Good points and bad points on a series we have waited for, for so long, they are bound to have made some mistakes. Lets hope that these can be put right in the future.

Bad bits first.

1: An hour long story? 

This felt rushed. It got in everything, just, but it all went past so quickly. Losing the episodic structure of the stories definitely feels like a minus, no cliffhangers, no slow pace to get to know the characters. Even with McGann's doctor the movie was long enough for us to get a full story in. This was half a story. In some of the older series the bad guys wouldn't even be identified until the second hour of the story. All the stories for this season have been filmed but for next season a return to episodes would, I think, make a great improvement.

2: No regeneration?

Well, we can live with it, but it led to one huge plot hole. The Doctor checks his face in Rose's flat as if it's the first time he's seen it, the implication being he's only just regenerated, however in Clive's shed we are explicitly shown that this doctor has been around for a while.

3: Clive. Why?

The episode hasn't got enough time to get the story in as it is, suddenly we get a character and his family, inserted only to fast track Rose's (and new viewers) understanding of the Doctor and then get killed. We don't care about Clive, we don't get to know him. Again because of the shortness of the story, extraneous characters used to have ages to endear themselves to us before wandering into the sights of whatever alien was slowly lumbering towards them. This little spot could have been far better filled by the Brigadier or one of the past companions, someone we knew which could have made a nice link. An opportunity missed.

4: Special effects.

The sticky wheelie bin was awful and the Nestene consciousness was pretty bad. For goodness sake, computer special effects without Peter Jackson's bank balance are worse than any amount of hand puppets and full body suits. Lets hope they don't digitise the daleks.

5: Rose.

I don't care what anyone else thinks, Billie Piper is too well known a celeb to pull off the role. Eccleston is a brilliant actor, Piper is merely a decent one, you can't watch her without remembering everything else she's done. An unknown actress would have been better. Was Peter Purves on Blue Peter or Dr Who first (Don't know, wasn't born) but I don't think any other companion was a well known actor/actress or personality before Who and I think there was a reason for that.

6: Locations

Cardiff is an excellent place to film, so is London, but you can't put Cardiff landmarks, such as the Queen's Arcade into London. Anonymous streets maybe, but the two cities have an entirely different atmosphere and it comes across on film.

7: Tardis.

I agree with Sylvester McCoy who wrote immediately after transmission on the BBC website that he wasn't keen on the new Tardis interior and that Paul McGann's Jules Verne inspired Tardis was much better. It was. So were the Victorian and the Classic interiors.

8: Scary? No.

My doctor was Sylvester McCoy and whatever may be said about his era, one thing was for certain, the stories were atmospheric and very scary. The Wolves of Fenric, The catmen from Survival, The gothic weirdness of Ghost Light, The Kandyman gave me nightmares and The Cleaners were terrifying. Again, with the hour to fit everything in the Auton's, after a good start in the basement, were not given the eerieness and creepyness that they deserved. The Mickey Auton looked like he'd come off a CBBC program and since when did a superior Auton replace his guns for hammers? This brings me to the next point.

9: Incidental Music.

Something else McCoy highlighted, or the lack of. It was always part of what made Dr Who. Think of any great Dr Who scene and you will almost certainly remember the music that ran beneath the scene. I can't remember a single piece of music from this episode. Obviously the directors are aiming for more realism in the show but I think it's lost the atmosphere that reached it's peak at the end of the McCoy era and was also evident in the McGann movie.

10: Writing.

Some absolutely fabulous writing on this episode, which was almost ruined by the blatant choreographing of the director. As in the Doctor is being established as someone who runs around all the time, always on the move, (Again, too short a time for a full story) so you know that whenever the Doctor stands still and gets a serious look on his face he's about to say something profound. As great an actor as Eccleston is he can't pull this off yet with the same ease and panache that McCoy or the great Tom Baker could, because the director puts so much emphasis on it.

1: Christopher Eccleston.

An absolutely fabulous actor, he singlehandedly saved this story from being drowned by all the bad points I've just listed. He's already leaning towards a Tom Baker style but with the Peter Davidson angst that we saw when he gets caught by the Autons and shouts that he couldn't save their homeworld. He's least like Colin Baker and Patrick Troughton. This darker streak we hear about may not neccesarily be in his character but in his failings. He did seem to be a far more human character than any who came before except perhaps Davidson. I don't think the romantic element that is supposed to occur is a good idea, certainly when the Doctor and Rose held hands it was almost big brother like. 

Many many things I disliked about this, having grown up with McCoy I now realise why everyone says they prefer the one they first meet. I think however that the Doctor is essentially complete, Eccleston is great, but I think that modern day styles and techniques of working are not neccesarily the most appropriate for Who. We'll have to see how the rest of the season pans out and what the rest of the fans think. 

If I were to pinpoint any one thing that needs to be changed for next season though, the stories have to be longer, episodic if need be, an hour simply is not long enough it all felt rushed. I think if that happened all the other elements would fall into place.

(And get a good incidental music composer)

Much as I was looking forward to the series, I also had my reservations the same as anyone else-but I put them on hold as I always trusted in the writers. Now it seems my trust has paid off because, an hour and a half before I wrote this review, Doctor Who rocked and rolled into the 21st Century. The show as a whole has regenerated, but all the elements are there. The Doctor hasn't fixed the outside face of the TARDIS, but has somehow made it twice the size.

The title sequence, although slightly unimaginative by the standards of Bernard Lodge's work in the '60s and '70s, is good and fulfils the main requirement (aside from displaying the show's name, of course) of being evocative of the show itself. The title sequence, faithful to the extent that if the orchestra was taken away it would almost be the original, bodes something special.

I enjoyed the episode as a whole, but I am withholding too binding a judgement because I want to see the other episodes first. Nevertheless I get to say what I always hoped I could: there aren't really any criticisms I can level against it that can't also be levelled against the original series too. And there was much to criticise about the original series, it wouldn't be the best show ever made.

Okay then, on to the crunch...my main reservation was about hearing of the 45-minute format, which I didn't think was long enough. It struck me merely as being the way sci-fi is done these days, rather than the best way to make Doctor Who. I was worried that this wasn't going to give room for the laid-back characterisation and plot intricacies of the original series. This was reflected to an extent, as when we join the show the Nestene Consciousness has landed and established itself, the Doctor has arrives, worked out the problem and is ready to get going. So much for introductions. This was not a problem here as they (appropriately) told the story from companion Rose's point of view, who isn't privy to all these goings on. I'm waiting to see at the moment how they'll deal with it later episodes-I hope they'll still be more than just cheap thrills even with this restrictive format.

Any other criticisms are very tiny. The sonic screwdriver, although generally used well (a minor element, not some miracle device that can solve any problem you give it) has a blue swirly thing effect: pleasant though this is, ask yourself what the word 'sonic' means.

Lastly, the time frame Doctor's regeneration is unclear. It is implied to be recent, as he appears to see himself in a mirror for the first time-but then again the 9th incarnation has been swanning off to the Kennedy assassination (not to cheapen the horrific events of that day, but any fan can tell you how significant it was for the show) and the Titanic. This is a glaring inconsistency; are there no mirrors on the TARDIS? I refuse to believe there are none on the Titanic. There was a period where the Doctor carried one in his pocket.

Anyway, off from the minor niggles, on to the considerable good. The episode is visually stunning: the effects, while rubbery compared to modern films, are in proportion both to the growth of TV SFX and also to the show's relationship with film. The effects of 'Rose' can be compared to those of 'The Matrix' in the same way that the effects of 'The Space Pirates' can be compared to those of '2001: A Space Odyssey'.

The visuals are never better than with the brilliant ways the Doctor and the TARDIS are revealed. It takes a writer of considerable knowledge and respect for the series to know how to pitch these elements perfectly. Talking of pitch perfect, the continuity references strike the just right balance between being recognisable and subdued (you all though I was going to talk about Billie Piper didn't you?), my favourite being the opening shot that mimics the one of 'Spearhead From Space'. The Auton guns have the original sound effect, and indeed the shopping centre sequence is reminiscent of 'Spearhead', although curiously is less violent-although the off-screen death of Clive in front of his wife and child leaves an unpleasant feeling. There is also a barbed remark about the gender gap in fandom, an example of Mr. Davies biting the hand that feeds him, I can't help but feel.

I can't review this episode without talking of the actors. Eccleston's performance as a northern cheeky-chappy may take some getting used to, but is basically good. Billie Piper is, meanwhile, skilfully casting off the light entertainment albatross that plagued Bonnie Langford.

On the whole then, 4 out of 5 and a very promising start. I look forward a great deal to the new series. Except for the farting aliens routine, maybe...

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.

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