There has been no perfect Spider-Man film. Of course, what one defines as "the perfect Spider-Man film" varies from person-to-person. To me, whilst the modern Spider-Man films (Raimi, Webb) are certainly iconic and enjoyable, they all have their flaws that hinder them from being perfect representations of one of the world's most famous comic book superheroes. Even my favourite Spider-Man film (Spider-Man 2) is not without its awkward moments and pacing issues. Does Spider-Man: Homecoming surpass all those flaws and is it the perfect Spider-Man film?

A criticism I have of previous Spider-Man films, especially the Raimi trilogy, is that they have often felt too overblown and over-dramatic, resulting in unholy amounts of cheesiness e.g. Mary-Jane being the damsel-in-distress (three times), Emo-Peter from Spider-Man 3, the ENTIRETY of Spider-Man 1. The Webb films aren't without their flaws too; characters are poorly developed and too many plot points are crammed in too quickly. In the end, the only thing audiences cared about in the Webb films was the fantastic relationship between Peter and Gwen, meaning that the rest felt like unneccessary filler. Spider-Man: Homecoming may only be the start of a new franchise so it has yet to develop its own fully-rounded reputation, but if future Spidey films are able to be like Homecoming or even better, then we may receive the best adaption of the wall-crawler to ever grace the big-screen.

Whereas previous Spidey films have felt overblown, Homecoming strips everything back to its bare basics and yet makes it interesting. We all know the formula; Peter must balance his high-school life with his superhero life whilst attempting to woo his crush and stop an evil, usually animal-inspired, bad guy. But where this film succeeds over the others is that it feels fresh. We don't get another origin story like we did in The Amazing Spider-Man, instead focusing on Peter trying to prove himself to Tony Stark. This is already a good move on the film's part as it keeps the audience invested as this is something we haven't seen in previous Spidey films, and the fact that this film is linked to the Marvel Cinematic Universe just emphasizes its scale and possibilities; This universe has already been established so audiences can immediately connect and find familiarity in the film's tone and events, therefore increasing their, and my, enjoyment of it. Even those who aren't familiar with this MCU can still enjoy the film, partly due to the casts' fantastic performances. Tom Holland is a wonderful Spider-Man; he is able to capture the great youthful energy the character is known for in his performance whilst also being reserved and believably intelligent, and not a caricature of the "nerd" stereotype. That was a problem with previous performances of the wall-crawler; Whilst all have been great, Tobey Maguire never really captured the wit of Spider-Man, whilst Andrew Garfield was, at times, too witty to be believed as the "nerdy" character. Holland is the perfect balance of both without turning in an inconsistent performance. Is he the best Spider-Man to take to the screen? I really don't know yet as I still have a soft spot for Garfield, but given a few years, I'm sure Holland will rise to the top of my list due to just how well he captures all aspects of the character.

Holland was fanatastic, obviously, but there's one performance in the film that I think might overshadow his due to how good it was. I am talking of Michael Keaton's Vulture. When I first heard the Vulture was going to be the film's villain, I was skeptical as the Vulture never struck me as one of the more interesting villains in Spidey's rogue-gallery. But due to how charismatic and downright unsettling Keaton is in his perfomance, he turns the Vulture into an extremely intimidating yet sympathetic character, again a balance I feel villains in Spidey films haven't really achieved successfully until now. Keaton's pointed brow and beady eyes, along with his rough yet elegant way of speaking, makes you fear weather or not he's going to snap whenever he is challenged by those threatening him, and I don't just mean by Spider-Man. You immediately understand why the Vulture does what he does and you'd have a hard time arguing against his case given the unfortunate circumstances the character finds himself in. Had the film been shot from his perspective, he could have easily been the hero of the film, but this is Spidey's film, and Spider-Man fights against those who break the law, no matter what the motivation. May I remind you that this is an MCU film, where villains are usually generic, boring obstacles for the hero to overcome, so it is extremely refreshing to see this much thought and attention put into the villain, especially since he really doesn't get that much screentime. Keaton manages to deliver a hell of an impression though and the fact that his characters is such a normal guy just adds to the overall fear factor of his character.

Unfortunately, the film's action, whilst visually appealing, is not as memorable as previous Spidey films. I won't spoil much but the ferry fight scene that was featured in all the trailers is quite a short sequence so its dramatic effect is somewhat lost on the audience. Take the train fight scene from Spider-Man 2; the reason why this is such a good fight scene is that we see everything in painstaking detail and the risk is extremely high, which is even more impressive considering everything takes place aboard a speeding train. As Spidey and Doc Ock battle it out, there are several moments where we see the public in the train at risk. We see all walks of life on the train, from the elderly to the young, which puts the pressure on Spidey to not only stop Doc Ock, but also stop the train from crashing and killing all these people. In the ferry fight scene in Homecoming, Spidey and Vulture don't even get close to each other whilst battling. There is no sense of contact as they hardly even share the same shot throughout the entire fight. The people on the ferry aren't focused on as much either, so the risk doesn't feel as high or as important to Spidey and the audience as it should. So when he does have to hold the ferry together after it is ripped in half, we aren't caring for the danger as much as we should be. Spidey doesn't even seem to be struggling that much when he's trying to hold the ferry together. Yeah, me makes a few groans but recovers from it extremely quickly. Spidey stopping the train in Spider-Man 2 is much more effective as we see Peter genuinely struggling to stop the train. His suit rips and the webs attaching him to the walls beside the train are focused on in great detail so the audience can truly be on the edge of their seat once they start to see the webs snapping. It's a situation that is way beyond Peter and it almost kills him because of this. It is all handled brilliantly and Homecoming fails to do that when its big action-piece does arrive. Also, the final fight of Homecoming left a lot to be desired. Again, I won't spoil much, but the lighting is very dark and murky. It's not easy to make out what is going on and the whole thing just becomes a blur and not enjoyable to look at.

So is this perfect Spider-Man film? I'm not sure. Whilst that trademark MCU comedy is there and the cast is wonderful (particularly Holland and Keaton), the action is somewhat lacklustre, its themes aren't that deep or thought-provoking, and the film does fall down somewhat during its climax. However, this doesn't stop it from having a hugely improved sense of pace compared to recent installments and it doesn't get too carried away with its characters and plotlines, instead taking time to carefully craft each one so that the audience can get fully invested and enjoy the overall experience more. I still think Spider-Man 2 is my favourite Spidey film just due to how closely it sticks to the essence of the character and how much it got what I believe to be important to these films right. However, Homecoming is definitely second on my list as Holland is arguably the best Spidey yet and I'll take Vulture over Doc Ock due to how genuinely unsettling Keaton is. I'm certainly looking forward to seeing what Marvel have planned for the web-slinger in the future.

RATING: 7/10

The opening introduction track of the album is an interesting one at that, comprised of elements from every song that follows it on the album. Rather then throwing listeners into Linkin Park's new direction blindfolded, this opening helps to slowly introduce the listener to the band's new sound, and what a job it does! About midway through the track, ominous auto-tuned vocals sing lyrics from one of the album's later tracks (The Catalyst), and it was here where the album really grabbed my attention for the first time. The haunting gang vocals alongside the somewhat soothing yet creepy main vocals makes this intro track one of the best the band has ever done. Being a fan of electronic music myself, this track mixed and combined everything in a pleasurable way. And this is only the INTRO track! I can't wait to see what's next!

Oh. What's this? Ah. Another interlude with a speech extract from J. Robert Oppenheimer. Get used to these speeches from important political figures, because there's a lot of them. To be fair, this album's theme is about war, so it's not surprising that the band chose to insert a few historical references in their album, but did they really have to waste space on the album with them? This track solely consists of Oppenheimer's "Now I Am Become Death" speech against a generic pulsing beat, but I can't help but feel it should have just been part of The Requiem. There's not even a clear transition between the two tracks, so when I first listened to this album, I assumed they were all one track. But alas, I was wrong.

The first real song on the album is somewhat of a bore compared to what Linkin Park are known for, but that in no way means it's bad. Mike Shinoda's and Chester Bennington's vocals coincide wonderfully as per usual, and Brad Delson's guitar work at the end of the track has to be admired. But other that, this track is unfortunately mostly forgettable when compared to other tracks on the album due to its mellow piano segments and generic drums. The fact that I had more to say about the intro tracks than I do about this one isn't a great sign.

Already, ANOTHER interlude track follows Burning In The Skies. 4 tracks in and we only have 1 real song? Not a good sign. And this track only consists of the sounds of crickets and bombing. Why, oh, why couldn't they have just stapled this onto the next song on the album rather than giving it an entire place on the tracklist by itself? I think I know what Linkin Park were trying to do here. As this album is their first about war, they wanted to hammer in that idea as much as they could, so much so that they dedicated entire tracks just to fillers containing speeches or sounds of war. Unfortunately, I don't think it worked as much as they wanted it to.

What seems to start off as an electronic garbled mess ends up being a surprisingly well structured and catchy song. The bursts of noise that accompany the repeated metronome may be unwelcome at first, but once the song finds its feet (which, admittedly, takes a while), it becomes an epic, tribal wave of noise ridden with tribal drums and bass. Shinoda's rapping is top notch and even the lyrics contain a fair amount of creativity. The choruses and the bridge is where the song really gets going, though, as Chester's war cries give the song a whole new layer. What starts off as a fairly negative song ends up as a surprisingly uplifting and bombastic one. 

Uh-oh. I hear generic piano riffs again. Unfortunately, this song is mostly a bore, with Chester and Mike's vocals sounding very restrained. The lyrics are also simplistic and too mellow for my liking. The song does pick up during the last quarter though, as synths and screams finally come into play, and Chester sounds brilliant. It's a shame he's mostly drowned out by the synths and generic chorus vocals. 

Though a better sounding interlude than most others on the album, it's still not a very welcomed addition. This interlude does contain some nice vocals from Mike and Chester, but they're gone too soon and we're left with more synthesised beats. Good, but not needed.

This is where things get good. And I mean, REALLY good. Mike's somewhat reggae-style rapping may seem weird at first, but it soon helps add to the general mood of the song. Then in comes Chester's harmonious vocals, and it is here where A Thousand Suns gets ten times better. I said I wasn't a big fan of the mellow songs, but this one manages to combine that with powerful vocals flawlessly. The drumming is catchy, the synths are noticeable but not distracting, and vocal interplay is the best it's been. It is truly a blessing to the ears when Chester belts out vocals with all the energy and emotion he can. This is definitely present in this track, and what we end up getting is a song that slowly and steadily builds into a wonderful ballad full of heart and soul. And yet, this isn't my favourite track on the album. That title goes to the next one.

A steady, militaristic snare beat over deep synths and bouncy electronic keys helps grab the listener's attention immediately. The song even starts to sound somewhat happy and joyful. Then Chester's vocals enter the scene and the result is like a gunshot. No longer restricted, Chester scream-raps his vocals. This may be jarring to some, but for me, the energy in his vocals against the bubbly synths makes this song brilliantly unconventional. Just like Waiting For The End, this song builds and builds with layers, but so very much faster. By the time the second chorus kicks in, Chester is screaming, pianos are playing, synths are plucking, and I am loving every second. Something about the hard-hitting vocals against the joyful wall of noises appeals to me massively. Seriously, out of all of Linkin Park's library of music, this song pumps me up the most, leaving me full of adrenaline and dying for more. Joe Hahn is given a chance to shine just after halfway through the song with some mixing, though this is definitely the weak point of the song, as it just feels out of place and slightly grinds the song to a halt. After that, though, Mike Shinoda takes the wheel, and if this isn't some of his best vocal work, I don't know what is. As he slowly sings his vocals, the drum beat gets louder, the synths get thicker, and the keys get more prominent. All of this crescendos into a beautiful final effort filled with excitement as both Mike and Chester continue singing until the song draws to a calm close. I felt like I had been hit by an ocean of biting cold water after listening to this song, and I loved it. The band definitely took a risk with this song, and not everyone will appreciate its jarring vocals, but, for me, this song defines what A Thousand Suns is: a musical risk that works oh-so brilliantly. I'd give this song an entire review by itself if I wanted to, and perhaps I will in the future, but for now let's stick to the main focus.

A Mario Savio speech (which I'm honestly surprised it didn't get its own track on the album like previous speeches) leads into a electronic frenzy of rapping and screaming. Unfortunately, it's not as well done as Blackout. It still retains some catchiness, with Mike's rapping and Chester's scream-vocals standing out well and Hahn's mixing improved. The final third of the song is easy to chant along too and helps make this slightly underwhelming song just a bit more powerful.

Oh, boy, more interludes. This one contains a Martin Luther King Jr. speech against a calm piano riff that leads into the next track. Unlike some of the other interludes on the album, this one feels like it actually slightly deserves its own space on the album as it has a clear message and bleeds in well to the next song. It's its own entity without being an anomaly

Mike was really on his A-game when doing vocals for this album. Iridescent is impressive in many aspects as, like previous songs, it slowly builds on its layers but this particular song is much more acoustic, dropping many of the electronic elements that album mostly consists of, and yet it still works. The harmonies flow with the guitars and piano ostinatos seamlessly, and the lyrics are some of the strongest on the album. The drum work is also very catchy and impressive. Finally, gang vocals chant the chorus, adding a bombastic, almost cinematic, element to the song. A truly epic masterpiece full of emotion and hope.

More interludes! This slow, atmospheric addition to the album contains remixed vocals from Burning In The Skies. It sounds nice, but is pointless.

The standout single of the album definitely divided fans and critics. For many, this was the first glimpse into Linkin Park's new sound. At first, I was not a fan, but time did its job and I grew to love this song due to its bouncy beat, creative lyrics, chant-able vocals, and impressive mixing and sampling from Hahn. A Thousand Suns is very good at defining each band member's role by giving them chances to shine, and this is very clear in The Catalyst. Almost as adrenaline-pumping as Blackout, but also catchy and energetic in its own right, the song eventually mellows down into a piano ballad that builds with Mike's wonderful vocals and Rob Bourdon's chilling drum segments. The keyboards wail and the guitars demand attention, making this single a standout one and a powerful, perfect end to the album.

Huh? What's this? I though we were done? Apparently not. The final track on the album unfortunately ends it on a negative. Whereas The Catalyst would have been a memorable and fitting end to the electronic parade that is A Thousand Suns, The Messenger decides to end it mellow and unfortunately, it doesn't work. Chester's screamed vocals against the acoustic guitar just doesn't work (although the final "oh"s from him definitely work well when the song has finally had time to build). I know that Chester dedicated this song to his children, and I feel that if this song had been released as a standalone song rather than part of an album it would have gained slightly more attention. But it only serves as a confusing and pointless end to a fantastic album.

When I think of A Thousand Suns, or just new Linkin Park in general, one word springs to my mind: creativity. Sure, I love their early stuff very much, but there's no denying that if they had continued with the same old angry, I-hate-everyone teenage attitude, they would have died out. Like their fans, Linkin Park grew up and so did their music. They started trying new things and mixing the expected with the unexpected. To some, this didn't work, but for me, it paid off brilliantly. A Thousand Suns may be filled with many pointless elements, but the band's ambition and desire to be different has to be admired. Plus, when this album gets good, it really, REALLY, gets damn good. Focus more on the positives and I believe you will enjoy this album as much as I do.

​7/10

​Repeated samples of a child's voice and a wild piano chord kick off this album with an exciting bang. The energy in this song is a wonderful hint at what's to come on the album whilst remaining as a strong entity on its own. Mark Tafel on lead vocals makes his presence known with a combination of low and high notes that he belts out magnificently. The guitars and drums are a little simple but Tafel's vocals and Ryan McCarthy's keyboard work coincide beautifully and help to make this a truly memorable and welcome album opener.

The first bombastic song of the album contains powerful tribal drums and uninnovative but impressive vocals from Tafel, along with subtle but brilliant backing vocals from McCarthy that help add an extra layer to the song without distracting too much from the main article. The keyboards and sampling are also masterfully crafted to create an epic and unforgettable adventure that leave this track as one of the best of the album. It's not as upbeat or as zany as some of other's Stepdad's songs, which makes for a diverse look into the band's musical range.

Oh, boy, things are getting good. Show Me Your Blood was one of the first songs I heard by Stepdad and it remains a favourite of mine. It combines happy melodies with lyrics about damage and distrust perfectly. Tafel gives his all as usual and the keyboard ostinatos are the best on the album so far. The chorus is definitely the highlight of the song, with Tafel yelling, "Show me your blood!" wonderfully, truly captivating the listener's attention and holding it for the rest of the song. What a journey.

Probably the weakest song on the album. Tafel doesn't have much fun with the vocals and the entire song feels like it could do with a few extra layers to make it feel like more of a solid entry. It is probably the most generic song on the album, resulting in a less-than-enjoyable experience. Credit where it's due though, as the lyrics are as strong as the rest of the songs on the album and McCarthy's keyboard work is still a great addition to a fairly bland song.

Perhaps the most 80's-esque sounding song on the track, this song transports you to another world as the dainty keyboard work and Tafel's versatile delivery of ,"You're not here to point the right direction. Will I ever dance again? You're not here to ease this tension. Will I ever dance again?" makes you want to tap your foot and click your fingers more than any other song on the album so far. I'll admit, I wasn't a fan of the song when I first heard it, as it's not as bombastic or epic as some of the other songs on the album. But I soon got past that phase and was left with a super-fun and enthusiastic 3 minutes of auditory pleasure.

I love it when a song slowly builds and builds, and this is exactly what To Ribbons does. The lyrics aren't the most inventive but the unbelievable energy Tafel and McCarthy put in the lines, "Nothing's easier, it'll only end up bringing you down" makes the song very easy to sing along to and a memorable tune to bob your head to. The guitair work here by Alex Fives is also the best its been in this track, as it finally feels like a solo presence rather than a small part of a bigger picture.

If you know of this band, it is probably because of this song. "My Leather, My Fur, My Nails" helped to put Stepdad on the musical map and rightfully so. The synths and keyboards are more powerful than ever before, and Tafel goes all out with the chorus, reaching high and low pitches almost effortlessly. Jeremy Malvin's drumming also has to be noted here, as he has been a fairly bland component to the album before this point. His fills are a welcomed additon and are simple but help to give the song that little extra kick that makes it as memorable as it is. Plus, the bridge is a stroke of genius as Tafel and McCarthy duel vocals in order to make this song one of the best Stepdad have ever made.

This song goes dangerously close to being slightly generic but is saved by the fact that it is genuinely fun to listen to through an assortment of high-pitched beeps and funky noises. Plus, the chorus is one of the most memorable on the album with, "If I could pick, could pick & choose, I choose you..." highlighting the interplay between Tafel and McCarthy's vocals. Fives' guitar work also pops up again in more memorable ballad compared to previous songs.

The second weakest song on the album is still a fun entry but feels restrained as Tafel yet again doesn't have much fun with the vocals. The lyrics aren't really anything special, mostly just consisting of generic, "Oh"'s. The sampling and keyboards drone and are barely noticeable, which is a strange fact as they have been a notable presence since the start of the album. Still, this gives Malvin a much-needed chance to shine on the drums.

Being perhaps the most atmospheric song on the album helps to make this tune a brilliantly fun one. It combines natural and artificial sounds masterfully, though Tafel's vocals are still very lacking. This is saved, however, by ridiculously catchy hunter/warrior cry samples that accompany the song through its beginning and end stages. It is also in this song in which Malvin finally shows us what he's capable of, as his interplay between the hi-hats and toms at the end of the song just makes you want to jump up and start running for a good mile or so. If a song can motivate you to do something like that (through the percussion no less), it's definitely doing something right.

Everyone is on their A-game in this song as the band once again blend natural and artificial. McCarthy's work on the keyboards is the best its been yet, and Tafel sounds completed devoted in making the songs, "Ooooh", moments not sound generic, and he pulls it off magnificently. The lyrics are also very strong and memorable: "He doesn't want to be found, he'll be hiding out, he'll be hiding. Be still and don't make a sound, he will cry out to the night sky now." Remember what I said about songs building? Well, say hello to the main article, as gang vocals take over by the end of the song and returns to the bombastic, almost cinematic, nature of Jungles.

There's no better way to end this album than with my favourite song on the album. Warrior not only remains epic and mysterious throughout, but you can also literally HEAR the emotion in Tafel's voice drooling out when he belts out the pre-chorus and chorus vocals. It's also a very uplifting and inspirational song, with genius-level lyrics like, "Warrior, the bite marks soon will heal. Warrior, do not forget how it feels." It's a song that tells you that things will get better and that there will always be happiness, despite the inevitable horrible events of life (At least, that's what I take from it.), all whilst still retaining the wildlife, animalistic theme of the album. I was in a crappy state of my life when I first heard this song, and luckily it was just what I needed, as it managed to help me cope with the situation and made me happy and optimistic again. This is definitely the best message that I took from the album and was a fitting end to the brilliant and immersive journey that is "Wildlife Pop". Seriously, check this song out.

Overall, this album impressed me in many ways. Each song felt better than the last and it's not often that pop albums do that to me. Tafel and McCarthy had a clear idea and stuck with it throughout, resulting in a brilliant effort from every member of the band. Chock-full of genuine emotion, heart, and energy, Wildlife Pop is a gem that definitely deserves more recognition.
​
8.5/10

Ever since its revival in 2005, Doctor Who has seen some of its best incarnations of the madman with a box, each one inserting new life and energy into the show. It's time I let you know which one of these actors I feel did it best as I count down my Top 5 Modern Era Incarnations of the Doctor.

I love Doctor Who. Just gonna put that out there. It has become a staple of British television and culture, and rightfully so! Its honest and emotional stories, iconic imagery, ground-breaking music and loveable characters have arguably become the biggest highlights of British television. I have enjoyed watching it for years and will continue to watch it for a while, even if it has declined in quality lately. To be clear, I haven't seen many classic era Doctor Who episodes. I am a Nu-Who fan and nothing else. I am going to be reviewing all the current seasons (including Specials) to see which one had the biggest impression on me and on television in general. Allons-y!

Let's get this kicked off with series one of the revived series, which I have nothing but the deepest appreciation for. It managed to bring back Doctor Who in an inventive and interesting way for newer generations whilst still appealing to older ones. The BBC made a great move in casting Christopher Eccleston as the Ninth Doctor. He brought a certain tragedy and regret to the character that past incarnations rarely touched upon. When talking about his past, you could really see the pain, fire, and sadness in this Doctor's eyes that made really him a multi-dimensional character. But what I love this Doctor more for was his ability to be extremely fun to watch and listen to. There's passion in Eccleston's lines which really helps to develop this Doctor's traits. He just felt so natural. His chemistry with certain characters is unbelievably convincing and weirdly charming. His balance between seriousness and comedy was spot on, something I feel a certain later Doctor suffered very heavily from (We'll get to him when we get to him.). Rose was a great addition to the show too. Her love and friendship towards the Doctor was heart-warming, whilst she was a likeable and relatable character in her own right. Though both characters were quite different from one another, their willingness to help one another in dire situations felt very understandable and wonderful to watch.

Now then, let's get to the episodes! I won't go into too much detail on individual episodes but I'll pick a few stand-out ones. Overall, the episodes in this series were very powerful and set the foundations for modern Doctor Who episodes. The special effects and CGI are somewhat dated (evident in a almost laughable scene where a Slitheen is blown up by vinegar) but this doesn't hinder the creativity of the monsters introduced (e.g. the Reapers, the Empty Child), as well as the return of some older enemies. The episode 'Dalek' is a truly wonderful experience for me as it introduces the Dalek concept in a whole new light whilst still retaining that sinister quality the Daleks have always had. The episode made me FEEL for a Dalek, a being that was designed not to feel emotion. And it was executed magnificently. Not too over-the-top or outlandish, just right. Another episode that stood out for me was 'Father's Day', which introduced the emotional element that I adore Doctor Who for to this day. The scenes between Rose and her father are absolutely magical, whilst Murray Gold's flawless score adds another level to the scenes in every aspect. I won't give too much away if you haven't seen it but it's a funny, suspenseful, and utterly heart-breaking episode that I believe doesn't get enough attention, even if its plot is slightly predictable. The final powerhouse episodes I will talk about to sum up this series are the two-parter episodes 'The Empty Child/The Doctor Dances'. Nu-Who has reinvented the fear factor for television programs and this is where it all started, with a small child wearing a gas-mask innocently asking, "Are you my mummy?" This episode excels with a mix of terrifying moments and genuinely heart-warming moments. One of my favourite moments has the Doctor, Rose, and alien Capt. Jack Harkness in a room listening to a tape of the child's eerie quotes. As they discuss the situation, all three of them are overcome with a sense of dread as they realize the tape ran out a short time after they started talking, but the little boy's voice is still heard. They turn to see that iconic gas-mask wearing child right behind them, and suffice to say, things really get going from there. It is a terrifying, heart-pounding moment that truly embodies what series one did for Doctor Who.

Series One of Doctor Who was a triumphant effort by the immensely talented Russell T. Davies and it paid off beautifully. It's a massive shame that Eccleston only did this one series, as I would have loved to have seen him facing off more monsters, making new friends, and entering deeper emotional depths in another series. But for what he did, he was a classic and memorable Doctor who shall be remembered as "fantastic!" for years to come. Overall, Series One was a near-flawless series that will always play an important part in Doctor Who history.

8/10

Be sure to keep an eye out for my Series Two review sometime in the future, where we see what David Tennant's Doctor did for modern Who.