Colin Baker blazes his way haughtily through it, and the story noticeably lacks energy when hes off screen.
If you mentionNightmare Of Eden, people remember the Mandrels.
People remember the spangly customs officer uniforms.
People remember Tom Baker mucking around.
bit, which undermines this otherwise imaginative and entertaining story.
Because theres a polarity reversal joke.
Because the choking on an olive woman is quickly destroyed.
Because Mark Gatiss plays aDoctor Whovillain and has enormous fun with it.
Its hokum, yes, but not claptrap.
Stop me if Im getting too technical for you.
If solid but unexceptional onDoctor Whois like this, the show is doing well.
On the other, facing parkland, is a multitude of graffiti in many languages.
There was no graffiti relating to sub-par episodes ofStar Trek.
Im convinced that this episodes reputation is partly due to the sheer tedium of its audio commentary.
Its fun, a good yarn that obscures the scaffolding its built around.
Plus Tamsin Greigs great in it.
Otherwise, David Fishers script leaves plenty of scope for Python-esque silliness, which isnt everyones cup of tea.
In this case, its the one you get in a giant carton with a tap on the side.
By the end of the Season 17 drinking game youll either be dead or Bernard Black.
Anthony Ainley gamely plays the Master as Wishy Washy to her Widow Twanky.
One can only imagine this pairing happening again now that Michelle Gomez is the Master.
A big, broad smile of a story with a family-friendly helping of death and slavery thrown in.
Occupying the much-maligned Bit of a romp slot,Dinosaurs On A Spaceshipdelivers its expected hijinks-with-a-serious-bit gleefully.
Chris Chibnalls finest 0.75 hours inDoctor Who, arguably.
Its a shame about the Ogron-eater, but at least its one of the more memorable uniquely terrible monsters.
Its a brisk runaround with a good idea behind it, andThe Awakeningdoesnt outstay its welcome.
Speaking of which…
Basically, if Peter Grimwade had directed this, itd be so much better.
A dearth of exciting directors on the show meant that scripts likeFrontioslack the thrill-power they deserved.
The monsters of the episode were too ambitious for the BBC in the Eighties.
Basically, think of the wondrously implausible nonsense Peter Harness could wreak with the Gravis.
Approach this as a comedy, and its instantly much better.
You cant take it seriously as a drama, so why bother?
And the mad, Teutonic scientist has a pet octopus.
every single review of22 Jump Street).
Anyway, Im still holding out for Series 2 ofAtlantisturning out to be a crossover.
Maybe Professor Zaroff is Jasons dad.
The Myth Makersis simply very funny for its first three episodes.
The Doctor is forced into working for the Greeks, suggesting the Wooden Horse plan that ultimately destroys Troy.
As we further push our Macra agenda, wed like to suggest thatGridlockis a thematic linchpin of Series 3.
But also its got Ardal OHanlon as a big Irish cat.
A magnum opuss if you will.
Part One is pretty good.
Part Two is not.
Both are massively entertaining.
Like Terry Nation stories, sometimes theres something comforting in the cliches of the Pertwee era.
Plus, and this is obviously entirely subjective, I find slightly hokey American accents really entertaining.
Its the ending that really nixes this one.
Russell T. Davies admits as much on the commentary.
One of those ones that came close, but just needed more time.
This is undercut by how cheerful the service robot seems at getting to roam about for once.
No matter what Dominic Glynn does with the score, the littler blighter still seems chirpy.
