It stars Peter Cushing in a return to the role of the eccentric inventor and time traveller Dr. Who, Roberta Tovey as Susan, Jill Curzon as Louise and Bernard Cribbins as Tom Campbell.

Running to what appears to be a police box to summon backup, he enters Tardis, a time and space machine operated by its inventor Dr. Who, his niece Louise and granddaughter Susan, as it departs for the future.

The daughter then leaves on an errand, but returns with Daleks who capture Wyler and Susan and take them to their mine control centre.

He reveals that the Daleks intend to drop a bomb into their mineshaft, to destroy the Earth's core and replace it with a device enabling the planet to be piloted like a giant spacecraft.

Realising that an explosion at this point would release enough energy to destroy the metallic Daleks, Tom and Conway agree to try deflecting the bomb while Louise and David go to help evacuate the prisoners from the mine.

The Daleks quickly defeat the rebellion and release their bomb into the shaft, but the device is deflected and detonates at the pole convergence.

Bernard Cribbins appeared as recurring character Wilfred Mott between 2007 and 2010 and in 2023, during which it is revealed that he is the grandfather of companion Donna Noble.

[5] Philip Madoc appeared four times in the series and in a number of Big Finish Productions Doctor Who audio adventures in different roles.

[8] Principal photography commenced at Shepperton Studios, England, on 31 January 1966, and was completed on 22 March, eleven days behind schedule.

[11] Actor Andrew Keir hurt his wrist when punching through a van windscreen during a sequence in which his character, Wyler, and Susan escape from London.

[9] The design and colour scheme for the majority of the Dalek props was very similar to that used for the television versions at the time, having large, black bases and predominantly silver paintwork, with grey shoulders, natural aluminium collars and slats and blue hemispheres.

As with the first Dalek film, the props were fitted with larger dome light than their TV counterparts, and some were equipped with a mechanical claw in place of the standard plunger.

From January 1966 onward artists Eric Eden and Ron Turner depicted the Daleks using elements from the film design, including mechanical claws and large bases and dome lights.

The filming of all this is technically elementary... and the cast, headed by the long-suffering, much ill-used Peter Cushing, seem able, unsurprisingly, to drum up no conviction whatever in anything they are called to do.

"[13] Alan Jones of the Radio Times gave the film three stars out of five in a retrospective review in 2015, stating "Independence Day it's not, but director Gordon Flemyng keeps the colourful action moving swiftly along to cheap and cheerful effect.

"[14] In a review of the 2013 Blu-ray release, Starburst reviewer Paul Mount said the feature was "a leaner, slicker film than its predecessor, its bigger scale and lavish location filming giving the story room to breathe and allowing for some effective action sequences, such as the rebel attack on the impressive Dalek flying saucer.

"[15] The film's soundtrack was adapted and presented by Gordon Gow for radio broadcast on the BBC Light Programme on 18 November 1966 as Show 305 of the Movietime series.