The Vampires of Venice
|Season 5, Episode 6|
|Airdate: 8 May 2010|
|Writer: Toby Whithouse|
|Director: Jonny Campbell|
|Notable for: Rory assumes the role of a companion of the Doctor.|
The Vampires of Venice
Vampires! In Venice! That’s pretty much a formula for instant success right there. Especially if the vampires in question are sultry vixens with a penchant for parasols and frilly white lace. And so, for the first time in ages, we got a bit of Gothic horror mixed in with our regular slice of traditional sci-fi, even if the results were a bit uneven…
Still, it was a perfectly watchable episode – with its good looks, gothic atmosphere, snappy dialogue, and an alien threat that actually went beyond the usual two-dimensional fare – even if the final product was a little forgettable. A bit of an expected lull after the spectacular Weeping Angels two-parter then but, boy, doesn’t next week’s episode look incredible? – IGN
This week the hand of Hammer-phile producer Steven Moffat shows itself in a Toby Whitehouse script that begins with fan-love for Hammer’s ‘female vampire’ cycle of the 1970s (Countess Dracula, The Vampire Lovers, Lust For A Vampire and Twins Of Evil) and from thereon launches itself into more familiar Doctor Who territory…
There’s not a great deal wrong with this one-off episode: beautiful location cinematography combines with appropriately gothic performances to pro = new trailer(); a suitably atmospheric, if not terribly scary, adventure. But then, Hammer films were never really that scary anyway, and their atmosphere is suitably captured in The Vampires Of Venice. - Shadowlocked
To bring Amy and fiancé Rory closer together, the Doctor takes them on a trip to Venice in 1580. When they encounter what appear to be vampires in the exclusive Calvierri girls’ school, they discover it’s really a cover for aliens seeking to recruit women into their underwater breeding programme.
Better structured, funnier and more absorbing than the last single-parter, "Victory Of The Daleks", this episode has a different feel to it than the others so far in the series. It’s more traditional in format, yet at the same it’s crammed with zinging one-liners and demonstrates writer Toby Whithouse’s gift for banter – there’s even the occasional indignant rant which wouldn’t feel out of place spoken by one of his Being Human characters. – SFX
Monsters and Doctor Who are inseparable.
They rely on each other for existence both in the real life of the television series, where the monsters are certainly one of the reasons viewers tune in every week, and in the fiction itself, where a Doctor who did not meet and battle monsters would hardly seem like the Doctor at all.
Traditional rules for Doctor Who have monsters that are great and wonderful but somewhat see through and a bit repetitive. They all want to take over the earth, they all want ultimate power and they all want more then they rightly deserve, and only the Doctor can stop them.
But Vampires Of Venice changes this concept… – Kasterborous
Classic Doctor Who has ‘done’ vampires at least twice before (State of Decay, The Curse of Fenric), if you don’t count the Count in The Chase in the 1960s. Even the new series has got in on the blood-sucking act previously, with the Plasmavore in 2007 season opener Smith and Jones (which bears an uncanny resemblance — in its basics of an alien escapee being hunted by a space police force — to this year’s The Eleventh Hour). Now, the vamps are back in The Vampires of Venice…
Matt Smith continues to impress as the new Doctor, developing his initial mix of Patrick Troughton and Peter Davison into something uniquely his own. By the last few episodes of the season comparisons to past Doctors will be unnecessary as Smith looks likely to have cemented his own unique take on the role by then. – Total Sci-Fi Online