Review: Star Trek

Directed by: J.J. Abrams
Produced by: J.J. Abrams & Damon Lindelof
Written by: Robert Orci & Alex Kurtzman
Executive Producers: Bryan Burk, Jeffre Chernov, Alex Kurtzman & Robert Orci
Cinematography by: Daniel Mindel
Edited by: Maryann Brandon & Mary Jo Markey
Production Designed by: Scott Chambliss
Costumes by: Michael Kaplan
Music by: Michhael Giacchino

Cast: Chris Pine, Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Ben Cross, Bruce Greenwood, Winona Ryder, Eric Bana, Leonard Nimoy

2009 / 126min / Rated PG-13 (for sci-fi action and violence, and brief sexual content)

Young James T. Kirk and Spock must overcome their own personal differences to battle a vengeful Romulan from the future who is bent on the destruction of the Federation.

If you want to make a prequel that not only successfully reboots a classic franchise but also honors that same franchise, this is the movie to look at. JJ Abrams' vision for the 23rd century changes everything we know about the universe of Star Trek (yet stays the same) and manages to tell a thrilling, epic adventure story.

As a long-time Trek fan, I had my reservations about this movie and what it was setting out to do. It's hard to craft a prequel where you feel suspense because you know how things will turn out in the end. That's not the case here, as writers Robert Orci and Alex Kurtzman deliver a story with enough twists and turns that you quickly realize that this Star Trek universe is different from the one we've known for the last 43 years. With the shocks that take place here, you know that anything can happen. There are some real gutsy changes made to the Star Trek universe, but that's okay, because they're told with so much confidence and conviction that you believe in them and want to know where they're taking them.

There is so much to praise about this movie that it's hard to find a place to begin. Might as well start with the script. Orci and Kurtzman's script is smart. It's one of the first movies in a long time where I can remember not feeling like a scene or a line was wasted. Everything that takes place on screen is relevant. Nothing is filler, it all matters and plays a part in the bigger picture. The dialog is fresh and witty, yet familiar. Orci and Kurtzman brilliantly found the voices for each of these characters, as though they were involved in the original series themselves. At the same time, they manage to weave in trademark phrases from the series that would normally be eye-rolling, yet in the context in which they're used, they work. A fun little bit is the nice homage that is paid to the series red shirts with this movie's own red shirt character (you'll know him when you see him), and his outcome is quite fitting and somewhat amusing.

Their screenplay has all the perfect elements that make a great Star Trek movie. A great villain, plenty of action and adventure, thrills and excitement, an unexpected romance, and plenty of humor. In fact, this is easily the funniest Star Trek movie I've ever seen, even funnier then, yes, The Voyage Home.

My one issue with the script is how neatly everyone falls into place by the end of the movie. While it strains credibility, the nature of the movie and just how fun a ride it is makes it easy to forgive this minor nitpick.

The special effects are amazing. From the get go, this movie's visual design is amazing. These are the bests effects I've seen in a long time. The look and sound of this new universe is absolutely incredible and it sweeps you up in the atmosphere that is trying to be established. I was sold on the look of the Enterprise. This ship looks beautiful and its glory shots are quite a sight to behold. And the interiors of the ship are magnificent, from the bridge to the transporter room, corridors, sickbay. Even the inner workings of the ship in the engineering section, while different, were quite good and fit in. This is a grittier, more worn-looking universe, much along the lines of Star Wars, but it's a welcome change.

Michael Giacchino's score is top notch, with a brilliant theme that is so flexible it can be used in many different ways, from romantic, suspenseful to heroic. His score for the action is some of the most pulse-pounding action music I've heard in a while. His score is never distracting or overpowering. It completely enhances the film.

The pace never lets up. JJ Abrams' direction grabs you from the very beginning and never lets go until the very end. The pace is so good, the story so engaging, that the two hour running time flew by. I didn't want this adventure to end, I wanted more! Abrams knows how to grab an audience's attention, and he does with one of the most engaging sequences I've seen in any Star Trek movie. The first ten minutes are so thrilling, powerful and poignant that I had a lump in my throat by the time the main titles appeared onscreen.

One of my biggest worries was in the casting of this movie. For anyone else who is worried, worry no more. They could not have casted this movie any better. All the supporting players from Zoe Saldana as Uhura, Simon Pegg as Scotty, John Cho as Sulu, and Anton Yelchin as Chekov have completely embodied these characters. The make you forget that there was someone else in these roles before them. Saldana really standsout as her take on Uhura is greatly improved over Nichelle Nichols', having been given a more significant role. Simon Pegg is hilarious as Scotty.

Karl Urban holds very true to DeForest Kelley's interpretation of Dr. McCoy, but he nevers veers into parody. Urban is hilarious and while he didn't get as much screen time as I would have liked, he makes the most of the time that he has and becomes this classic character.

Eric Bana does not have a lot of screen time as villain Nero, but he is absolutely brilliant. Filled with menace and power, Bana pulls you right in. He might not be Star Trek's best villain, or even the most dangerous, but he is the perfect villain to test out this freshman crew. Bana does a magnificent job.

Bruce Greenwood brings a sense of credibility to the movie. Greenwood's Christopher Pike is strong and very fatherly, and Greenwood's performance in his limited screen time is quite good.

It's great to see Leonard Nimoy back as Spock in an extended cameo. I must say that his performance is quite good. I had forgotten that Nimoy was in the movie until he first appears on screen, mainly because the movie was so good and so engaging that I thought of nothing else. So when Nimoy first appears on screen, it's quite a thrill and helps to tie this new Trek into old Trek.

Now on to the two standouts; Chris Pine and Zachary Quinto. This is their movie, and their performances would make it or break it. They make it. Quinto is very true to Nimoy's performance as Spock, and it must have been quite intimidating to share the scene with the originator of the role, but Quinto nails it. He not only manages to hold true to the original Nimoy performance, but he is able to bring something new to the table that adds a great depth and humanity to the character.

Chris Pine will probably rise to stardom from this role. He is James T. Kirk, to the point that you forget completely about William Shatner. Pine could easily have fallen into an impersonation William Shatner that would've made this seem like an SNL sketch, but he doesn't. Pine embodies Kirk, nailing the arrogant swagger, the cockiness and confidence, while giving him a lot of depth that not even Shatner could give until the movies. I totally bought Chris Pine as James T. Kirk, and when he finally appears as the captain of the Enterprise, you can't help but smile because you know you're watching an old childhood hero take to his rightful place.

Despite what the previews may say, Star Trek is not filled with as much action as you would think. Yes, the action is plenty, but this isn't an action flick. It's a buddy movie, with the attention always on the relationship between Kirk and Spock. Star Trek is a movie not driven by plot or action. It's driven by the characters, and that's incredibly important. The characters make the decisions on where this story goes. Much credit must be given to JJ Abrams would could easily have focused entirely on the spectacle, but he keeps the focus very personal. Watching the relationship between Kirk and Spock grow from disdain and anger is quite a lot of fun to watch, and you see the beginnings of what would become one of television's most endearing friendships.

The foundations for these characters is perfectly laid out without missing a beat. They are established as the movie flies on by without slowing it down. That's great character development; when the development takes place without interrupting the story. These characters grow from the events of the story, while at the same time driving it forward. The writing is brilliant, and JJ Abrams' direction is perfect. I look forward to their plans for these characters in the future. The groundwork has been done, now its time for JJ Abrams and company to play. George Lucas needs to take notes; this is what the Star Wars prequels should have been like.

I mentioned earlier there are big changes made. It's easy to see how many Star Trek fans are going to have problems with this movie because of these changes. But the thing they need to realize that this is a new Star Trek for a new time, and it needs to be different. One of the problems Star Trek suffered from in the past was that it was constrained by the universe it had created. The filmmakers made a wise decision in wiping the slate clean to explore new realms of story telling, but they did it in such a way that while they have created an alternate Star Trek universe, it is built from the universe that was already established. It's too bad many Star Trek fans are going to ignore this attempt, because it's one of the ways that JJ Abrams and company really tried to honor what has come before.

Star Trek is filled with spectacular special effects, breathtaking special effects, a beautiful musical score, perfect casting, and lots of thrills, chills and emotion that one can't help but be found breathless and smiling with glee when it's all over. This is both the most energetic Star Trek movie I've ever seen, as well as one of the most energetic and fun movies I've ever seen period. It's quite a ride! The characters are always the focus, and it makes for a wonderfully delightful movie experience that I can't wait to experience again and again. This could easily be one of the best Star Trek movies, if not the best. Only time will tell. In the meantime, it's a new Star Trek for a new age, and I've been beamed aboard this adventure.

Star Trek is back!

Review: Star Trek VI: The Undiscovered Country

Directed by: Nicholas Meyer
Produced by: Steven-Charles Jaffe & Ralph Winter
Screenplay by: Nicholas Meyer & Denny Martin Flinn
Story by: Leonard Nimoy, Lawrence Konner & Mark Rosenthal
Executive Producer: Leonard Nimoy
Cinematography by: Hiro Narita
Production Designed by: Herman Zimmerman
Edited by: Ronald Roose
Associate Producer: Brooke Brenton
Co-Producer: Marty Hornstein
Music by: Cliff Eidelman

Cast: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, Nichelle Nichols, George Takei, Christopher Plummer, Kim Cattral, Rosanna DeSoto, Kurtwood Smith, Brock Peters, Rene Auberjoinois, Leon Russom, Iman, Michael Dorn, John Schuck, Darryl Henriques, Mark Lenard, Grace Lee Whitney, Jeremy Roberts, Paul Rossilli

1991 / 113min/ Rated PG

When a key Klingon energy production facility explodes, leaving the Empire with only 50 years of life, the Klingons pursuit peace negotiations with the Federation. The U.S.S. Enterprise and crew, only three months from retirement, are grudgingly assigned to escort the Klingon Chancellor to Earth for the negotiations. But when the Klingon flagship is attacked and the chancellor assassinated, Kirk and McCoy are arrested as the only two suspects, leaving Spock and the Enterprise crew to prove their innocence while discovering who is behind the plot to begin an interstellar war.

Serving as a swan song for the original cast as well as a 25th anniversary celebration, The Undiscovered Country hits all the right notes for both occasions. It successfully celebrates Star Trek's 25th anniversary with the beginnings of peace with the Klingons and simultaneously provides a very fitting end for the original cast and characters.

The story is not only very appropriate for the anniversary but also for its era. Star Trek VI essentially predicts the fall of the Soviet Union. Quite fitting, considering that the Klingons were Star Trek's Soviet Union in the 60s.

Cliff Eidelman's ominously dark score sets the tone perfectly during the credits, and as the music crescendos and climaxes, the film starts off with a bang. Literally. In just a matter of seconds, the Star Trek universe as we know it is changed forever. Within a matter of minutes, we've learned that the Klingon Empire is dying, that they are seeking peace with the Federation, and that there are many hard feelings on both sides. After all, this is a cold war that has been going on for many, many years. For these characters, especially Kirk and crew, they've only known the Klingons as their enemy. And letting go of that viewpoint is not going to be easy.

From the outset, director Nicholas Meyer (the genius behind the success of The Wrath of Khan) establishes a much darker tone. This is a different kind of Star Trek movie. A lot is at stake here, and Meyer makes it well known right away. At the same time, Meyer skillfully juggles the darker tone with lighthearted zest and tongue-in-cheek dialog that helps to offset the political drama going on. Meyer doesn't miss an opportunity to give the viewer a moment to relax before immediately kicking up the suspense again. While depicting insightful character analysis of Captain Kirk and his feelings about Klingons and the peace, Meyer never takes his eye off the big picture. This is some very skillful direction.

The final act, as the Enterprise races to stop another assassination, is incredibly suspenseful. Aided by Cliff Eidelman's score (inspired by the The Planets symphony) the suspense keeps you on the edge-of-your seat, with excellent editing as we jump back and forth between Chang gleefully shooting up the Enterprise, Spock and McCoy performing "surgery" on a torpedo, and an assassin prepare to take his shot, it's a quite thrilling finale.

While there are some small plot holes, with some answers falling into place a little too neatly, these things are easily overlooked and don't detract from the experience. There's zest and energy here and the performances are wonderful from top to bottom. William Shatner is great, with Leonard Nimoy and DeForest Kelley both able to move back and forth between drama and small comedy. Christopher Plummer is delightful as Klingon General Chang, the villain of the film. He's so over-the-top as he recites Shakespeare while blowing holes in the Enterprise, and yet you believe it all the way because he is such a brilliant actor. Plummer's eyepiece-wearing Chang is easily one of Trek's top villains.

The performances of the main cast are spot on. You know they're having a good time as they deliver tongue-in-cheek dialog, yet we are caught up entirely in their performances. These are very fitting final performances for this cast.

The cinematography is dark and moody, adding to the suspense. Shots during Kirk and McCoy's escape from Rura Penthe are some of the most beautiful scenic images in all of Star Trek. This movie is incredibly well put together.

Cliff Eidelman's score is top notch. It is very different from any previous Trek score, yet remains true to its origins and maintains the suspense throughout.

I normally don't do this, but I can't go without mentioning the poster. It is probably one of the coolest Star Trek posters out there, and I'm waiting for the day when this poster is topped.

Star Trek VI came at the right time, repairing the damage that The Final Frontier did to the franchise's future. It is a fitting 25th anniversary celebration, while serving as a touching and wonderful send-off for the original crew. As William Shatner delivers his final captain's log featuring the Star Trek monologue while we look at these characters, we know that it is for the last time. The applause at the end is well earned, including the Starship Enterprise's final exit as she sails into the sunset.

1/2 (of 4)

Review: Star Trek V: The Final Frontier

Directed by: William Shatner
Produced by: Harve Bennett
Screenplay by: David Loughery
Story by: William Shatner, Harve Bennett & David Loghery
Executive Producer: Ralph Winter
Cinematography by: Andrew Laszlo, A.S.C.
Production Designed by: Herman Zimmerman
Edited by: Peter E. Berger, A.C.E.
Music by: Jerry Goldsmith
Costumes by: Nilo Rodis-Jamero

Cast: William Shatner, Leonard Nimoy, DeForest Kelley, Lawrence Luckinbill, James Doohan, Walter Koenig, Nichelle Nichols, George Takei, David Warner, Charles Cooper, Cynthia Gouw, Todd Bryant, Spice Williams, George Murdock

1989 / 107min / Rated PG

The Enterprise is dispatched to Nimbus III, "the planet of Galactic Peace", where a radical group has taken hostage the representatives of the Federation, Klingon and Romulan Empires. But the hostages are only bait, and the Enterprise is captured by its leader, Sybok, who turns out to not only be Spock's brother, but is on a quest to the center of the galaxy where he hopes to find the planet Sha Ka Ree and God.

Star Trek V: The Final Frontier is probably the weakest of the Star Trek films, so much so that its events are not only not acknowledged by any other Star Trek production, but nearly sunk the franchise. The only reason a sixth film was approved was because of Star Trek's 25th anniversary two years later. If it's any indication of my opinion, it is the only Star Trek movie that is not part of my DVD collection.

The Final Frontier is, quite frankly, a mess. Its tone is all over the place. There are plenty of attempts to replicate the humor that made The Voyage Home such a success, but whereas that humor flowed naturally from the story, this humor did not and was at the expense of the characters. The characters hardest hit are Scotty and Uhura. The worst example is when Scotty hits his head on a beam after stating he "knows this ship like the back of his hand". Attempts at depicting the new Enterprise's malfunctions fall rather flat.

The less said about the camp fire scene the better.

The first hour of the film meanders, doing nothing but setup for what is to come next. It is essentially an extended first act, establishing the characters, bringing them together, and moving onto the main journey. All this setup is rather misleading, as the viewer is led to believe that this moving is about the hostages. But the hostages are merely a plot device, a means for the central antagonist to get his hands on the Enterprise before moving on to the real story.

While the prospect of Sybok, a Vulcan who has chosen to shed logic in favor of emotion, is rather interesting, and he is performed adeptly by Lawrence Luckinbill, the character is never given any room to grow or develop. He's determined to reach his destination and will go through any means to obtain that goal. Sybok also has the unique ability to help people "release their pain", a concept that is never explained. Once a person's pain is released, they simply fall in line behind Sybok, performing his every deed without question. This includes most of the crew of the Enterprise, who follow Sybok like mindless robots. The crew is not at their finest here.

There is also the threat of a Klingon captain who is determined to battle a Federation starship for glory and honor, and when he learns that it is Kirk and the Enterprise, he is willing to follow Kirk to the center of the galaxy to defeat him. Not only are the Klingons rather dull and uninteresting, they add nothing to the story.

Time is spent trying to build up the threat of the Great Barrier at the center of the galaxy. No ship or probe is said to have ever returned. And yet when we reach the barrier (funny how it takes the Enterprise only a matter of hours to reach the center of the galaxy) not only does the Enterprise easily pass through the barrier, but so does the Klingon ship.

The special effects are also rather bad. The ship effects are rather unconvincing, and the barrier itself looks like a pool of writers ink that was spilled on the film.

Performances are rather bland, particularly from the Leonard Nimoy and DeForest Kelley. It's as though they both knew this was not a good script that would not make a good movie, and were merely going through the actions. Although, to his credit, DeForest Kelley gives an excellent performance during his "pain" scene in which he euthanizes his father. Kelley's performance is great here, but in the rest of the movie he seems rather uninterested.

William Shatner tries to compensate by infusing more energy, but unfortunately with him at the helm this time, there is no one to pull Shatner in. Shatner is uninhibited, giving a hammy and over-the-top performance that, while charismatic, is not very good.

To its credit, The Final Frontier has a rather ambitious goal; the discovery of God. It's so ambitious that the filmmakers walk themselves into an impossible corner. Either this "God" is a fake and some dangerous alien, or it is the real God. If they indeed decide to make this the real God, then the filmmakers have truly discovered the final frontier and the mission is over. Once you've discovered God, what else can you discover and being anywhere near as interesting?

Obviously, the filmmakers have to go with the dangerous alien. The fake god turns out to be rather dangerous, wanting the Enterprise so that he can leave his planet where he's been trapped for a long time. It's never explained when the alien says that Sybok created the planet and pictured this alien "god" in Sybok's own image, it's never fully explained and sounds like the writers don't know what to do with this situation.

Probably the film's one positive is Jerry Goldsmith's score. Back is Goldsmith's Enterprise theme first introduced in The Motion Picture, as well as his fun and very fitting theme for the Klingons, which is given much more time due to the Klingons presence throughout the movie. Goldsmith's secondary themes for the mountain climbing sequence as well as the trek to meet God are powerful. Goldsmith is probably best known for his action music, and his score for the action infuses suspense and thrills that are otherwise missing from the action itself.

While The Final Frontier tries to do more with the core characters then any other film, the attempts fall flat. An attempted romance between Scotty and Uhura comes out of no where, and not enough is done to explore the possibility of a Chekov and Sulu friendship. The best relationship, as always, is that of Kirk, Spock and McCoy who stick together from beginning to end. Their friendship is rather touching and poignant.

Despite a bungled attempt to pose questions on religion and faith, The Final Frontier is the least satisfying Star Trek film, and hopefully will stay that way, because anything worse would surely end the franchise for sure. I rarely watch The Final Frontier and avoid watching it as much as I can, and I would not recommend this movie if you're trying to introduce someone to the franchise. In fact, avoid it altogether.

1/2 (of 4)

Review: Star Trek IV: The Voyage Home

Directed by: Leonard Nimoy
Produced by: Harve Bennett
Screenplay by: Steve Meerson, Peter Krikes, Harve Bennett & Nicholas Meyer
Story by: Leonard Nimoy & Harve Bennett
Executive Producer: Ralph Winter
Cinematography by: Don Peterman, A.S.C.
Edited by: Peter E. Berger
Music by: Leonard Rosenman

Cast: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Catherine Hicks, Mark Lenard, Jane Wyatt, Brock Peters, Robert Ellenstein, John Schuck, Scott DeVenney, Majel Barrett, Robin Curtis

1986 / 119min / Rated PG

The crew of the Enterprise make their way home in their captured Klingon ship to face the consequences of their actions in Star Trek III: The Search for Spock. But when an alien probe sends destructive signals to Earth, causing critical damage to the planet, Admiral Kirk, Spock and crew discover that the only way to save Earth is to travel back in time to acquire a pair of humpback whales to bring them back to the 23rd century to communicate with the probe.

Just reading the brief synopsis would make you wonder that, besides being Star Trek, how this movie ever got made. But the results are marvelously fun and hilarious, turning Star Trek IV: The Voyage Home into the franchise's most financial successful and mainstream film.

A lot of that success is that this is a fish-out-of-water story, pardon the pun. The crew of the Enterprise is thrown into situations where they are in way over the heads as they travel the streets of San Francisco, trying to find directions to a naval base, obtain transparent aluminum that hasn't been invented yet, and woo a marine biologist into providing information on the humpback whales under her care.

The crew breaks into groups to find the various materials needed to return to the future successfully. The best of these groups is, quite naturally, Kirk and Spock as they encounter Dr. Gillian Taylor (Catherine Hicks) and two humpback whales, George and Gracie. Shatner and Nimoy are great in their respective roles as Kirk and Spock, with Nimoy able to infuse Spock with more humor than we have previously seen.

Most importantly, however, is the arc Spock has throughout the film. At the film's outset, Spock fails to comprehend why his friends sacrificed everything to save him. He views it as illogical, and the only reason he is traveling to Earth with them is because they are his shipmates and to offer testimony at their court martial. But at film's end, Spock stands beside them because they are his friends and it is the human thing to do. It's the most growth any character has had in any of the Star Trek films to-date. The results are Nimoy's finest performance as Spock, who tries to deal not only with the rebuilding of his mind, trying to find the balance between being Vulcan and human, but also, amusingly, how to handle cursing.

The performances from the entire cast are wonderful, particularly the main cast as they fumble from one awkward moment to another as they try to make by in 1986 San Francisco. It's obvious that these people are having a lot of fun, and it makes for very enjoyable performances.

There is no villain, only an object that serves as a plot device that leads to the characters traveling back in time to solve the problem. There really isn't much in the way of plot, but that's insignificant considering it's the characterizations But the focus isn't on the problem or the solution, it's on the people we have come to know and love over the years.

Leonard Rosenman's score is a mixed bag. While the theme is wonderful, much of his underscore is rather forgettable and does not match previously Trek scores. The highlights of his score are found in both the presentation of the main theme at the beginning and end, but the only cue of note is during the hospital chase scene in the middle of the film. Otherwise, Rosenman's score is rather hard to listen to, despite having been nominated for an Academy Award.

The cinematography, particularly of the whales, is top-notch, and the sequence of the bird-of-prey flying under the Golden Gate bridge and crashing in San Francisco Bay is quite fun to watch.

I can't let the screenplay go without mentioning. The writing is wonderful, and the dialog is fresh and witty. Also of worthy note is Leonard Nimoy's direction. Nimoy's direction of The Search for Spock was strong, but rather uneven at points. By The Voyage Home, it's obvious that Nimoy is very much at home in front of and behind the camera. He infuses the movie with so much fun and energy that it's hard to imagine The Voyage Home being equally good under the helm of someone else.

The Voyage Home might be thin in story, but that doesn't matter. It's the characters who carry this adventure, and the humor and energy that is brought forth is quite remarkable, giving Star Trek it's most light-hearted and fun outing.

1/2 (of 4)

Review: Star Trek III: The Search for Spock

Directed by: Leonard Nimoy
Written & Produced by: Harve Bennett
Executive Producer: Gary Nardino
Cinematography by: Charles Correll, A.S.C.
Art Director: John E. Chillberg II
Edited by: Robert F. Shugrue
Associate Producer: Ralph Winter
Music by: James Horner

Cast: William Shatner, DeForest Kelley, Christopher Lloyd, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Merritt Butrick, John Larroquette, Mark Lenard, Robin Curtis

1984 / 105min / Rated PG

The U.S.S. Enterprise heads home, damaged from its battle with Khan, and still mourning the death of Spock. When Ambassador Sarek informs Kirk that Spock's soul is being carried by Dr. McCoy and can be restored to his body, Kirk and his crew steal the Enterprise to return to Genesis to save their friend. But when a Klingon bird-of-prey learns of the Genesis planet, its commander sets out to capture the secret of Genesis for the Klingon Empire.

After getting his wish to be killed off in The Wrath of Khan, Leonard Nimoy had such an enjoyable time making that film that he decided that he wanted to remain associated with Star Trek after all. Nimoy was not only granted his request to return, but also given the opportunity to direct as well. Given Spock's situation at the end of The Wrath of Khan, the only way to go about the sequel was to set out to resurrect him. And unless the filmmakers really wanted to alienate fans, the outcome is rather predictable. So The Search for Spock is meant to be more about the journey then it is the destination.

As far as story goes, The Search for Spock is rather predictable. There is only one way for the movie to end. So what do the filmmakers do to keep the viewer interested in the journey? Thrown into the mix is a Klingon commander (Christopher Lloyd) bent on acquiring the secret of Genesis to use for the glory of the Klingon Empire. Kruge is no Khan and Lloyd is able to make him a passable villain. He isn't a memorable villain, but he is able to get the job done. The final hand-to-hand battle between Kirk and Kruge in the midst of the destruction of the Genesis planet is technically effective, but when it comes to payoff, it doesn't match the satisfaction we get when we see Khan die. Where there was history to the Kirk-Khan rivalry that fueled the satisfaction in seeing Kirk defeat Khan, there isn't enough invested in the Kirk-Kruge rivalry to give any punch to Kruge's eventual death.

Just as the Battle in the Mutara Nebula was the highlight of The Wrath of Khan, the highlight of The Search for Spock is easily the theft of the Enterprise. With the Enterprise being decommissioned and the crew to be reassigned, Kirk is not allowed by Starfleet Command to take the Enterprise to Genesis to recover Spock based upon "Vulcan mysticism", as explained by Ambassador Sarek in a poignant scene in which Sarek mind-melds with Kirk, forcing Kirk to relieve Spock's death.

With no other choice, the crew of the Enterprise steal back their ship in a pulse-pounding scene that is so well played, directed, written and scored that it's the film's high point. This easily stands out as one of the best sequences in not only any of the Star Trek sequences, but the entire franchise as well.

Performances are wonderful, particularly from both William Shatner and DeForest Kelley. Kelley must portray a man in the midst of inner turmoil, struggling with both his own eccentricities and the mind of Spock. Spock and McCoy have been polar opposites from the beginning of the series, with Spock being logical and McCoy emotional. The pairing is quite intriguing and Kelley is excellent. Particularly of note is a short, quiet scene near the end where the crew has just left Genesis on their way to Vulcan, and McCoy tries to wake up an unconscious Spock. It's a small but poignant scene in which McCoy expresses to Spock that he's missed him, despite all their arguing and bickering. It's a great character moment because it shows that no matter their difference, these two are close friends. Kelley's performance is right on the money.

Shatner plays Kirk here as rather subdued and somber, having just lost his best friend, a brother. It's probably Shatner's finest performance as Kirk, portraying his grief and determination wonderfully. Particularly well handled is Kirk's reaction to the death of his son at the hands of the Klingons, immediately followed by Kirk's determination to defeat the Klingons in true Kirk fashion. As McCoy states, Kirk turns "death into a fighting chance to live". Shatner is brilliant.

Two major shocks come within a matter of minutes of each other. When the Klingons reach Genesis, they destroy the U.S.S. Grissom and take Saavik (here portrayed rather blandly by Robin Curtis), David and a young, regenerating Spock captive. When confronted by the Enterprise, the Klingons unknowingly cripple the starship, manned only by Kirk, McCoy, Scotty, Chekov and Sulu. In an attempt to get the secret of Genesis, Klingon Commander Kruge orders the execution of one of his hostages, resulting in David's death as he saves Saavik from being executed. As mentioned before, Shatner portrayal of Kirk's grief is wonderful.

Within only a matter of minutes, in a last-ditch attempt to save his crew, rescue his friends from the planet below, and beat the Klingons, Kirk sets the auto-destruct sequence on the Enterprise, destroying the ship and the Klingon boarders. The sequence is suspenseful and shocking, providing the plot twist just as shocking as Spock's death in the previous film. It's rather appropriate, and more on that in a moment.

The Search for Spock is a mirror of The Wrath of Khan. Khan is most definitely a hard act to follow, near impossible really, but The Search for Spock lives up to the challenge by being a companion, if not an equal. While The Search for Spock comes themes that parallel The Wrath of Khan, particularly with life and death. In order to save Spock, Kirk must sacrifice everything for a man who gave his life for everything.

At the end of Khan, Spock dies during the birth of the Genesis planet. In Spock, the Genesis planet dies during the "rebirth" of Spock. Just as Kirk rediscovered his son at the end of Khan, here Kirk regains Spock just as he loses his son. And just as Spock sacrificed his life to save the Enterprise, the Enterprise is sacrificed to save Spock. The parallels to this film's predecessor are quite poignant.

The film ends rather anticlimactically with the resurrection of Spock, but given everything that has happened over the course of this movie and the one before it, it's rather fitting and somber. And the final scene between Kirk and the fully restored Spock (finally portrayed by Leonard Nimoy) is wonderfully written, acted and directed. It makes for a very poignant and touching finale, one that the film deserves. James Horner's score during the return to Vulcan is rather powerful and effective as we witness the approach of the captured Klingon vessel, and

James Horner's score is strongest during the return to Vulcan, the prologue and credits, and the theft of the Enterprise. His Klingon theme is rather forgettable and no where near as strong as Goldsmith's theme for the Klingons. His score is rather derivative of his own score for The Wrath of Khan, but it is still quite strong, if not original.

The special effects are strong, but are limited due to a small budget, but they are still good. The effects are strongest during the destruction of the Enterprise, which remains the film's visual standout.

The film's major setbacks remain a predictable outcome, as well as a lackluster villain who is only passable. Could The Search for Spock have been better? Probably. But given it came on the heels of The Wrath of Khan, it's a strong and worthy sequel, and probably the strongest of all the "odd-numbered" films.

(of 4)

Review: Star Trek II: The Wrath of Khan

Directed by: Nicholas Meyer
Produced by: Harve Bennett
Screenplay by: Jack B. Sowards (uncredited: Nicholas Meyer)
Story by: Harve Bennett & Jack B. Sowards (uncredited: Samuel Peeples)
Production Designed by: Joseph R. Jennings
Edited by: William P. Dornisch
Music by: James Horner

Cast: William Shatner, Leonard Nimoy, DeForest Kelley, Ricardo Montalban, Kirstie Alley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols. Mimi Besch, Merritt Buttrick, Paul Winfield, Judgson Scott

1982 / 116min / Rated PG

Admiral James T. Kirk returns to the U.S.S. Enterprise, which has been turned into a training ship for a group of Starfleet cadets. Unhappy in his new post and not in command of a starship, Kirk struggles with aging and death when an old nemesis, Khan, escapes after fifteen years of imprisonment on a desolate world and seeks revenge on Kirk for the death of his wife.

Despite being a success at the box office, Star Trek: The Motion Picture had been costly and not as big a success as Paramount Pictures would have liked. In an attempt to cut back on costs and increase profit, series creator Gene Roddenberry was forced out of production and Harve Bennett was brought in to produce a less expensive film. Bringing a young Nicholas Meyer on board who evoked a sense of swashbuckling adventure that matched the atmosphere of the original series, Star Trek II: The Wrath of Khan has become the definitive Star Trek movie.

The space battles are wonderful. From the first suspenseful buildup to attack to the grand finale in the heart of the Mutara Nebula, the battles are tense, thrilling and wonderfully realized, playing out like two sea ships duking it out on the high seas. What's even greater about the battles is that they are not won by strength, they are won by wit and knowledge. Kirk doesn't defeat Khan by being stronger or smarter, after all, Khan is a genetically enhanced being. Any direction confrontation would certainly result in Khan's victory. But in the end it is Kirk's experience as a starship captain that allows him to conquer Khan in the end. What's great about this is that it plays back to the character element of age touched upon in the beginning. Were it not for Kirk's age and experience, it's most likely Khan would've won. Which is why Kirk ends up instructing a young Kirstie Alley as Lt. Saavik on the importance of knowledge and strategy. To-date, no Trek battle has out-done what is done here.

The characters and performances are wonderful all across the board. The original cast are at their best here, particularly Shatner, Nimoy and Kelley. They are comfortable in their roles and don't seem as awkward or lifeless as they did in The Motion Picture. One of my big complaints about The Motion Picture was the lack of interaction between The Trio (Kirk, Spock and McCoy). While that interaction is limited here as well, it is beautifully handled. Nimoy and Kelley are wonderful as they bicker about the implications of the Genesis device, while Shatner is amusing as he sits back and watches, exasperated. The chemistry is best at the climax, but more on that in a minute.

Khan is wonderfully written and portrayed by Ricardo Montalban. You know what he wants and why he wants it, and you really do believe in his anger and vengeance as he sets out to kill Kirk. Montalban's performance has become the definitive Star Trek villain. He's grand, over-the-top and yet not so much that he hams it up. Montalban has yet to be topped by any villain in any Trek incarnation.

Kirstie Alley is instantly loveable as Lt. Saavik, the half-Vulcan/half-Romulan protege to Spock. This was the performance that made people notice Alley, and it's too made she was not brought back to continue the character in the next sequel.

The key to Wrath of Khan's success is that it managed to capture the fun and adventure of the original series. The characterization that was missing from The Motion Picture is presented perfectly here. Probably the best decision that Nicholas Meyer made (Meyer wrote the screenplay in 12 days from a collection of previous drafts) was to give Kirk glasses. This one small gesture shows that these characters are in a different place from where they were when the series ended, something The Motion Picture did not accomplish. They humanized them, made them mortal, and increased the emotional impact of the grand finale.

Khan's emotional payoff does not come from his defeat and death, but instead in the best death of and Star Trek character. Adding to that impact is that it is also Trek's most popular and beloved character, Leonard Nimoy's Mr. Spock. It is one of the most touching and poignant moments of any of the Trek films. The performances are perfect, from Kelley's McCoy trying to stop Spock, to Shatner's portrayal of Kirk's grief both in the death scene and the funeral, to Nimoy's portrayal of Spock's death. The writing hits all the right notes, with all the right things being said. It's not how much is said, but what is being said. This probably would not have been so emotional or touching had it not been for the buildup and characterization established throughout the film. This is why characterization and development are so important, and this film really hits a grand slam.

At the heart of the film is Nicholas Meyer's focus on the cycle of life and death. Kirk's constant attempts to cheat death, to the discovery of new life in Kirk's long-lost son, Spock's death intercut with the birth of a new world are wonderfully handled by Meyer. It brings it all into focus. It's not just a movie where things happen, it's a movie that is about something. Spock's death, as tragic and heartbreaking as it is, off-sets the discovery of Kirk's son. Meyer handles the movie's themes so wonderfully you barely notice them as they're happening at all.

The Wrath of Khan is the definitive Star Trek movie. Each film, in some way, has tried to capture that same magic, but to varying degrees of success and none anywhere near the magic that is captured here. Everything is perfect, the writing, Nicholas Meyer's flawless direction, James Horner's swashbuckling score, the effects, the performances. The Wrath of Khan established how to make a Star Trek movie and launched the franchise into a bold new direction. If you want to make a Star Trek movie, this is the one to look to as the perfect example.

(of 4)

Review: Star Trek: The Motion Picture

Directed by: Robert Wise
Produced by: Gene Roddenberry
Screenplay by: Harold Livingston
Story by: Alan Dean Foster
Cinematography by: Richard H. Kline, A.S.C.
Production Designed by: Harold Michelson
Edited by: Todd Ramsay
Music by: Jerry Goldsmith

Cast: William Shatner, Leonard Nimoy, DeForest Kelley, Stephen Collins, Persis Khambatta, James Doohan, George Takei, Majel Barrett, Walter Koenig and Nichelle Nichols

1979 / 136min. / Rated PG (Sci-Fi Action and mild language)

Ten years after its cancellation from television, Star Trek: The Motion Picture marked the first voyage of the U.S.S. Enterprise on the big screen. Even though it launched a film franchise of eleven motion pictures (each of varying success), Captain Kirk and company's first motion picture journey was to mixed results.

When a mysterious cloud plots a destructive path through the Klingon Empire into the heart of the Federation, destroying anything in its path and threatening Earth, the newly-refitted Starship Enterprise is launched before she is ready. Kirk resumes command of the Enterprise, removing it from the young Wilard Decker, who holds a grudge against Kirk for demoting him from his rightful position of command.

As much as it was a result of Paramount trying to capitalize on the success of Star Wars and the renewed interest in Science Fiction, The Motion Picture is more like 2001: A Space Oddysey then it is Star Wars. The Motion Picture is overly long and dull. Too much time is spent on special effects sequences that go on for endless spans of time. While the director's cut (released on DVD in 2001) is able to tighten the pacing, it is not enough to keep it from becoming a snooze-fest. While the special effects are impressive (although some do not hold up to the test of time) and the first fly-by of the refitted Enterprise is glorious, all of this could have been trimmed significantly. Too much emphasis is placed on the visual effects then on the actual story and character interactions.

Another of the film's problems is that this lays the groundwork for some what would lead to Trek's eventual "falling out"; it's becomes caught up in its own tech. Much of the first half hour is spent showing off the new Enterprise. While impressive as the sets appear (for 1979, that is) and are significantly improved over the television sets that look like they could fall over at any moment, too much time is spent showing them off. It's as though the filmmakers are screaming "look how cool this thing looks"! At the same time, the improved look of the Enterprise is a big improvement over the series model.

Much of the first part of the movie is spent on technical jargon and focuses on tech problems that add nothing of significance to the plot. While the initial transporter incident allows for the return of Mr. Spock (Leonard Nimoy), there are things that really could have been left on the cutting room floor. The entire wormhole sequence was completely unnecessary, and resulted in nearly ten minutes of screen time being wasted. This could have been cut and never have been missed.

What adds to the film's dullness is that it lacks real heart. The characters feel flat and dull. It's hard to really care about them. As much fun as it is to see the original characters return, they're dull and not given much growth. We aren't really given a chance to catch up because of all the focus given to the look of the film. While we care about them, it's only because we know who they are. Whereas the new characters of Decker (Stephen Collins) and Ilia (Persis Khambatta) are given no time to develop. While it is told they have a history, it really isn't shown, even though that history and the "feelings" they have for one another play significantly into the conclusion. And unfortunately because of a lack of material to work with, the entire cast almost seems uninterested and are only going through the motions.

DeForest Kelley is strongest as the lovable Dr. McCoy, but he's not given much to work with, walking on and off the bridge at random. There's is one scene where he walks in, watches for a couple minutes, then walks off without anything to contribute. His best moments are when he first boards the ship with the trademark McCoy rant, and later in the captain's cabin when he chews Kirk out, calling him out on his obsession with the Enterprise and that he has no intention of returning the ship to Decker. Unfortunately, Kelley isn't given enough to do.

One of the biggest disappointments is the lack of interaction between Kirk, Spock and McCoy. One of the things that made Star Trek so wonderful was the wonderful chemistry, bickering and dialogue between these three. Shatner, Nimoy and Kelley had such great chemistry in the series, chemistry that is present here, but is so brief that you'll miss it if you blink. Had this interaction and their chemistry been played up a little more, The Motion Picture might truly have had a little more heart.

The Motion Picture does get some things right. Jerry Goldsmith's score is grand and majestic, probably the best Trek score to-date. The main theme (the Enterprise theme) is not only my favorite Trek theme, but probably one of my favorite movie themes of all-time. It is so dynamic it can be used almost any instance. It's so great that Gene Roddenberry chose to use it as the main theme for The Next Generation. Goldsmith's love theme for Ilia is one Trek's most romantic theme and is unforgettable. It's a real shame that Goldsmith, who was nominated for an Oscar for his work, did not get what he deserved.

One of my biggest complaints about the Star Trek movies is that they feel small. They don't feel like big space epics. A lot of that is because of Paramount's desire to keep the budget under control. The Motion Picture, though, has that grand and epic feel. It feels like a big event movie and doesn't feel like it could've been told in a TV series. It's this feeling that helps improve The Motion Picture.

The Motion Picture is also probably the only Trek film that is most like the series in its attempt to be cerebral. It doesn't try to to be exciting, it tries to make you think, particularly with its examination of the question Spock poses, "Who am I? Is there nothing more?" While this is what Star Trek has always attempted (make people think), the lack of heart and engagement detracts from the significance of the finale.

Speaking of the conclusion, almost two hours of the movie is spent building up to a big encounter with V'Ger. The question is pondered throughout, "Who is at the heart of this cloud?" and "Can they be reasoned with?" Unfortunately the payoff is rather disappointing and anticlimactic as we discover just who (or what) V'Ger really is, its origins, and why it is on a quest to reach Earth. It's really these questions that question that keeps the viewer interested in an overly long and dull movie. Had the conclusion been more fulfilling, The Motion Picture most likely would've been a much stronger movie.

The Motion Picture might be a mixed bag of a movie, but it does have its moments and was a big enough success to launch off the Star Trek franchise. With a little more editing both in script and in the editing room, a little bit more character and heart, The Motion Picture could've become a great Sci-Fi classic and the definitive Trek film. As is, though, despite its attempts to be thought-provoking and significant, The Motion Picture is overly long, dull and unengaging, much to its detriment.

(of 4)