Rate The Vampires of Venice

Marks out of ten.

10
15
10%
9
25
16%
8
36
23%
7
36
23%
6
20
13%
5
11
7%
4
7
4%
3
3
2%
2
0
No votes
1
3
2%
 
Total votes: 156
dcampbell

Makkabee wrote:(and huzzah for actually making it to Italy this time instead of ending up in Wales again)
I thought for a moment that you were referring to Masque of Mandragora here. :lol:
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The Doctor does seem to spend a big chunk of his time in non-Anglophone Earth in either Italy or France. Other than the two stops in Tibet I can't think of any other non-English-speaking country he's visited more than twice (well, Egypt if you count the pop over to Sutekh's tomb, but Egypt's never been the primary focus of a story).
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I liked the comedy, I thought it was really well written and the one-liners were great. Ofsted!

The scene when Rory takes Amy to meet the countess was brilliant.
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I'll have to stop watching Confidential, when I see behind the scenes it's very clever but it takes away some of the magic. Now when I watch Mat and Rory on the gondala I know their sat on a trolley with a piece of cardboard in front of them :lol:
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LizR wrote:
DaReverendMrMagister wrote:The Doctor did say that bolts had been drawn to lock the door and I think it's been well established since Pertwee that the screwdriver is no good for opening them.
Apparently it "doesn't do wood". I forgot that.
The new one might
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Rob Ocelot wrote:Some are poo-pooing the fact that the vampires are proven to be aliens but IMO this is more fitting with Doctor Who of old.
What? What? What? I'd hardly expect them to be supernatural vampires, as in horror films, so they really have to be aliens (of some sort or another), at least that or something equally "normal" for the Whoniverse - robots, illusions, out of work actors....
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The vampires in State of Decay were supernatural weren't they? It's been a long time since I saw it. I think there has to be a non-supernatural explanation for the these kinds of monsters or Dr Who is just a time travelling version of Hammer House of Horrors. It was obvious the witches a few years ago were going to be aliens, so were these vampires just like the yetis were robots not real abominable snowmen. How many times have Dr Who monsters like vampires, werewolves, yetis turned out to be aliens or robots? Quite a few times I think.
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They were infected by/linked to an alien Great Vampire, from whom they drew their power. The biology of it was never thoroughly explained, though they did talk about extremely efficient circulatory systems which was why you needed decapitation or heart shots.
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DaReverendMrMagister wrote:Re: The sonic screwdriver

The Doctor did say that bolts had been drawn to lock the door and I think it's been well established since Pertwee that the screwdriver is no good for opening them.

I really don't like how the screwdriver is like a tricorder now. I'd rather he had more than one piece of equipment in his pockets for different tasks.
But in those days the screwdriver couldn't heal wounds, reattach barbed wire... etc etc. Surely it could virbrate a bolt loose or even open it magneticaly.

After all nothing else seems to be beyond it.

That said travelling into all these dangerous situations you'd need something more akin to a Sherman tank... :Tardis:
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chap with wings wrote: Lost is one of the most rewarding well plotted well charectarised shows ever.
Does chap with wings not watch any of the new stories?
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Hmm not much of a fan of that one.
Firstly, main characters were great, MS is brilliany as the Doctor.
But story for me was poor.
As some have said...

Poor off-switch on machine
Sunlight suddenly being absolute deathray from a mirror
Venice still has thousands of angry fish blokes??
Why wasnt The Doctor terriffied about the possibility of real Vampires (Galliffrey enemy)
Stupid broomstick scene (you said something about mummy..)
Venetian girl giving a commentary of her death

It wasnt terrible, just had too many niggle moments for me.
Low score sadly.
Matt Smith still excellent though.
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Wondeful stuff as usual. Toby took full advantage of the location and budget and told a sprawling, enchanting story that didnt adhere to the cliches of vamperism. I loved that he just went full on with "alien fish", though there were moments that needed a little clarification and a little less muddling...there seemed to be two minds to this story, so the vampire and fish concepts were hard to stitch together as a cohesive whole...too much attention focused on one doing that instead of everyone...that could have come down to the CGI budget.

Other than that, I loved the particulars like the antagonist being less conflictive and more respectful in a confrontation, and Rory taking his fiance's adventuring and blunt bonding with The Doctor on the chin and just going with the flow
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Best one yet. Lacked a little depth and the charectarisation was non existant, but had the feel of mid seventies Who and was a rip roaring adventure. Smith almost had a "defining Doctor moment" in his conversation with the Vampire Matriarch at the end, but it sort of fizzled out. Shame.
Overall 6/10
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chap with wings wrote:the charectarisation was non existant
You must have missed Rory's reactions to 15th century Venice, the wonderful Rosanna (meacing, sensual etc), Guido's concern for his daughter, and of course Matt Smith himself (also menacing and sensual, needless to say). Admittedly the story wasn't stuffed full of people who'd just walked off the set of a soap opera, nor was it full of CGI monsters zooming around not doing very much (just as well, given the state of the ones we did see). But saying the characterisation was "nonexistent" indicates that either you weren't paying attention, or you can only see characterisation when it's been laid on with a trowel and then for good measure hammered home with a ton of treacly music. The charecterisation in VOV was exactly as existent as necessary to put the story across, which is how it should be.

I have a few complaints about the story structure and plot, but the characterisation was fine.
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LizR wrote:
chap with wings wrote:the charectarisation was non existant
You must have missed Rory's reactions to 15th century Venice, the wonderful Rosanna (meacing, sensual etc), Guido's concern for his daughter, and of course Matt Smith himself (also menacing and sensual, needless to say). Admittedly the story wasn't stuffed full of people who'd just walked off the set of a soap opera, nor was it full of CGI monsters zooming around not doing very much (just as well, given the state of the ones we did see). But saying the characterisation was "nonexistent" indicates that either you weren't paying attention, or you can only see characterisation when it's been laid on with a trowel and then for good measure hammered home with a ton of treacly music. The charecterisation in VOV was exactly as existent as necessary to put the story across, which is how it should be.

I have a few complaints about the story structure and plot, but the characterisation was fine.
I am a big fan of the "trowels & treacle" approach to character, maybe this is why this series feels like such a misfire so far.
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chap with wings wrote:I am a big fan of the "trowels & treacle" approach to character, maybe this is why this series feels like such a misfire so far.
:D
Try Mills and Boon.
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Re-watching this again, it had some great scenes and bits of design (all those vampire girls - and their mummy was great) although it rather falls foul of the "single episode OMG! big finish! quick! fix everything! HOORAY! roll credits" sprint at the end.
Also, I found Rory's character to be a bit rubbish, too comedic and dippy. Still, at least he hasn't started dying every week yet...

(I also finally got a joke that I missed the first time round:

"She kissed me!"
"Did you kiss her back?"
"No, I kissed her mouth!" :D
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Average but fun with beautiful visuals. This would undoubtedly have been unbearable had it been a Tennant/Piper or Tennant/Tate episode, but happily it's series 5 Smithy, Gillan and Darvill instead. Enjoyable fluff.
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Loved it. One of the top episodes that year. Felt it had a Hichcliffe vibe, stunning to look at, a good villain and the last truly great score from Murray Gold. The music is incredibly good.
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