DaViD´82

We live more online than in real life and we don't know how to deal with death. Intimate and definitely the most thematically relevant episode yet, which could have been the best if it hadn't run out of breath in the final minutes. Anyway, the motion sensitive images of dead people from Harry Potter are very disturbing.

From life itself. Without exaggeration the best (and most "real") use of sci-fi elements I've ever seen. Of course, it could have been done without them, because the strength here lies in the emotions. And now I’m going to watch it again, and again... And again.

It is true that you do not negotiate with extortionists and certainly do not give in to them, but hypocritical public opinion must be hypocritically followed at all times. Oink, oink.

It cannot be denied that, in contrast to the other interchangeable marvel movies, this is distinctive in its own way (however borrowed from Batman Begins/Inception). The problem is that in the second half, all cast that is precisely chosen to match the characters on which the movie is based on until this moment, is simply thrown away. Strange from being no one becomes a super master overnight, Christine disappears as if she was from catering crew and not the main female character (and the motivation of the hero), Mordo disappears in the middle of the sentence, it's event pointless to mention the villain. Well, just for the sake of the compositionally excessive effects for the sake of effect it is losing direction in those mirror worlds in the same way a fly would get lost in a mirror maze. In other words, as much effective as it is (and it's quite effective), as little it’s effective at the same time. And in this case, it's actually quite a pity for the Marvel movie.

Prologue + The Magician's Apprentice (9x01) + The Witch's Familiar (9x02) 4/5: There is only one flaw. Namely the first episode of this double episode. It's not absolutely bad, but it's kind of packed with average padding. What would really help would be to add some ideas and excessive twists from other episodes that are full of these and which are undoubtedly one of the most successful of the of recent seasons in terms of storytelling. Under the Lake (9x03) + Before the Flood (9x04) 5/5: The first half as a classic Doctor 's plot "cut off from civilization with a pseudo - supernatural element" in the horror guise and the second half is playing with time paradoxes. In both halves, it is so much fun and it’s so packed as nothing else for a long time. The Girl Who Died (9x05) + The Woman Who Lived (9x06) 3/5: Considering how crucial the episodes are in terms of playing out potentially supporting storylines for (not only?) this season, they hardly could have used more mediocre and dull episodes. And Maisie fails in handling her promising character. The Zygon Invasion (9x07) + The Zygon Inversion (9x08) 4/5: Why does peacekeeping always involve killing? Sleep No More (9x09) 2/5: Bam, bam, bam, bam Mister Sandman, bring me a... Found footage from a man with transparent glasses. Ambitious in terms of format and story line, where it is nice that the format is not an end in itself, but it does not change anything about the truly uninteresting characters and the boring course of the movie. Face the Raven (9x10) 5/5: Doctor visiting Příčná Street. A visit that turns into one of the best "mythological" episodes of the last few seasons. Heaven Sent (9x11) + Hell Bent (9x12) 5/5: Last time, was the Doctor running around Příčná Street, this time he is wandering around depopulated Hogwarts in a one man show variation on It Follows to end his journey in the best, most personal and most intimate finale of the nine seasons so far. The Husbands of River Song (9x13) 5/5: See profile of the special. The Return of Doctor Mysterio (9x14) 3/5: See profile of the special.

Deep Breath (8x01) 4/5: Capaldi's opening night pays for too lengthy footage. The footage of a regular episode would be more appropriate. The first comedy third is fun, but it has too much space, it is treading water and doesn't progress. However, once after entering the restaurant the movie switches into serious mode, all you have to do is take a deep breath and hold it breath along with the characters. Not only because of the great gradation and escalating tension, but mainly because for the first time ever, Clara is a full-fledged character and not a frightened-looking decoration. Into the Dalek (8x02) 3/5: An unfinished copy cat of the Innerspace/Fantastic Voyage, especially the middle "from nowhere to nowhere" part is sloppy. The best part about the whole thing is the prologue, no matter how nice the following of the trend of the Moffat era is, when Daleks are used in a fresh way. And Rusty was supposed to end up as the Doctor's companion, no one will talk me out of it. Robot of Sherwood (8x03) 4/5: Pulp canapés, nothing more and nothing less. Listen (8x04) 4/5: Once in a (long) time, Moffat switches to "god mode" and produces a memorable timeless episode such as The Girl in the Fireplace or Blink. This one has potential to become just such an episode. What a pity it faded away. Time Heist (8x05) 4/5: Heist genre movie that is too much based on "who and why", although it becomes clear quite soon. The Caretaker (8x06) 3/5: It is a pity that it did not remain purely civil also in the second half. This time, the forced sci-fi element doesn't fit, not even remotely. Kill the Moon (8x07) 3/5: Another of those episodes that don't live up to its name. This time, however, the final quarter is mainly to blame. Mummy on the Orient Express (8x08) 5/5: Are You My Mummy? strikes back in an episode that, although, seems to be just a mix inspired of Voyage of the Damned and The God Complex, but is much (but much!) better, more sophisticated and advanced than anything in the last two seasons. Agatha would be happy. Flatline (8x09) 5/5: Killer graffiti in an episode that gives the whole series a whole new dimension, because, among other things, it proves that the Doctor represented by a female would not only do the job, but would also be a benefit. In the Forest of the Night (8x10) 4/5: (Not) A fairy tale that is completely flawless up to the moment of a planetary phone call and after that it is completely wrong. Dark Water (8x11) + Death in Heaven (8x12) 4/5: This will be disturbing... RIP. It's surprisingly unsurprising and straightforward, but at least not silly, considering how big importance creators attach to the big exposures/revealing related to the whole season. From Moffat, it's an unusually "Daviesian" style ending. Anyway, it’s brilliant, except for the setting account scene in the cemetery. Instead of gradation, it stops and makes everything fade away... However, much of this was remedied by the infinitely sad final scene in the café, whose far-reaching impact would be completely taken away the two of them ever see each other again in the future. Last Christmas (8x13) 4/5: See profile of the special.

Prequel + Asylum of the Daleks (7x01) 5/5: Eggzz... term... in... ate! The best (and in a way the most playful) modern episode with more than one Dalek. Dinosaurs on a Spaceship (7x02) 3/5: Jurassic Park meets Armageddon. It is a pity that the intentional junk reflects the name rather than the episode itself, which is ruined mainly by the fact that Doctor's team is too large. The Making of a Gunslinger + A Town Called Mercy (7x03) 4/5: Terminator and settling accounts at High noon. Who would have thought that the western format would fit so well? The Power of Three (7x04) 4/5: The same way the first half is excellent, playful and untraditionally conceived, is the second half mediocre, unimaginative and seen countless times. The Inforarium + The Angels Take Manhattan (7x05) 4/5: This time... BLINK! Excellent, disturbing (especially those tiny angels with big butts and their giant...) and also fatal, but with a cold and reserved conclusion. It should have had have some emotional after-effect, when it's a definitive farewell to one era. The Battle of Demons Run: Two Days Later + The Great Detective + Vastra Investigates 4/5: Origin Paternoster gang introducing the Christmas special. The Snowmen (7x06) 4/5: See profile of the special. The Bells of Saint John: A Prequel + The Bells of Saint John (7x07) 4/5: Doctor Who's episodic style also has its downsides too. For example, supporting and interesting characters like this time Kizletová disappear basically the moment she appears. In any case, from the introductory episodes of the Doctor with the new companion, this one is the better one although by no means the best. The Rings of Akhaten (7x08) 3/5: A very typical (albeit singing) episode according to the established pattern "future and something fishy", which, however, contains several wonderful touching moments. Cold War (7x09) 4/5: Gatiss is really good at impressive returns of "old acquaintances" and this movie confirms it, but unfortunately what is confirmed again and again too is the fact that although Clara is charming and well played, she is so passive that again she has nothing to do and is completely useless for the plot. Hide (7x10) 5/5: Stylish ghost movie of the 70s. Or something like that. Clara and the TARDIS + Journey to the Centre of the TARDIS (7x11) 3/5: Androids don't get bored. Introduction to the "entrails" of the TARDIS, which should have come rather during the introductory episodes of the series. A trio of landfills keepers well thought out, but not used properly and poorly written. And it would have been better off without forcibly incorporated "zombies". The Crimson Horror (7x12) 4/5: A more relaxed episode, which is in the mode of the Christmas special "The Next Doctor". As the initial twenty minutes prove, surprisingly, it would have worked better without Doctor, or at least he could have been saved later, preferably before the end. Nightmare in Silver (7x13) 3/5: I believe that on the paper written by Gaiman, it could have looked much better than the result. And as if it wasn't enough that "it's so weird", it's also the first (and fortunately the last) episode where Matt completely fails as an actor. Clarence and the Whispermen + The Name of the Doctor (7x14) 4/5: I personally like the ending, that highlights personal level, more than another extinction of the universe / invasion of the Earth. Too bad it was too hasty. But if nothing else, at least we know why the Doctor still keeps running and running. And if nothing else, this part will keep up purely thanks to the message "Little Daleks!". The Night of the Doctor + The Last Day 4/5: So essential (in the case of the first one) and good (in the case of both) that it is surprising that it is not part of a regular episode. The Day of the Doctor (7x14) 4/5: See the profile of the special. The Time of the Doctor (7x15) 4/5: See the profile of the special.

Prequel + The Impossible Astronaut (6x01) + Day of the Moon (6x02) 5/5: Excitingly exciting, surprisingly surprising, cleverly clever, disturbingly disturbing. Simply ugh... No matter how dark and mature the modern Doctor Who was, they were always more of an exception in the otherwise, in the best sense of the word, family movie. At the beginning of the new series, it surprising became almost the new X-Files. What is also new is the fact that T this time the connecting storyline doesn't have only supportive role for the grand ending, but everything has been centered around it from the very beginning of the series. Moreover, backed by The Suits, which have inverted concept of the Weeping Angels, even the conspiracy plot is suddenly so much more disturbing than if made by some "old acquaintances". Anyway, if I watched it, I would never forget... Um, what was I talking about? Prequel + The Curse of the Black Spot (6x03) 3/5: Alexander "Lord Grantham" Hemala and the Pirates of the TARDIS versus the siren. Now everyone can see through how the things are going with the ghosts, werewolves or vampires in the world of Doctor Who, so you may expect the change how it works, at least in the case of sirens. They didn’t. They did quite the opposite when they followed a path of a rather mediocre variation of The Doctor Dances final scene. Indecisiveness doesn't help either. It’s not clear whether the main focus is on the Doctor and his companions or the captain and his son. And both story line are negatively affected by it. Bad Night 4/5: Goldfish, annoying fly, and the salvation of the Commonwealth, at 3 a.m. The Doctor's Wife (6x04) 5/5: - You didn't always take me where I wanted to go. - No, but I always took you where you needed to go. There are so many ideas and themes that it would be enough for one whole season and there would even be something left for the next one. As a result, most of it just fade away without any impact. However, this does not mean that it is not a memorable episode. On the one hand, there is a phenomenal old-world meta-sequence when they are running along the corridors, and above all there is the Irdis/TARDIS. Despite the fact that the footage has only 20 mins, the creators managed to make a living person so convincing that the chemistry between him and the Doctor does its job so well that the ending is more touching than anything in the modern history of the TV series. Good Night 3/5: Self-encouragement. The Rebel Flesh (6x05) + The Almost People (6x06) 4/5: Do duplicators dream of electric sheep? It is fully understandable why they chose not to capture it as a one episode movie, on the other hand, there's not enough content for two episodes, so as a result there is a lot of padding and the movie just keeps running back and forth. Prequel + A Good Man Goes To War (6x07) 5/5: Where the first episodes of the sixth season reflected the best of Act X, then there this epic space opera episode reflected the best of Star Wars, including that final variation on "I'm Your Father, Luke". Especially the introductory, teaser part completely without the Doctor is worth highlighting. Prequel + Let’s Kill Hitler (6x08) 4/5: Firstly, "Hitler in the Cupboard" would be a more apt title, and secondly, given that it's a copy-cat mix of the "Hamster in a Nightshirt" and "Tomorrow I'll Wake Up and Scald Myself with Tea", so it only proves and confirms that Miloš Macourek could have been a genius showrunner for Doctor Who. Night Terrors (6x09) 4/5: We're answering a cry for help from the scariest place in the Universe... A child's bedroom. First Night + Last Night 5/5: It´s so good that it would even work as a regular episode and not just as a mini-episode for fans. The Girl Who Waited (6x10) 5/5: Chasing Amy² with kindness. Heartbreaking; however, in the first half it was sometimes too lengthy. The God Complex (6x11) 3/5: Undoubtedly, they could have gotten more out of this variation of the Shining which, of course, doesn't mean they did a bad job. Up All Night 2/5: It is unnecessary also considering the fact that it is only a padding mini-episode. Closing Time (6x12) 2/5: Unbearably messy, stupid, silly intrusive and annoying. The only thing which prevents if from getting even worse rating are the final 5 minutes which is setting a stage for the end scene. Prequel + The Wedding of River Song (6x13) 3/5: It’s something completely different than you might have expected after watching everything that preceded throughout the whole season. I’m not pointing out that it’s more in a "Davies" style rather than in "Moffat´s" but viewers were simply deceived in a big way (and it's not just the ending). But at the same time, there is no denying that it is fun and if looking back at it (if you know the grand ending of the eleventh episode), it's smarter than it originally seemed. Prequel + The Doctor, the Widow and the Wardrobe (6x14) 4/5: See profile of the special. Pond Life 4/5: Nice, funny and fascinating to some extent considering how many emotions it can raise within only 6 minutes.

The Eleventh Hour (5x01) 5/5: Hello. I'm The Doctor. Basically... RUN. Moffat, as the author of the best episodes under Davies' supervision of the series, faced an ungrateful, if not even impossible, task. To start from scratch so even new audience can watch it, but at the same time to let those who know forget as well as to follow the "relational London space opera" era of Mr. Davies and, as if that alone was not enough, replace Tennant. And I think Moffat's genius best illustrates that he managed all of the above during the introductory caption scene, which, with its sad adult fairy tale, not unlike Faun's labyrinth, clearly determines the style of the following seasons. Matt Smith's swagger with a lot of one-liners fits well into this trend and on top of that he has a charming companion, Amelia Pond, by his side. Although calling her female companion might not be precise, as until now, female companions have only been considered more or less important sidekicks, but Amy has been conceived from the very beginning as an equal, wayward partner who does not wait "until the Doctor tell her that to do or saves her". The development of their relationship is charming. However somewhat obviously taken from the Pompadour/Doctor relationship from (unsurprisingly also Moffat's) movie The Girl in the Fireplace. And in addition to the above, it is also an excellent episode, which is packed with "Moffat's staff", thus portraying everyday matters in a very disturbing way, repetitive sentences, hints of things to come… Well, you will simply love it. Meanwhile in the Tardis Part I 3/5: A mini-episode, after which it is already quite clear that the chemistry between Smith and Karen Gillan will be one of the main highlights of this season. The Beast Below (5x02) 4/5: The modern incarnation of the Doctor always first points into the distant future, and the episode eleven is no exception. What sets this episode apart from the standard "Doctor on a space station where something fishy is going on" is the cleverly crafted atmosphere of a police state and touching overlap. Victory of the Daleks (5x03) 4/5: Episode "Necessary Evil" with iDaleks. Doctor Who can't do without the Daleks, and given what Davies did to them and that every time he met them he "completely exterminated them once and for all", it was necessary for the Gatiss/Moffat duo to come up with something that would put them back to the game with dignity. And they did it smartly. They made the Doctor make Sophie's choice, the consequences of which will affect (not only) him for a very long time. And could there be anything more disturbing than "Ironside" ingratiatingly offering a cup of afternoon tea, considering the fact that Daleks are super-villains? The Time Of Angels (5x04) + Flesh And Stone (5x05) 5/5: Two-part sequel to "Blink," which plays like the "Aliens" to its predecessor’s "Alien". I didn't come up with this, but despite a certain degree of excessiveness we can completely agree with that, because it fits like the red-hair fits the Doctor. Meanwhile in the Tardis Part II 3/5: Space Gandalf is simply a womanizer, in other words it’s a tribute to all the Doctor's female companions. The Vampires of Venice (5x06) 4/5: The Vampires of Venice Rather a standard padding episode, which, however, significantly benefits from the dialogs of the Mother of Family and the Doctor, from the setting in Renaissance Venice and sexy monsters. Amy's Choice (5x07) 5/5: Am I dreaming or in other words "tell me what your dreams and fears are and I will tell you who you truly are". Although it becomes soon clear what’s going on, the more enjoying it is to watch what solutions the three main characters will think of. It’s a magnificent watch with great Toby Jones as Lucifer. The Hungry Earth (5x08) + Cold Blood (5x09) 4/5: Earthlings are in danger, both contemporary and ancient. A much smarter and darker episode than one would expect when watching trailer showing storyline of "lizards-people have survived at the Earth's core for millions of years and are now returning to get back what belongs to them". Although somewhat ant-pacifist moralizing, but it is not at the expense of fun or tension. Vincent And The Doctor (5x10) 4/5: Love Actually... for Amy. Love Actually ... for Amy. The beginning looks promising and ambitious (depression, madness, genius, loneliness), but in the end I would expect something more sophisticated from Curtis than a variation on overplayed "celebrity versus monster". However, purely for those emotional moments at the end (à la Vincent at the exhibition) or consistent thematic stylization, it’s hard to say anything negative. The Lodger (5x11) 4/5: A comedy adaptation of the Tenant, which should have been named Ten(n)ant. Paradoxically, the theme and style give the impression that this episode is written by Richard Curtis and not the previous one. The Pandorica Opens (5x12) + The Big Bang (5x13) 5/5: Okay kid, this is where it gets complicated. Nowhere else is the Moffat and Davies's different approach to the same thing so obvious than it is in this final two episodes. Basically they both address the same thing ("the end of the universe") and it´s yet so, so different. And it cannot be said that one approach is better than the another. Each of them has something special, although I do not want to conceal the fact that, that I prefer Moffat's approach. And only because for once he made Daleks, Cybermans (the "zombies" scene finally enabled them to regain the necessary respect they had not received in the modern version of the Doctor) and Sontarans become heroes and saviors. In addition, it won my favour with the playful prologues of both parts as well as the montage on the moving music. After all, this would do the job even as the ultimate ending of the entire fifty-year-old Doctor Who phenomenon. Moffat closes the whole season "in a circle" and is able to get by only with a minimalist style (a sky without stars, everything takes place at one museum), which, however, gives you a better sense of the end of ages than the global scenes made by Davies. The problem is that there are so many ideas and themes that many of them simply fade away (especially 2,000 years without stars, the career of a "Roman" guardian, etc.). The second part is based on the assumption that after watching previous twelve episodes you already care for all those characters (not just the main ones). If not, you might not be able to handle this emotional and intimate version of averting the apocalypse easily. A Christmas Carol (5x14) 5/5: See profile of the special. Space & Time 4/5: Two relaxed comedy mini-episodes about the paradox of space and time, whose only task is to keep you entertained for around eight mins. And it’s enjoyable. That's for sure.

Voyage of the Damned (4x00) 3/5: See profile of the special. Partners in Crime (4x01) 3/5: It only works on the sitcom level, certainly not by what covers the reunion of Donna and the Doctor. On the other hand, the "toucans" are probably the cutest thing the modern Doctor has ever encountered. The Fires of Pompeii (4x02) 5/5: It seems like a "true story written by Erich von Däniken™", but it is exactly this tabloid second-rate quality that makes it special. I'm really curious if he will incorporate Capaldi's portrayal of Caecilia Moffat into the eighth season. It clearly calls for it. Planet of the Ood (4x03) 5/5: The final solution to the Ood question. It only depends on who finds the solution sooner, humanity or the Oods. I just don't understand why the Doctor and Donna are so celebrated, when everything that happens here would have happened in the same way even without the Doctor's presence? The Sontaran Stratagem (4x04) + The Poison Sky (4x05) 4/5: Sontar-Ha! Ha ha ha... After all those vicious attempts to take over the Earth, finally one who keeps coming up with good ideas and enemies, who will soon gain the respect of earthlings and viewers, even despite their ugly appearance. Excellent in terms of emotions as well a it’s epic. The Doctor's Daughter (4x06) 3/5: Single with commitment. The more the idea of seven days is excellent, the more it makes no sense in the form used. The Unicorn and the Wasp (4x07) 2/5: Taking advantage of Agatha and her famous, as yet unexplained disappearance is a million-dollar idea. Even worse idea was to stylized it as a detective story in her manner. Because the author clearly does not possess her strengths, and the result is outrageous mess. Silence in the Library (4x08) + Forest of the Dead (4x09) 5/5: It’s typical of Moffat. He takes a common thing (a gas mask, a statue, or darkness), puts it into disturbing context and keeps repeating one sentence over and over (Are You My Mummy? Don't blink! or in other words Hey, who turned the lights off?), wraps it into an intertwined narrative structure taking place on several story line levels and ends it in a fabulously bittersweet epic happy ending. And it’s not a bad thing! And this applies not only to those episodes made during the Davies period, but also to his fifth to seventh seasons. After all, it is worth watching this two-part-episode again after watching those because thanks to the "end" of the River Song it’s even more bittersweet. Midnight (4x10) 5/5: The most independent episode of the modern Doctor, where there is absolutely nothing of his world or mythology. Even the Doctor is just an ordinary passenger. Although it looks like the cult episodes of The Twilight Zone, as soon as the local psycho games kick start in the explosive and tense atmosphere of fear of the unknown, it's pretty good, because it's not coincidence that The Twilight Zone is a (genre) legend. Just give us more these dark episodes. Young people can handle it. Turn Left (4x11) 4/5: "What if" episodes will sooner or later be part of this kind of series, but consistency and clear inspiration from the Threads suit it so well that one starts wondering that it would be shame to get it back to the original state of affairs at the end. The Stolen Earth (4x12) + Journey's End (4x13) 4/5: It's like an outer-space Facebook! And yes, there is everyone (literally really everyone!) who appeared during the Davies period in Doctor, his children's offshoot or his spin off for adults. The end of the world, the universe and so on... The epic final sequence, which is the beginning of the end of Davies' work on the series. So, is it truth to say the end is good, everything is good? Not quite. Although the introductory half-hour fulfills its purpose perfectly and lets the characters (and also the viewers) absorb the hopeless atmosphere properly. There is nothing wrong with pace and tension. However, it ends in chaos and confusion caused by the fact that there are way to many characters (are they sure that even a single character could have not been killed in the past to make it easier to understand?). Thanks to the fact that there is simply everyone (literally and literally everyone!), no one gets proper space and everyone suffers from it. Including the viewer. On top of that, the unravelling... Well, it's waste of time to talk about it. It's better just ignore this nonsense because Davies' unraveling regularly come out of nowhere year after year as deus ex machines. But what helps a lot is Donna's (very) sad fate who is best Doctor's female companion. It is even more obvious since here all the other, previous female companions are present too. Paradoxically, this episode clearly demonstrates the pros and cons of the entire Davies period. The Next Doctor (4x14) 5/5: See profile of the special. Planet of the Dead (4x15) 4/5: See profile of the special. The Waters of Mars (4x16) 4/5: See profile of the special. The End of Time I (4x17) 2/5: See profile of the special. The End of Time II (4x18) 4/5: See profile of the special.