Streaming (1)
Évad(14) / Epizódok(188)
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Season 1 (2005) - 14 epizódok
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Season 2 (2006) - 14 epizódok
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Season 3 (2007) - 14 epizódok
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Season 4 (2008) - 18 epizódok
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Season 5 (2010) - 14 epizódok
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Season 6 (2011) - 14 epizódok
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Season 7 (2012) - 16 epizódok
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Season 8 (2014) - 13 epizódok
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Season 9 (2015) - 14 epizódok
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Season 10 (2017) - 13 epizódok
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Season 11 (2018) - 11 epizódok
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Season 12 (2020) - 11 epizódok
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Flux (2021) - 9 epizódok
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Season 14 (2023) - 13 epizódok
Tartalmak(1)
Rose Tyler (Billie Piper), a csinos fiatal lány egy londoni áruházban dolgozik. Egy napon véres, megmagyarázhatatlan események tanúja lesz, és veszélybe kerül az ő élete is. Hamarosan felbukkan egy rejtélyes férfi (Christopher Eccleston), aki magát nemes egyszerűséggel Doktornak nevezi, és aki nem csak Rose-t menti meg... Rose rövid időn belül egy lázas és mozgalmas csata közepén találja magát, ahol a tét nem más, mint a Föld és az emberiség megmentése. A lány hamar rájön, hogy új barátja még annál is különösebb, mint ahogy gondolta. A Doktor ugyanis képes utazni térben és időben. Amennyiben Rose vele tart, úgy tanúja lehet a Föld jövőbeni pusztulásának, találkozhat Charles Dickensszel a múltban és szembesülhet olyan eseményekkel, amelyeket előtte lehetetlennek hitt. Csupán egy dolog biztos: ez az utazás egy életen át tart... (RTL Klub)
(több)Felhasználói recenzió DaViD´82 ehhez a sorozathoz (27)
Ki vagy, doki? (2005)
I strongly do not recommend this to sushi lovers! They may well end up spending all the family savings on the journey to get just this one dinner in the restaurant with no toilets in the Tokyo subway. If sushi is not so high on your list of priorities you can watch it with no fear, because it’s mainly about the old-world Japanese demeanor which is aimed at constant self-improvement through their absolute attention to detail and infinite humility. Despite having been the very best in their field for decades. But have you heard what our cooking celebrities have to say to this exceptional documentary about the “philosophy of sushi" as practiced by the Ono family (with Jiro as a leader who made it all the way into a sci-fi comic book by the culinary adventurer Bourdain) in one very special restaurant that got three stars in the Michelin guide? Zdeněk Pohlreich: Well I’ve never seen anything like that before! Look at him how he’s touching it with his dirty mist and has the cheek to stare straight into your face, less than an inch away from you, watching you eat! Jiří Babica: Hmm, interesting, I must say. But unnecessarily snobbish ingredients. I would add ketchup and a frankfurter sausage to the rice. And in fact ketchup instead of the rice and the frankfurter because ketchup on ketchup blends nicely together and it’s a yummy treat which you can have every single god given day. Jaroslav Sapík: Excellent! Delicious! But where is the main course with six dumplings? And where is the beer to wash it down? VydroBoušek: He is too grumpy, can’t speak a word of Czech and how can you call this cooking? - It’s served raw! But you must admit that the funny activity – massaging an octopus for an hour - was the high point of this week. So 5 points for him (which isn’t enough to win), so the winner is Jarka from Velká Bíteš with her traditional meatloaf. Roman Vaněk: That seems odd. Ten years of hard labor day in, day out, just to learn the basics? Yo, losers… Come to Prakul, and we’ll teach him everything he needs to know about sushi in just five hours, for just four thousand crowns!
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Season 1 (2005) (S01)
Rose (1x01) 2/5: Puppets controlled by the Mega-chewing-gum! An episode that aged faster than many decades-old episodes of the original series. One would expect that if you renew (not only) a genre legendary movie after years, you will come out with strong weapons, some "essence" that you will deliver for the next few seasons and not that you will come with a semi-finished product that tries to run after so many hares in different styles, that everyone will run away from him and introduce uninteresting one-dimensional characters. Just another mediocre show you can watch on every TV station. And the nice effort to make a performance that works both for knowledgeable and completely untouched viewers does not change much about it. The End of the World (1x02) 2/5: The first of the episodes of "Tardis stops at a space station where something strange is going on", which will be frequent and there are usually more of these episodes in every season. They are similar to each other and very much the same. In addition, Russell clearly didn't do his best when writing the first two episodes and rather did the series a disservice than anything else. Here it´s based on an idea of the Restaurant at the end of the universe, but it's captured in a so-so form and lacks smart approach and intricacy. The Unquiet Dead (1x03) 4/5: Charles Dickens meets The Beyond. Until Gatiss showed what strong point of the modern Doctor would be, clever genre games with thoughtful references and addressing serious questions with a mischievous smile on the lips, where none of the characters can be secure. Aliens of London (1x04) + World War Three (1x05) 3/5: So Zeman, Škromach, Wolfová and the like are aliens created by crossing ET and velociraptors? It would explain a lot... Anyway, again, it's truth that Davies has great ideas, but some one more suitable should incorporate them into a script and should make the ideas not so obvious. Dalek (1x06) 5/5: An old friend of mine. Well, enemy. The stuff of nightmares reduced to an exhibit. Exterminate! Sad! Deeply felt! Clever! It's a pity that what this episode does for Daleks didn't do the first episode for the Doctor. The Long Game (1x07) 2/5: Simon Pegg and otherwise nothing but a routine variation on the mentioned in the second episode. Father´s Day (1x08) 4/5: I prefer when working with time paradoxes is more logical, more refined and thoughtful, but here the chaos in the (non-existing) rules doesn't matter much, because it works rather well, at least in terms of emotions. The Empty Child (1x09) + The Doctor Dances (1x10) 5/5: Both the Doctor's "X Files" story line and Rosina's parallel "space opera" are undoubtedly the (best) best part in the first season. The weak point is that they don't get on very well, especially the horror atmosphere of the Doctor's story line suffers from it. But during the second part, it partly fades away. It´s more tense, more disturbing and more mature, and therefore generally better. On top of that, the authentic touching conclusion is the icing on the cake. There's just everything that makes the Doctor (both the series and the character) the Doctor. Boom Town (1x11) 2/5: Thanks to Margaret Blaine/Blon Fel-Fotch Passameer-Day Slitheen and biting remarks on Cardiff, it is special, but there are plenty of those stupidly recycled genre clichés. Anyway, at least I learned something, repeat after me Raxacoricofallapatorius, Raxacoricofallapatorius, Raxacoricofallapatorius. Bad Wolf (1x12) + The Parting of the Ways (1x13) 3/5: The idea of including popular television competitions of that time is as silly as the obvious, and the processing is childish, even more as Davies tries to reflect on contemporary society. He pretends to be Charlie Brooker and he fails terribly. In any case, the whole final scene works well at least in terms of emotions. And that means a lot. Born Again 3/5: A mini-episode that is nothing more than a cut-out scene from the final scene of the end of the first season. It's nice, but it's nothing but nice. The only reason it's not entirely waste of time is because o the fact it connects the final scene of the first season with the Christmas special.
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Karácsonyi támadás (2005) (S01E14)
The first of the specials and also the first to suffer the malady typical of specials. There are just too many birds in the bush. That’s the reason why it’s disorderly and almost every segment is presented in a completely different style; and so the opening resurrection of the Christmas props gets soon forgotten (and seems forcefully placed in the movie just because it airs at Christmas) and runs in a different style subsequently to change again several times and to finish completely differently than it started. One thing that came off outstandingly is the Doctor’s transformation. Having seen Tennant in his pajamas face-to-face starts reciting lines from the Lion King to cohorts of top-notch bloodthirsty aliens with a mixture of boyish goofiness and undeniable respect, there probably won’t be too many viewers who won’t immediately fall for the Tenth Doctor immediately after his introduction scene, just after he got up.
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Season 2 (2006) (S02)
The Christmas Invasion (2x00) 3/5: See profile of the special. Attack of the Graske 2/5: FPS interactive mini-episode and outrageously needless nonsense. New Earth (2x01) 4/5: The very first episode of the second season will clearly show that the creators have learned from the shortcomings of the first season and do not intend to repeat their mistakes. On the one hand, they have a higher budget and an ace up their sleeve in the form of Tennant, but mainly better written screenplays, which are more refined and more sophisticated, although they follow the style established by the previous seasons in terms of framework and style. It is not afraid to address serious topics of adults… using approach packed with action and with a smile on its lips. Tooth and Claw (2x02) 5/5: The final line of reasoning in a circle about the royal family would save even a much worse episode than this hotchpotch about a werewolf from outer space, Queen Victoria and the villainous kung fu monks. A playful combination of tension resulting from the atmosphere of gothic horror and genre-conscious exaggeration. In this respect, it is not unlike An American Werewolf in London. School Reunion (2x03) 4/5: Confirmation of what every student knows very well, in an covert (and better) British remake of the Faculty. The Girl in the Fireplace (2x04) 5/5: A mix of disturbing, almost spooky atmosphere with exaggeration is a risk that usually doesn't pay off. For the doctor it's even more difficult as it's a mix of various genre elements. Here, in particular, the spaceship and the French royal court of the 18. century is combined. It's simply an ungrateful combination, where so many things can go wrong that even in this series, it doesn't always work out. However, few (if any) episodes from the opening seasons manage to do so with such grace as this one. Let alone having such a melancholy and saddened ending. Rise of the Cybermen (2x05) + The Age of Steel (2x06) 3/5: Would it do without the first part? YES! In any case, the second part saves a lot, although the Cybermen did not as good job as the Daleks did, not even remotely. These are not respectable opponents, but figurines in ridiculous costumes. In any case, the episode that provides Mickey/Ricky's character with everything he may possibly need, suddenly turns this "metal sheet dog" character, that until this moment was rather redundant "tin dog" into at least a little bit interesting character. The Idiot's Lantern (2x07) 3/5: The theme and the setting hits the nail on the head, but the lack of clarity about what the movie actually wants to be scores its own goal. This was supposed to be either a purely serious scary episode or, on the contrary, a purely comedic episode, but not "scary now, a little bit later funny, than scary again". As a result, it's neither scary, nor funny, and actually not particularly entertaining. So I hope that if nothing else, the Czech voiceover was done by Edna… I mean Mr. Kaiser. The Impossible Planet (2x08) + The Satan Pit (2x09) 5/5: The duly dark double episode showing " reflection of humanity" through the race of the Oods. Such an impressive carpenter's movie that is better than majority of John Carpenter's own filmography. And it definitely doesn't lack timeless classic moments. Love & Monsters (2x10) 4/5: The bad news is that they don't sell this alien pet in a form of a stuffed toy. This is a fundamental mistake, but this formally playful and refreshing episode cannot be blamed for it. Fear Her (2x11) 2/5: The weak point is not that it's like a mediocre episodes of X Files. The weak point is not that it has a too pathetic happy end (which, after all, makes sense due to the final scene). It has the same weak point as the episode which is obsessed by TV. Again, it wants to be scary and funny at the same time, but in such a gentle way "that there is no harm in it". But it's useless. Especially when the brat can't act and he drives you crazy every time has says something. Army of Ghosts (2x12) + Doomsday (2x13) 3/5: I would appreciate more mystery related to ghosts. The fact that everything about them was revealed almost immediately after they appeared for the first time kind of ruined it. This way the viewer immediately knows what's going on and where the movie is heading. Anyway… Cybermen! Daleks! Humanity! Millions of Cybermans versus millions of Daleks versus billions of people! The end of the ages! Parallel worlds! Torchwood! Machines with feelings! Farewell to Rose and her close ones! Well, Davies obviously packed it with everything he considered good at that time. And no matter how stimulating each of those topics is, in this way, together within the final scene it’s too crowded and none of these topics has the necessary space, and it gives the same overall impression as.... overall… Well, like when the doggie and the pussycat tried something similar.
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The Runaway Bride (2006) (S02E14)
Doctor Who meets a Julia Roberts film. Or how Catherine Tate's performance and energy, and the working chemistry between her and Tennant make you forget that, especially in the second half, this is an overly bland and schematic episode.
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Season 3 (2007) (S03)
The Runaway Bride (3x00) 4/5: See profile of the special. Smith and Jones (3x01) 4/5: This is what the very first episode of the Doctor remake was supposed to look like. It is also understandable for the new audience, gradually revealed, mysterious and there’s something special about it. There is simply everything you need. This includes Rocksteady, guest/a> from the Ninja Turtles. The Shakespeare Code (3x02) 4/5: Something Wicked This Way Comes, in other words how the Doctor, along with Shakespeare and said with Rowling's words, saved "our" Globe from the invasion of evil witches from space. And the running joke with Bětka also starts here. Gridlock (3x03) 3/5: It seems like the creators came up with this idea while "driving" on the famous Czech D1 highway. Anyway, great topic, but it's terribly contrived. The highway alone would do the job, but no, they decided to use creatures for some reason. It's touching, but it's too forced on all levels that it’s rather annoying during the end scenes. Daleks in Manhattan (3x04) + Evolution of the Daleks (3x05) 3/5: I have nothing against the Daleks, on the contrary, they are one of my favorite enemies of the Doctor. But they are simply overused in some episodes. Moreover, they wasted their unique aura by humanizing them. Unworthy of the Doctor and the Daleks. It is also a pity that it does not make sense in details (everyone in the tent town for the poorest of the poorest has a gun) and, what is even worse, neither in general. However, if we pretend to ignore it, it's basically good and, thanks to the "piglets", also fun, perhaps only the British representative of Tallulah should not have had such affected and unnatural American accent. The Lazarus Experiment (3x07) 2/5: Mediocre, purely padding episode. Moreover, it is the last straw with regard to Martha, who confirms what has become clearer and clearer in recent episodes. It’s an uninteresting character who has nothing to do with most episodes and seems to be there purely because "the Doctor can't be without a companion". 42 (3x08) 4/5: This crew of a ship that is falling into the sun would need Adams' towels and most importantly SHOULD NOT PANIC! And there was also an uninteresting official prequel short story. Human Nature (3x08) + The Family of Blood (3x09) 5/5: If it weren't for the limitless, ever-lasting idiocy in the form of " I'll become a man", then... We would paradoxically not have had one of the best two parts episode of the opening seasons in the form of the Last Temptation of Christ... I mean of the Doctor by such a normal family. Blink (3x10) 5/5: Don't blink! Blink and you're dead! Don't turn your back. Don't look away. And don't blink! Does a falling tree in the forest make a sound when no one can hear it? No? And what about the statues that move when there is no one to watch them? No? And are you REALLY 100% sure? If the series aimed at youth can arouse respect for the statues in you (original, disturbing and, thanks to that, their curse is actually kind of sad in a way) and you would rather avoid blinking in their presence for some time, because " what if only...", then hats off to them. In addition, Moffat did a great job in terms of putting event chronologically, and it's suddenly better than the complete mess and confusion in the episodes made by Davies in the similar style. All of the above, combined with the brilliant and simple detail that they are not really moving when no one is watching (including you as a viewer!), makes it the best episode of the modern Doctor; and, perhaps, the entire history of the Doctor. Utopia (3x11) 5/5: Chan, an excellent (if not the best) mythological episode that Sir Derek Jacobi steals for himself, tho. The Sound of Drums (3x12) + Last of the Time Lords (3x13) 3/5: Last year parallel worlds, this year the history will change completely... Davies just doesn’t know what he should do during the final episodes of each season, so he just randomly says whatever comes to his mind "just to make it cool". It doesn't make sense, it has no rules, and none of the essential characters will ever die. And as it is always terrible in terms of plot without a hint of logic, so it always works for in terms of emotions, so it is hard to say it's a bad movie right away. And this year's final episode with Doctor Yoda, which looks like Dobby from Harry Potter, is no exception to the rule. Time Crash 3/5: A nice mini-episode, which is purely aimed at fans, and moreover, fans who are familiar with the original series. Yet Moffat put in a lot of effort, and his cycle of history is far better than the nonsense Davies does in this regard.
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Voyage of the Damned (2007) (S03E14)
Doctor Who specials suffer more than is healthy from rather paradoxical problems. Either they are longer than normal episodes and are full of superfluous filler, so they would benefit from them being shorter. Or else they are too short and over-full of motifs and ideas and they would benefit from being longer. This one is the first case. What at the beginning looked playful (and aptly and humorously picking fun at itself), suddenly turns into a what we have been treated to several times over in regular episodes. And if that weren’t enough, although the main source of emotion should be Astrid’s fate, (again) somewhat paradoxically it is the ending of Mr. Copper’s Christmas story that is moving.
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Season 4 (2008) (S04)
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.
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The Next Doctor (2008) (S04E14)
If anyone had to be The Doctor, I'm glad it was you. Well, I’m not, because this was completely unnecessary waste of Morrisey who, before this special, I thought was the regular eleventh incarnation and, as he proves here, that would mean he was chosen from a range of absolute geniuses. In any case, despite this unnecessary waste, this was a pleasant special, mainly because of the wonderful chemistry between Tennant and Morrisey in the “buddy movie" sequences, while opposite them they have functional adversaries (for the first time ever in a Christmas special; until now they were always a bit of a disaster in this respect) led by the superbly charismatic Dervla Kirwan. Plus, this is one big laid-back adventure ride full of escapades so, as a light snack it’s excellent.
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Planet of the Dead (2009) (S04E15)
Monsters from deep black darkness versus Catwoman and the Doctor with an Easter cheer in the best ever Doctor Who Easter special. And the fact that this is the only Easter special ever made changes nothing.
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The Waters of Mars (2009) (S04E16)
Yup, when one day H2O goes wild on parched Mars, you are as they say, in the shit... Too bad they don’t focus more on the dark side of the Doctor’s soul very often in this series, because it’s that conflict between “an enchanting, good natured man, helping across space, time, whoever, whatever" who carries inside him the potential to become the exact opposite when it comes to “omnipotence" that is the most fascinating thing about that character. He realizes that; those surrounding him, not so much; apart from bright exceptions like Adelaide Brooke. And seeing as Davies had already prepared them so beautifully for the final, oppressive scene, he should have followed it through and let her do what is on offer. For one thing, without it, this ends up fizzling out, and it would have had the advantage that Davies could save him and Tennant the resulting convoluted and humiliating ending to the last double episode of their era.
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The End of Time - Part One (2009) (S04E17)
I get the impression that Davies doesn’t want to hand over his pen to anybody else, and so he’s behaving like a spoiled kid “if not me, then nobody can". And so he’d rather destroy what he (sometimes more, sometimes less) carefully nurtured for so many years. Unnecessarily convoluted, dumb (Obama? Like really, Obama?) and like a rally where one senseless deus ex machina is chasing another; and what’s more, with the Master thrown into the position of unbearable cousin to the not so unbearable Muppet-like jovial devils. For most of the movie I tended to react à la Tennant. Even so, here and there we see the sparkle of good old Davies (particularly the scene in the café, or the Ood), which help to make this more or less in the realm of watchability. In any case, the atmosphere at the end is about as foreboding as Putin is meek and humble, so not at all.
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The End of Time - Part Two (2010) (S04E18)
Before the end of time storyline from last time comes to an end, it’s as awful and unworthy of the Davies/Tennant duo as the first episode was. It is only bearable thanks again to a few quieter moments (the conversation about weapons). Luckily it ends sooner than you might have expected (a thousand thanks!) and the entire closing part is devoted to nostalgic looking back and melancholic farewell with (not just) the Tennant and Davies era as such. And it works, a whole lot. So much so, that one asks oneself whether it really had to be preceded by about an hour and a half of excessive embarrassment.
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Season 5 (2010) (S05)
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.
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A Christmas Carol (2010) (S05E14)
How did boredom even get invented? The only Christmas special where Christmas is not just a necessary component, but it is completely integral to it. The atmosphere, the magic, the emotions and the joy of Christmas oozes from this so intensely that this full-blooded, fairytale through and through Doctored variation on Dickens’ Christmas classic has gained a status of a movie without which Christmas just wouldn’t be Christmas. And if you think that this review is too un-Christmassy, you can just Christmas off.
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Season 6 (2011) (S06)
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.
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The Doctor, the Widow and the Wardrobe (2011) (S06E14)
The feeblest of Moffat’s four Christmas specials, but still sufficiently fairytale-like, suspenseful and fun, making it miles better than the prototype to which it constantly makes fond references.
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Season 7 (2012) (S07)
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.
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The Snowmen (2012) (S07E06)
Carnivorous snow meets Victorian values. The only problem was the length, which didn’t provide enough room for both layers of the story. And so, although there is the dismal Victorian "Winter is Coming" part with evil snow and the Paternoster gang (Doyle’s ethereal muse!) ingenious, chilling and functional, but on a sideline. The most important storyline is how the (un)returning Clare draws the Doctor out of his distant “come and eat me up, flies" shell. The Christmas special mixing together, in the same way as Christmas pudding, the unmixable (including a talking midget “potato" who looked like Nikki Lauder after the accident on the Nürburgring and murderous snowmen) in a tasty dish which, in terms of the Doctor’s one word test, deserves to be described using a word that reflects the essence and is catchy... I vote for the word Doctorridge.
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The Day of the Doctor (2013) (S07E15)
Great men are forged in fire. It is the privilege of lesser men to light the flame. To take fifty years of a carefully nurtured (and by many fanatically worshiped) mythology which should be simply left untouched, only to completely turn it inside out in just one episode and still remaining genuine Doctorridge:; that is… Bold. The astonishing thing is that it doesn’t seem like a contemptible revolution smashing the foundations on which the phenomenon of Doctor stands, but as a logical evolution and a leap forward. And it’s not bad for an anniversary special from which at best you might expect just a nostalgic hindsight over the past ten years, and so it’s not hard to excuse it being rather disorderly (every so often they start hunting a different bird in the bush, changing styles) which also can be excused by (or can be hypocritically blamed on) the fact that it mirrors separate reincarnations of the Doctor.
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