Review Category: DVD/Blu Ray

Review: Knight Errant / Cert: PG/ Director: Andrew Osborn, Douglas Hurn / Screenplay: Clive Exton, Roger Marshall / Starring: Jack Turner, Kay Callard, Richard Carpenter, Alan Webb / Released: Out Now

Remember the ’60s? No, us neither. Well, maybe a bit, but not very well. But what about British television in the ’60s? You know all about that; of course you do: Danger Man, The Saint, The Prisoner and The Avengers. All a bit quirky, wasn’t it? Ever wondered where all that eccentricity started? Well Starburst’s team of crack television psychohistorians have studied the genre and reckon that it quite possibly originated in 1959 when Granada made a series called Knight Errant ’59. Never heard of it? Well it’s a good job you’re here then.

Knight Errant ’59 ran for 75 episodes until 1961 (by which time it had transformed into Knight Errant Limited) and, initially, told the story of Adam Knight (Turner) who ran an unusual agency. The advert went: “Knight Errant ’59. Quests undertaken, dragons defeated, damsels rescued. Anything, anywhere, for anyone, so long as it helps. Fees according to means.” Quirky enough for you? The series even survived the departure of its lead character, who was replaced by Stephen Drummond (David) whom, we think, took a bit more of a backseat role while his staff did a little more adventuring; hence the series name change. Did we say “think”? Well yes we did, because frustratingly, only two episodes survive, one from each incarnation. As luck would have it, Networks have brought them out as part of The British Film collection.

The two episodes are a funny pair because The Golden Opportunity focuses on the two supporting characters of the time with only limited screen time to John Turner, while Hugh David is entirely absent from The Joker for similar reasons. The former episode is by far the more satisfying with a genuinely intriguing story about gold sovereigns that may, or may not, be fakes. Without ruining the plot, it’s also quite fascinating for economic historians; let’s just say that the past is a foreign country. The latter episode is far more predictable but still interesting in its own way.

This is very much proto-Avengers TV with much sexless flirting and not-as-clever-as-it-thought-it-was-at-the-time dialogue; they even manage to finish each episode on a lame gag so the cast can all have a laugh together. Who’d have thought that would ever get old? They’re probably more of interest to the cultural historian than anyone else but they’re certainly charming and, if we’re honest, they’re still quite entertaining. Just remember they’re from another time.

Oh, and doesn’t Hustle still use the “lame gag” ending?

Extras: None

Review: Rise of the Shadow Warrior / Cert: 15 / Director: John Lyde / Screenplay: Jason Faller, Kynan Griffin / Starring: Danielle Chuchran, Richard McWilliams, Paul D. Hunt / Release Date: July 29^th

This is the sort of film in which the plot can be best described by counting off who and what’s in the cast list, rather trying to discern some sort of logic to it. It contains a mysterious elven bounty hunter, a dwarf with gadgets, a horrible curse, orcs, a dragon and the now mandatory presence of undead monsters.

Rise of the Shadow Warrior looks really good for a low budget fantasy movie. One of the great things about the success of World of Warcraft and The Lord of the Rings has been that high quality, low cost props are now easily available, and by throwing in a touch of CGI you can have a low budget fantasy movie that actually looks like it’s set on another world, rather than in a forest in Canada. The dwarves look nicely steampunk, the orcs look like they’re on their way to win a Fellowship of the Ring cosplay event and the dragons look like great big flying lizards, rather than a letdown.

Is it a good movie? Not really. Osombie actress Danielle Chuchran plays a convincingly mysterious elf but mostly the performances are overplayed, mistaking volume and exaggerated movement for emotion. The characters aren’t that interesting and the plot gets way too mixed up in itself to actually make much sense. That said, the action scenes are very well done and many of the scenes are framed beautifully. Just when you think it’s going to get dull, something happens to pick up the (very uneven) pace and you find yourself interested again. This almost makes it the perfect movie for a night-in with friends; there’s enough going on on-screen to keep people entertained, but the story isn’t strong enough to prevent people from interrupting the movie to have a conversation or sort out a pizza order.

This low budget movie (which also goes by the name of Dragon Lore: Curse of the Shadow) makes a jolly good effort at world building and fantasy adventure. It’s a bit of a pity that it’s dull and uninspired, but fans of fantasy B-movies such as The Book of Vile Darkness will certainly find this to be similar fare. If nothing else, you can always turn the sound down, play a heavy metal album over it and have the pretty set scenes run on in the background.

Extras: None

Review: Citadel / Cert: 15 / Director: Ciaran Foy / Screenplay: Ciaran Foy / Starring: Aneurin Barnard, James Cosmo, Wunmi Mosaku / Release Date: September 30th

Lauded at horror festivals last year, this low budget but high tension nightmare finally hits the UK.

Tommy (Barnard) is left emotionally crippled and literally holding the baby when his pregnant wife dies after being attacked in the run-down tower block they were on the verge of moving from. He seeks therapy for his agoraphobia, determined to get out of his situation for the sake of his daughter, Elsa. Things get worse when, as predicted by the local foul-mouthed priest (Cosmo), the feral hooded thugs come looking to take the infant.

The image of hooded youngsters terrorising neighbourhoods, tower blocks and run-down estates is becoming a regular trope in British horror films, but first time director Foy attempts to do something a little different with them here. Although it doesn’t completely work, the fear and terror felt by the protagonist is easy to relate to. Barnard is brilliant as the youngster thrown into a situation where he must look after a newborn when his emotional state means he can’t even look after himself. Foy has drawn from his own experiences for this character, and you certainly feel that fear along with him. It’s a shame then, that the tension and anxiety becomes undermined by the somewhat hokey explanation for the wild youths. The redemption story could have easily worked without it, especially as the most terrifying monster is actually Tommy’s own inner turmoil. That said, for the most part, it is a tense and often terrifying ride, and no doubt one which will resonate with many young parents and those frustrated and disabled by their own inner demons.

Extras: None

Review: The Invisible Man / Cert: 12 / Director: Various / Screenplay: Various / Starring: David McCallum, Melinda Fee, Craig Stevens, Jackie Cooper, Henry Darrow / Release Date: Out Now

As if typed onto the screen by invisible typewriter keys, the famous spool of text to begin each episode of The Invisible Man would announce: “MACHINE MALFUNCTION… WESTIN PERMANENTLY INVISIBLE… KLAE CORPORATION WILL FINANCE RECOVERY EFFORT… WESTIN WILL RENDER SERVICES AS SECRET AGENT. HIS CODE NAME: KLAE RESOURCE.”

Of the many faces donned by veteran screen actor David McCallum, it is The Man from U.N.C.L.E.’s Illya Kuryakin and NCIS’s Chief Medical Examiner Donald “Ducky” Maynard that bookend his expansive onscreen career. Back in the mid-seventies, and not as well known, McCallum donned the guise of Doctor Daniel Westin A.K.A “The Invisible Man”, a persona rooted in early British science-fiction literature.

Harve Bennett, creator of two staples of 1970s television: The Million Dollar Man and The Bionic Woman, borrowed along with co-creator Steven Bochco only the title from H.G. Wells’ story, instead re-naming their invisible protagonist “The KLAE Resource.” In so doing they preserved the potency of the word “Invisible” or the name “Invisible Man” for those timely moments, and affirmed it as a re-imagining of Wells’ story as opposed to an adaptation.

The four disc set contains the feature length pilot and twelve televised episodes of this short lived series. Despite being a child of the eighties and early nineties, this release offered a welcome opportunity to reminisce on the discovery of these classic Universal television shows re-run in my youth on terrestrial television. The set showcases Henry Mancini’s catchy theme, the classic pre-credits preview, freeze frames and fade to black for dramatic effect, all an affectionate reminder of a bygone era in television.

Prior to this release The Invisible Man has been lost in the shadow of other Universal shows but now thankfully it has an opportunity to be both re-discovered and discovered a new.

Cancelled after only twelve episodes, the shows eventual trajectory remains a mystery, delivering only the exploitation of Westin as the “KLAE RESOURCE”, rather than the mix of recovery and services rendered. The point of interest remains the comedic subversion of the tragic and darker overtones of the pilot.

The Invisible Man may be most fittingly described as a journey from darkness to light, yet in hindsight the pilot teased with the potential for the show to come full circle and explore Westin’s tragedy. Whilst this would be more in keeping with Wells’ original story; Westin is the sympathetic tragic protagonist in contrast to Wells’ original “Invisible Man.”

Much of the show’s success is owed to the sum of its parts: McCallum and Melinda Fee’s on-screen chemistry, the creative and innovative set-pieces and gags that never feel tired, and the actors, in particular Fee’s versatility to mime. Heavily formulaic, yet full of charm it stands out as a gem of Universal’s Television library. If only they’d finished what they had started.

Share your comments below or on Twitter @STARBURST_MAG

Find your local Starburst Magazine stockist HERE, or buy direct from us HERE. Our issues are also available as fully interactive iPad editions, loaded with multimedia, and can be downloaded via Apple HERE.

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Review: The Invisible Man / Cert: 12 / Director: Various / Screenplay: Various / Starring: David McCallum, Melinda Fee, Craig Stevens, Jackie Cooper, Henry Darrow / Release Date: Out Now

As if typed onto the screen by invisible typewriter keys, the famous spool of text to begin each episode of The Invisible Man would announce: “MACHINE MALFUNCTION… WESTIN PERMANENTLY INVISIBLE… KLAE CORPORATION WILL FINANCE RECOVERY EFFORT… WESTIN WILL RENDER SERVICES AS SECRET AGENT. HIS CODE NAME: KLAE RESOURCE.”

Of the many faces donned by veteran screen actor David McCallum, it is The Man from U.N.C.L.E.’s Illya Kuryakin and NCIS’s Chief Medical Examiner Donald “Ducky” Maynard that bookend his expansive onscreen career. Back in the mid-seventies, and not as well known, McCallum donned the guise of Doctor Daniel Westin A.K.A “The Invisible Man”, a persona rooted in early British science-fiction literature.

Harve Bennett, creator of two staples of 1970s television: The Million Dollar Man and The Bionic Woman, borrowed along with co-creator Steven Bochco only the title from H.G. Wells’ story, instead re-naming their invisible protagonist “The KLAE Resource.” In so doing they preserved the potency of the word “Invisible” or the name “Invisible Man” for those timely moments, and affirmed it as a re-imagining of Wells’ story as opposed to an adaptation.

The four disc set contains the feature length pilot and twelve televised episodes of this short lived series. Despite being a child of the eighties and early nineties, this release offered a welcome opportunity to reminisce on the discovery of these classic Universal television shows re-run in my youth on terrestrial television. The set showcases Henry Mancini’s catchy theme, the classic pre-credits preview, freeze frames and fade to black for dramatic effect, all an affectionate reminder of a bygone era in television.

Prior to this release The Invisible Man has been lost in the shadow of other Universal shows but now thankfully it has an opportunity to be both re-discovered and discovered a new.

Cancelled after only twelve episodes, the shows eventual trajectory remains a mystery, delivering only the exploitation of Westin as the “KLAE RESOURCE”, rather than the mix of recovery and services rendered. The point of interest remains the comedic subversion of the tragic and darker overtones of the pilot.

The Invisible Man may be most fittingly described as a journey from darkness to light, yet in hindsight the pilot teased with the potential for the show to come full circle and explore Westin’s tragedy. Whilst this would be more in keeping with Wells’ original story; Westin is the sympathetic tragic protagonist in contrast to Wells’ original “Invisible Man.”

Much of the show’s success is owed to the sum of its parts: McCallum and Melinda Fee’s on-screen chemistry, the creative and innovative set-pieces and gags that never feel tired, and the actors, in particular Fee’s versatility to mime. Heavily formulaic, yet full of charm it stands out as a gem of Universal’s Television library. If only they’d finished what they had started.

Share your comments below or on Twitter @STARBURST_MAG

Find your local Starburst Magazine stockist HERE, or buy direct from us HERE. Our issues are also available as fully interactive iPad editions, loaded with multimedia, and can be downloaded via Apple HERE.

Click To Buy

 

Review: Dark Skies / Cert: 15 / Director: Scott Stewart / Screenplay: Scott Stewart / Starring: Keri Russell, Josh Hamilton, Dakota Goyo, Kadan Rockett, J.K. Simmons / Release Date: August 5th

From the mind of Scott Stewart, Dark Skies is a creepy, serious and sinister tale of a family that comes under threat from an inquisitive, mystifying, malicious force. Heading up the family are Lacy (Russell) and Daniel (Hamilton) Barrett, striving to protect their two sons (Goyo and Rockett) from the ominous presence that looks to torment the family unit. Matters take a turn for the worse when it’s revealed that Sam, the youngest of the family’s, stories of night-time visits from the ‘Sandman’ are a lot more real than simply over-active children’s machinations.

The tension in Dark Skies is nicely worked, with a dense, tense, atmospheric tone established early on. Given the film’s modest $3,500,000 budget, it takes the sensible route of playing to its strengths. You won’t see any garish, in-yer-face action here, as Stewart chooses to focus on the slow-burning chills, creepy background flickers and blink-and-you’ll-miss-them shadowy goings-on to make his film effective. That’s not to say there aren’t one or two shock-scares thrown in for good measure, though.

Drawing comparisons to Insidious, Sinister and the Paranormal Activity series, the film has enough character and heart to stand up as its own entity. The director maximises good direction, clever camera movements and solid acting to get his story across, and, on the most part, it works. Of particular note is young Kadan Rockett’s turn as Sam. All of the cast members do a solid job, but Rockett’s performance is a particular highlight of Stewart’s film. J.K. Simmons also deserves special mention for his brief appearance as an extra-terrestrial expert.

Whilst nice, solid and minimalistic, there also isn’t anything massively groundbreaking about Dark Skies. Yes, it is effective and eerie in what it does, but it also finds itself guilty of a very straightforward, predictable narrative as it builds to its finale. That’s not to say there aren’t some twists and turns in the road, it’s just to say that you generally know where the road is going to end up when you start your journey.

Similarly, the extras on the Blu-ray disc are nothing to write home about either. There’s a relatively interesting commentary with Stewart and his production team, then a few alternative/deleted scenes thrown in for good measure. Like the film, they’re good for what they are, but they won’t leave you shook up and itching for more. Dark Skies is like the classic post-pub Saturday night kebab: at the time it does the job, but ultimately you’re no better for it and the next day you wonder why you really bothered.

Extras: Commentary with Scott Stewart, Jason Blum, Brian Kavanaugh-Jones and Peter Gvozdas / Alternative and Deleted Scenes

Review: The Man Who Finally Died / Director: Quentin Lawrence / Screenplay: Lewis Greifer, Louis Marks / Starring: Stanley Baker, Peter Cushing, Mai Zetterling, Eric Portman, Georgina Scott, Niall MacGinnis, Nigel Green / Released: Out now

If a British film opens with a horse-drawn hearse in a Bavarian town and features a few of corpse exhumations, then you won’t be surprised to see Peter Cushing and a couple of Night of the Demon (1957) veterans in the cast list. In fact, you’d be forgiven for assuming The Man Who Finally Died is a hoary old Brit-horror. But actually, it isn’t. Then again, maybe it is; there’s more horror here than our imagination can easily conjure.

TMWFD is based on a 1959 TV serial and tells the story of a German-born Brit (Baker) who gets a call to tell him his father’s just died. It’s all a bit rum because, as far as he was aware, his father had died 20 years earlier on the Eastern Front. It’s a taut mystery thriller with a top-notch cast that is very much a product of the Cold War. When the Second World War was a recent memory, many people had dark secrets and in the heart of Europe the horrors were only a whisper away. The movie features a surprising number of Gothic horror tropes; but then cemeteries feature as locations in so many post-war thrillers – hardly surprising when the dead were always so close. TMWFD’s tight direction and gloomy monochrome really capture the feeling that you just have to scratch the surface to find something far worse than you’d find in the supernatural. The plot’s intriguing and there are some fine performances from the illustrious cast with special mention to Eric Portman and Nigel Green as the cynical cops who’ve been maintaining law and order since the war.

Arguably this is a film that Starburst shouldn’t really be reviewing (although, to be fair, it’s got Peter Cushing and Niall MacGinnis in it) but if you like a story with twists and turns and want to visit another time and place, you really might want to give this a go. Networks and The British Film have done a fine job with the transfer here and it’s a pleasure to watch. You want horror? Just remember that the real world can be far worse than anything you might find in a haunted castle.

Extras: Image gallery / Original press PDF

Review: Oblivion / Cert: 12 / Director: Joseph Kosinski / Screenplay: Karl Gajdusek, Michael Arndt / Starring: Tom Cruise, Andrea Riseborough, Morgan Freeman / Release Date: August 19th

The saying goes that there is nothing new under the sun, and this is especially true as far as Hollywood is concerned. The marketplace is flooded with remakes, reboots and prequels to the classics with nary an original idea in sight. Joseph Kosinski’s Oblivion was criticised for being derivative of many of the classics, having elements of Silent Running, WALL-E, The Matrix, Moon and Independence Day. Whilst this might be true, the elements in Oblivion are presented in such a manner that it feels oddly refreshing and shouldn’t be dismissed outright.

Tom Cruise plays a man left on Earth to repair security drones after an alien invasion where they destroyed the moon causing environmental catastrophe. The rest of humanity has made their home on one of Saturn’s moons. He has memories of another life which interrupt his daily routines and after he meets a woman who has crash landed on Earth, he starts to question his life and his job. During much of the first act, a unique approach is in evidence as Kosinski favours a return to the clean surface sci-fi of Kubrick’s 2001 rather than the gritty and dirty cinema of Nolan or Blomkamp that is currently the standard. This hasn’t been seen in a while and the cloud-based tower that Cruise lives in with his wife (played by Andrea Riseborough)  is a stunning creation that never feels stagey, especially the swimming pool in a visually breathtaking and well shot sequence. Oblivion is a film that takes place in broad daylight as opposed to a dark and bleak setting, and this adds to the feeling of freshness.

The first act may drag on for a longer time than is necessary, but with the assistance of M83’s evocative and propulsive score, Kosinski sets the scene perfectly for what is to come. The second act plunges headlong into reveals and plot turns and though it may feel a bit muddled at certain parts, because of the weight that has been given to the world and the opening scenes, the drama succeeds and has its share of shocking moments.

TRON:Legacy was criticised for a certain amount of style over substance but Kosinski definitely had a skill with the performers. Here he gets even better performances out of Tom Cruise and Andrea Riseborough especially, and a key role from Melissa Leo. As a result, Oblivion has a certain substance that was missing from TRON: Legacy and when the characters feel things you are right there with them. Oblivion is no classic but it is entertaining and executed in such a way that it all adds up to one of the better sci-fi films of recent memory.

Extras: Commentary, Deleted Scenes / Making of / Isolated Score track

Review: Quest for Fire / Cert: 15 / Director: Jean-Jacques Annaud / Screenplay: Gerard Brach / Starring: Everett McGill, Ron Perlman, Rae Dawn Chong, Nameer al-Kadi / Release Date: August 5^th

Dinosaur devotees disgruntled by the dearth of hilariously anachronistic stop-motion tyrannosaurs and pterodactyls (as seen in Hammer’s 1960s prehistoric grunt fests One Million Years BC and When Dinosaurs Ruled the Earth) in Quest for Fire will at least be able to take solace in the clutch of sabre-tooths, herd of mammoths and one big angry bear whichprovide some animal anguish in this surprisingly engrossing 1981 adaptation of J.-H. Rosny’s 1911 novel. Quest for Fire postulates what life might really have been like for the early hominids and on the evidence of Jean-Jacques Annaud’s stark and brutal film it really wasn’t much fun.

80,000 years ago and it seems that fire, and not a recording contract with Simon Cowell, was the one thing simple-minded humans most desired. How to create fire is a mystery to our filthy fur-clad friends of the Ulam tribe but once a naturally occurring source is found it’s guarded and nurtured jealously. They’re slightly put out (as is their fire) when they’re attacked by the apelike Wagabu tribe. The chilly cavemen decide to send three of their nimblest warriors on a journey to find a replacement source – a quest for fire, if you will. But their tortuous journey leads them into encounters with hungry animals, ravenous cannibals and a slightly more sophisticated tribe who live in mud huts instead of caves and practice a clever trick with two pieces of stick, some dung and dry grass. Don’t try this at home.

With dialogue which, like a Seth Rogen comedy, rarely rises above the level of nggggg and orrrrrggg, it’s remarkable just how easy it is to become immersed in the drama of Quest for Fire and how quickly we find ourselves adapting to – and understanding – their primitive methods of communication and relating to their basic desire for the one thing human beings need above everything else. Noah (McGill), Amoukar (Perlman) and Gaw (al-Kadi) battle tirelessly against unimaginable adversity and encounter the ghastly, casual bone-shattering violence which is fundamental to their savage existence. But their quest ultimately teaches them more than just how to ignite a flame; they learn more about themselves and their world as they take the first faltering steps on the long road to what we might call civilisation.

Over thirty years later, Quest for Fire remains a towering and triumphant achievement, a haunting and provocative movie beautifully filmed in stark locations in Kenya, Canada and Scotland and sympathetically presented on this stunning new Blu-ray transfer with genuinely fascinating bonus material.

Extras: Two commentaries / Contemporary ’making of’ feature / New subtitled 33-minute director interview

 

Review: Doctor Who – The Green Death (Special Edition) / Cert:PG / Director: Michael Briant / Screenplay: Robert Sloman / Starring: Jon Pertwee, Katy Manning, Nicholas Courtney, Jerome Willis, Richard Franklin, John Levene, Stewart Bevan / Release Date: August 5^th

This six-part 1973 serial – the one with the maggots – is the latest from the classic Doctor Who range to receive the ‘special edition’ treatment following its original DVD release in 2004. The Green Death really needs little or no introduction to even the most casual Doctor Who viewer as, like Jon Pertwee’s debut serial Spearhead From Space (itself recently issued in a new Blu-ray edition), it’s one of those stories which seems to have embedded itself deep into the nation’s Doctor Who psyche.

Pertwee’s increasingly avuncular Third Doctor, still acting as UNIT’s scientific adviser (despite having his freedom to travel in Space and Time restored earlier in this tenth season), travels to South Wales to investigate a mysterious death in an abandoned coal mine. The victim’s skin has an unearthly green glow and it doesn’t take the Doctor – or a bunch of long-haired hippies living in a muddy commune experimenting with ‘alternative energy’ and revolutionary new food sources for the human race – to make the connection with the nearby Global Chemicals factory which is pumping thousands of gallons of highly toxic waste into the mineshafts. The waste doesn’t just turn human flesh green, it’s created a breed of voracious, deadly, poisonous maggots which are on their way to the surface.

The Green Death is classic Pertwee Doctor Who, marrying the era’s occasional ecological tub-thumping with its recurring motif of military muscle (UNIT’s five-man army led by the redoubtable Brigadier) and the Doctor’s dogged ingenuity combining to triumph over an insane sentient super-computer and some surprisingly effective creepy-crawlies (with one or two shonky special effects sequences just to remind us we’re in the 1970s). Sloman’s script is slick, spry and packed with incident and the serial offers one of vintage Who‘s rare examples of a new series-style character moment as the Doctor’s assistant Jo (Manning) leaves his side to marry the wiry, energised Professor Jones (Manning’s then real-life boyfriend Bevan) who’s been cleverly developed across the serial as a younger version of the Doctor himself. The final sequence between Pertwee and Manning, recorded in one take, is stunningly played and the shot of Pertwee driving away in silhouette against a setting sun, is still one of the show’s most heartbreaking images.

If the serial’s crisper picture and sound quality aren’t enough of an inducement to entice fans tired of buying the same serial two or three times over to part with their cash yet again, the wealth of new bonus material included really should seal the deal. There’s now a proper ‘making of’ documentary called, appropriately enough, The One with the Maggots, and whilst it’s the usual talking heads affair it’s nice to see Manning and Bevan, long since gone their separate ways, reunited on screen and clearly on good terms. The latest of the Doctor Forever strand seems at best tenuously linked to The Green Death as it sees Russell T. Davies and former BBC Drama Controller Jane Tranter detailing Doctor Who’s rocky road back to the screen in 2005; Davies’ exuberance and enthusiasm is as infectious as ever. What Katy Did Next presents edited clips from the Serendipity children’s magazine show the actress hosted after leaving Doctor Who and also included is the 2010 Sarah Jane Adventures two-parter Death of the Doctor which sees Manning joining both Elisabeth Sladen and Eleventh Doctor Matt Smith in a joyous fanboy romp of a story which boasts a gloriously raucous and listenable commentary by Davies and Manning (who also provide a new commentary for episode six of The Green Death); and, in addition to the previously available commentary, there’s a new track moderated by Toby Hadoke and featuring Richard Franklin (Mike Yates) and guest actress Mitzi Mackenzie.

Along with the features ported over from the original release, this is about as definitive as any Doctor Who DVD release is ever likely to get. The Green Death is massively enjoyable stuff in its own right and this 2-disc set finally does it proper justice. Essential.

Extras: Commentaries / Making of documentary / Global Conspiracy spoof / Writer interview / Stewart Bevan interview / FX designer interview / Wales Today news clips / Doctor Forever / What Katy Did Next / Sarah Jane Adventures – Death of the Doctor / Photo gallery / Easter eggs