Well, what can I say except 'Brilliant!' I was one of the lucky so-and-sos who got to see the episode a few days early thanks to DWM, and I am very glad that I resisted the temptation to view the leaked download version. After the fantastic new title sequence, the story went straight into the action, with no slow build-up or prevarication. I certainly feel that this approach will please the kids - there really wasn't a chance to get bored in this episode, with rapid action, jokes and some wonderful character moments between the Doctor and Rose. 

Eccleston is an excellent Doctor, capable from switching from humourous tomfoolery to powerful, dramatic performances in an instant. Those who consider either Tom Baker or Troughton as their favourite incarnations will, I feel, be especially pleased with his portrayal. 

Billie Piper was also very good as Rose herself, and Noel Clarke, although he had little to do as Mickey, impressed me with his portrayal of an almost-human like Auton. Mark Benton was also good as Clive, a clever addition to the characters, and I hope we'll somehow be seeing more of him.

The effects were, at times, a little cartoonish, but that suits the plastic nature of the Autons and Nestene fairly well. The infamous wheely-bin sequence stretched this, and, although amusing and well-integrated into the plot, did look a little cheap.

However, this is a tiny quibble. The script was exciting and fun, and allowed the Doctor to be a monster fighter, but also a very caring, ethical individual who truly wants to help; rather than immediately attempt to destroy the Nestene, he first attempts to reason with it, which is just how I feel he should act.

On the whole, excellent. One other thing, though - anti-plastic? How does that work?

Rose, the pilot episode of the new series of Doctor Who, can best be described as "promising". There is a lot to like about it, and a few minor quibbles. In essence though, the show's creators got the important things right. 

Opening Title Sequence:

In a word: inspired! A wonderful updating of the classic 'time tunnel', with a Tardis bouncing through the vortex, below 3D credits. The theme music is wonderful; a subtle recreation of the classic signature tune before the synth-heavy meddling of the 1980s. 

Characterization:

It was implied that there had been a recent regeneration, due to the Doctor looking into a mirror, and puzzling over his face. That may explain the schizophrenic first half of the show, where the Doctor is alternately giddy, flippant and then reflective and thoughtful. But, if we're not reading things into the character, such as this, then it seemed uneven. Yes, the Doctor is alien, and yes, he doesn't necessarily have to behave as a normal person behaves; but, there's a fine line between an eccentric character and a badly written character. They skirted that line fairly closely in the pilot.

Acting:

The dynamics between the Doctor and Rose will make or break the show. They will be the only consistent thing between episodes, and on this count, the show scores high marks. The actors have an easy rapor and watchability, which should only strengthen over time. All supporting actors score fine marks. It sports some of the most consistently well acted scenes of the series.

Editing:

The editing was fast-paced, something never before accomplished on this show with the three-camera setup. It gives the show a very contemporary, cinematic feel. Periodically, editing seemed to be a bit too jumpy, especially during characters' conversations, where it seemed unwarranted, however, this may be a rough edit and prone to change prior to broadcast.

Soundtrack:

The incidental music is a major weak point. In a word: generic. In two words: generic and overpowering. It is common practice to have generic music on early edits of films, so I suspect (hope) this is the situation. It is hard to believe it can be composed by the same person who did such a wonderful job of the theme. The music, rather than subtlely enhancing a scene, totally overpowers it. It is loud, generic, and very similar to the wall-to-wall music of the 1980s series.

Plot:

The plot, while interesting, is nothing special. Autons and the Nestene Consciousness are back again. That is not a critique per se, just an observation. As a pilot episode, the main purpose of the plot was to introduce the principal characters and give them a believable motivation for wanting to be together as companions by the end of it. On this count, it succeeds very well. If in doubt, look at the episode title: Rose, not The Auton Invasion. Rose is the focal point of the plot, and the strengths of the plot are in discovering what sort of life she lives, and why she would give up everything she knows to become a companion of the Doctor.

Pacing:

Probably the most serious critique is one of pacing. Where the classic series was prone to padding out a plot to 6 episodes that could easily fit into 4, here we have the opposite. The pilot could easily have been 90 mins instead of 45 mins, and maybe better for it. The makers of the series should have seriously considered making the pilot a movie. The pilot is a whirlwind of activity; plot points, character introduction, subplots... there's a lot going on! Almost too much for 45 mins. The more time people spend running around hitting all the plot points, the less time there is for characterization; those quiet moments between the storm where characters can interact 'normally'. An introductory episode by its nature is not a normal episode, so I would hope the series will settle into a more traditional groove in later episodes.

Humour:

There is a lot of humour in the Pilot, numerous visual gags, and general silliness. That is not to say it is being played as a farce or an ironic variation of the original series, merely, that the characters are written in such as way as to appreciate the absurdity of their situations (ie. fighting man-eating wheelie bins, or fighting disembodied mannequin arms!)

Special F/X:

Computer effects were a mixed affair. The Nestene Consciousness and various bolts of energy at the conclusion were not quite on par with with what I had expected, and were generically CGI. Other computer effects, such as a massive explosion at the start of the episode were wonderful. Where the effects excelled was in the realisation of the Autons. Of course, for any Doctor Who fan, F/X can't be a top priority! ;-) And, as before, these effects may be temporary and due for revising before broadcast.

Tone/Atmosphere:

The pilot starts with a bang: literally. Very dark and atmospheric. When the Autons first creak to life in the basement of a department store, it is genuinely creepy. However, it doesn't last. Very early on, it becomes more of a light-drama/comedy and the brooding, atmospheric scenes later on have a hard time making any impact because of it. By the time the Doctor confronts the Nestene Consciousness at the conclusion, it seems less threatening than a dark basement with a lurking mannequin.

Overall, this is a very watchable episode from the point of view of a fan. Many of the building blocks of a great series are there, not all in perfect proportion, however, but the foundation is solid. Without wading into any of the extensive backstory of The Doctor, the first time viewer will see him more as an enigmatic figure, who keeps his origins and past very close to his chest. All you really know is that he's a decent person/alien, who wants to make a difference for the better. But, really, that's all you need to know. Hopefully, my few critiques will shake themselves out as the series finds its feet.

Well it’s finally arrived. It’s taken years to get here but at last Doctor Who is back with its first full series in 16 years. Anyway, for those of you who have been hidden under a rock for the last 18 months, here’s the plotline…

Rose Tyler (Billie Piper) works in a dead-end job at Henriks Department Store in London. At the end of her shift she has to take this week’s lottery money to a member of staff in the basement. A nasty surprise awaits her for when she leaves the lift the shop dummies come alive and attack her. Luckily a stranger calling himself The Doctor (Christopher Eccleston) saves her life. From here they battle Autons and a fight to save the Earth.

OK, so this sounds a bit familiar shop dummies coming alive, plastic things crawling around (AAA anyone?), but apart from that what we do have here is one of the smartest pieces of television in years. It’s fast and has little time for deep character development but this doesn’t matter as I expect the next few episodes to gently shed light on all main players. It’s beautifully shot in a cinematic style and has bags of energy. Director Keith Boak directs with confidence, never shying away from long takes or trendy jump cuts, which work nearly all of the time.

The special effects are surprising with the Autons looking very creepy and the many explosions that occur happen with the as much noise and fire as possible. The Conscience at then end looks superb and FX artists should be applauded for it.

But what about the performers? Well for starters Piper lights up every moment she’s on screen increasing her strong reputation as a serious actress in just 45 minutes. Rose is an excellent character, a sort of Ace but without the daft attitude problem.

The supporting cast too add to the piece more than you’d expect. Mark Benton as internet nerd Clive helps provide some back-story and also one of the best cameos seen in a Doctor Who adventure. He’s not here just because he’s famous (unlike the John Cleese kind of cameos the Classic Series suffered from). Clive is instantly interesting thus makes what happens later in the adventure even more poignant.

Noel Clarke who plays Rose’s boyfriend Mickey is given little to do but be daft and wimpy and he doesn’t seem to grasp the idea fully, but this is only a slight niggle.

As for Eccleston himself, well all I can say is that he could power a TARDIS with the amount of energy that bursts from his characterisation of the Doctor. He’s funny one moment and deadly serious the next with a grin that’s infectious and unseen since the days of Tom Baker. He doesn’t put on a posh accent or have any airs or graces, so when he comes out with technical jargon it’s a bit of a shock. He's like a normal bloke until Rose questions him about time travel and his alieness peaks through. It’s a marvellous piece full of thought and heart and will bring lumps to many throats.

Shame there’s no regeneration sequence but his change in appearance is subtly hinted at. And for those of you who worried about his costume, well let me just say you worried over nothing, it fits him and the story perfectly.

For hardcore fans you can rest easy about valued treasures such as the theme. Composer Murray Gold has returned to the classic version, but added an eeriness to it. It’s not over orchestrated like the TV Movie version, nor as radical as the McCoy era one.

The interior of the TARDIS is wonderfully organic and more compact than I was expecting. Gone is the grandiose of the TV Movie and the blandness of the Classic Series, now we have subtle earthy shades and plenty of shadows. And yes it makes the right noise when landing and taking off. Even the sonic screwdriver gets a good outing, helping The Doctor more times in ten minutes the he did the whole of the Classic Series!

Even the much-debated new logo looks good spinning around in 3D.

Russell T Davis has hacked and stripped away the mythos that was choking the series and given us back the show we loved when we were kids. His script is witty, well observed and sharp but never condescends to the young audience it’s aimed at. The opening ten minutes are a huge adrenaline rush for all ages. Davis also paces the plot perfectly, one minute you’re laughing at burping bins, the next you’re watching in horror as people begin to be slaughtered in the streets.

On my review copy was a 5 minute preview for the next 12 episodes; let’s just say that the idea of people hiding behind the sofa again isn’t as daft as it sounds.

Don’t waste your time downloading the show, wait for Saturday night and watch with the curtains closed. For those who may have to wait longer for their TV Stations to buy the show then let me assure you that the wait is well worth it.

This is Doctor Who for the 21st Century; this is instant classic Doctor Who, this is cool television and one of the best pieces of drama I’ve seen in a very long time. All the promises that were made at the start of production seem to have been met, fingers crossed the viewing public agree.

The Doctor is back and has never been better.

The main problem with a new series of Doctor Who is that it will never, ever satisfy the casual mass of critics; they're just too damned finicky. The reviews I have read so far of 'Rose' appear to have been written by people who watched the episode blindfolded whilst listening to some loud heavy-beat rock music in their earphones. Take note:- Doctor Who 2005 is excellent.

'Rose' comes at a time where the population of Britain is drugged-up on continuous detective and hospital dramas, and this show is like nothing ever seen/done before, even if you're a fan of the show. 

The opening title sequence - so true to its predecessors - sets the scene for a superb forty-four minutes of television. The most obvious achievement of 'Rose' is the pace at which it runs. Three and a half minutes into the episode (yes, seriously), and you have Rose being attacked by a selection of familiar faces before being heroically pulled to safety by a quirky northener in a leather jacket. And this is the speed the rest of the episode runs at, and sadly it's all over too quickly. 

I'm probably just euphoric, but it's possible that Christopher Eccleston could turn out to be my all-time favourite Doctor Who. He's like no Doctor seen before. So alien, mysterious, humorous, heroic, but with a much darker, grittier edge than any previous incarnation. McGann was good, don't get me wrong, but you knew where he was going. Number nine switches gears every other second, and will quite happily be strolling through a department store chatting about baked beans before pulling out a detonator and shouting, "run for your life!" 

Rose is an interesting companion. Again, so different to any of the screaming girls before her. I'll be honest - I didn't warm to her. This is on no part related to Billie Piper's acting ability - she delivers a superb performance throughout - but alas Rose Tyler is a bit of a disappointment. It would have been nice to see some sarcasm, or mild wit, coming through in the dialogue, and there wasn't. However, there is certainly potential for this in future episodes and, let's face it, anything can happen in twelve weeks.

The new TARDIS interior will have fans old and new drooling at the mouth, a cross between the original and the 1996, and by far the best yet. The original always looked drab and clinical, the 1996 looked like a stately home - the new rendition looks like an alien spaceship. Think of 'Event Horizon' and you're getting close. The BBC's really gone to town. 

Other reviews have murdered the quality of the CGI effects, but I urge you to take no notice. The visual effects in 'Rose' are easily comparable with any multi-million pound American blockbuster. The closing sequence - which sees the defeat of a familiar enemy - is a fine example of what The Mill is really capable of.

And I'll just dispel another rumour now if I may - 'Rose' does NOT look cheap. Claims that it was shot using the same videotape as Eastenders are a load of rubbish. 

This forty-five minute package is gleaming with quality from start to finish. It's brilliance at its most brilliant. Watching it nineteen times over still won't be enough... 

... and if you're not thumping the air with your fists when you see what happens in the last ten minutes of this episode, then maybe you're not a Doctor Who fan. 10/10

The world rejoices for a Time Lord walks among us once more. Now realising what a momentous evening this was, I made sure the entire family sat down to watch 'Rose' together (save the littlest one just in case there were any behind the sofa moments).

“7:30”

From the moment we meet Rose (nice bedroom) and set about her daily life people begin to realise this is going to be a different format to what we are used to. This was to be expected. This is a NEW series, with a NEW writer, with NEW actors, written for a NEW audience.

“Nice to meet you Rose. Run for your life!”

I found the entrance of the Doctor to be predictable but satisfying, just what I have been waiting for all these years. I quite liked Christopher as the leading man. In my opinion, he captured the eccentricity and casual attitude I had always recognised in the Doctor. However, another member of my family thought that he had taken it too far and ended up grinning like he was one of the Chuckle Brothers.

“... how comes you sound like you're from the north?”

My thoughts on Billie Piper were that while she probably will make a very good companion, she is just playing Billie Piper (especially with the running off with the older man bit).

“Am I addressing the consciousness?”

I didn't find the first episode particularly frightening but then again, the Autons never were. What Mary Whitehouse had against is beyond me. It was on the other hand a good introduction to those who are new to the series and, from what I have seen from the excessive coverage, the enemies only get better. My only real complaint is this 45 minute episode malarkey. While it is more easily digestible to the occasional viewer, it does mean we miss out on the mid-story cliffhangers.

The opening titles set the scene for the whole programme. They broke with tradition, yet they kept it.The break was in not using the Doctor's face in the sequence. The kept elements were much greater; the tunnel effect, the TARDIS, and the title coming at you from the back. This was very well realised and had a lot in common with the 1996 version. I couldn't see many Doctor Who fans fretting about the absence of a face when the result was as appealing as this.

The music was also very cleverly done, using (we are told, but I am suspicious) samples of the original Delia Darbyshire recording of the theme but with new backing. The essence of the 1963 version was kept, but it manages to sound quite contemporary. Composer Murray Gold has also worked in a small fantasia, which keeps it different.

From a great opening we go to a toned down, quiet few opening scenes, but these serve to build up the tension. Gold's incidental music here is a little too powerful in the mix, but it is so good, that it seems churlish to complain. A couple of bad sound problems mar opening sequences, but these may have been transmission errors.

Billie's performance is spot-on, and very easy on the eye. Rose, her character, is very much like Ace, in fact, except you are given a lot of her back-story straight away. This is a good contrast with the Doctor's mysteriousness. She didn't scream, nor twist her ankle, and proves to be a valuable resource for the Doctor.

Christopher Eccleston justifies everyone's faith and proves not only a capable Doctor but also a very likeable one. His performance is so full of humour and feels as fresh as Paul McGann's did back in 1996. Only this time you know he isn't going to be here for just one story. I like this Doctor, and I think I have taken to him quicker than almost any other. He DOES have a northern accent, but previous Doctors have changed their pronunciation with each regeneration - just remember how Troughton pronounced 'stabiliser'.

The story does what it is supposed to (re-introduces the character, concept, and ideas behind Doctor Who) without being clumsy, and manages to entertain at the same time. It was a good idea to bring back the Autons; so much so that you wonder why it was only done once before. The regeneration is swiftly dealt with by Eccleston examining his ears in a mirror - leading us to believe that this is his first adventure since re-generating (or he may have re-generated part way through this encounter as we come in half way through the story). This is a good way to deal with this problem. The fans can fill in the gaps, and the casual or new viewers aren't bothered by it. Did the Doctor really mean to say that ALL plastic was controlled by the Nestene consciousness? I don't really care - it was such a good adventure it doesn't need to be nit-picked by the likes of me.

The effects were well above par. I was worried that the CGI in particular might be rushed (see the Mill's work on The Mummy Returns), but they turned in a good showcase for the rest of the season, as did the Visual effects boys. Prosthetics and make-up were all up to standard, and gave the impression of a quality classy production. The set design was also in this category except for one really outstanding piece - the TARDIS. This control room has a lot in common with the TV Movie version but also with the Cushing films' interior in that you can see directly from outside to the inside. Some nifty video manipulation achieved this result but the trick wasn't over-used, so it kept its impact. The console looks partly organic and partly mechanical. Gone is the contemporary look of Mike Kelt's (very pretty but unconvincing) 1980s re-vamp, and for that we should be grateful.

All in all, a spellbinding show. My 73 year old father loved it as much as my 3 year old son, and that has to be good for the future of Doctor Who.