I remember the final Quatermass as more powerful than it seems now, even though we are rapidly heading toward a world not unlike the one he portrayed. I think the Planet People seem less likely than they did, but that's about it. But there is no doubting the complexity of the vision and the depth of detail that went into creating the world in which the story took place, far more than in the earlier stories where it was somehow not necessary: they had a contemporary setting, this last one was near-future.
Ringstone Round is a thoroughly clever British invention. It sounds right. It sounds like it really exists, and there are some people who claim the children's chant is traditional.
OK, there is something of 'Midwich cuckoos' in the denouement, and some of the acting is a little perfunctory. But the story remains tight, faithful to the Genre, and has that same sort of 'that would explain a lot' quality of the The Pit . I thought in that the Hobs Lane and medieval mythology was handled with a light enough touch to be realistic, or at least not break the disbelief, and the idea of finding a rational explanation for stone circles in the last story has that same deftness of touch.
Yes. I enjoyed it. I enjoyed them all, and this was part of the set. The whole series had some of the qualities of Britishness that makes doctor Who interesting, while still being proper, serious, story telling. I'd put them up there with Day of the Triffids and War of the Worlds, as fine quality SF on our own turf.
Out of interest, who is writing SF with a British background now? Is there a hole in the market?