161) DALEK

How could new series mess up, bringing back one of Doctor Who's most recognised creatures? They don't, especially with this episode. From start to middle-act to climax, there is very little wrong with this forty-five-minute thriller. The sole Dalek bent on continuing its prime directive is a thing of beauty throughout. From its release to regeneration to scenes where it massacres a billionaire's henchmen, and aides are all edited, paced, acting and shot in ways almost unimaginable. The scenes of the Dalek's release as it snaps its chains in half with little to no effort creates a scene of wonder. Followed by killing its torturer within seconds is only just the beginning where the Dalek shows off its true colours. The corridor scene with the helpless soldiers being massacred in quick concession only adds to the Dalek's previous scene. The CGI shots of fired bullets melting away before they hit the evil identity, the Dalek's midsection moving one hundred and eighty degrees, its POV (point-of-view shots) puts viewers right into the action on the screen. The silent shots of the dead soldiers to the music, reaching a crescendo as The Dalek s-l-o-w-l-y and silently moves away adds to the terrifying factor one Dalek can pose. As we move to the stair scene, it would seem the Dalek is defeated; no more harm can be done. But of course, the Dalek has a smart trick up its sleeve. First of all, the timing is perfect. Robert Shearman's script allows the antagonist time and breathing space to assess its surroundings. The slow panning and POV shots of the Dalek along with its blank stare at the three escapees to its ultimate and flawless line delivery from the talented Nicholas Briggs only adds to the sheer brilliance of the episode. As the Dalek raises slowly over the stairs it comes to light that nothing can stop it. Lastly, the killing zone scene is, without a doubt, possibly the best scenes in the revived series. Again the slow gliding Dalek and its POV shots only make you want to watch more. The hovering Dalek carefully and accurately planning its next move adds to its god-like image. The falling sprinkler water to the ultimate demise of the Van Statten's personnel is beautiful and jaw-dropping at the same time. As the music fades out to a quiet volume, the shots of Dalek's victims only makes the serial better. The so-called dispensable men as Van Statten calls them to his rich, arrogant and corrupt personality shows that power does indeed buy survival. When a Dalek backs him against the wall his childish tear-filled eyes makes him nothing more than a weak little man. Having Van Statten shrouded in darkness at various points highlights his pure dark, selfish personality polishes off this story. The scene where the Dalek finally opens up to reveal the actual Dalek creature inside is awe-inspiring. The ray of sunlight hitting its face to its tiny tentacle reaching up shows that even the evilest of all beings can have some good in them. Rose has her best moment in the serial here where she defends the child-like creature from the aggressive, aggravated Doctor. Eccleston also shines as The Doctor who realises that not even he can kill a member of his arch-enemy's race in cold blood. Billie Piper gives another excellent performance. Her reaction and compassion towards the damaged, lonely and scared Dalek can indeed bring a tear to the eye. Nicholas' lose and weak line deliveries can make the heart break to see such a fantastic creature going through so much pain. A great American and Canadian born cast, a wonderous and owe inspiring villain makes, a fantastic performance from Billie Piper makes this serial indeed of the all-time greats.  Just ignore the short scene where Rose and Adam are supposedly a thing. *****