The Time of Angels

Last week I wrote I scything review of the previous two episodes, and I am delighted to say that this one is much better. Firstly, and most importantly, the plot actually makes sense, and despite a few repeated ideas from previous episodes, it is generally quite original too.

Thankfully, unlike the previous two episodes, there is no awful plot to distract you from appreciating the episode. We have a repeat of the quirky, amusing Amy Pond (in contrast to the previous two episodes), who really is a incredible character, and an episode where Matt Smith is really able to show his true colours.

There are some genuine scares rather than the comical attempts at them that we have become used to, and the episode moves at a much better pace thanks to being a two-parter.

I started watching this episode being very pessimistic about how good it would be thanks to the previous two, but I am glad to say that I really enjoyed it. In fact, despite an element of predictability (though only slight), it really was fantastic.

For those of you, like me, who hated the previous few episodes, you will find yourself pleasantly surprised.

After Victory of the Daleks, I was somewhat cautious of what the series' future might hold. However, after this episode, my faith has been totally restored. This is, without a doubt, the best episode I've seen so far, since the show's revival in 2005. Brilliantly written, incredibly clever, genuinely terrifying, and a complete joy to watch.

The highlight of this episode, I can't decide; whether it's the Doctor himself, the perfectly cast River Song (played by Alex Kingston), or the Weeping Angels. The Doctor becomes far less bumbling in this episode, and transforms into a much more self-confident, trustworthy character. River also makes a welcome return, bringing to light a chemistry between herself and the Doctor which, for lack of a better word, is brilliant. Like an old married couple, and it's a joy to behold when the Doctor meets his match. River is just as intelligent and as accomplished as himself.

The Weeping Angels, on the other hand, are the opposite. In their debut episode, Blink, they were by far the most frightening creatures in the entire history of Doctor Who. Now, although I was doubtful of it actually being possible, they've become much worse. They gain additional abilities and tricks up their sleeves which make them the ideal villain for a darker-toned episode like this.

On a final note, the production values in this episode are far better, thereby making it a well-conceived episode in a technical light, also.

I seriously recommend this to anybody who's ever taken a shine to Doctor Who, or science fiction in general. This episode is an absolute gem.

Well, here's the first highlight of the 11th Doctor. With the introductions of new Doctor and Companion done, with the Daleks resurrected, Producer and writer Steven Moffat has begun the integration of the new Whoniverse with the reappearance of River Song and the Weeping Angels, in a two-part variation of Xenophon's ANABASIS: how do we get from Point A to Point B? There's laughs and thrills aplenty -- I'm very impressed with the flashy opening of the story involving people jumping into space, a new view of synchronicity and some fine work in the technical departments: notice the camera-work with its increasingly constricted views and a nice little swish cut about four minutes into the show. Not to mention a fine cliffhanger. That's my main issue with the one-episode stories: I miss the cliffhangers of classic DOCTOR WHO.

The performers also come into their own in this one. Matt Smith can speak technobabble as fast a hockey commentator and Alex Kingston is utterly convincing as the still-mysterious River Song. Even the non-regulars get to shine, with Iain Glenn as a bishop in the Church militant and David Atkins as one of his khakied clerics.

Moffat has been the strongest writer of DOCTOR WHO since its revival, and this is one of the best episodes ever. It isn't one I'd recommend for a first-time viewer, but for the dedicated fan, it is wonderful.

After what might be considered a less than exemplary début series for Steven Moffat(at least by the standards that you should aqua-it with a man of his sublime talent) "The Time of Angels" was always going to be something acquisitive regarding the return of two of the television screen scribes most triumphant inceptions. For with this latest outing for Moffat's golden boy Matt Smith and latest Who companion Karen Gillan the Doctor not only has to contend with two feisty, head strong females but the reappearance of the malevolent Weeping Angels. An accomplished and innovative menace which made their ominous presence felt in the 2007 episode "Blink". Arguably the Scots executive producers most beautifully crafted story to date. But given the undoubtedly demanding job of achieving the difficult assignment of reinvigorating one of the most terrifying, monstrous figments of the imagination to terrify any eight year old child. He also laboured with the objective to successfully incorporate Prof. River Song(who here is yet to become a professor)played with inspired understated bravado and independence by former E.R. star Alex Kingston.

It is then with some considerable joy that I'm pleased to say that with "The Time of Angels" that Moffat has risen to the challenge and constructed what is arguably one of his finest scripts to date. While some may exult over(some what wrongly in my humble opinion)"The Girl in the Fireplace" being his finest work to date. This latest offering only just pips it to the post only being outclassed by fellow Weeping Angels episode "Blink". An intriguing conceit, Moffat's tale plays with the potential narrative non-linear aspects which were explored in both "Blink" and 2008's two parter "Silence in the Library/The Forest of the Dead". For here with a more youthful and dare I say brash and cocky River Song than previously envisaged by it's writer, we see a slightly different side to her personae. And one who is more than a match for the cavalier Doctor and the beautiful yet head strong Amy Pond.

But the shift in character from what we previously saw(and in a contradiction in terms is yet to be seen by David Tennants tenth incarnation of the Time Lord)is but one of several lesser jewels in Steven Moffats wondrous crown of a script. As with the best of his work it contains some of the most creative concepts imaginable. From a 51st century setting where benevolent holy men have evolved in to military soldiers called Clerics, Warrior Priests which were derived no doubt derived from the Shaolin Monks of old to a sublimely eerie moment of tense and claustrophobic moment of terror as a frightened yet stout hearted Miss Pond faces down a Weeping Angel. One that has emerged from a video screen. A moment that in some small way recalls Italian horror director Lamberto Bavas Demoni 2: L'ncubo ritorna. With further inspiration also coming from Neil Marshall's "The Descent" and 1982 "Doctor Who" story "Earthshock". The ideas keep flowing while director Adam Smith keeps the unravelling pace of the story moving at a steady flow and never lets the tension and imposing sense of dread filter away. Where it be in a moment where an inwardly anguished Doctor talks to what could be mistaken for the ghost of a recently deceased young marine and the revelation that certain alien corpses are not quite what they seem. The pace never sags for a minute. And as is beginning to be more the trend with Moffat we see a nice and conveniently placed reference to "Doctor Who" continuity and mythology with the notable placement of high old ancient Gallifreyan.

As is now becoming to be customary thus far with Moffat's reign as executive producer all the performances on display are uniformly of the highest order. Smith as ever since the curtain raised on his tenure is once again marvellous as the age old alien time traveller who finally and firmly finds his stride in the role. This is complimented exquisitely by Karen Gillan who lends Amy the right combination of understated wonder, awe, courage and strong willed independence. A combination which is also nicely mirrored and contrasted in equal measure by Alex Kingston. While Iain Glen portrays Cleric, Father Octavian with the wisdom, determination and fortitude that you might expect from a man of faith who in the future needs more than that to survive against what are pseudo-statuesque creatures.

All in all "The Time of Angels" marks a resoundingly successfully opening chapter to what is a two part story. One which will come to a head in next weeks conclusive "Flesh and Stone" which if the post-end credits trailer is anything to go by will mark a thrilling and suspenseful denouement. But with alien vampires, Silaurians and the the imposing threat of the Cybermen to look forward to there may be more of the very best yet to come.

Flowing back to the current time line, River Song is so elegant, divine, with a tearful cherub, a tormenting seraph, whose only intent's to consign.

Winding up on Alfava Metraxis, Amy Pond comes to terms with a near miss, but while she's petrified, she is not ossified, let's move on, and for now, we can dismiss.

Venture into the Maze of the Dead, Weeping Angels do not fear to tread, soon with lights blinking out, army clerics in doubt, The Aplans missing a second head.