Review: Star Wars: Attack of the Clones

Star Wars: Attack of the Clones is a marked improvement over The Phantom Menace but still doesn't match the classic trilogy. George Lucas continues to struggle with heavy exposition, clunky dialogue, and lack of solid characterizations, but he still provides a fun, exciting and highly entertaining movie. Click for my full review 73/100

Review: Star Wars: The Phantom Menace

Continuing to make my way through the Star Wars Saga, I've posted my latest review on my Review Blog. Enjoy!

Facing insurmountable expectations, it's no surprise that The Phantom Menace disappoints even the most casual of fans. Even in hindsight that disappointment is well justified. George Lucas's return to a galaxy far, far away is a visual treat filled with groundbreaking visuals and gripping action. However, it's lack of a strong plot and the deep characterizations and charm that made the original Star Wars trilogy so beloved keeps it from achieving it's promised heights. Click for my full review 60 / 100

Check Out My New Review Blog!

As I try to refine my writing skills, I will be writing more movie reviews. So that I make my posts about family and other things I choose to blog about more easily accessible, I've decided to create a separate blog specifically for movie reviews.

Please feel free to check out Captain Jon's Reviews, my new movie review blog! I've already posted two reviews; Star Trek Into Darkness (it's the same review I posted here) and The Adventures of Tintin.

Enjoy!

Review: Star Trek Into Darkness

Directed by: J.J. Abrams
Produced by: J.J. Abrams, Bryan Burk, Alex Kurtzman, Damon Lindelof, Robert Orci & Ben Rosenblatt
Written by: Alex Kurtzman, Damon Lindelof & Robert Orci
Executive Producers: Jeffrey Chernov, David Ellison, Dana Goldberg & Paul Schwake
Cinematography by: Dan Mindel
Edited by: Maryann Brandon & Mary Jo Markey
Production Designed by: Scott Chambliss
Costumes by: Michael Kaplan
Music by: Michael Giacchino

Cast: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Peter Weller & Alice Eve

2013 / 133 minutes / Rated PG-13 (intense sequences of sci-fi action and violence)

Synopsis
A series of attacks against Starfleet send Captain Kirk and the crew of the Starship Enterprise on a manhunt to bring the man responsible to justice. But Kirk, Spock and crew uncover a conspiracy that challenges the very principles of the Federation, a man willing to go to any length to defend his way of life, and a nemesis unlike any other the crew will ever face.

Review
With its opening scene, Star Trek Into Darkness takes off running and never lets up. With a chase that plays tribute to Raiders of the Lost Ark, we find Kirk (Chris Pine) and McCoy (Karl Urban) fleeing a tribe of primitive aliens after stealing a religious relic so they can lure them away from their village. Said village is in the destructive path of a volcano about ready to erupt unless Spock (Zachary Quinto) can stop it by dropping inside and detonating a "super ice cube". The entire sequence is top notch with colors that harken back to the original series and shows the crew working together to save an alien race.

The Enterprise rising from the ocean

Kirk is ultimately put in a position to choose between violating revealing the Enterprise to the primitive natives and thereby violating the Prime Directive, or allow Spock to die for "the needs of the many". Since we're only ten minutes into the movie, Kirk's choice is rather obvious yet the dilemma is classic Trek. The Enterprise rising from its hiding place underwater right in front of the natives, forever reshaping their society as they begin to worship the mysterious ship. Why is the Enterprise hiding underwater instead of orbiting safely in space? It doesn't make sense but the visual effects mixed with Michael Giacchino's rousing score is most thrilling!

Pike scolds Kirk and Spock for violating the Prime Directive

There's no time to take a breath before Abrams throws us into the plot of Benedict Cumberbatch's mysterious John Harrison. It's clear throughout the film that this villain's manipulations are constantly at play and one can't help but wonder what he has in store next. As Harrison unleashes his first attack on Starfleet, we find Kirk facing the consequences of his actions from the opening sequence. Kirk is swiftly demoted, though this turns out to be rather pointless as he returns to command barely five minutes later. However, it's still a delight to watch Bruce Greenwood's Admiral Pike chewing out Kirk and Spock, especially when Spock lands a couple of straight-man comic barbs during the exchange.

The plot hits full throttle as Harrison attacks Starfleet Headquarters, killing Pike in the process. Admiral Marcus (Peter Weller) sends Kirk and the Enterprise into Klingon space armed with long-range warheads to kill Harrison in retaliation. Kirk, wanting revenge for Pike's death, is eager to comply without question. Yet Spock and Scotty (Simon Pegg) argue the moral implications of their mission; follow orders and kill Harrison or capture him and allow him to face a fair trial. What's intriguing about this question is the parallel that it draws (maybe a little too obviously) to the manhunt for Osama bin Laden. Star Trek has always been about making social commentary and it's nice to have such an issue raised here. The drawback, however, is that Into Darkness's brisk pace doesn't allow much time for the question to be debated; Kirk quickly decides to go against Marcus's orders and bring Harrison to justice.

Khan is back and this time he's here to help...or is he?

Following a rather lackluster action sequence on the Klingon homeworld, Harrison surrenders and his mind games begin as he calls upon Kirk to question the motives behind his orders. Cumberbatch is truly Trek fans very familiar with franchise history, newcomers with no prior knowledge will undoubtedly find the moment a little flat. The writers kind of assume that Khan's history is common knowledge, his backstory left rather vague; a little more detail would've been nice. Still, the team of writers bring a new interpretation of Khan and avoid retreading what was done with the character in TOS's Space Seed and Star Trek II: The Wrath of Khan. Throughout the movie, you're left questioning if Khan can be trusted as he cooperates with Kirk (even helping him) or if he's got some other hidden motive at work. I'd like to point out, however, that it's Kirk who eventually betrays Khan. Just saying...

Despite Khan's presence, he is not the primary villain. With Khan's guidance, Kirk and crew eventually uncover a conspiracy to start a war between the Federation and Klingon Empire. In a nice twist and a frightening reveal, the mastermind is revealed to be Admiral Marcus commanding a Starfleet warship he and Khan built in secret. Marcus's plan; use Khan's warrior ingenuity to use the secretive Section 31 (a nice nod to Deep Space 9) to build up Starfleet's weapons in order to engage the Klingons in open war. Marcus's motives are fueled by fear following the events of 2009's Star Trek that saw the destruction of Vulcan and the near-destruction of Earth. Marcus wants to ward off any further threats to the Federation head on, even if it means compromising the Federation's peaceful mission in order to protect their way of life. Peter Weller is excellent, strongly conveying Marcus's convictions and he stands out as one of Star Trek's better villains.

Peter Weller is excellent as Admiral Marcus

This presents an allegory to the dilemma presented in today's post-9/11 world. With all the debates surrounding secret surveillance, torture in interrogation and the preemptive war in Iraq, our world has been presented with the question of how far we should go in order to protect our way of life. Into Darkness presents us with two different reactions to the problem. With Kirk we find a character who, at first, is willing to compromise his values to avenge the death of Admiral Pike. Kirk, however, choses to hold true to his values. Marcus, on the other hand, has succumbed to his fear following the destruction of Vulcan and is willing to go into darkness (hence the title) to protect his way of life, regardless the cause. It's an intriguing debate raised by a film that proves itself to be more than your typical summer popcorn fare.

Unfortunately, it's also at this point as the conspiracy ultimately unfolds where the plot becomes a little too convoluted and credibility is strained in order for the pieces to fall into place. Khan's role is a bit of a stretch, something that even Kirk points out as he questions why a Starfleet admiral would seek out the help of a 20th century relic.

Having said that, the script from Alex Kurtzman, Robert Orci and Damon Lindelof is mostly solid. Like its 2009 predecessor, Into Darkness's dialogue is sharp and witty with plenty of jokes to go around. Abrams gives the same conviction and energy in his direction that he did in his previous outing, though there isn't the same sense of urgency as there was in Star Trek, probably because this isn't about assembling the crew. Still, the action is well-handled with most of the sequences quite thrilling. A couple, however, don't work as well as others. The aforementioned Klingon sequence, as well as the final chase between Spock and Khan through San Francisco, which drags out the runtime a few minutes too long. The space dive from one ship to another is thrilling yet derivative of the space jump done in Star Trek.

Acting-wise the cast is solid, though some of the characters do suffer from diminished roles. Pine continues to prove himself excellent as Kirk, though I must admit that I'm ready to see the smooth, confident Captain Kirk of the television series. Quinto and Pegg handle the comic aspects of their roles with aplomb, yet still manage to execute the serious moments as well. Pegg especially is given an expanded role and handles it well. McCoy, sadly, has a more diminished role though Urban makes the most of his time and John Cho as Sulu has a couple strong scenes. Zoe Saldana is given less to do as well, with the majority of her role now to serve as Spock's angry girlfriend. Chekov's role is greatly diminished, suffering the most of everybody. However, the cast is one again excellent, each member sliding easily back into their roles and showing more confidence.

Alice Eve is decent as Carol Marcus and I'm interested in seeing what more can be done with the character. Unfortunately so much time is spent on the plot that very little is done with her. The underwear scene from the promos? Just as pointless here as it was there.

As far as Leonard Nimoy's cameo is concerned, I'm honestly torn. On one hand, it's nice to see the original Spock back. On the other hand, it's rather unnecessary since Quinto's Spock could easily have looked upon Khan's past in the computer, just as the original Spock did in Space Seed. Nimoy's presence also represents the filmmakers' hesitance at completely cutting the umbilical cord to the original universe. It's as though they want to reassure fans that everything that happened from 1966 to 2005 still exist and hasn't been erased. For these new films to truly succeed, Abrams and company must dare to push forward without leaning on the past. You can respect the past without being beholden to it.

The film's most frightening sight: the U.S.S. Vengeance
chases down and attacks the Enterprise at warp

Visually Into Darkness is the best looking Star Trek film to date. The effects are top-notch, by far surpassing the work done four years ago. I wasn't as put-off by the use of lens flare this time around as I was last, though it would be nice if Abrams cut back a little more. One of the best sequences (and most chilling) was the sight of the Vengeance bearing down upon the Enterprise and attack it mid-warp, knocking the ship to a halt near Earth's moon. It's a fantastic sequence and even tops, in my opinion, the two starships falling to Earth at the end of the film. Though the crash of the Vengeance into San Francisco isn't as spectacular as the Enterprise-D crash in Star Trek: Generations (I still point to that as how to crash a starship), it's still quite incredible.

Michael Giacchino returns in his second outing as composer, bringing back some of his themes from his previous work. His theme for Khan is simple yet suspenseful. His score here is stronger than Star Trek because it brings a much more mature sound than before. Giacchino has grown as a composer over the last four years and it's great to hear the maturity come across here.

Powerless, the Enterprise falls to Earth

At the end of the day, however, the focus of Into Darkness is the growing relationship between Kirk and Spock. Pine and Quinto continue to display their excellent chemistry and their work is solid, bringing back fond memories of William Shatner and Leonard Nimoy. Because we can believe in their friendship and the two work so well together, it makes the film's ending work. I have intentionally saved this aspect of my review for last as I'm about to dive into what's easily the most controversial aspect of the entire movie. In order to save the Enterprise from its fall to Earth, Kirk must realign the warp core; to do so would mean a lethal dose of radiation.

Yes, this is The Wrath of Khan but with a twist. It's easy to see how many Star Trek fans would be upset with some lines directly lifted from the 1982 movie. Some will attribute this to laziness, however I find it to be a nice homage and it provides a different emotional value from The Wrath of Khan. In The Wrath of Khan, Spock's death was the culmination of years of friendship between Kirk and Spock. Kirk's Into Darkness death is the solidification of their friendship. It works so well because Pine and Quinto sell it. In the hands of less-capable actors, it would've fallen flat and been a travesty. Yet, they make it work. The only aspect of the scene that doesn't work (I even chuckled) is Quinto's scream of "Khaaaannn!" It was a little too over-the-top.

The Wrath of Khan with a twist; Kirk meets his end to save
the Enterprise and her crew

Kirk's death, however, is more than just the beginning of his friendship with Spock. It also marks him becoming the captain he's always been meant to be and follows through on the theme established in Star Trek, whether intentionally or not. When Kirk and Spock first met, Spock challenged Kirk to realize that a captain cannot cheat death. Here, Kirk is presented with the no-win scenario he cheated his way through in the Academy and realizes that in order to save his crew, he must die. It's nice to see Kirk come full circle and grow from being brash and arrogant to being humble and selfless.

Of course, we can't have the next film be Star Trek The Search for Kirk, so we're presented with Khan's superhuman blood that has magical healing properties. Kirk is thereby revived and is ready for his next adventure. Khan's super-blood is a little too contrived and a bit of a cheat, but it isn't enough to scuttle the movie.

Overall, Into Darkness is another fun, solid entry into the Star Trek film franchise. It's not as fresh as its predecessor, yet it's one of the better films. I'm ready for Abrams and company to cut the cord to the original universe and do their own thing with this new universe, but Into Darkness is a fine tribute to Star Trek's past. In an era where rebooted franchises (like Battlestar Galactica and Christopher Nolan's Dark Knight trilogy) are dark and serious, J.J. Abrams' Star Trek films are a welcome glimmer of light that make you feel hopeful for the future, something that Gene Roddenberry envisioned with the original series. There's plenty of heart and spirit and a good allegorical message to make us look at what's going on in our world today, something which holds true to the very spirit of Star Trek that Gene Roddenberry envisioned nearly fifty years ago.

The Enterprise boldly goes onto its next adventure

Bring on the fiftieth anniversary!

Writing: 1.25
Character: 1.25
Acting: 2.0
Entertainment: 2.0
Music: 1.0
Visuals: 1.0

TOTAL: 8.5 / 10

Star Trek Movie Reviews, Part IV: The Classics

And here we have it: the best of all the Star Trek films! This is the top tier which features the two films which are easily the most classic and popular of the franchise!

2

Star Trek II: The Wrath of Khan

In what became the Trek to beat, The Wrath of Khan gets every aspect right. Nicholas Meyer's directing and (uncredited) writing nails the adventure missing from the first feature, delivering stellar action, excellent acting, and Trek's premiere villain. Ricardo Montalban is fantastic as he reprises his role of Khan from the original series, stealing every scene he's in. The themes of life and death are wonderfully handled.

There's very little to find wrong here. If anything can be held against it, it's the lack of roles for the supporting cast and slow pacing that doesn't hold up to today's standards. It's also a shame that so many of the film's visual effects in the beginning are recycled from The Motion Picture. Featuring the franchise's most memorable scene, The Wrath of Khan is Star Trek in top form. Full review

Story: 2 / 2

Characterization: 1.75 / 2

Acting: 2 / 2

Entertainment: 2 / 2

Music: 1 / 1

Visuals: .75 / 1

9.5 / 10

1.

Star Trek: First Contact

The Next Generation's first solo venture not only is their best film but also challenges The Wrath of Khan as the franchise's best outing. Every aspect is in top form including a tightly written script, great acting and strong direction. Patrick Stewart gives his best performance in all four TNG films, particularly in the conference room scene with Alfre Woodard. Alice Krige brings the right balance of sinister and sexy as the Borg Queen. The effects are excellent, seamlessly blending into everything that goes on while Jerry Goldsmith returns with a beautiful theme. First Contact proves that The Next Generation could soar on the big screen, even if that potential would never be realized again. Full review

Story: 2 / 2

Characterization: 1.75 / 2

Acting: 2 / 2

Entertainment: 2 / 2

Music: 1 / 1

Visuals: 1 / 1

9.75 / 10

Star Trek Movie Reviews, Part III: The Good to Excellent Tier

The next tier in the Star Trek film franchise are the movies that are either good or excellent. These are the ones that succeed on most levels and are close to being in the top tier of classic Trek.

 

6.

Star Trek III: The Search for Spock

Following up a strong entry into any series is a daunting task, especially when said entry is The Wrath of Khan. But The Search for Spock manages to hold its own quite well, featuring William Shatner's best performance in the series. Spock's resurrection is a bit of a stretch, pushing the realm of Fantasy more than Sci-Fi, but it does work. The most exciting sequence is the theft of the Enterprise while the all-too-brief space battle against the Klingons doesn't hold up to the standard set by The Wrath of Khan.

What holds The Search for Spock back, though, is its rather lackluster villain and  its rather predictable outcome especially since the title tells you everything you need to know about the plot of the movie. With a title like The Search for Spock, there's only one way this movie can end! It's also unfortunate that Kirstie Alley did not hold over in the role of Saavik as Robin Curtis is rather bland. Overall though, The Search for Spock is a solid entry into the Star Trek franchise. Full review

Story: 1.5 / 2

Characterization: 1.5 / 2

Acting: 1.5 / 2

Entertainment: 1.5 / 2

Music: .75 / 1

Visuals: 1 / 1

7.75 / 10

5

Star Trek IV: The Voyage Home

Leonard Nimoy's second spin in the director's chair gives us Star Trek's funniest and lightest entry. This fish-out-of-water tale (no pun intended) sees the Enterprise crew in 1986 San Francisco trying to find a pair of humpback whales to save 23rd century Earth. Yes, the story is really that absurd but it's the focus on the crew fumbling around in the past that makes it work. It features some of the cast's finest, most laid back performances. The writing is excellent, bringing fresh and witty dialogue to the whole affair, particularly in the 20th century scenes (reportedly, Nicholas Meyer's biggest contribution to the script). It's one of the franchise's strongest entries. Full review

Story: 1.25 / 2

Characterization: 2 / 2

Acting: 2 / 2

Entertainment: 2 / 2

Music: .5 / 1

Visuals: 1 / 1

8.75 / 10

Tie-3

Star Trek VI: The Undiscovered Country

The return of Nicholas Meyer sees the Star Trek film franchise back in form (after the wreck of Star Trek 5) just in time for its 25th anniversary. The cast delivers strong performances for their swan song in a story that's a fitting farewell. The fall of the Klingon Empire is a remarkable parallel to the fall of the Soviet Union which happened not long after the movie was made, especially since the Klingons symbolized the Soviets in the 60s TV series. Cliff Eidelman's brooding and dark score is the series' most unique and the visual effects were the best up to that point, particularly in the climactic battle.

And of course, who can't forgo mentioning Christopher Plummer's mesmerizing turn as General Chang, the one-eyed Shakespeare quoting Klingon who is one of Star Trek's best villains. Nicholas Meyer doesn't ease the film's pace, constantly moving things briskly forward and setting a tone that's quite different from any other entry in the franchise. The biggest gripe that I have is that there are some small plot holes which allow things to fall conveniently into place, but this is very minor. The ending is perfect as the original Star Trek crew is allowed to sail off into the sunset. Full review

Story: 1.5 / 2

Characterization: 1.75 / 2

Acting: 2 / 2

Entertainment: 1.75/ 2

Music: 1 / 1

Visuals: 1 / 1

9.0 / 10

Tie-3

Star Trek

Taking the helm of the floundering franchise, JJ Abrams brings the fun and adventure back in this fast-paced, thrilling entry that successfully reboots the series while acknowledging what's come before it. The most daunting task for this film would be the casting, bringing young actors into some of Science-Fiction's most iconic roles. All around, they nailed it. Chris Pine and Zachary Quinto are excellent as young Kirk and Spock, making the roles their own. The rest of the cast is also great, particularly Karl Urban in a take that is a wonderful tribute to the late-DeForest Kelley. It's also great to see Leonard Nimoy return as Spock from the future for the first time in nearly 20 years.

The story presses forward with a sense of urgency, never really letting up until the final third of the movie. Unfortunately, that's when the script does make some big leaps of logic to make things work (Kirk coincidently runs into old Spock's cave which is within walking distance from Scotty) but you're so caught up in the fun of it all that you hardly notice. The finale is strong but doesn't measure up against the action in the middle part of the film, particularly the exhilarating space dive. Yet as the crew falls into place at the end and takes their place at the helm of the Enterprise, you can't wait for the next mission to begin. It's a very strong entry yet you can't help but feel like JJ Abrams has yet to bring the best. Full review

Story: 1.5 / 2

Characterization: 1.5 / 2

Acting: 2 / 2

Entertainment: 2 / 2

Music: 1 / 1

Visuals: 1 / 1

9.0 / 10

Star Trek Movie Reviews, Part II: The Mediocre Tier

The mediocre tier of the Star Trek films are those that had potential to be something more but missed the marked in some form or another.

9

Star Trek: Insurrection

If there was an award for Most Overstated Title, it would go to Insurrection. While The Search for Spock was a strong entry in the shadow of The Wrath of Khan, Insurrection is less-so against First Contact. It plays like a two-part episode of the series more than a feature film, with production values that are noticeably lower as sets from the various series are redressed. The visual effects are cartoonish at times, not measuring up to what's seen in the rest of the series.

The cast of The Next Generation gives it their all but most of them are given very little to do, some even being relegated to comic relief. The less that is said of F. Murray Abraham's Ru'afo the better. The film is fun and well-directed but Michael Piller's script is lacking in scope. There's not a lot that is worthy of a feature film here. Full review

Story: 1 / 2

Characterization: 1 / 2

Acting: 1.25 / 2

Entertainment: 1.25 / 2

Music: 1 / 1

Visuals: .5 / 1

6.0 / 10

8

Star Trek Nemesis

Nemesis is far from the disaster many fans make it out to be, but it's also far from being great. There's plenty of potential here with some good ideas in John Logan's script. Unfortunately, a lot of that potential is squandered due to Stuart Baird's uninspired directing that results in snail-pacing which led to a lot of the best character-driven elements being left on the cutting room floor. A lot of what's wrong with the script could've probably been overlooked had the cast not been going through the motions. There's a serious lack of heart in Nemesis which makes the film's flaws even more noticeable.

The visual effects are top-notch but that doesn't help save the battle sequences which are slow and not very thrilling as one's left with the feeling that we've been here before and better. You can tell that Logan was inspired by The Wrath of Khan but Nemesis by far misses the mark for which they were aiming. Perhaps a better director could've pumped some energy and inspiration into it to make Nemesis the send-off the crew of The Next Generation deserved. Full review

Story: 1.25 / 2

Characterization: 1.25 / 2

Acting: 1.25 / 2

Entertainment: 1 / 2

Music: .5 / 1

Visuals: 1 / 1

6.25 / 10

7

Star Trek: Generations

The cast and crew of Star Trek: The Next Generation makes the leap to the silver screen with mixed results. Ronald D. Moore and Brannon Braga's script has plenty of ambition and big ideas that could never have been executed on TV at the time but it's in their execution that it's lacking. The script is bogged down by plot holes and the technobabble that riddled the franchise through most of its run in the 90s. The villains (found in Dr. Soran and the Duras sisters) are underwritten, with the Duras sisters' plans never clearly presented.

The first meeting of William Shatner's James T. Kirk and Patrick Stewart's Jean-Luc Picard should've been epic and exciting! Instead, it's the movie's low-point where everything grinds to a halt. It doesn't help that Shatner acts laps around Stewart who is by far the superior actor yet is no match for Shatner's charisma. Dare I say that their meeting is actually boring? As a result, Generations peaks too early; with the thrillingly realized destruction of the Enterprise-D. If you want to learn how to crash a ship in a movie, look no further than here.

Generations manages to capture the feeling of The Next Generation series better than any of its other entries, including the far superior First Contact. There's plenty of potential here and this could've been a great film debut for TNG. Unfortunately, it's a mixed bag. Full review

Story: 1.25 / 2

Characterization: 1.25 / 2

Acting: 1.5 / 2

Entertainment: 1.5 / 2

Music: .5 / 1

Visuals: 1 / 1

7.0 / 10

Star Trek Movie Reviews, Part I: The Lower Tier

Having already done a thorough review of each of the previous 11 installments into the Star Trek film franchise, I won't delve as deeply into the movies. Instead I will offer a miniature "capsule" review that sums up those reviews and will begin with my least favorite Star Trek movie and work my way to my favorite.

I will also be using a new grading scale. Instead of the 4-star system I have used in past reviews, I will now use a 1-10 grading scale in which I will grade different aspects of the movie and add them together for a final score. Said grading scale is as follows:

Story: The strength of the story, any plotholes that exist and the overall writing (2 points)
Characterization: The characters as presented in the script. Are they believable? Are they developed? (2 points)
Acting: The overall action (2 points)
Entertainment: Is the movie entertaining? This includes pacing and direction. (2 points)
Music: The quality of the music. (1 point)
Visuals: Not all movies have visual effects, so this also represents the overall cinematography and visual presentation of the film. Obviously because music and visuals aren't as crucial (yet still a factor) to the overall quality of the film, they are given lower point values. (1 point)

And now, we will begin with what I believe are the "lower tier" of the Star Trek movies. These are the ones that just are plain and simple not good and borderline bad.

11

Star Trek V: The Final Frontier

The Final Frontier is easily the worst and most painful to watch of all the Star Trek movies. From it's horrible visual effects to its laughable laughing villain, it's an all-around mess. The portrayal of the Enterprise's secondary crew is horrible as they fall so easily under the influence of Sybok. The promise of finding God is so great that it can go one of two ways: 1) They actually find God and once you do, how do you possible continue exploring after that? Or 2) You don't find God but something terrible instead.

What I do give this movie credit for is the attempts it made to show the family dynamic of the crew who have served together for so many years. Though they're otherwise portrayed poorly, this is one positive aspect of their characterizations, particularly the relationship between Kirk, Spock and McCoy. The other thing that is right in this movie is Jerry Goldsmith's stellar score. Otherwise, you're best doing what Gene Roddenberry did; Pretend like this movie never happened. Full review

Story: .5 / 2

Characterizations: .25 / 2

Acting: .5 / 2

Entertainment: .5 / 2

Music: 1 / 1

Visuals: .25 / 1

3.0 / 10

10

Star Trek: The Motion Picture

Star Trek's first foray onto the big screen is hindered by a story that recycles and mashes together plots from episodes from the 60s TV series and a cast that's stiff and flat. The film's pacing drags along with long stretches of time where there's little to no dialogue. Any sense of adventure from the original television series is unfortunately missing, replaced by boredom. Though Jerry Goldsmith's majestic score is one of the franchise's finest and the visual effects are outstanding for 1979, they're not enough to salvage this uninspired effort. Full review

Story: .75 / 2

Characterizations: .5 / 2

Acting: .5 / 2

Entertainment: .5 / 2

Music: 1 / 1

Visuals: 1 / 1

4.25 / 10

The Music of Star Trek, Part III

I decided to group the top five soundtracks for the Star Trek franchise all together because they're all so excellent that it was really hard to figure out which ones I liked the most. I honestly was torn when coming up with this list of the top 5 Star Trek scores because the music for each film is really excellent.

5. Star Trek V: The Final Frontier / Jerry Goldsmith
If there is one shining light in the mess that is Star Trek 5, it's Jerry Goldsmith's superb score which manages to rise above the fray. It's wonderful to hear the return of Goldsmith's theme for the Enterprise that he originated in The Motion Picture, as well as more extensive use of his Klingon battle theme. His music for the mountain climbing sequence at the beginning of the movie is beautiful and it's a shame it's only other use is in the film's penultimate scene to represent the friendship between Kirk, Spock and McCoy which is a major part of the movie. It's a very minor gripe, though, about a score that is otherwise excellent.

Highlights: 3. The Mountain / 7. Target Practice / 8. A Tall Ship / 12. Open the Gates / 14. Without Help / 20. The Barrier / 21. A Busy Man / 22. An Angry God / 23-24. Let's Get Out of Here / 25. Cosmic Thoughts / 26. Life Is a Dream (End Credits)

 1/2

4. Star Trek: First Contact / Jerry & Joel Goldsmith
After hearing it's beautiful French Horn theme for the first time in the movie theater in 1996, I was hooked on this soundtrack. Jerry and Joel Goldsmith's soundtrack for Star Trek: First Contact was the first movie soundtrack I ever owned and thus has a special place in my heart. The music is top notch from the father and son duo, though some of the music for the Data/Borg Queen scenes is a little too low-key for my taste. Otherwise, from its suspenseful and menacing use of the Borg theme to the main theme representing First Contact with the Vulcans, this remains one of my favorites in the franchise.

Highlights: 1. Main Title / 6. Red Alert / 14. Retreat / 23. Bridge Argument / 24. This Far, No Further / 25. Evacuate / 28. Flight of the Phoenix / 29. First Contact / 30. End Credits

 1/2

3. Star Trek II: The Wrath of Khan / James Horner
Having to follow-up Jerry Goldsmith's Oscar-nominated score for Star Trek: The Motion Picture would seem like a daunting task that no one could live up to yet young composer James Horner rose to the occasion for The Wrath of Khan. Both Horner's primary and secondary themes soar with great beauty that stand apart from Goldsmith's Enterprise theme. His scoring during the film's space battle scenes is fantastic, perfectly capturing the suspense and thrill of what we see onscreen. Horner's score is an instant Trek classic!

Highlights: 1. Main Title / 5. Enterprise Clears Moorings / 7. Spock / 8. Kirk Takes Command & He Tasks Me / 10. Surprise Attack / 11. Kirk's Explosive Reply / 17. Battle in the Mutara Nebula / 18. Enterprise Attacks Reliant / 19. Genesis Countdown / 20. Spock (Dies) / 21. Amazing Grace / 22. Epilogue & End Credits



2. Star Trek: The Motion Picture / Jerry Goldsmith
Jerry Goldsmith set the bar pretty high with his score for Star Trek: The Motion Picture. From his theme for the Enterprise (which would go on to be the main theme for Star Trek: The Next Generation) to his Klingon battle theme and his music for the V'Ger flying sequences, Goldsmith's music manages to stand above the movie it helps narrate. If there was a Star Trek score that should've taken Best Original Score in the Academy Awards, this is the one that deserved it the most. Full review

Highlights: 2. Main Title & Klingon Battle / 4. Floating Office / 5. The Enterprise / 8. Leaving Drydock / 11. Spock's Arrival / 13. Meet V'Ger / 15. V'Ger Flyover / 18. Games & Spock Walk / 21. Inner Workings / 23. The Meld & A New Start / 24. End Title / 25. Ilia's Theme

1. Star Trek VI: The Undiscovered Country / Cliff Eidelman

It would seem fitting that the #1 spot this list should go to Jerry Goldsmith's The Motion Picture. At the end of the day, Cliff Eidelman's one visit to the franchise in The Undiscovered Country rests as my favorite score. As soon as its first six notes begin to play you know that this is going to be something different and it truly is the most unique score in the entire franchise. Eidelman and director Nicholas Meyer were really smart to not worry about topping what came before with another fantastic march but instead create a beast of its own for this movie and it really works. Eidelman's music captures the suspense wonderfully while also doing a remarkable job scoring the quiet moments. His majestic theme representing the crew (used very sparingly) is outstanding especially in its rendition at the end of the movie. And who can go without mentioning the music during the climactic race to prevent war as the music grows louder and quicker with each passing moment. It's a shame Eidelman's career hasn't been bigger and I wish that he would get the opportunity to revisit this franchise for he truly delivered a classic score.

Highlights: 1. Overture / 3. Spacedock & Clear All Moorings / 4. Spock's Wisdom / 6. Assassination / 7. Surrender for Peace / 11. Rura Penthe & First Sight of Rura Penthe / 13. First Evidence & The Search / 14. Escape from Rura Penthe / 18. Dining On Ashes / 19. The Battle for Peace / 20. The Undiscovered Country / 21. Sign Off / 22. Star Trek VI Suite