid to make mistakes and even do things that antagonise others, as long as it’s in the service of his goals.

The world of Wakanda and the highly unique style this film has is simply amazing. The film combines futuristic technology with African culture, and it’s so interesting to watch. Marvel have successfully made politics interesting- albeit the politics of a fictional nation which seems a lot cooler and a lot more well run than most countries today. That’s kind of the point though, as fear of expanding and helping others is one of the main conflicts of the film. For all the wider themes at play, this is still a comic book film, and the action is amazing. The fighting is very intense and quite different from the usual Marvel action and it reminded me in places of a 12-rated Logan. The final battle is also awesome and the film is never boring, always offering up something new and interesting. The links to the wider MCU are very thin, with only Klaw, minor references to Civil War and a hilarious Martin Freeman as Everett Ross offering wider links to the universe. I appreciate this though, as being bogged down in references would have alienated casual audiences. The standalone nature gives Ryan Coogler to tell his own story and put a unique stamp on Marvel, which he has done immensely well. As much as I am looking forward to Infinity War, I am desperate for a Black Panther sequel to return to this unique world.

In conclusion, I highly reccomend Black Panther, even if you are not a huge superhero fan. It’s different enough to stand on its own and it has a lot to say about race, diversity and building relationships, very relevant in today’s world. It’s one of Marvel’s best films and I wouldn’t be surprised if there’s at least a bit of recognition from next year’s Oscars for this film. Next up, it’s a film ten years in the making- Infinity War. April can’t come soon enough.

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My 10 favourite Twelfth Doctor stories

To quote Tom Baker- “It’s the end, but the moment has been prepared for.” We have one more Peter Capaldi story to go so what better time than to look back at the best of his era. It’s been a bumpy ride but the good ultimately outweighed the bad. so let’s not waste any time and dive straight in-

10. Listen

A very strong early Series 8 script, Listen is an incredibly atmospheric and clever standalone that is unlike any other story in the show’s history. The sequences in the children’s home and at the end of the universe are very well written and full of tension and the dialogue is strong throughout. I love the simplicity of the storytelling and how real tension and scares were crafted out of barely anything at all. The final scene where the Doctor’s childhood was revealed could have been terrible, but I think it added to the mythology of the show. I wonder if we’ll get a reference this Christmas.

The great thing about this episode is how everything is ambiguous. The whole concept of fear and whether monsters are real or a figment of people’s imagination is a fascinating concept and one I think the episode handles very well. Watching this was one of the first times I truly saw Peter Capaldi as the Doctor and I love stories where the Doctor is vulnerable or unsure of himself. The only story I can compare this to is The Edge of Destruction, another story with no villain and that focuses entirely on character relationships and atmosphere.

9. The Eaters of Light

One of several Series 10 stories that will pop up on this list, I really love this story. Whilst monster-of-the-week plots tend to fall flat, I found this one to be strong mainly because of the themes presented throughout, such as the theme of colonisation and also about the Doctor’s responsibilities. There are many similarities to Rona Munroe’s previous story Survival, as once again there are a group of youngsters thrown into a world they don’t understand and they have to fend for themselves. I just love stories which have more under the surface.

Having this be the story before the finale really helped in my opinion, as like Boom Town it was linked to the finale through common themes and character exploration. There’s the idea of time dilation, the Doctor and Bill being seperated and the Doctor’s willingness for sacrifice. The monster was great, the TARDIS team were great, especially Nardole, and I adore the pseudo-historical scripts in the show most of the time so this one was right up my alley. The mystical elements of the plot were also really well handled and added to the story rather than detracted.

8. Mummy on the Orient Express

One of the stronger stories from Capaldi’s first year, this story was a breath of fresh air in 2014 and is still entertaining now. On top of being a fun and well paced murder mystery with a Doctor Who vibe, this story is vital in fixing the Doctor and Clara’s relationship after the ending of Kill the Moon (the only good bit about Kill the Moon may I add) and does it very well. One of the best things about this episode was the ending, where the Doctor questions his own morals and comes to term with how Clara sees him. The character growth comes naturally from the story as opposed to being in the foreground, a common problem with this era.

The villains in this were great, with the Foretold being a very memorable monster, and I love the Doctor going solo in this adventure and solving the mystery on his own. Perkins is a really watchable character and I have a hunch that Steven Moffat considered bringing him back as the second companion of Series 10 before settling on Nardole. I adore the steampunk setting and the macabre tone throughout, with the delightfully sadistic Gus being my favourite Series 8 villain. Overall a solid slice of Doctor Who that will be remembered as a highlight of Series 8.

7. Flatline

Considering this story focuses on Clara, I’m amazed I like this story as much as I do. It’s probably due to the incredibly tight script and the fascinating monsters combined with a simple but engaging plot. There are so many brilliant ideas here, such as the shrinking TARDIS, two dimensional beings, the companion becoming the Doctor and at the same time the Doctor learning how others see him through Clara. The best moment comes at the end, when the Doctor tells Clara that she was an “outstanding Doctor. Goodness had nothing to do with it”.

The Boneless are in my opinion the best original villain from the Capaldi era and I would like to see them return some day. This is easily my favourite Clara story, and whilst she’s my least favourite New Series companion I feel this story captured her character the best out of any story in her time as a companion. The whole episode just has a very original and fun vibe to it and it’s a blast every time I watch it. The sequence where the Doctor escapes from the train using his hand is simultaneously hilarious, tense and awesome.

6. Extremis

Despite the conclusion to this three parter being disappointing, Extremis still holds up as an incredibly dark and clever story. As a set up it’s perfect, with The Monks feeling like a true threat and the Doctor’s blindness adding a lot to the stakes in the story. The main plot about the Veritas is a strong enough mystery but it’s the final twist that gives a story a sense of scale and it’s executed perfectly, with the absurd plot (the Pope visiting the Doctor in person, the TARDIS not translating Italian and the gateways around the world) slotting together to make an immensely satisfying whole.

The subplot with Missy and the final act of heroism from the virtual Doctor also sets up the arc for the rest of the series. Nardole is a highlight here, adding humour to the dark story and this was the start of him progressing from an entertaining side character to an awesome companion. This is a very topical story for 2017, as it questions how people can survive in a world full of darkness and it raises questions about what’s real and what’s not. Can a post-Trump and Brexit world still have positives? This story confirms that as long as people do heroic things, it doesn’t matter what the world is like. Extremis is extremely poignant and very meta.

5. The Magician’s Apprentice/The Witch’s Familiar

This story is proof that when Steven Moffat hits, he hits hard. The highlights of this two parter are Missy and the interactions between the Doctor and Davros, with the scenes between them being some of the best of the Capaldi era. Much like the Series 10 finale later on, this story manages to feel small scale and epic at the same time. It was great seeing Skaro again and even better than that was seeing Davros again, with this being one of his finest stories. Some may find the resolution unsatisfying and that all of his character development was erased, but the early scenes still have weight to them when you realise that Davros meant every word he said, even if he hadn’t truly turned good.

Missy’s inclusion helps give the sombre second half humour and she is absolutely hilarious throughout, making the scene where she makes the Doctor almost kills Clara inside the Dalek a hint towards her darker side. She’s my favourite Master and this story confirmed it and I desperately wanted her as a full time companion. I even enjoyed Clara in this story and seeing the other Daleks from the show’s past was brilliant. The whole story is about trust, redemption and regret, and it’s simply wonderful. Whilst Series 9 may have ended poorly, it began with a bang.

4. Oxygen

Otherwise known as “what Kill the Moon should have been”. Oxygen is great because it isn’t just a base under siege/horror story, as good as those aspects of it are, but because it makes a point and serves as a clever satire. There’s no real villain here as the suits are programmed to obey the unseen company controlling them and I appreciate the return to hard sci-fi. Unlike Kill the Moon, the story never forgets that it’s Doctor Who and keeps the satire to a subtext, focusing on the brilliant dynamics between the Doctor, Bill and Nardole and the intense atmosphere.

Having recently watched the Alien movies, rewatching this story allowed me to see the influences those movies had on Oxygen, with the idea of corrupt corporations and human lives being sacrificed for the sake of profit. I always love it when the show tackles interesting ideas and difficult subject matter without losing the core of what makes the show good, which is entertaining sci fi. The story is perfectly paced and features amazing direction and cinematography, with the scene of Bill losing oxygen one of Series 10’s best. A borderline perfect story made even better by its relevance to the arc.

3. Heaven Sent

This is one story. One. Putting aside what actually happened afterwards, let’s just focus on this amazing episode featuring probably the best performance by any Doctor in any story. This looked like it was doomed to failure- the Doctor on his own talking for 55 minutes, with not much plot or action. Despite this, Peter Capaldi completely sells the Doctor’s grief and determination and it’s this episode that solidifies him as probably the best actor to take the part. The whole episode serves as a magnificent analysis of the Doctor’s mind and how he works.

The music is incredible, the direction is some of the show’s best and the whole story is a breathtaking experience. It’s the kind of episode I strive to make one day. It’s not conventional Who at all, but it’s still brilliant and serves as a fantastic metaphor for grief and letting go. The final ten minutes with the billions of Doctors punching through the wall for 4.5 billion years is a scene that will go down in Doctor Who history, with one of the lowest points of the Doctor’s life suddenly turning into the most triumphant. Easily the best episode of Series 9, but my favourite is…

2. The Zygon Invasion/Inversion

This is much more conventional Who than Heaven Sent, but that doesn’t make it worse. Taking the weakest aspect of the 50th and making a two parter out of it was extremely well played on Moffat’s part and makes the 50th even better than it already is. Like the best Jon Pertwee stories, what this story does best is use the current world climate to create a very modern and relevant story. Osgood makes a much better companion than Clara ever did and the story is full of tiny moments that help flesh out the conflict such as the Zygon who kills himself as he wants peace and the implication that these kind of conflicts never achieve anything.

The intense subject matter and themes doesn’t stop it from being highly entertaining, with a great villain in Bonnie and UNIT being plain awesome. This hearkens back to the best of the Jon Pertwee era and as a massive fan of that era this story was obviously going to appeal to me. The gritty direction and sombre mood throughout makes this an immersive experience that’s a hard watch but one that’s very rewarding. Whilst the speech in The Zygon Inversion may overshadow the rest of the story, there’s enough to like in both parts to make this a modern classic.

  1. World Enough and Time/The Doctor Falls

I’ve gushed about this enough, but simply put this is now in my Top 10 stories of all time. Considering it had to write out two companions and featured two Masters, multiple versions of Cybermen and the Doctor’s impending regeneration, I would have been happy if this was merely good. The fact that it’s brilliant in every way is one of Moffat’s finest achievements, with a story which encapsulates who both the Doctor and the Master are. Everything about this story, from the acting to the music and the direction is pitch perfect.

The Cybermen get their best showing in New Who with their origins being masterfully handled and the sheer glee of seeing two Masters on screen is enough to make any fanboy happy. The story is about triumph and who the Doctor really is and his decision to stand and fight the Cybermen makes this a brilliant bookend to his good man arc in Series 8. The themes of the series and the era as a whole are expanded upon and made better by this story. It’s epic and intimate, incredibly dark but also incredibly optimistic and is perfect in every sense of the word.

Thor: Ragnarok review

Of all the comic book movies coming out this year, Thor: Ragnarok was easily the one I was anticipating the most. Yes, a LEGO Batman movie, Hugh Jackman’s last performance as Wolverine, the return of the Guardians of the Galaxy, a movie about Wonder Woman, Spider-Man in the Marvel Cinematic Universe and the Justice League on screen was all very exciting (and good, although we don’t know about Justice League. Hope it’s good seeing how awesome Wonder Woman was) but honestly, having my favourite Avenger return after eight movies since The Dark World and a minimal role in Age of Ultron was enough for me to count down the days until October 24th. My hype for this movie even overshadowed my hype for The Last Jedi and equal only to that of Doctor Who and Skulduggery Pleasant. Long story short, this movie was already in my good books from the second it was announced.

And then the Hulk was going to appear. In a loose adaptation of Planet Hulk. Then Doctor Strange was going to appear. Then the trailers came out.

OK, I wanted this movie now.

So, did the movie live up to my Hulk-sized expectations? Yes, yes and yes. Thor: Ragnarok is easily one of the MCU’s best movies, purely because it embraces the comics in such a firm way that it literally is a 60’s comic book brought to life. The last time I had this much fun at a cinema was the first Guardians of the Galaxy, and I consider this movie to be even better than that one, which is already one of Marvel’s best.

Without spoiling too much (the movie still isn’t out in America), the plot, as you probably gathered from the trailers, revolves around Thor having to reclaim Asgard from the clutches of Hela, the goddess of death. His travels lead him to re encountering the Hulk, now a gladiator on a distant planet following his departure from Earth. Together, and with the help of a bounty hunter known as Valkyrie as well as Loki, Thor and Hulk build a team to take back Asgard. It’s a really simple plot and very easy to follow, however it’s still compelling thanks to the characters and action throughout. This movie is not bound by the other movies in the series and can be enjoyed as a standalone. It’s very different from the first two Thor movies yet still finishes his franchise in an incredibly satisfying manner.

The best (and funniest) aspect of the movie is Thor and the various dynamics he has with various characters. His interactions with Loki (I won’t reveal how the ending of The Dark World is resolved) are just as hilarious and complex as ever and despite the constant humour there is still room for some heartfelt conversations. Their relationship really is one of the best in the whole MCU. Loki is just as delightfully wicked and sarcastic as ever and he remains one of the highlights of any movie he’s in.

Then there’s the dynamic with the Hulk which builds upon the character’s previous appearances. I can’t discuss his arc too much without delving into spoilers but I honestly think that this is the best portrayal of the Hulk yet. His appearance makes this movie so much more fun as superheroes working together will never not be cool. I love the juxtaposition of Thor and Hulk’s roles in the first Thor movie and this one- in Thor, Thor was a fish out of water adjusting to Earth. In this film Hulk, or rather Bruce Banner, serves as the fish out of water in Thor’s very alien world. I can’t wait to see these two again in Infinity War.

There are a whole load of new characters and they’re all great. The standout character to me was Korg, an enslaved gladiator who looks like a giant rock monster yet sounds like a soft spoken New Zealander (in fact he’s played by the film’s director, Taika Waititi.) The contrast between his appearance and his voice is hilarious and his personality is incredibly upbeat and fun. I hope he returns for future movies. The other standout character was Valkyrie, who steals every scene she’s in. It’s hard to discuss her arc without spoilers but suffice to say it’s very satisfying. Another character who ended up being surprisingly great was Skurge the Executioner. You wouldn’t think a minor character would have a well rounded arc, but he does and it’s great. Doctor Strange’s appearance in the film is great, but he has a very minor role to play. It is great how the characters can just cross over and this bodes well for the future.

The final main character is the villain, Hela. Marvel have been on a good track record with villains recently with Ego and Vulture both being fantastic. Hela is certainly better than Malekith but at the same time is a step down from the two recent ones. The main problem is that she is off screen for vast amounts of the movie as the story unfolds elsewhere and whilst her backstory is compelling there isn’t much done with it. That said, she’s still a great villain who poses a genuine threat to the heroes. In a movie this entertaining, the villain honestly isn’t the most important aspect. A minor villain who steals the show is the hilariously camp Grandmaster, who runs the gladiator arena Thor finds himself in. Every second he is on screen is utter hilarity. Just watch and see for yourself as he is one of the funniest characters.

The action in this movie is incredible and honestly feels like a comic book come to life. The colour pallate is completely insane and is very unique. Not even the Guardians of the Galaxy movies are this insane. The jokes come thick and fast and this is easily one of the funniest Marvel movies. As a result it may not be for everyone but for anyone who is concerned about how serious this movie is I can say without spoiling that the MCU has been changed in a major way and that the path for Infinity War has been set. I cannot wait.

All in all, I highly recommend Thor: Ragnarok. It’s easy to get into without needing context for the other Marvel movies, although it does help. It’s a non stop thrill ride that never stops having fun whilst continuing both the stories of Thor and the wider Marvel universe. For a Marvel and Thor fan, this movie was an absolute blast and anyone who loves Marvel will almost certainly have a good time.

Preparing for Ragnarok: The Thor-athon

Thor: Ragnarok is almost here (in the UK anyway) and to say I’m excited is putting it mildly. My favourite Avenger teaming up with the Hulk and Doctor Strange? Sign me up! Add on top of that the amazing trailers and great reviews and my excitement levels for this movie has hit peak levels. What better time than to reflect on the God of Thunder’s previous movie outings?

Let’s start by discussing one of my favourite Marvel movies, the first Thor. I feel like I’m in a minority here but I still consider this to be an outstanding movie and easily the best origin movie for Marvel. The best part about this movie is the intense character work at play- it almost feels like a Shakespeare story (although given the fact that Kenneth Branagh directed this movie I think that was intentional).

Thor goes through major character development. He starts the movie off as an arrogant prince who believes himself to be superior to others and acts rashly to impress Odin. Then, when he is banished he believes all he needs to do to get back to Asgard is to reclaim his hammer. This is not what needs to happen however, as he realises he needs to learn humility and defeat in order to return. It is so satisfying seeing this character development, which turns Thor into the more well rounded and fun character present in the Avengers movies.

The other fantastic character is Loki, who is still the best MCU villain by far. He is such a complex character who despite his selfish actions is easy to sympathise with and relate to. All he wanted was the same level of respect as Thor, however the way he sought that attention was wrong. He’s the kind of character we don’t get enough of in comic book movies- villains who don’t want world domination or the destruction of the universe. Personal stakes are sometimes so much more compelling than huge stakes, and that’s ultimately what Thor is about. The story is a simple story of brotherhood and family drama yet it’s shrouded in a familiar comic book tone, meaning this movie can appeal to anyone.

What an amazing scene this is. Tom Hiddleston is a fantastic actor and I think he’d be a great Bond.

Are there flaws with the first Thor film? I suppose the Earth characters are not as fleshed out or interesting as the Asgardians, despite there being really funny scenes on Earth, such as this-

The problem is that the romance between Thor and Jane isn’t the greatest subplot in the world and the portions on Earth tend to drag more than the Asgard scenes. It’s all worth it however for when the two stories combine and Thor returns to Asgard to battle Loki. In a fantastic final scene, Thor breaks the rainbow bridge to save Jotunheim but he is unable to return to Earth and reunite with Jane. He makes the sacrifice for the greater good of Asgard, becoming the hero he always wanted to be. The stage is set brilliantly for The Avengers.

Our next trip to Asgard is often called the weakest Marvel movie and I both agree and disagree. On the one hand, Thor: The Dark World is one of the simpler Marvel movies with many flaws that I’ll go into and it lacks the emotion and character of the first film. That said, it’s still very entertaining and a great popcorn film that acts as a very good refresher between the character driven Iron Man 3 and the game changing Captain America: The Winter Soldier, if you’re watching the MCU in order.

Let’s start with the biggest negative here- Malekith. Marvel had Christopher Eccleston, an actual Doctor, playing the main villain and he’s completely wasted. He has no motivation, hardly speaks, is barely in the movie and is generally a wasted villain. This is a problem with other villains such as Ronan the Accuser but he had a very strong screen presence and was a genuine threat even if his character was a bit thin. Malekith on the other hand is just dull, especially compared to his charismatic comic book version. If Christopher Eccleston’s commitments to this film was the main reason he couldn’t do the Doctor Who 50th anniversary, then it’s a real shame that his role in Thor was so lacklustre (at least we got John Hurt in Doctor Who, so it’s really a two sided coin).

OK, onto the good stuff, as I do think there’s a lot of good in this movie that makes me ultimately enjoy it. The best thing about this movie is the humorous yet complex dynamic between Thor and Loki. Loki is a very interesting character in this movie as he isn’t the villain yet still does not have the best intentions, as the ending shows. He is forced to work with Thor and despite their antagonism he clearly still respects Thor. Their Asgard escape is my favourite part of the film, as it has both of them working together and frequently butting heads in hilarious ways-

The plot is actually very clever and despite Malekith being a weak villain, the Dark Elves as a collective are very cool. The siege of Asgard is very fun, being kicked off by an awesome scene of Heimdall taking down a Dark Elf ship and ending with the death of Frigga. This portion of the film truly embraces the comic book nonsense of Marvel and is a joy to behold. One thing I love about this movie is how quick paced and action packed it is yet it still has time for quiet character moments such as the conversation between Thor and Loki after their mum’s death-

The third act of the movie is fantastic. After escaping Asgard, Thor, Loki and Jane arrive in Iceland- sorry, The Dark World- and Loki seemingly dies. This was a great misdirection and a genius way to up the stakes of the movie. The battle for the Aether then reaches London and the Dark Elves invade Greenwich, forcing Thor to take the Tube-

He should just be glad it wasn’t rush hour. Trust me, that is not something you want to be stuck in. I don’t live in London but I have been caught in Tube rush hour a few times when I’ve been there and I fully sympathise with the people who have to commute every day.

After a great duel across dimensions, taking in Jotunheim, the Gherkin and the Dark World, the MCU’s weakest villain is defeated and regenerates into David Tennant (not really). There isn’t really much to discuss in terms of themes when it comes to this film as it is just a bit of fun, so I can see why people dislike it, but I still really enjoy it. It is one of the weaker MCU films, but considering how good they usually are that’s still an indication of a fun film.

Overall, whilst I do understand why some people find the Thor movies to be among the weaker movies made by Marvel Studios, I don’t really agree. The first movie is in my top five favourite MCU movies and the second is still very fun. I cannot wait for Ragnarok (I’m watching it on opening day, so I expect a full cinema) and given that it is currently critically acclaimed I can assume that the Thor franchise will end on a high.

3 reasons why Logan deserves Oscar consideration

It’s September, so the agonisingly painful Oscar season begins. This is the time of the year when movies which no-one has seen suddenly get called the “best movie of the year” and the past 8 months of movies get ignored. Although let’s be honest, this year has been pretty poor for blockbuster movies so I can actually sympathise with Acadamy voters getting fatigued by endless remakes, sequels and reboots no one asked for. That said, there is one movie, released just before the summer, that really does deserve Oscar consideration- Logan.

And I’m not alone in this, as 20th Century Fox have already sent the DVD out for consideration to Acadamy Award voters. Does it deserve award recognition? Definitely. Here’s three reasons why-

  1. People will pay attention to the Oscars

I’ve said this before, but the truth is no one cares about the Oscars anymore unless they’re directly linked with them or film buffs, like me. The general public don’t care what film wins due to the films being mostly inaccessible and unappealing to a general public. Here in the UK we don’t get the majority of Oscar movies until January/February the following year! How is that supposed to represent the best in film in the 21st century? The only times people pay attention is when something like Return of the King, Mad Max or Inception get recognised. The absolute best way for the Academy to make up for this year’s disastrous Oscars is to finally recognise the genre that’s been dominating cinemas- the superhero/comic book genre. What comic book movie more than any other deserves award recognition this year? I think you know the answer, and it’s not Captain Underpants. Nominating Logan, a movie that has been adored by both critics and fans (a rarity for Oscar winning movies) will make people go “Oh, there’s that movie I really liked- I’m going to watch the Academy Awards to see if it wins”.

2. It will act as a consolidation for the failure to acknowledge superhero movies in the past

If Logan is nominated for Best Picture, or (wishful thinking) win, then the Academy will gain serious credentials for actually remembering good movies do exist outside of their incredibly limited bubble of biopics and three hour long Swedish black and white movies with Greek subtitles. The superhero genre has been majorly snubbed by the Oscars. Heath Ledger won a posthumous Best Supporting Actor for the Dark Knight, Spider-Man 2 won Best Visual Effects and Suicide Squad (surprisingly) won Best Makeup this year. That’s the only three I can think of, and only one was for a major award. The Dark Knight wasn’t even nominated for Best Picture, which led to a massive backlash and made the Academy double the movies eligible for Best Picture from 5 to 10, something they have conveniently forgotten every year since. I’m not saying the Avengers or Wonder Woman is the kind of movie that wins Best Picture but Logan is, and ignoring yet another mature, critically acclaimed comic book property when they quite literally have no excuse considering how many they can nominate will prove once and for all that the Academy Award voters are out of touch with modern viewers and unable to look past the source material of a property. A comic book movie (I’m not saying superhero because the movie really isn’t a typical superhero movie) getting major credentials could be seen as the Academy acknowledging the genre as a whole, and the strengths it has. Think of a hypothetical Logan win as a win for all comic book movies, Marvel or DC. One of the finest examples of the genre, scooping the most prestigious award in the film industry and flying the flag high for the future of the genre.

3. It’s a great movie and isn’t that what the Oscars are supposed to be honouring?

Keep in mind that I’m not just doing this post because I want to see a comic book movie win Best Picture. I understand that most movies like Guardians of the Galaxy aren’t going to win Oscars- I would like a separate blockbuster category for the typical superhero blockbuster. Logan however has been genuinely hyped as the first superhero (again, that term is used loosely) movie that could sweep the board in terms of major awards, and it deserves it. It’s not just a great comic book movie, it’s just a great movie. The story is incredibly engaging and well told, the themes addressed are very dark and compelling and it’s a brilliant ending to Hugh Jackman’s Wolverine. This is a fantastic movie even without the comic book label. The Oscars are supposed to be honouring the best movies of the year regardless of genre. Now’s the time to actually uphold what the award is for. A comic book movie like Logan doesn’t happen every year, and this is the closest movie since the Dark Knight to break the mold of “superhero movies are dumb” mentality (a dumb, dumb mentality in itself). I cannot wait to see if this movie does smash through all the awards and breaks that mentality once and for all.

Is this all wishful thinking? I hope not, as Fox clearly think the Academy will consider it. At the very least I expect a Best Actor nomination for Hugh Jackman, who has been playing Wolverine in various movies across 17 years. That’s dedication. We’ll find out if the Academy have changed their mind on comic book movies early next year.

Update 23rd January 2018: Well, the nominations were announced and I was close. The Adapted Screenplay nod is pretty major for a comic book film but I’m disappointed there weren’t any Best Picture, Actor, Supporting Actor or Supporting Actress nods. Still, the screenplay award is a great achievement for a comic book film though and let’s hope it wins. That said, there were 9 nominees and there’s room for one more, so why wasn’t it given Best Picture? Oh well.

Spider-Man 2 review

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It’s going to be a busy couple of weeks in the world of fandom, in particular the latest Marvel movie, Spider-Man: Homecoming. My expectations are sky high, and I hope the movie can live up to the great run of previous MCU movies as well as live up to the fantastic standards set by comic book movies this year, with all of them being brilliant.

So, to honour the third incarnation of Spider-Man on the big screen, I’m looking back at not only my favourite comic book movie, but one of my favourite movies in general: Spider-Man 2. In my opinion, this is also the finest sequel ever made.

What’s so brilliant about it? Simply put, it’s the story. The story of Spider-Man is simple: a cocky teenager is given powers through chance and through events such as the death of his uncle he learns to use his powers for good. This is all set up in the first film just fine, but it’s in this movie where the themes of the character come into play. In Spider-Man 2, Peter Parker is struggling between his superhero identity and his normal life. He fights crime at night but loses focus on the things that he cares about such as Aunt May and Mary Jane. It’s a simple but captivating dilemma: should Peter give up his responsibility as a superhero to be happy or should he continue his superhero life because it’s the right thing to do even if he can’t be truly happy? This dilemma is at the heart of the film and is the main reason why this movie is amazing.

It’s all in the subtlety of how the story is told. While I love The Dark Knight, I feel the themes are a bit “in your face”. The characters often break the flow of the movie to discuss the themes at play, which is fine, but Spider-Man 2 addresses its themes in a more subtle manner and maintain a strong pace throughout. This is helped by the humour (especially J Jonah Jameson), the comic book esque direction and colour pallette (one of my few flaws with the MCU is how the colour palette is the same greyish tone throughout, except for Guardians of the Galaxy) and the camp factor. It’s an inherently cheesy movie but I feel like it has to be: it’s a movie about a guy dressed in red latex fighting a guy with giant mechanical arms. I feel like comic book movies have to be cheesy, which is why I’m glad DC is embracing the inherent silliness of their comics in Wonder Woman and Suicide Squad after the grim tone of their previous movies. The key to avoiding a completely camp disaster is to have heart and a sense of direction, which is what Spider-Man 2 has.

J Jonah Jameson is the. Best. Character. Ever.

There are so many standout scenes, most of them not action scenes. Even a simple scene like Peter admitting to Aunt May what really happened the night Uncle Ben died have so much impact due to the background behind the characters. My favourite scene is Peter’s vision of Uncle Ben convincing him to keep being Spider-Man, which Peter refuses to do and throws the costume away. It’s a marvellous scene because it perfectly captures the themes of the film, which is Peter abandoning his promise after Ben’s death to ensure no one else has to suffer the same way he did. By abandoning his powers, Peter is also throwing away what Spider-Man stands for.

There’s also Aunt May’s speech about ordinary people having the strength to do extraordinary things as well as the scene where Harry Osborne learns of Peter’s secret identity. Harry is another strong character in the film and his journey builds brilliantly on the ending on the first film and sets up the third. Even though he isn’t the focus of the film, he still gets an arc, which is another strength of the film-making every character feel real.

The best character next to Peter (Spider-Man isn’t in the film much, but when he is it’s brilliant) is Doctor Octopus. An incredibly one dimensional character in the comics (he’s a mad scientist and that’s about it) is turned into a very complex, fleshed out villain. I wouldn’t even call him a villain, as he’s just misguided. He just wants to continue his experiments and the death of his wife drives him to madness and he turns to crime to help continue his research. This is why his sacrifice at the end of the film is important, as he realises the error of his ways. A fantastic villain who complements the themes of the movie perfectly, as whilst Peter is struggling with his double life, Doc Oc has embraced it. This is another aspect of older comic book movies I wish more recent ones would embrace, and actually have a compelling antagonist.

I haven’t even talked about the action yet. As I’ve mentioned, the action in the movie is not the main focus, with the action scenes being there to further the story forward. That doesn’t stop them from being fantastic though. Spidey and Doc Oc’s brawl at the bank is fantastic but the ultimate action sequence is the train battle near the end of the second act. After powerful character moments, compelling dialogue and a brilliant story which details Peter’s struggle to return to normal life, Peter Parker dons the suit once again to battle Doc Oc for a second time. The experience of watching the scene is nothing short of breathtaking, as it’s literally a comic book battle brought to life. I can’t describe the brilliance of this scene, so I’m just going to put the scene here and you will see for yourself. It’s the best action sequence ever put in a comic book movie and it’s so awesome the final fight in the old clocktower feels underwhelming in comparison, even thought it’s still good. The only other times I’ve felt this giddy whilst watching a comic book movie is the Avengers fighting each other in Civil War, and the only other action scene that gives me this amount of satisfaction is the Battle of Minas Tirith in Return of the King.

Overall, Spider-Man 2 is what I would call a perfect movie. It sits comfortably in my Top 10 favourite movies of all time and is the finest comic book movie I’ve ever seen. I’ve heard that Homecoming is the best Spider-Man film, and while I’m sure it’ll be awesome, I don’t feel like anything can top the genius of this movie.

The Eaters of Light review

Well, I’ve finished my exams and have no school for twelve glorious weeks. While I could spend that time going out enjoying the sun, I’m going to spend my time reviewing Doctor Who because of course I am. I’ve missed a few episodes so I’ll sum up my thoughts in brief: Extremis was excellent, Pyramid at the End of the Long Title was pretty good, Lie of the Land was disappointing (especially given the build up) and Empress of Mars was an absolute blast with the greatest cameo ever.

So how does The Eaters of Light stack up with the high quality of the series? In short, I thought it was excellent, and it’s one of my favourites this year along with Oxygen and Thin Ice. With the finale this week, it would have been easy for this episode to be bad and have the finale make up for it (also known as the In the Forest of the Night/Fear Her/Sleep No More effect) but fortunately there’s enough in this episode to make it stand out.

I love historical stories and this is one of the best in recent memory. Like Thin Ice, the story is focused more on the history and the setting rather than the sci fi, and weaves the sci fi to make it support the history rather than have the history support the sci fi, as is often the case. Both historical stories this year are reminiscent of Vincent and the Doctor, one of my favourite stories, in this way.

That’s not to say the sci fi is bad. I would complain that the monster is underused, but after a whole series of misunderstood creatures and underwhelming threats, to have a monster simply want to eat everyone is quite refreshing. The Eater of Light is probably the best designed monster since the Teller and whilst the budget restraints prevented the monster from appearing too much, it appeared enough to be a satisfying threat. In a series lacking in strong monsters, we finally have one. It reminded me of something from Merlin, which is always good as that show was awesome.

I don’t care how old I am, I want this monster as a toy. I still have my toy Werewolf and Pyroville, and I think I have a Prisoner Zero lying around somewhere.

The monster wasn’t the main focus though, which was once again on character. I love the Doctor and Nardole team up and wish they had more solo stories together, and having them together in this one served as a good contrast to last week, which was severely lacking Nardole. He’s become one of my favourite companions, and I can’t believe I would say that when I first heard the news that he was returning. I would like an episode dealing with his past though, which should hopefully happen next series.

The parallels to Rona Munro’s previous story, the excellent Survival (which I also watched last night and gets better every time I watch it) are clear with Bill. Like Ace in that story, Bill has to lead a team of scared young people to fight off an impossible threat, showing how the Doctor has influenced her. It’s important that the two leads are seperated before the finale so we can get the best out of both characters.

How refreshing is it to actually have a TARDIS materialisation scene?

Another similarity to Survival is the excellent pacing. With the exception of Oxygen all the other stories have had pacing issues but The Eaters of Light was perfectly paced, with a strong, satisfying resolution. Whilst the epilogue with Missy did feel completely seperate from the rest of the episode, I felt it was necessary to build hype for this week’s bonkers finale. I actually feel like Missy could be a good, Turlough-esque companion for a few episodes.

Honestly, there’s not really much to discuss here. This was just an incredibly atmospheric and fun standalone story which gave the Twelfth Doctor one last bit of adventure before the guaranteed seriousness of the finale. I loved the fantastical tone of the story, which reminded me of Torchwood’s Small Worlds and as I mentioned, Merlin. When Doctor Who tackles fantasy it can sometimes fall flat but this series has had a really good understanding of fantasy, as this episode and Knock Knock are both more about unexplained, slightly supernatural occurrences rather than science. It works as long as the atmosphere is right.

I’ve mentioned it before, but the Doctor/Nardole dynamic really reminds of the Second Doctor and Jamie. I love their constant snarks at each other and how the Doctor constantly insults Nardole.

If I had to criticise, it’s that the stuff about the crows was just… odd. That was In the Forest of the Night levels of fantasy there and that is not good. As I mentioned, I would have liked to have seen the monster more and have a bit more tense moments with it. The modern day pre-credits was also unnecessary and too similar to last week’s. Which leads me onto a bit of a tangent, but here goes-

Am I the only one who feels like the second half of the series has been paced weirdly? Oxygen and Extremis had built up such a strong sense of hype but the other two Monk episodes failed to escalate the tension, killing the flow. We then got two standalones with similar plots (two warring sides working together, Bill falling down a hole, a Classic Who feel, caves). If I was structuring the series, I would have had Episode 6 deal with the Doctor’s blindness and reveal Missy in the vault, then this episode with the epilogue removed making it a complete standalone, a standalone Episode 8 focusing on Nardole, Empress of Mars with this episode’s epilogue and then Extremis could have served as a Turn Left-esque story where the Mondasian Cybermen are practising an invasion of Earth via a simulation, which would lead straight into the finale. I would have saved the other Monk episodes for another series with the same writer on all parts and Lie of the Land being stretched into two parts.

But back to The Eaters of Light. Overall, this is another very strong episode in what’s shaping up to be the strongest series since Series 5 (Lie of the Land wasn’t the best but it wasn’t a Hell Bent/Kill the Moon disaster). As long as the finale is amazing then Series 10 will likely go down as one of New Who’s best.

Next week it’s the return of John Simm’s Master and the Mondasian Cybermen. As cool as it is to have a multi Master story, I just love the original Cybermen and look forward to their reappearance more. I recommend watching The Tenth Planet and listening to the fantastic Big Finish audio Spare Parts in anticipation.

 

Doctor Who Knock Knock review

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We’re a third of the way through the series already- where’s the time gone? To be realistic, the weeks are going slowly due to my upcoming exams (HELP!) and Doctor Who is the light at the end of the tunnel so to speak.

I’ve made it no secret I’ve found this run of episodes to be very strong so far, but much like Series 8 and 9 we’ll have to wait to see if a dud comes around at some point towards the end (let’s hope not). Knock Knock continues the series’s strong run so far, and is reminiscent of stories like Ghost Light and Image of the Fendahl, two of my favourite stories. Whilst not as strong as those stories, this is still a very entertaining and well written addition to the already strong Series 10. It’s probably my favourite so far.

This is the first time this series where the Doctor and Bill are separated and this is where the episode shines. We see how far Bill has come in just four episodes as she basically tells the Doctor to go away and let her live her life, which is great although I’m not a fan of how Steven Moffat always has companions pop in and out of their daily lives. Whilst I like The Caretaker, we really didn’t need another similar episode in Series 10 dealing with the companion’s dual life so I’m glad that wasn’t the focus this week. Scaring children (and my mum who only watched because of David Suchet) and creating an entertaining story was the focus. It wasn’t as character based as last week, but I’m sensing themes and arcs throughout the series I’ll discuss later.

Haunted house, creepy bugs, body horror. This episode truly feels like a Guillermo del Toro film.

The Doctor was again fantastic (let’s hope Mike Bartlett is invited back in Chris Chibnall’s run) and I always love seeing him work independently and with other characters that aren’t the companion. He gets great lines (“Don’t be scared. It doesn’t help”) and I’m enjoying him every week. Thee most interesting aspect of his character is his interactions with whoever’s in the vault, which I’ll get back to later. Overall, another strong outing for the Twelfth Doctor, who is shaping up to be a truly great Doctor in his final series and it only looks better from here.

The best part of the episode for me was the Landlord. He’s the first truly complex villain of the series and I love how by the end of the episode you truly feel sympathy for him despite his villainous actions. His motives are understandable and he really is a tragic figure, as he’s so caught up with keeping his mother alive that he’s forgotten to live a life, in contrast to both the Doctor and Bill who have experienced loss and moved on. We’ve now had two human villains this series and the Landlord is a lot better than Sutcliffe last week. I’d honestly call the Landlord my favourite original villain since House from The Doctor’s Wife. To think I believed him to be a major character in the whole series when he’s just a one-off character.

One major criticism is that I wish all of Bill’s friends stayed dead (morbid I know but a kid died last week) or at least some of them didn’t come back. Maybe they’ll come back later in the series but I just wish there were some deaths in the episode to increase the stakes. Another problem which the episode shares with the rest of the series so far is the slightly rushed ending. The scenes with Eliza are the best of the series so far with brilliant writing, acting and emotion but there isn’t enough to let the emotions sink in before the tease about the vault. There’s also a lack of explanation about where the woodlice creatures come from or the full extent of their powers. The rushed endings have been a constant problem this series and I really wish the episodes were an hour long. There’s a three parter coming and a two part finale so I doubt this will be a constant problem but it’s been a recurring issue so far.

Not the episode’s fault, but I wish the marketing hadn’t given away Eliza in the trailer. It would have made the reveal in the episode terrifying.

A positive element of all the episodes have been the introduction of themes and character arcs I think will be expanded upon later on in the series. The main theme I think so far is about how to move on from loss or trauma, as it’s popped up in every episode so far-

  • The Pilot: Bill has to let go of Heather and the Doctor has to let go of his oath to accept his new companion.
  • Smile: The Vardi cannot let go of the grief that the colonists faced when the oldest member died and see grief as a virus.
  • Thin Ice: One of the main themes of the episode. Bill moves on from her trauma at seeing someone die and the Doctor admits that he moves on all the time.
  • Knock Knock: The Landlord is unable to move on from the promise he makes to his mother.

Could this go anywhere? I think so, and Steven Moffat is smart enough to bring together all the episodes thematically like he did with Series 5, 8 and to an extent 6. I think it could be to do with what’s in the vault, which I think could either be Missy, The Master, the Myrka, Frobisher the Penguin or Susan. Two of those guesses will definitely not be happening.

“And then there was that time when I fought the Abzorbaloff, but we don’t talk about that…”

In conclusion, Knock Knock is a great story that’s better on rewatch once you know what’s going on. I find it far superior to Hide but not as good as the Classic Who stories I mentioned earlier. This week it’s Oxygen, which looks so awesome I’ve decided to not read or watch anything linked with it. I want to go in completely blind.

Doctor Who Series 10: Thin Ice Review

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With it being slightly frosty this week, yesterday’s episode was very appropriate for the weather. Regardless of weather, this episode still continues the trend of fantastic stories from Series 10. I’m serious, if these early episodes are supposed to be the “weaker” ones, then I just can’t wait for the upcoming ones.

One of the best things about this episode is how it’s completely different from last week. We’ve gone from a sci-fi mystery with robots and lasers to a Regency-era costume drama with a big fish/snake thing. It’s this kind of juxtaposition that I love from Doctor Who, and this is probably the biggest contrast for consecutive episodes since Rings of Akhaten/Cold War.

The character work was superb this week, as both regulars got huge amounts of development. Sarah Dollard really knows how to write the Twelfth Doctor and he gets one of his best outings in a while, with his characteristic snarking, humour and cynicism mixed with humanity and warmth. The highlights are when he punched Sutcliffe for his treatment of Bill (I’ve seen people complain about this, but trust me, the Doctor is NOT a pacifist. Just watch any Jon Pertwee or Colin Baker story) and his speech about human progress.

Human progress isn’t measured by industry. It’s measured by the value you place on a life. An unimportant life. A life without privilege. The boy who died on the river, that boy’s value is your value. That’s what defines an age, that’s… what defines a species.

There’s also the continued development of Bill, and this episode once again shows what Moffat and co should have done with Clara in Series 7- show that travelling with the Doctor was not always fun. In this story, she sees a child die (pretty dark considering Doctor Who is a family show) and is understandably upset about it. There were hints of this in Cold War when Skaldak was killing the redshirts, but Clara never had a moment to reflect on what she saw. By having Bill realise the darker side of the Doctor and respond in a realistic way, it makes her more human and relatable. There are plenty of fantastic scenes between them and all three episodes so far have essentially been just her and the Doctor learning about each other. I feel like beginning from Knock Knock, the stories will get larger and more plot based.

I really liked the villain, Lord Sutcliffe, and he was basically exactly what I wanted after two weeks with no villains. I said I liked him when it’s really more “love to hate”, as in he’s so evil and careless that I just couldn’t help but like him and hate him at the same time. He’s essentially a villain from the Jon Pertwee era and as a massive fan of that era, I appreciated the return the stingy, metaphorically moustache twirling, condescending, obnoxious figure of high power that just irritates the Doctor and the audience. He’s so evil that his death is immensely satisfying. It’s been a while since we’ve had a decent human villain on Doctor Who, and Sutcliffe is probably the best since Solomon from Dinosaurs on a Spaceship. I’d have liked to see more of him though and have his plan expanded.

I’d love to see this guy spar with Edmund Blackadder, considering he was also in Regency London. I’d call the episode Fish and Finality. I reckon Sutcliffe would not be able to stand a chance against Blackadder.

There’s so much more to love about this story. One of the best aspects was how it handled the racism of 1814 and taught the children watching that it is never appropriate to be racist, regardless of what time period someone’s from (just because nearly everyone in 1814 was racist doesn’t excuse it). Whilst I love the Shakespeare Code, it didn’t really deal with the obvious issues that Martha would be dealing with in the 16th century. Thin Ice deals with the issue of Bill facing racism in the past a lot better, even if it was just by the Doctor knocking Sutcliffe unconscious in anger. Part of Doctor Who’s original goal was to educate the kids, and this was a good way to do it. Throwing in a real historical event and giving it a Doctor Who twist also makes the historical aspect of the show stand out more than just stories which happen to be in the past (what did the Vikings and Stuart settings add to the Ashildr stories last season?)

Another interesting element was the lack of aliens (again). It’s never really confirmed whether the sea serpent is from Earth or not and I like it that way. Whilst it is yet another misunderstood creature, the presence of Sutcliffe means there was an actual villain, although I really want the monsters this week to be the “we will kill you all” kind. Comparisons to The Beast Below are obvious as well as the Torchwood episode Meat (I’ve only recently gotten into Torchwood and I’ve been watching the good ones with my dad). There were also elements of Kill the Moon (companion makes a choice that revolves around a moral dilemma) but it’s handled better here because there weren’t any one sided dilemmas and no giant flying moon babies.

Ice to meet you (I know, I know, puns are terrible. Eye won’t make any more)

Overall, we have yet another strong episode. I feel like I’m in the minority when I say Smile is my favourite of this opening trilogy (its sci-fi aspects, clever twists and great dialogue sell it for me) but Thin Ice comes a very close second. As one of my most anticipated episodes pre broadcast it didn’t disappoint. There wasn’t much about the story arc, but we got a hint towards what’s in the vault (my Master theory is getting stronger) and it appears that Nardole will become a regular from next week.

Speaking of next week, we have a mysterious landlord, a haunted house, tree dudes and things in the wall. It feels like Ghost Light and the SJA story The Eternity Trap combined. Before that though, I’ll be reviewing Guardians of the Galaxy Volume 2.

Doctor Who Series 10: The Pilot review

It’s finally here! After 16 months (excluding last year’s Christmas and the entirety of Class) Doctor Who is back without Clara! Yes!

It’s been so long since a new companion I actually had to rewatch the Bells of St John to remind myself of the last time a companion got introduced. To be precise, it’s been over 4 years, which is why The Pilot is so refreshing and feels so new.

As usual, this will contain spoilers, so definitely watch the episode first before reading.

Compared with the Bells of St John (which is a stupider title let’s be honest) this is a much more subtle affair. There’s no massive mystery surrounding Bill and the action is subdued for the first half. It’s more comparable to Rose or Partners in Crime, where the dynamic between the Doctor and the companion take centre stage over the alien plot.

I’ve complained in the past how many Capaldi era villains (Skovox Blitzer, moon spiders, Fisher King, Lenny the Lion and to an extent the Veil) have had no impact on the plot, been sidelined or are underwhelming. Here, I’m willing to let the lacklustre villain aside as there was a clear focus on reintroducing the world of Doctor Who and introducing the new companion. I will not be so kind on this week’s Emojibots if they end up being as stupid as some people think they will be.

So what about the rest of the story? Well, obviously this is Bill’s first story and in 50 minutes I already like her more than Clara. To be fair, I liked Nardole in one Christmas Special more than Clara and it’s pretty easy for me to like a companion more than Clara. Bill is the complete opposite of Clara, who was incredibly unrelatable as time went on and essentially became the Doctor by Series 9. Here however, we have a companion who is completely normal with a normal life and with no big mystery surrounding her, which is great. She’s a combination of Donna and Ace (my two favourite companions after Sarah Jane) and I like the fact that the Doctor acts like a father figure to her like the First, Third and Seventh Doctors were to their companions. This is the dynamic we should have gotten with Clara, and it’s a shame Peter Capaldi is leaving this year so this dynamic may be lost (depends who the new Doctor is).

This scene is awesome and it’s the best “companion enters the TARDIS” scene in my opinion.

Nardole returns yet again, and once again proves that a bit of comedy is never a bad thing. He and the Twelfth Doctor have very good physical comedy and character beats that remind me of the Second Doctor and Jamie. It’s clear from this episode that Nardole now acts as the Doctor’s conscience, as shown when he tells Bill “He doesn’t see the tears”. He doesn’t appear to be in the next one, so I can only assume he’s staying behind at the university to guard the vault, which seems to be the story arc of the series. Many people, including myself I’ll admit, were hesitant about Nardole’s presence in the series, but from his two stories as a companion I’m very happy with what I’ve seen. I loved the call back to Robots of Death when he explains the TARDIS dimensions to Bill and his “Wa-hay” when Bill says the famous line that all companions say when they first see the TARDIS.

What’s in the vault? My money’s on John Simm’s Master.

Another great thing about this story is that I actually got scared. Whilst the monster isn’t the most original concept (the Flood and the Midnight Entity come to mind as similar concepts) the scene where Bill is trying to figure out who’s in her house and she sees an eye in the shower plug was genuinely creepy and I had my knees up to hid the screen. My mum thought it was too scary, but that’s the point of Doctor Who in a way. As someone with fond memories of being scared of the werewolf, the faceless granny, the Empty Child, Weeping Angels, the Flood and the Silence, I think it’s great that a new generation have their own behind the sofa moments.

I’ll admit that I think the chase portion of the episode was the weakest aspect. We have a random trip to (CGI) Australia, a BBC quarr- I mean an alien planet and a war between the Daleks and Movellans (Steven Moffat has just outdone the Macra in Gridlock with “random Classic Who” villain returning. What next? The Malus?). This aspect of the episode is entertaining, it’s just a bit random and I wish the whole episode was in the university where the dark lighting could have kept the creepy tone throughout. On the subject of the Daleks, I think this confirms the popular belief that the Daleks have to be used every year otherwise the BBC use the rights (they appeared in the LEGO Batman Movie though so maybe the BBC do own them). Their appearance is very brief, even briefer than their cameos in Waters of Mars and Wedding of River Song, and are just there to add another scene to the plot. That said, I’d rather have a brief cameo than a rushed Dalek story taking up a slot in the series. I just hope Chris Chibnall uses them well.

I actually rewatched Into the Dalek thinking the Daleks would be important. How wrong I was.

Despite all this, the story was not the focus for this episode, and what it focused on worked very well. The new TARDIS team is great, the story arc is intriguing (how Missy, the Monks, the John Simm Master, the Mondasian Cybermen and possibly the Landlord fit into all this I don’t know) and it’s just great that Doctor Who is finally back on consistent schedule (I say consistent but this week’s episode may be delayed due to football. If that happens heads will roll). Introductory stories are never the best, but they’ve all been good, and The Pilot continues that trend.

Onto Smile, the episode with the Emoji Bots. Let’s hope it’s better than In the Forest of the Night…