Doctor Who: The Movie is a stepping stone between what preceded it and what would eventually succeed it, but it feels and acts like nothing else in this universe. A fresh start that heavily connects to the previous season which still succeeds by being a fast paced adventure filled with adorable Y2K anxiety. It should've been the start of an exciting new era that sadly never was.
Paul McGann is great as the Doctor, almost finding his version of the character in real time as his charming and energetic nature grows by regaining his memories. He's certainly the most dashing Doctor up to this point as well. With Daphne Ashbrook as a likeable and down to earth companion for him, there's a strong double act at the core of this story.
Eric Roberts is a very unique version of the Master. Initially acting like a terminator all the way down to the robotic delivery and the outfit before moving into something more camp with the larger than life aspects that are expected of the character. It's one of those performances that's always thoroughly entertaining even as it begins to go off the rails in the end.
Geoffrey Sax's direction makes it so obvious that this is an American production. You can just tell everything is different now which isn't a bad thing and certainly makes it distinct. The best idea he brings is turning the act of regeneration into full on body horror. John Debney's score is equally distinct, managing the near impossible task of doing its own thing within an established franchise that's strong enough to stand on its own.
Paul McGann is great as the Doctor, almost finding his version of the character in real time as his charming and energetic nature grows by regaining his memories. He's certainly the most dashing Doctor up to this point as well. With Daphne Ashbrook as a likeable and down to earth companion for him, there's a strong double act at the core of this story.
Eric Roberts is a very unique version of the Master. Initially acting like a terminator all the way down to the robotic delivery and the outfit before moving into something more camp with the larger than life aspects that are expected of the character. It's one of those performances that's always thoroughly entertaining even as it begins to go off the rails in the end.
Geoffrey Sax's direction makes it so obvious that this is an American production. You can just tell everything is different now which isn't a bad thing and certainly makes it distinct. The best idea he brings is turning the act of regeneration into full on body horror. John Debney's score is equally distinct, managing the near impossible task of doing its own thing within an established franchise that's strong enough to stand on its own.