उपयोगकर्ता समीक्षाएं

When I first saw this on TV as a kid, I was really taken with the fanciful far-out concepts of a conquered Earth. For a 12 year-old boy into sci-fi, this was and is the ultimate escapist fare. I had no knowledge of the British TV series at the time so my intro to Dr.Who was Peter Cushing (playing older than he is), the movie version of the old-time traditional Doctor. I probably saw this film before the previous one "Dr. Who and the Daleks" as I was puzzled by the Doctor's recognition of his old foes, the unforgettable Daleks. Yes, who can forget those frog-like voices, warped by metallics, usually screaming for the death of humans. The British cast is really keen, especially Cribbins as an out-of-place copper and Andrew Keir as a hobbled resistance fighter. They bring a curious reality to the fantastic setting.

The picture has a decidedly British flavor and, of course, is filmed in the British countryside. Though I didn't reason this out at the time when I was a kid, it had an obviously different taste to it; I was mostly familiar with U.S. low budget sci-fi pics of the '50s and '60s at the time. The scope of the picture seemed really huge back then: London in a destroyed state, humanity decimated. There was that really cool flying saucer, looking fully functional and detailed. And there were the creepy Robo-men, in their slick black bodysuits and far-out helmets, like some futuristic Nazis or space zombies. All of this stuff really just took me over and I couldn't wait for the next time the local TV channels would run it again (not very often, as it happened). Some years later, I realized the title, 2150 AD, sounded cool, but the invasion by the Daleks must have occurred only a few years before the events of this movie, and the dilapidated buildings all looked like they'd been wrecked in the sixties. Ah, no matter. Many years later, I got the DVD and the thrill, tho muted by the long passage of experience and adulthood, is still there. They really knew how to make 'em back then.

I sat through, and was utterly bored by, the first of the Peter Cushing/Dr Who movies, DR WHO AND THE DALEKS. It was a chore to sit through in places, a resolutely twee attempt to transfer the TV series to the big screen for children to enjoy. The good news is that this sequel is a different beast entirely, even though it brings back much of the same cast and crew (including the director).

Put simply, DALEKS INVASION EARTH: 2150 AD is an action-packed romp. If you think that scenes of Dalek war-bands patrolling the streets of a post-apocalyptic London sounds like a good time, then you'd be right. This is a film that sacrifices character set-up in favour of all out action, and it works a treat.

Cushing plays the crusty old buffoon once more, and the only reason he's not as irritating is because he's given far less screen time here. For most of the time his character is a mere observer, watching a guerrilla war between Ray Brooks (THE FLESH AND BLOOD SHOW) and his rebels and the Daleks and their goons. Bernard Cribbins contributes some comedy schtick, but he's nowhere near as irritating as Roy Castle was in the last one.

The technical effects are surprisingly decent, from the Dalek spaceships to the explosions, firefights, and large-scale destruction. Scenes of buildings collapsing are vivid and exciting and the Daleks are more of a menace here (and thankfully their voices aren't irritating anymore). There are lots of great visual moments, like the solitary Dalek rising out of the Thames or the humans vs. Dalek fight scenes. A rousing score and decent supporting cast serve as the icing on the cake here.

Hurrah. Here come the daleks. Again.

But don't be scared. They're in fine fettle this time and while this film is just as daft as its predecessor it's far better-paced and the good guys don't have stupid eye make-up, instead resembling good old London Council Workers, circa 1955. It's a slight anachronism, but I like the idea of a sci-fi setting where the heroes are all unshaven working class 'Uncle Fred, Friend of Your Dad' types who wear jackets and caps that make them look like bin men. I suppose actually, given that the Daleks do resemble (and are referred to as) motorised dustbins, there's probably some poetry in this. Anyway, forget the title, this might as well be set in 1950 AD - it certainly feels a bit Ealing at times.

So, how is this rather entertaining nonsense an improvement on the cinematic war-crime that was the first film? Well, just that, it's entertaining. The Daleks are still quite funky, despite their ongoing choice of fire-extinguisher weaponry. They're also much more enthusiastic these days - we even see one going for a swim at one point (I can't think of a better explanation! You'll see what I mean...).

Anyway - the plot? Well, I suspect the title might give it away. In fact, I'm not sure it even IS the title. Maybe they just wrote the plot-summary in the wrong box. Whatever, I don't feel I'll be spoiling anything if I give you the following outline: Daleks have invaded Earth because they felt like it, and are now constructing a large Roller Disco/Cinema Multiplex/Dodgem park in Bedfordshire.

Okay, they're not, but it's entirely as likely and sensible as what they ARE doing there (or as the swimming Dalek). There are some great British actors having fun in this - Philip Madoc from Wales, Andrew Keir from Scotland, Peter Cushing from England. A truly unified effort - all silly together.

People who smashed their television set in an effort to survive the first film will be pleased to see that Roy Castle is not reprising his role as Ian (for those who didn't see it, I rather suspect George Lucas got his idea for Jar Jar Binks from Castle's performance), and has been replaced in the light relief stakes by the altogether defter and more endearing Bernard Cribbins (for non-British readers, Cribbins is one of the most highly regarded and acclaimed English actors of the last forty years, and his profound performance in The Wombles is still remembered by many people of my generation today).

For that matter, even Peter Cushing's mad professor is rather good this time round, and provided one doesn't expect more than robot monsters, rubbish flying saucers, and huge armies of (toy miniature) Daleks, not to mention quite a few laughs, then this will pass 80-odd minutes in quite an agreeable manner. Not as effectively as becoming an alcoholic, but more so than banging your head against concrete. I suppose this is the bottom line really - watch this film too many times and it remains preferable to headbutting a concrete wall, which is painful. Watch the first film too many times and you'll find the experience of headbutting a wall strangely comfy on account of all the padding it will have acquired.

I am a fan of the Doctor Who TV show, both in its original incarnation and in modern dress. I've also seen the two earlier movies and thought them odd and sad. I was therefore shocked and pleased to find this movie version of "The Dalek Invasion of the Earth" serial to be excellent. The pacing is better, the color photography by John Wilcox has its moments of beauty -- even the Technicolor Daleks have a peculiar beauty.

Working with only minor variations from the television serial, this demonstrates something I have long maintained: the writing on the TV DOCTOR WHO was often first rate. It was the cripplingly tiny budgets that often made it seem ridiculous, with its impossible shooting schedules, cardboard sets and monsters that frequently seemed to be a man lurking under a cast-off shag rug.

The memories of children often play them false in later years. People report on seeing a particular favorite DOCTOR WHO serial from childhood and being shocked at how much better it is in memory than looking at it as adults. Children assume the lovely details that the adult mind demands. How very pleasant for this adult to see them filled in here!

Hartnell, Troughton, Pertwee, Baker T, Davison, Baker C, McCoy, McGann, Eccleston, Tennant, Smith.

To the "Doctor Who" fan these names trip off the tongue as easily as do the Kings and Queens of England to the historian or the current England batting line-up to the cricket lover. Yet there is one name missing from the Timelords Cricket Club First Eleven: Peter Cushing, who doesn't even make it onto the scorecard as twelfth man. Although Cushing played the Doctor in two films from the mid-sixties, of which this is the second, he is generally omitted from the "official" sequence; the current incumbent, Matt Smith, is regarded as the Eleventh Doctor, not the Twelfth.

Although William Hartnell was the British television Doctor at the time, for some reason he was not asked to play the role in the films, even though both were based upon television episodes which he had appeared in. The films make no mention of the Doctor being a member of the alien Timelord race; he is presumed to be a human scientist and inventor, and this deviation from one of the key premises of the television series is doubtless the reason for Cushing's banishment from the official canon. Something else missing from the film is the television version's very distinctive electronic theme tune.

Yet in many ways the films remain faithful to the original concept. As in the original the Doctor has the ability to travel through space and time in his Tardis, a time machine which from the outside appears to be a police box. (In the sixties police boxes were a common sight on the streets of British cities; since 1969 they have largely been phased out, but the Tardis has always retained its original design). As in the original the Doctor is accompanied on his travels by female companions, in this case his niece Louise and his granddaughter Susan. (Susan also appeared in the early Hartnell episodes, although there she was played by Carole Anne Ford as a young woman in her early twenties; here she is played by Roberta Tovey as a young girl). Both films feature the Doctor's most iconic enemies, the Daleks.

In some ways, in fact, the films look forward to the future of the franchise. In 1965 when the first film, "Dr. Who and the Daleks", came out, only one actor had played the Doctor on television. Cushing's interpretation of the role is quite different to Hartnell's. Both Doctors are elderly, but whereas Hartnell's was impatient and testy, Cushing's is eccentric but kindly, a well-spoken English gentleman. Cushing may have influenced the development of the television series; after Hartnell was replaced by Patrick Troughton it became a feature of the franchise that whenever the Doctor "regenerated" himself his new incarnation was quite different, in both looks and personality, to the previous one. In his personality Cushing seems to prefigure Jon Pertwee's Third Doctor and in his dress Peter Davison's Fifth Doctor.

The title, "Daleks' Invasion Earth: 2150 A.D.", effectively summarises the plot. The Doctor, Louise and Susan, accompanied by a London policeman named Tom Campbell, travel forward in time to the year 2150. They find that the Daleks have invaded Earth and imposed their rule on the human population. London has been reduced to ruins and its surviving inhabitants forced underground, where resistance to Dalek rule is forming. The story tells how the Doctor assists these movements to liberate the planet from the Daleks. Although the story ostensibly takes place nearly two hundred years into the future, the recently-ruined city bears a much closer resemblance to the London of 1966 than to anything futuristic. Perhaps the film should have been titled "Daleks' Invasion Earth: 1967 A.D." We even see an advertisement for Sugar Puffs, a popular breakfast cereal of the time; this was, apparently, a piece of product placement as the manufacturers were sponsoring the film. They obviously liked the idea that their products would still be popular in the mid-22nd century.

Objectively speaking, this is not a very good film. The acting is generally undistinguished, although Peter Cushing's interpretation of the Doctor is as good as any, and in my view better than Hartnell's. The attempts at comic relief, mostly involving Bernard Cribbins's Tom, are never really successful. Like a number of science-fiction films, the "science" involved is pure fiction; the Daleks' master-plan, apparently, is to remove the Earth's core and replace it with a giant motor, thus turning the planet into a gigantic spaceship which the Daleks will use to return to their home planet. (It's easy when you know how). There are some curious permutations of geography; Bedfordshire, one of England's least spectacular counties, has suddenly acquired mountains far more spectacular than the Dunstable Downs, and Wren's famous spire of St-Dunstan-in-the-East seems to have relocated itself from the north bank of the Thames to the South. And the film suffers from that frequent curse of sixties sci-fi; cheap, dodgy-looking special effects. It was not a success at the box office and a planned third Doctor Who film was cancelled.

Yet like most Britons of my generation who grew up in the sixties and seventies I am quite unable to be objective about "Doctor Who". This film has not dated well, but I doubt if many of the television adventures of the Doctor, which we spent so many hours eagerly discussing in our school playgrounds, would stand up well in the cold light of day of 2011. For the pleasures of nostalgia, if for no other reason, even a "non-canonical" Doctor Who adventure is still worth watching. 5/10

Daleks-Invasion Earth: 2150 A.D. is directed by Gordon Flemyng and Milton Subotsky co-adapts the screenplay with Terry Nation and David Whitaker. It stars Peter Cushing, Bernard Cribbins, Ray Brooks, Andrew Keir, Jill Curzon and Roberta Tovey. A Technicolor/Techniscope production, with music by Barry Gray and Bill McGuffie and cinematography by John Wilcox.

A sequel to Dr. Who and the Daleks (1965), plot finds Cushing once again playing the Doctor, who after getting transported to 2150 A.D. finds London ravaged by the Daleks. The Daleks are turning humans into slave Robomen, but an underground human resistance offers hope. Can the Doctor and his companions aid the resistance and save Earth from Dalek damnation? Even though Dr. Who and the Daleks irked the Dr. Who fan base, understandably so since Amicus' version of the good Doctor is some way from the TV series version, it was enough of a success to warrant this sequel. You pretty much get a retread of the first film with the characterisations, Cushing's Doctor is a lovable old eccentric prof, two of his lady female relations are along for the ride (Tovey returning as the same character) and Cribbins has replaced Roy Castle as the light relief companion accidentally thrust into a chaotic world. The Daleks remain a unique and devilish foe, their voices unnerving and their colours vibrant in Technicolor.

Plot follows a familiar trajectory, much running, puffing, capture and escape histrionics, the good versus evil core booming throughout. The sets remain cheap, the effects basic but quaint, and the acting just about passes the test because everyone seems to be enjoying themselves and therefore performing it to the required standard. The music score is truly out of sync with the picture, at times it sounds like it belongs in a Carry On movie, at others an episode of The Avengers; in fact John Steed would have been a good addition to the plotting! But there is some darkness in the story, making it more potent than its prequel.

This wasn't as successful as the studio hoped, so a third film was shelved. If you aren't a hardcore Dr. Who fan and you can accept it on its own daft and fun terms? Then Daleks-Invasion Earth: 2150 A.D. is an enjoyable enough time filler. 6/10

Peter Cushing returns as Doctor Who for a second cinematic battle against the Daleks, this time in the year 2150 AD (although it looks suspiciously like 1966), where the metallic menaces are trying to turn Earth into a giant spacecraft by detonating a bomb in the planet's magnetic core. Also along for the adventure are the Doctor's niece Louise (Jill Curzon), grand-daughter Susan, and the obligatory comic relief, London police constable Tom Campbell (Bernard Cribbens).

The good news is that this Dr. Who adventure is better than the first; the bad news is that any improvement is marginal. The livelier storyline means that the film isn't quite the endurance test that was Dr. Who and the Daleks, but there are still plenty of reasons to feel disappointed by this more ambitious movie, including totally unsuitable jazzy incidental music, Daleks that use fire extinguishers to 'Ex-ter-min-ate!', and unconvincing sets, matte paintings and models (eg. the Daleks' flying saucer, which is suspended from clearly visible wires).

The film ends in a similar manner to the previous year's Dr. Who and the Daleks, the good guys narrowly saving the day thanks to a ridiculously drawn out countdown from the Daleks; next time, they really should just count to three and push the button...

Daleks-Invasion-Earth:2150 AD, is an enormous improval on the preceeding film. It is more exciting and enjoyable and there is an impending sense of fear throughout the movie wich was evident in the Television series around this time. Peter Cushing gets to grips with his role as The Doctor in this movie. Bernard Cribbins comes on board and is fantastic. Ray Brooks and Jill Curzon enhance the swinging sixties fell apparent in the previous film, and the action never gives up. The multi coloured Daleks are a more frightening sight in a future decaying London thatn on there own planet, and the set designs and designs of the vicious Robomen are again superb. This is a juvenile movie, but enjoyable at that. For a new Doctor Who movie, someone like Tim Burton or Steven Spielberg should remake this, and they would have an absolute goldmine on their hands.

The On Her Majesty's Secret Service of the Doctor Who world, the two Peter Cushing-Dalek films have seen occasional reappraisal that labels them as "coolly kitsch" or "lovably camp". In reality, of course, they're complete pants.

The Doctor Who TV series actually had a considerable integrity, despite being made on a budget of 50p and never managing to shake off the "Kid's Telly" tag. Here Cushing plays the Doctor of the title, his surname actually becoming "Who". The Tardis, his sophisticated space-time machine, is now "Tardis", a naff-looking thing with a Yale lock on the door. Around the time this was made a "Carry On" actor would do his only television work in the Doctor Who series – Peter Butterworth as the Meddling Monk. For the film we got Bernard Cribbins as P.C. Tom Campbell, a similar character to the one that married the Doctor's granddaughter on TV. Though as the film Susan is only ten that would be inappropriate here.

Both films (the other – Doctor Who and the Daleks, Cushing joined by Roy Castle) were based directly on actual TV stories, the novelty being they were in colour. By the time the second came around the novelty was over and it didn't do the business of the first, despite being someway the better film. Perhaps this is because the original serial – The Dalek Invasion of Earth – was an attempt to mount a film's epic scale on a TV budget. To this end it transfers better to the medium, and its setting (future Earth as opposed to the first film's alien planet Skaro) is more accessible to audiences.

The big failure is, of course, send-up. Some of the series' b-movie concepts (mutated nuclear war victims get robot-armoured shells and invade Earth to steal its core) are ludicrous, but played straight can be rewarding. The films make a mockery of the whole concept, showing a total lack of respect for their source material. My advice is: if you don't like 'em, don't make 'em. Bearing in mind the Daleks were hot merchandise properties at the time, this is a cynical cash-in on the nation's youth. There's even a shameless product placement for Sugar Puff Cereals.

All involved are capable of better. Peter Cushing, respected in adult horror films, here opts for a no-effort parody of TV Doctor William Hartnell's performance. There is no trace of depth or consideration for the part he has chosen. Full credit does go to Ray Brooks, Andrew Keir and Philip Madoc for at least trying to take it seriously. Madoc was rewarded with four seperate roles in the television series, most notably as mad scientist Solon (1976) and The War Lord (1969). On the plus side, direction in terms of camera angles is actually very, very good, but is offset by incidental music so loud and outdated that it works against the mood entirely. Think SF drama with Carry On music and you're almost there.

Bright and colourful, (including a funky red Dalek) the film certainly has visual appeal. But the Daleks' voices, their volume increased considerably, are extremely grating. They also lack their trademark warmth and charm, being little more than robots. Their weaponry was scheduled to be flame-throwers, but was disallowed due to the young audience. This is perhaps fortunate as their gas sprays aid the Nazi allegory. Best bit? The exploding shed.

Trite jazz, lame comic setpieces and binliner outfits, the film is on TV virtually every Bank Holiday in England. And you know the strangest part? As bad as it is, come next Bank Holiday I'll probably be tempted to see it again.

I first saw this movie as a kid back in the 70's.It was screened as a saturday morning feature during the easter holidays.In those days it was the only 'repeat' you were likely to get.I can never understand the general disdain shown to it by Dr Who fans.The production values are high and there's plenty to keep you entertained.I think fans are critical of it because of its comical element.Yes it's cheap,ham-acted at times and the special effects not-very-special,but so was the tv series.I love this movie because of,not despite,its cheesiness.

In this British science fiction adventure, London policeman Tom Campbell (Bernard Cribbens) enters what he thinks is a police call-box only to discover that it's the TARDIS, the physics-defying home/ship of Doctor Who (Peter Cushing). Campbell is brought along as the Doctor, along with his granddaughter Susan (Roberta Tovey) and assistant Louise (Jill Curzon), travel through time to the year 2150, only to discover a London in ruins. The nefarious alien race known as the Daleks have conquered the Earth, and is rounding up the few surviving people to work as either slave labor, or even worse, as mind-controlled Robo-Men. It's up to the Doctor and his companions to free the human race from bondage.

This is the sequel to 1965's Dr. Who and the Daleks, which had also starred Cushing in the title role, although neither of these films are considered part of the ongoing Dr. Who canon. From what I've read, most true-blue Who fans detest these movies, although I don't have any special feeling toward the series so these movies didn't bother me in that respect. They are both slightly dopey, with a comical undertone and definite targeting of the younger members of the audience. I've always found the Daleks to be quite silly, and their accented, screamed statements ("Exterminate!") a source of much amusement. However, the movie is generally entertaining, and it doesn't overstay its welcome. Plus, I always like to see something I haven't seen before with Peter Cushing.

In the same year when Fantastic Voyage was released, this piece of garbage was trying to bank on the success of the Doctor Who series. Completely unscientific, starring Peter Cushing acting incredibly bad and other actors who couldn't act at all, it portrays the future invasion of London by the Daleks in 2150. Of course, they are defeated, by using something that didn't make any sense whatsoever. The only good bit of the film is Bernard Cribbins, who manages to lift the quality of the film mainly through his comedic body language.

Bottom line: I think this could be deliciously funny when drunk. It's really bad otherwise.

I didn't know whether to rate this movie "1" or "10," so I had to compromise. It is so incredibly bad that one can only love it. Even by 1966 standards, one can only surmise that the sets, special effects and even the acting are all tongue-in-cheek and intentional "camp." I was reminded of television's first attempt at science fiction, "Captain Video and His Video Rangers" (1949-1955), where even as a small child I couldn't help noticing the string pulling the toy spaceship across a star background! The evil Daleks resemble fancy metallic shuttlecocks, and I was hoping that at the end a giant badminton racquet would appear and bat them away. If you like sci-fi, are a little bit weird, and enjoy giggling through your nose for a couple of hours, this disc is for you!

This second outing for Peter Cushing's Doctor Who benefits from a bigger budget, which at least translates into a far larger cast than the preceding movie and bigger, if not better sets and special effects.

Oddly still travelling with his young grandchild, Susan, he gets a new grown-up couple who act in the act same way as their predecessors. Thus comedic actor Bernard Cribbins gets a fairly cringe-worthy silent comedy scene, just like Roy Castle's Ian did the time before.

As a movie it's again shot in bright colour, with multicoloured Daleks by the score, with another easy-to-follow plot of the Daleks trying to conquer earth, this time by using assimilated earthmen as robotic slaves to construct a giant mine to blow out the earth's magnetic core, making it possible for them to rule the planet. Naturally, the Doctor turns up and has something to say about that, eventually having the last word, in a fairly laughable explosive finish which wouldn't have been out of place in Gerry Anderson's string-bound animation of the time.

Never mind, there's a bit more characterisation this time with the treacherous side of humans shown in the duplicitous characters played by Philip Madoc's black-marketeer and Sheila Steafel and her mother trading in Susan and Andrew Keir's gruff rebel to the Daleks for extra food.

Peter Cushing is again charming in the title role and young Ray Brooks shines in a slightly under-written part in what is a reasonably entertaining British sci-fi feature, the better for being set in Earth's future, thus helping the viewer to identify more with their oppressed fellow-humans' plight.

In this film the Daleks, who can be foiled by being pushed around by unarmed civilians, have somehow captured Earth. They romp around in London, whose fashion and technology has been unchanged for the last 150 years, and turn humans into mindless rubber fetishists with scooter helmets.

At least it was better than the Rise of Skywalker, but apart from that it's quite horrendously bad. And does Peter Cushing try, or is that look of bewildered derpiness on his not even acting?

When there is a shop´s heist, policeman Tom Campbell (Bernard Cribbins) runs to a police station that is indeed the TARDIS. He encounters Dr. Who (Peter Cushing), his niece Louise (Jill Curzon) and his granddaughter Susan (Roberta Tovey) that are departing to the year 2150. They find London completely destroyed and discover that the Daleks have invaded Earth. There is a resistance movement but most of the survivors have turned into soldiers called Robomen or have been forced to work in a mine for the Daleks. What will happen to the travelers?

The naïve "Daleks' Invasion Earth 2150 A.D." is another funny entertainment for children and for adults in a Saturday afternoon. The art direction is also very poor, the plot is also silly but the film is colt for many viewers. My vote is six.

Title (Brazil): "Ano 2150 - A Invasão da Terra" ("Year 2150 - The Invasion of the Earth")

I do admit to being a DR WHO fan , it`s my all time fave show. I`ve followed this highly entertaining series since I can remember when Jon Pertwee played the role But in the late 70s camp humour came more and more into the programme which killed it in the mid 80s. Camp humour also spoiled this film adaption.

The TV story DALEKS INVASION EARTH is based upon was very cheap but very well written and designed , the survivors of the Dalek invasion struggled in the remains of civilisation in a style not unlike the first TERMINATOR movie. Not so here where everyone looks remarkably well dressed, clean and very well fed . Add to this a very silly soundtrack , glitzy fight scenes and a ridicolous scene with Bernard Cribbens trying to blend in with fellow robomen and you have a film that lacks almost everything.

Sorry guys I much prefer the BBC teleplay