Is there a Doctor in the house?

So far, I’ve been considerably disappointed by series six of Doctor Who. Maybe it’s because I’m still suffering from David Tennant withdrawal symptoms, or maybe it was something I ate. Whatever. But this new series has decidedly lacked that wow factor which makes Doctor Who so likeable.

In the first episode, the Beeb fell into that trap that authors fall into all too often. You know the one, when they insert as many of the latest gadgets and mention as many of the latest tunes, just to show that time has passed, or to prove they’re still in touch with the modern world (I’m never really sure which it is). Aren’t they clever? The first episode saw the Tardis hurtle at top speed past all the famous London landmarks: Big Ben, the London eye… There might as well have been a sign saying “WELCOME TO LONDON”. Perhaps they were trying to be subtle - in that case, they failed. We also saw the Tardis crash land. Again.

Thankfully, the episode picked up when the Doctor encountered a young Amelia Pond, who was suitably incredulous and yet entranced by the Doctor’s arrival. Unfortunately, it went rapidly downhill after he returned. Yes, Karen Gillan is great as the new assistant - she’s sexy, feisty, and provides the laughs as Amy Pond The fact she’s Scottish and has hair and legs to die for can’t hurt either. But was it really necessary to make her a kissogram? I suspect some parents are none too happy at the prospect of explaining what one is to their innocent little five year olds.

And the theme tune! Ugh. What on earth do the Beeb think they’re playing at? It sounds like they let a five year old loose on a mixing deck, what the horrible, jolting record scratching reminiscent sound effects. The “new look” Tardis basically looks the same, only it now flies in the midst of a thunderstorm during the opening credits, and the new logo, though clever, looks awkward splayed across the screen and is enough to spur a disparaging art critic to start a full blown rant about how simplistic modern art just doesn’t compare to the likes of Da Vinci.

In addition, you’d think the Beeb could come up with something better than a snake/ a man with really sharp teeth as their villain. Or a giant eye. This is yet another piece of evidence that they are running out of ideas. So, it seemed that the return of the Daleks was a perfect opportunity for the Beeb to prove that’s there’s only one place to be on Saturday nights. And did they? Well, yes and no.

As a hardcore Whovian, I didn’t think it was possible to go wrong with the Daleks - after all, there’s a reason why they come back time and time again. However, that’s just what the Beeb did - here’s a piece of advice for the future: the Daleks are supposed to be terrifying aliens from outer space; they are NOT models in a fashion show, and so do not need to be brightly coloured, which makes them look something out of Balamory. And then they just decided to run off! What happened to the days of evil plotting and scheming?

The plot was formulaic, the climax been done a million time before - and much better. However, the bomb looking like a human being and then going on to lead his own life added a new dimension, and there’s no denying that the episode built up a sense of suspense and danger well.

And what of the new Doctor? Well, at times Smith comes across as a David Tennant wannabe who’s in dire need of a haircut, and at other times, he’s simply marvellous, and it’s easy to see why he was picked. He grows in confidence with each episode, and the chemistry between him and Gillan is brilliant. Having said that, he still doesn’t quite compare to Tennant’s excellence, but perhaps I’m biased. After all, it‘s still early days, and I can‘t wait to see how the series pans out - even if I still miss the blue sonic screwdriver! - especially with the return of the Weeping Angels coming up, and the ominous crack that appears at the end of each episode, hinting at a cracking finale.

N.B. I apologise profoundly for the cheesy title. It was either that or "Who are you?".

One False Move by Harlan Coben

3 stars

"One False Move" begins well, with a gloomy opening setting up the scene nicely as the reader is made to wonder what on earth could make a normally chipper Myron so downcast.

It's hard not to fall in love in Myron, with his witty comments and all round good nature - he's like the best friend you always wanted, and his goofiness just makes him even more appealing. Win, of course, is as fabulous as ever as Myron's best friend and upper class psychopath, and Esperanza really comes into her own in "One False Move".

One of the main problems about Coben's writing is that he sometimes tries to hard to please everybody, and as a result, his characters end up living in a perfect world. For instance, take Brenda Slaughter - she is neither white nor a size zero, and feistily independent, but then, Coben wouldn't dare make her anything else because it just wouldn't be politically correct, and that would never do. However, for once, not everything ends happily, and Coben handles this well, describing Myron's grief and suffering expertly,without resorting to schmalty cliches.

"One False Move" is grittier and more serious than the previous Myron Bolitar books, but unfortunately, it's also slower paced, and the dialogue isn't as slick or glib either.

Verdict: Whilst "One False Move" is still a decent read, it lacks the famous Bolitar charm that made the series so popular in the first place.

The Book Thief by Markus Zusak

4 stars

From Schindler’s List to The Diary of Anne Frank, war is a theme that has been broached by many authors with varying degrees of success, making it a risky subject for writers. However, Zusak handles the topic sensitively, making The Book Thief an outstanding read.

Narrated by Death, The Book Thief tells the story of nine year old Liesel, who is sent to live with the formidable Rosa and kindly Hans following the death of her brother and hasty departure of her mother. Zusak provides us with a strong protagonist in Liesel; she is tough yet vulnerable, not afraid to speak her mind yet able to truly feel things. It’s hard not to fall in love with both her and her mischievous best friend, Rudy; Zusak portrays their relationship masterfully, highlighting the importance of true friends.

The Book Thief is one of those books which will make you laugh, cry, and above all, be glad to be alive. Both hugely ambitious and original, Zusak succeeds in showing the reader about the difficulties and moral dilemmas people faced during the war without getting too sentimental, whilst reminding us that Germany suffered too.

However, The Book Thief is by no means perfect. You’d be forgiven for thinking it had been translated into English due to the sometimes awkward and disjointed nature of Zusak’s writing, which can make the novel hard work.

But despite its flaws, it remains an incredibly powerful piece of writing that will stay with you long after the book has been closed, and even the coldest of hearts will struggle not to cry at the poignant ending.