Reviews – Page 16 – The Bad Wilf Network

REVIEW: BIG FINISH: JENNY — THE DOCTOR’S DAUGHTER

She’s got planets to save, civilisations to rescue, creatures, to defeat… and an awful lot of running to do!

It’s difficult to believe the character of Jenny debuted in Doctor Who 10 years ago. Since then fans have wondered whatever happened to The Doctor’s daughter?

The character was rife for further exploration and it’s amazing the BBC never thought to bring her back.

Thankfully, we have Big Finish. They’ve taken the character and given her a range of her own.

The scripts are sharp, funny and perfectly honed. A lot of work and love has clearly gone into this box set. The stories are kinetic and full of real-world allegories; which in lesser hands could’ve come across as clunky.

Georgia Tennant and Sean Biggerstaff have instant chemistry as Jenny and Noah. A personal highlight is they allow Jenny to be fun. She makes jokes, which work well and relieves tension in scenes. The mystery surrounding Noah is intriguing and you finish the audios with even more questions about him.

Big Finish has done it again. The Doctor’s daughter is fantastic, a breath of fresh air. The theme music is epic. familiar but different. It perfectly encapsulates the Doctor’s nature in Jenny. The stories and the cast are engaging. The sound design is flawless.

Jenny-The Doctor’s daughter is firing on all cylinders. A perfect synergy between cast and crew. I’m practically begging for series 2.

Written By: Matt Fitton, John Dorney, Christian Brassington, Adrian Poynton

Directed By: Barnaby Edwards

Cast

Georgia Tennant (Jenny), Sean Biggerstaff (Noah), Siân Phillips (COLT-5000), Stuart Milligan (Garundel), Sarah Woodward (Vesh Taralesh), Clare Corbett (Lukaku), Arabella Weir (Angie Glazebrook), Silas Carson (Ood Leader), Rosalyn Landor (Vanessa Elledge), Olivia Darnley (Emily Cole), John Dorney (John Macguire), Pik-Sen Lim (Old Woman), Arina II (Shoon-Wei), Sara Houghton (Alitta), Paul Courtenay Hyu (Po), Adèle Anderson (Dreyda), Anthony Calf (Cal). Other parts played by members of the cast.

Producer: David Richardson
Associate Producer: Georgia Tennant
Script Editor: John Dorney, Matt Fitton
Executive Producers: Jason Haigh-Ellery and Nicholas Briggs

REVIEW: Star Trek in concert

As part of the Royal Albert Hall’s Films in Concert, two showings of Star Trek were shown over the weekend. Saturday showed 2009’s Star Trek. Sunday showed Star Trek:Beyond.

Both screenings were accompanied by the Royal Philharmonic Concert Orchestra and conducted by Ernst van Tiel.

We attended the Saturday event.

I’ve attended concerts like this at The Royal Albert Hall, many times. But some how each time feels like the first.

For those who are unfamiliar with these concerts, the films are played on a suspended screen, above the musicians. The dialogue is intact, with the Orchestra performing the soundtrack and sound effects live.

Not only are these amazing musicians a sight to behold on stage, but the evening provided a phenomenal audio experience that no Blu-Ray can possibly live up to.

My personal highlight of the evening was the Orchestras performance of the Star Trek theme, over Leonard Nimoy’s “space the final frontier” speech. They received a seven minute standing ovation for this.

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What I took away from this event, is just how beautiful and timeless Gene Roddenberry’s vision is. This is an experience I will cherish for a life time.

I highly recommend attending one of these screenings. Click here to find out information about the next one.

Review-Solo: A Star Wars story

The film Solo, plagued by behind-the-scenes turmoil, ultimately fulfills its duty as a placeholder in the Star Wars franchise, but it fails to deliver any surprises. The seams used to fix the production issues are clearly visible, resulting in a disjointed narrative that moves from one event to the next without much coherence. Even the opening scenes on Correllia feel repetitive, introducing characters only to discard them quickly. Alden Ehrenreich does his best to fill Harrison Ford’s shoes as Han Solo, but it takes some time to warm up to him, and even then, it’s hard to imagine him evolving into Ford’s iconic character.

The film Solo suffers from a common problem associated with prequels – the need to create the appropriate legend we’ve all seen in the original trilogy. Unfortunately, the questions posed in this film are ones that no one particularly demanded answers to. Does the audience really need to know why his last name is Solo? Can’t his parents just have been Mr. and Mrs. Solo? Apparently not. Ever wonder where Han got his furry dice? Don’t worry, it’s explained here.

The rest of the film also explores in excruciating detail everything we already know about Han Solo, from his first meeting with Chewie to his acquisition of the Millennium Falcon. Even how his first name is pronounced is given attention. While Alden Ehrenreich has charisma in his other features, here he’s teetering on the edge of being both charismatic and anesthetized. He’s not trying to channel Harrison Ford, but it’s hard to feel like he’s trying to do much of anything. He smiles a lot and tries to jump into the fray with a laser blast here and there, but there just isn’t much for him to do. While the movie may have his name, like the other characters, he’s simply moved from location to location.

The heists and characters encountered throughout the film are underwhelming, with the exception of Donald Glover’s scene-stealing portrayal of Lando Calrissian, who deserves his own film. Woody Harrelson fails to add much spark, and Phoebe Waller-Bridge’s portrayal of Lando’s partner robot is cringeworthy. While the film might satisfy die-hard fans with some answers to questions about Han’s past, it ultimately fails to deliver a magical, adventurous experience. As Disney’s fourth Star Wars film, Solo suffers from franchise fatigue, leaving audiences feeling underwhelmed.

Big Finish review-Torchwood: We always get out alive

In “We always get out alive,” Gwen Cooper and Rhys Williams are faced with a cataclysmic event and must flee as fast as they can. As Torchwood operatives, they’re no strangers to danger and uncertainty, but this time there’s something else in the car with them, heightening the tension and suspense.

The audio production is a testament to the perfect synergy between writer Guy Adams and director Scott Handcock. While the premise of two characters sitting in a car for 98% of the audio may sound dull, Adams and Handcock have crafted an imaginative and captivating story that is both epic and intimate in scope.

Through the course of the audio, we gain deeper insight into the personal lives of Gwen and Rhys, and their struggles to balance their duties as Torchwood operatives with their responsibilities as parents. The natural chemistry between actors Eve Myles and Kai Owen shines through, adding to the authenticity and emotional resonance of the story.

Adams skillfully uses the audio format to his advantage, leveraging the constrictive nature of the car and the medium of audio to create a gripping and immersive experience for listeners. The audio is a strong character-driven piece, with well-crafted dialogue and superb acting that draws you in and keeps you engaged.

“We always get out alive” is a must-listen for fans of the Torchwood series and audio dramas in general. It is a well-crafted and engaging production that showcases the talents of everyone involved, earning it a solid 5/5 rating.

Big Finish Review-Torchwood:Believe

The Church of the Outsiders is on a mission to lead mankind to a new era of evolution, one that takes them beyond the stars. But Torchwood’s Owen Harper believes they must do everything in their power to stop them. With the original Torchwood team back together in full-cast audio, fans have been eagerly awaiting this moment. Despite the actors recording their parts separately, the result is flawless. You won’t be able to tell the difference, and it’s a joyous reunion.

Set before the end of series 2, Guy Adams has perfectly captured the era, creating an episode that feels like it was plucked straight from 2008. The performances are outstanding, with John Barrowman, Eve Myles, Burn Gorman, Naoko Mori, and Gareth David-Lloyd all shining. Each character is given the opportunity to develop, but the Owen/Tosh relationship is a particular highlight. Owen pushes Tosh to do unspeakable things while attempting to prove himself as a capable leader.

John Barrowman’s performance in this audio is absolutely fantastic. Despite recording his parts separately from the rest of the team, his chemistry with his co-stars is still palpable. He effortlessly slips back into the role of Captain Jack Harkness and delivers a performance that is both charming and commanding. Barrowman’s energy and enthusiasm for the character and the series shine through in every line, making it a real treat for fans to hear him back in action as the iconic Torchwood leader.

Prequel stories can be challenging, but Guy Adams’ script and Gareth David-Lloyd’s performance are so compelling that there’s one moment in particular where you’ll be genuinely concerned for Ianto’s fate. With such high quality, 2018 is shaping up to be an excellent year for Torchwood on audio. This is a must-listen, earning a 10/10 rating.

Episode 190: Ready player one

In which Martyn and Gerrod discuss ready player one.

Ready Player One is a 2018 American live action/animated science fiction adventure filmproduced and directed by Steven Spielberg, and written by Zak Penn and Ernest Cline, based on Cline’s 2011 novel of the same name. The film stars Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, and Mark Rylance.

The film takes place in 2045, when much of humanity uses the virtual reality software OASIS to escape the desolation of the real world. Orphaned teenager Wade Watts (Sheridan) discovers clues to a hidden game within the program that promises the winner full ownership of the OASIS, and joins several allies to try to complete the game before a large company run by businessman Nolan Sorrento (Mendelsohn) can do so.

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Big Finish review-Torchwood-The Last Beacon

In Torchwood: The Last Beacon, a distress signal from a Welsh mountain summons an ancient battlefleet to Earth, prompting Owen Harper and Ianto Jones to venture into the Brecons to put a stop to it. This buddy comedy offers a lighter tone than most Torchwood stories in the Big Finish range, making it a refreshing and amusing addition to the series.

Owen and Ianto’s unlikely partnership is an inspired concept, and their conflict in a small Welsh community allows for deeper character exploration. Ianto feels at home among his people, but Owen is out of his element and met with distrust from the locals.

It’s also worth noting the excellent performance of Burn Gorman in the audio play. He brings his unique talents to the role of Owen Harper, capturing the character’s wit and cynicism with ease. Gorman’s delivery of the dialogue is impeccable, and he brings depth to the character that is both engaging and entertaining. His chemistry with Gareth David-Lloyd’s Ianto Jones is fantastic and adds to the overall enjoyment of the story. Gorman’s performance in The Last Beacon is a testament to his talent and a highlight of the audio play.

Gareth David-Lloyd’s first foray into writing an audio play is impressive, as the story flows seamlessly and offers further development of the leads’ relationship. This quintessentially Big Finish Torchwood story is a fun and highly recommended listen. Hopefully, David-Lloyd will write another audio play in the future.

Book review-Doctor Who: The Day of The Doctor

The Target Novelisations are a cherished medium in the world of Doctor Who fandom that have endured the test of time. In an era before VHS, DVDs or streaming, these novels offered fans a chance to experience missed episodes or relive their favorite moments. Although they may have been particularly popular among older fans, this is the first time newer enthusiasts are getting to enjoy these unique works of storytelling.

They offer an in-depth look into the Doctor Who universe with extended scenes, character development, and insights into the Doctor’s thought processes that might not have been possible to convey on screen. Moreover, they provide a nostalgic view into the show’s past and present a distinctive opportunity for fans to experience classic episodes in a fresh way.

Steven Moffat’s novelisation of The Day of the Doctor is a remarkable expansion of the source material. Created for the show’s fiftieth anniversary, Moffat takes advantage of the opportunity to add new scenes and a structural gimmick, which enhances the story and makes it even more enjoyable.

The narration in the novelisation smoothly switches between using “I and me” to “him and he,” emphasizing the Doctor as an idea, a significant theme throughout Moffat’s tenure as showrunner. However, Moffat’s inclination to show off his cleverness can be distracting.

The numbered chapters in a non-sequential order feel unnecessary, but the framing device between each chapter is a highlight. The narration shifts again, gradually revealing that the person whose voice we are reading is also the Doctor. The final reveal that it is the Curator, played by Tom Baker, is a satisfying conclusion to the novelisation.

Overall, Moffat’s novelisation of The Day of the Doctor is a valuable addition to the Doctor Who universe, expanding on the original episode in creative and innovative ways. the novelisation delves deeper into the Time War and the impact it had on the Doctor’s psyche, which was only briefly touched upon in the original episode.

Moffat also explores the relationship between the Doctor and his companions, particularly Clara, and how it evolves over the course of the story. These additional insights offer a more nuanced and complex view of the Doctor Who universe, making the novelisation a valuable addition to the canon.

Book review-Rose Target novelisation

Recently published are five new Target novels that include four adaptations of Doctor Who stories from the post-2005 era. These stories comprise Rose by Russell T Davies, Day of the Doctor by Steven Moffat, The Christmas Invasion by Jenny Colgan, and Twice Upon a Time by Paul Cornell. Additionally, a Target version of City of Death by James Goss is also available.

Doctor Who: Rose is a novel adaptation of the iconic first episode of the show’s revival in 2005. This book marks the first time that Russell T Davies has adapted his own work into a novel, making it a highly anticipated release for fans of the show. As an avid fan of the show myself, I can say that this novel did not disappoint.

Russell T Davies brings his trademark playfulness and wit to the novel, adding new colour and several new laughs to the story. The novel captures the excitement and energy of the original episode, transporting the reader back to the first time the Ninth Doctor takes hold of Rose’s hand and utters the immortal phrase – ‘Run!’

One of the highlights is the expanded backstory of Wilson, a character who was briefly mentioned in the original episode but never seen. The prologue of the novel provides insight into Wilson’s life and his involvement with the lottery pool, adding a new layer of depth to the plot. Davies expertly weaves in these new details, creating a more fully realised world that adds to the overall richness of the story. By expanding on the peripheral characters, Davies has created a novel that feels even more fleshed out than the original episode. Fans of Doctor Who are sure to appreciate these new details and the way they enhance the story as a whole.

The novel also includes several cameos that nod to the future of the show, post-Rose and even up to the present day. Davies also addresses Steven Moffat’s Pandorica and Crack in Time story arc, which explains the frequent Earth invasions in RTD’s era and why no one remembers them.

While there are a couple of areas where the added details don’t quite ring true, the novel is still a thrilling read that delivers on all fronts. The climax builds to an epic battle that could not have been achieved on a BBC TV budget, and the humour is firing on all cylinders.

Overall, Doctor Who: Rose is a delightful novel that will transport fans of the show back to the excitement of the first episode of the revival. Russell T Davies has once again proven himself to be a master storyteller, and fans of Doctor Who are sure to enjoy this adaptation. Highly recommended.

⭐⭐⭐⭐

Review-Torchwood: The Death of Captain Jack

Torchwood: The Death of Captain Jack is difficult to review, without spoiling. So, I won’t be discussing the storyline.

This is a very ambitious audio, from David Llewellyn who once again proves himself to be one of the greatest writers Torchwood has ever had. He perfectly manages to encapsulate the history of Jack and John and give the Torchwood franchise a fresh new spin, all within an hour-long adventure. It’s an absolute joy. James Marsters absolutely shines as Captain John Hart and, instantly reminds us why he was so popular amongst Torchwood fans. He’s the perfect foil to John Barrowman’s Captain Jack.

There’s also a slight dig at Torchwood: Miracle Day.

Director Scott Handcock and producer James Goss have their awesomely unique style all over this release. Torchwood on Big Finish is the best Torchwood has ever been. They just get it, it’s ambitious, it’s loud, it’s sexy and over the top. Which is just how it should be.

10/10.

Torchwood contains adult material and may not be suitable for younger listeners.