A new Doctor, a new showrunner, and a new era for the show;  A lot of the charm and humor returns as well but it's still a pretty ok, middle of the road episode. I don't like that David Tennent has returned as a new incarnation. I don't like how Donna's memory wipe was undone. There was never going to be a satisfying way to get Donna's memories back - ultimately it was something that should not have be undone, but surely could've done better than what we got. At the very least Beep the Meep was hilarious and David Tennant and Catherine Tate are still as awesome as ever.  Sylvia and Rose are also great additions. This is still a massive step up from what came before.

One of the biggest problems with Sword of Orion is that its ideas are old like it came out of the 80s. The plot is a mostly generic rinse and repeat Cybermen premise in every sense of the word. Paul McGann and India Fisher's performances are both strong and very enjoyable but she is noticeably given a background role despite it being her first adventure as an official companion. The rest of the actors are not anything particularly noteworthy, but they're still tolerable. The most interesting thing about this story are the references to a war between human's and androids elsewhere in the Galaxy, I want to see that instead.

This is just a fairly standard, run-of-the-mill story.  Paul McGann mainly does a good job; India Fisher does a great job as Charley; the setting's interesting, the Web of Time arc gets fully going. This story is an interesting concept with a promising plot but is not executed quite as well as it could have been. Some of the dialogue feels really clunky especially when it's just the Doctor is alone and some of the voices are just overly cartoonish. The sound effects are also particularly bad especially the bullet effects. This along with slower pacing full of expository dialogue you have a story that is good but falls short of greatness

A mediocre Dalek story which features Briggs' usual endless references to the Hartnell Dalek stories. Some great performances, especially by Peter Davison don't elevate this story that gets lost in a tortured, convoluted plot built around another annoying time paradox and resolved, again, by the whole story un-happening.

The best story of the monthly range so far. The story is very much a dark comedy with existential dread and profound philosophy. there are a lot of excellent jokes and timing that made me laugh at multiple points. This is the first Big Finish story to contain the great talking bird Frobisher and he's immediately an amazing character with his distinct voice and loads of references to his appearance. With its stellar performances, well done characters, and crazy plot twists, it earns its rating with ease

Early BF tends to be clunky and this is no exception. While this might work well in a book and possibly even on TV or film, in an audio story, it's not very effective. I do applaud it for bringing Bernice Summerfield into the Big Finish world but that's pretty much it. McCoy himself is actually absent or takes a back seat for considerable spells of the story but when he is there he's only passable. Everyone else talks and acts like fictional characters from the 90s and not like real people. The Scourge are a typical villain of the week that's hyped up as extremely powerful but in the end up being toothless because of plot armor.

The problem with predestination stories in Doctor Who is that there tend to be not satifying way to resolve them without feeling like a copout. The Fires of Vulcan is pleasant enough. The setting of Pompeii is nice and it has enough going for it.  it was everything else that was going on that just took me out of it. Just like the last one it's a story that would be much better as live-action due to relying so much on visual representation. Performances were fine with the exception of one actor being way too over the top but other than that. The plot went in circles and the subplots along with the villains were utterly useless.

In the olden times Dalaks vs Timelords might have been a novel idea but this story is trying way too hard to be a visual spectacle. It’s way too convoluted and action packed, full of gunfights and battles that's really hard to capture in audio format - to the point this kind of becomes hard to listen to. The idea of a planet being stolen, Romana being captured, and Gallifrey being invaded are great but most of these are lost in the inconsistent tone and bizarre pacing

This is just a perfectly by-the-numbers story with fairly generic plot elements, a hammy cliche villain and a standard doomsday scenario. Colin Baker and Nicholas Courtney are working together and the chemistry is sublime. Another great part of this story is Evelyn. She's a lot of fun and also gets some really great moments by herself, investigating without the Doctor. However the story is overly long, especially in parts two and three and it's very difficult to take the alien threat seriously with it's utterly ridiculous performance.

Call of the Dead is a haunting and grim story and this acts as a wonderful introduction .  It's a simple story of two parts one with a father and daughter but the worldbuilding of this small colony is immaculate with fleshed out characters with three dimensional personalities . The Master takes a backseat in this story but his evil is felt though setting and characters

This is a great start to the box set which raises a lot of interesting directions about what is to come.

What a letdown, after The Sky Men turned out to be one of the best Master stories we have this to bring us back to the mediocrity of the second story. Jacobi is great and the effects work well but there are a bunch of lazily used tropes that Time War stories recycle constantly like the up-to-now unmentioned superweapon and a secret Gallifreyan outpost on Earth.

The tropes also make the Master look a lot less cunning than the previous story. He uses the weapon in a pretty wreck-less manner, overcomes a trap off-screen, explains his entire plan to his captives and then leaves the room.

This is still a somewhat entertaining story but it's a disappointing follow up to one of the best stories of the range

As close to perfection as a Doctor Who story can get. I has a slow burn to ramp up tension until the hopelessness and the horror reach it's peak. Cole comes off as an extremely likeable and flawed character with him trying to do the right thing but ultimately making everything worse. Jacobi takes a backseat in this one but he uses his screentime well to portray the masters as a cunning manipulator. This requires to listen to the mediocre The Good Master before this but it's worth it to hear this harrowing tale

This story feels like a stepping stone to something better down the road, it's very middling and forgettable but it just feels like remix of the last story that only exists to introduce our companion character Cole.  Jacobi is great as always and Cole seems likeable enough, but the paper-thin plot and poorly realized themes and ideas brings it down significantly.

A pretty good start to the series but itself is only solid across the board. It doesn't really standout plot wise and it's not really complex but Jacobi turns in an excellent performance that saves the story

Beavers is great at playing the master and his performance always tends to be magnetic and I also had easily one of McCoy’s best turns in a Doctor Who audio. David Darlington still continues to be one of the finest sound designers on Big Finish’s payroll with his atmospheric effects that portrays the claustrophic space really well.

The most of the side cast comes off extremally well except for Death herself who comes off as way too camp and wisecracking to be taken seriously especially in a story this foreboding. The final part also kind of drags on way too long but this is still a great story in the main range that explores the Doctor/Master relationship in an actual interesting way.

I'm am so tired of these backstory fanwank episodes first it was Name of the Doctor, then Listen, now this.  They pretty much never work, are pointless in the long run, and only tend to dilate the decades of TV history. This is especially a half baked origin story that is the low point of DW as a whole.

Most of the effects are passable and the performances are unconvincing especially from Whittaker. The only highlight I can think of comes from Dhawan where he does commit as hard as he can to make his character work. As for the subplot I don't have enough emotional connection to either the companions or the side cast to care about them.

This a awful episode and frankly not even one good performance could save it.

One of the stronger Cybermen stories but not quite perfect. The performances and effects are solid along with evoking the creepy atmosphere needed for this kind of story. The only problem is the ending and some underused plot points after a 2 hour build up. Falls short of greatness but still memorable

I have very complex feelings about Night of the Doctor. On one hand, the reviews are correct in saying this is a tight, well-performed story. on the other, because of the BBC meddling, the 8th Doctor didn't get the exit he deserved and as a result, Dark Eyes 1 was the last time 8 had any character development. Afterward, he would remain a sad static character and his arc leading up to him ending the time war would be thrown out. 8 was replaced with someone so tame as a warrior they might as well not have him regenerate at all. In short, there's better stories that cover 8's change and even gives us a better ending for him

This parody reflects Doctor Who's problems in the mid-80s: predictability, notable returns of monsters and villains, and running through the corridors. Lenny is the highlight of this, and it's sad that he managed to nail the role of the Doctor in about five minutes flat but never reprised it. The Doctor as a character is challenging to parody because I can easily hear these lines from the Second, Fourth, and Sixth Doctors' mouths.

I seriously don’t know how someone could make the talking baby premise work outside of a cartoon series.
This episode is a mess, and many of the jokes are bad. At least Ncuti and Millie were great in it

There's nothing wrong with Prisoners of the Lake; it's an enjoyable enough story on its own, but it's a very typical story of the Pertwee Era. Treloar does a relatively good job portraying Pertwee's Doctor; Katy Manning is also good here as Jo Grant, with her loyalty to the Doctor on full display and her bravery and competence. Mike Yates is present as well, and he's well-written and well-played.

A campy Charlie's Angels parody could have worked with over-the-top characters and cheesy dialogue. In practice, incredibly bad American accents and awkward dialogue pair up to make one of the most difficult listening experiences that Big Finish has produced.

The problem with this story is the awful amount of padding. Some events get dragged out too long for their dramatic weight. A fair amount of the details in the plot feel superfluous. The human guest characters aren't that interesting (and given how well all four actors do in other Big Finish audios, this is a sad waste of talent). It should be cut down to a two-parter at the longest.

In addition, the Doctor and Peri don't do much, even considering the padding. They are almost in the role of witnesses. I wished the core idea had been developed as a short, Doctor-free story.

If you love the idea of complex, interesting Ice Warriors enough to ignore the bad points, go ahead and get it. Otherwise, It stinks.

Stephen Cole delivered the script quickly to fill a scheduling gap, and it shows. The concept is easy enough. The classic trapped and hunted plotline has served Doctor Who well in the past. Throw in ancient Inuit legends and a vegetarian architect; you will have the basics.

The plot is too exposition-heavy without any real payoff. The whole spiritual v rational thread is handled crassly, and there are too many throwaway lines about the exploitation of wildness for commercial gains. Sarah Sutton tries to make the best of it; hers is the best performance.

Davidson seems to have phoned in his performance, while the supporting cast is annoying. Neil Roberts and Andrew Fettes play Inuit natives working for Christopher Scott’s English millionaire. It’s hard to tell which is the most irritating. They also have deeply annoying fake accents which break down throughout the production.

The soundscape is fine enough, but the score is utterly forgettable and offers nothing to the story.

An OK outing for Sylvester McCoy against the Daleks, though not without its faults. There is absolutely nothing wrong with it. There are some beautiful and interesting ideas at the center of The Genocide Machine, and the audio landscape is fantastic. It's just a bit dull, to be honest. And the method of Dalek defeat is a little convenient for me. After the much more interesting Fearmonger, this felt like a step backward.