Review: Star Trek: Nemesis

Directed by: Stuart Baird
Produced by: Rick Berman
Screenplay by: John Logan
Story by: John Logan, Rick Berman & Brent Spiner
Executive Producer: Martin Hornstein
Cinematography by: Jeffrey L. Kimball, A.S.C.
Production Designed by: Herman Zimmerman
Edited by: Dallas Puett, A.C.E.
Costumes by: Bob Ringwood
Co-Producer: Peter Lauritson
Music by: Jerry Goldsmith

Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marinia Sirtis, Tom Hardy, Ron Perlman, Dina Meyer, Jude Ciccolella, Shannon Cochran, Michael Owen, Kate Mulgrew

2002 / 116min / Rated PG-13 (Sci-Fi Action Violence and Peril and a Scene of Sexual Content)

When a coup d'etat on Romulus overturns the established government, the crew of the U.S.S. Enterprise, on their final voyage together, are sent to meet with the new praetor, Shinzon. But Captain Picard discovers a surprising connection to Shinzon, in that Shinzon is a younger clone of himself.

Nemesis is not a bad movie, it's only a decent movie. There I said it. Despite it being one of the most hated film by all of fandom (in some circles of fandom, the most), it's biggest faults probably lie in it being the wrong Star Trek movie at the wrong time, which probably is why it is so hated.

Nemesis has plenty of good ideas and has the right goals, but it lacks the heart and soul needed to make it a big success. The plot is filled with holes, but even a plot that is thin or filled with holes can be forgiven if it's got plenty of heart and soul. Look at The Voyage Home; thin on plot, but filled with heart, and one of Trek's best. It also suffers from a story that borrows too many elements from previous Trek entries.

From the beginning, writer John Logan and producer Rick Berman said their example for making Nemesis was The Wrath of Khan. Reasonable, considering The Wrath of Khan is widely considered the definitive Star Trek movie. Unfortunately, instead of using it as an example of how to make Trek movie, Logan and Berman used it as their template. Borrowing peace elements from The Undiscovered Country, an evil twin from TNG itself, a super weapon right out of The Wrath of Khan, a big space battle and the death of a beloved character at the end are all elements that have been used in previous Star Trek entries. Unfortunately, they were done better. Nemesis feels too derivative.

The great thing about the Genesis device in The Wrath of Khan was that it was a means to a better future that could easily be manipulated into a deadly weapon. That's not so in Nemesis. A deadly weapon is used as a deadly weapon. For The Wrath of Khan, producer Harve Bennett wanted something that stayed true to the principals of Star Trek, hence the Genesis device's terraforming properties. In Nemesis, thaleron radiation is a made-up biological weapon that does not try to improve anything, only destroy.

The big battle at the end may be impressive in terms of technical and visual wizardry, but in terms of suspense it doesn't match the duke-out at the end of The Wrath of Khan. Khan's brilliance was in that it was two ships that were blinded trying to battle on another and the outcome was determined by strategy. In Nemesis, there is no strategy; merely whoever scores the most hits wins. It's neither compelling nor inventive, and while it is impressive, it's lacking in creativity and enthusiasm. We've seen plenty of battles in Star Trek, and many have been done better then this.

Some of the lack of heart is a result of very little characterization for the cast of The Next Generation. This is meant to be their final voyage, with several key members of the crew heading off for new careers. It takes risks in its marriage of Riker and Troi, and Riker's promotion and reassignment to captain of another starship. Unfortunately, the attempt at giving a family theme fails because most of the characterization is rumored to have been left on the cutting room floor. Nemesis' first cut was rumored at being 160 minutes, with the theatrical release clocking in at 116 minutes. That's a lot of material that is cut out, and most of it is rumored to be character moments. It's greatly missed. Whether it would've improved the quality of the movie depends on whether it was solid material, but one can only wonder. As it is, Nemesis lacks the heart that should be present for TNG's swan song.

Unfortunately, while it is meant to be TNG's final journey, including the death of Data, there are elements that are present to suggest that they were ready for another film. It almost cheats the audience, especially when concerning the death of Data. It makes Data's death almost meaningless, when really it should be as meaningful and significant as Spock's death in The Wrath of Khan.

The villain is found in Shinzon, a clone of Picard depicted by Tom Hardy. Shinzon is a mixed bag as a character. Hardy delivers a strong performance, but the writing for Shinzon is all over the map. His motives are never really clear, nor is his reasoning to destroy Earth. It's just not clear why he has this obsession with destroying Earth. This makes it all the more frustrating when Earth never really seems in danger. It's mentioned, but we never actually do see Earth in jeopardy. The threat isn't very real to us.

The supporting cast of Ron Pearlman and Dina Meyer are wasted in their respective roles. Pearlman's only purpose seems to give Riker something to do during the big battle at the end, while Meyer could easily have been left out entirely.

The pace is very slow. There's never a sense of urgency, and the first hour drags on. The car chase in the beginning is pointless and could have been left out in favor of character development. Even the climactic battle at the end, which goes on for almost half an hour, moves slowly and never really feels suspenseful. It seems more like an exercise in pyrotechnic and space battle effects then anything else. The ideas for something great are there, but they're never given the chance they needed to reach their potential.

Stuart Baird's direction is very bland, adding to the problems in pace. His lack of knowledge with Star Trek adds to the lack of heart. Someone more familiar with the franchise at the helm could possibly have resulted in a better film.

Performances are mixed. While Patrick Stewart and Brent Spiner are strong, with Spiner doubling as the B4 android, the rest of the TNG cast is only going through the motions. Perhaps they've grown a little too comfortable in these roles that they are just coasting through them because of a lack of material.

The special effects are some of the best seen in a Star Trek movie. The production values are top notch, but the material that it's used for just doesn't match. Jeffrey L. Kimball's cinematography covers the sets with shadows, giving Nemesis the look and feel of Star Trek's darkest film outing.

Jerry Goldsmith's score is also rather mixed. His material during the second half with all the action is strong, if uninspired, but it's very weak during the first half. A lack of a standout theme adds to it. It's unfortunately Goldsmith's weakest Trek entry.

This isn't to say Nemesis is entirely bad. There is some good stuff in here, and the attempts to draw parallels between the Picard/Shinzon and Data/B4 plotlines is intriguing, as is the exploration of what makes us who we are. This very inner exploration is what is at the heart of Star Trek. The attempt to move the characters forward with their lives is a bold risk, departing what has been done previously. These characters are given a new direction, and it's definitely more then previous entires attempted, which were too happy in keeping everyone where they were at, just like a weekly episode. It's too bad not enough time was spent on the family and characterizations, because this could've greatly improved Nemesis. The ideas are present, but they're not given the time they need to develop. Nemesis could've used another rewrite or two to favor the characterization instead of the action.

Nemesis had plenty of potential and plenty of good ideas, but it's held back by weak execution and a sense that we've been here before, and have been there better. The results are a film that came at a time when Star Trek needed a big success, but got something weak, almost bringing down the franchise. The worst part about it is that this is the final film for the crew of The Next Generation. Not only is it a disappointing movie, it's an even big disappointment as a swan song. for the beloved crew of TNG. Their final journey should have been much, much more. Just Is it bad? No, not really. It's just not great. It's watchable, but it's lack of heart prevents it from being more, and sees The Next Generation crew retire with a whimper.

1/2 (of 4)

Review: Star Trek: Insurrection

Directed by: Jonathan Frakes
Produced by: Rick Berman
Screenplay by: Michael Piller
Story by: Rick Berman & Michael Piller
Executive Producer: Martin Hornstein
Cinematography by: Matthew F. Leonetti, A.S.C.
Production Designed by: Herman Zimmerman
Edited by: Peter E. Berger, A.C.E.
Costumes by: Sanja Milkovic Hays
Associate Producer: Patrick Stewart
Music by: Jerry Goldsmith

Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Donna Murphy, F. Murray Abraham, Anthony Zerbe, Gregg Henry, Daniel Hugh Kelly, Michael Welch, Mark Deakins, Breon Gorman, Stephanie Niznik, Michael Horton, Peggy Miley

1998 / 103min / Rated PG (for sci-fi action violence, mild language and sensuality)

A planet inhabited by the peaceful Ba'Ku turns out to be a veritable Fountain of Youth. When the Son'a and the war-torn Federation seek to exploit the planet in order to rejuvenate themselves, Captain Picard and the crew of the Enterprise rebel against their own people in order to defend the Ba'Ku.

Following on the heels of Star Trek: First Contact is no easy task. And Insurrection had the unfortunate position of being the follow up to one of Star Trek's best films. Insurrection isn't a bad film per say. It's entertaining and lightweight, but maybe a little too lightweight and too thin on plot and story. Not only does it play things too safe, there's never any feeling that this was a story that needed to be told, at least as a movie, as it feels like an extended episode of the series.

There are things that work about Insurrection, which I must add, is a very overstated title for what takes place here, as there is no real insurrection to be found in the story. Perhaps "rebellion" would have been a more fitting title. There are good ideas that could've been exploited to make a very dramatic film, especially the possibility of a "fountain of youth" that is discovered on the planet of the Ba'Ku, but the drama is played down in favor of lightweight comedy. Unfortunately, comedy was something the crew of The Next Generation wasn't good at.

There are too many attempts to force comedy instead of allowing it to flow naturally from the story. This is TNG's attempt to make their own verision of The Voyage Home, but what made TVH work was it was a fish-out-of-water story (pardon the pun) in which the crew was in an unfamiliar situation. The humor tries to come from the crew being rejuvenated by the fountain of youth, resulting in youthful tendencies. But when Picard, Data and Worf break out into song, Worf developes Klingon acne, Picard breaks out into dance, and Beverly and Deanna discuss the firmness of their boobs much to the puzzlement of Data, it all falls flat.

The performances from the Next Generation crew are fine. They're definitely having fun with what they're being given, and Jonathan Frakes always seems to know how to get the best out of his shipmates. It's the additional cast that is lacking. Patrick Stewart's love interest is found in Donna Murphy's Anij, but Murphy is bland, wooden and seems uninterested. And Anthony Zerbe's Admiral Dougherty is so naive, you can't help but wonder how he reached such a high rank.

F. Murray Abraham delivers a performance that is so over-the-top as the film's villain of Ru'afo that it's too comic book-like. There isn't much depth or dimension to this character. He has motivation, but that motivation is never explored until the closing act, but even then it's touched upon so briefly that it's almost as though it's an after-thought. Ru'afo turns out to be one of Star Trek's weakest villains.

There are worthy attempts at doing things with the crew that weren't done previously, but the attempts are a mixed bag. The Picard-Anij romance is never given room to bloom. It would've been interesting to see Picard with a deeper romance, but that never goes anywhere. The Riker-Troi romance is revisited from the series. I'm a big fan of the Riker-Troi romance, with Imzadi being one of my favorite novels. Unfortunately, it's not given much time here and feels like it's coming out of the blue. If these were another entry into a weekly series, it would be fine. But this is a film where we only see the crew every couple of years. There's not enough revealed here to make it substantial enough to hold any water.

Data's exploration of what it's like to be a child feels too much like we've been there before. Unfortunately, it also ignores the progress Data has made over the last two movies. It's almost as though the filmmakers needed to give Data something to do and couldn't come up with anything else. His story is probably the weakest of all the character threads. And unfortunately, Worf, Geordi, and Beverly are once again very little to do. Worf is used as awkward comic relief, bumping his head and breaking out with zits, while Beverly is almost ignored. Geordi develops natural sight for the first time in his life, but other then dumping the warp core, he's not given anything to do.

There is plenty of action for the mainstream appeal, although seeing Picard, Data, Worf, Troi and Crusher battle robotic drones isn't very interesting, although is technically done well. The best action is the space battles between the Enterprise and the Son'a ships in the midst of the Briar Patch nebula. The battle is fresh and new, departing from the normal TNG battle formula. The ejection of the Enterprise's warp core is fun, and seeing attitude from Riker is a real joy. The Son'a step on his feet, and he's ticked off about it. It's real fun!

For the most part, though, while the special effects aren't bad, they are too cartoony for a Science Fiction film franchise like Star Trek. The best effects are in space, but when placed against the natural vistas, they don't work as well. The climax is real pleasure to watch, though, as the Enterprise races across the exploding hull of the Son'a collector. The effects aren't the strongest in the franchise's history, but they work.

The ever-reliable Jerry Goldsmith delivers another very strong score, with a light, innocent theme for the Ba'Ku, and some of the series' best action music.

Michael Piller's script is a mixed bag. It feels as though there are ideas there, but they are never given time to be explored. Insurrection could've been ripe with deep, heavy drama but too much time is spent trying to make it funny that the movie nevers reaches its full potential. Jonathan Frakes proved himself a strong director in First Contact, and he does well here once again, especially with the action, but the material he has to work with is weaker then he previously got to work with. It's still solid direction, but it fails to rise far above the source material.

Insurrection isn't bad, it's just very mixed. It's entertaining, but it's thin. It has the potential for a great Star Trek movie, with plenty of heart and stays very true to the principals of Star Trek, but too much forced comedy, a weak villain and the story never opening beyond the feeling of an extended TV episode leads this to be not only one of Trek's weakest adventures, but TNG's weakest.

1/2 (of 4)