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)

Review: Star Trek: First Contact

Directed by: Jonathan Frakes
Produced by: Rick Berman
Screenplay by: Brannon Braga & Ronald D. Moore
Story by: Rick Berman, Brannon Braga & Ronald D. Moore
Executive Producer: Martin Hornstein
Cinematography by: Matthew F. Leonetti, A.S.C.
Production Designed by: Herman Zimmerman
Edited by: John W. Wheeler, A.C.E.
Costumes by: Deborah Everton
Co-Producer: Peter Lauritson
Music by: Jerry Goldsmith

Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marinia Sirtis, Alfre Woodard, James Cromwell, Alice Krige, Neal McDonough, Michael Horton

1996 / 113min / Rated PG-13 (for some sci-fi adventure violence)

When their attempt to assimilate Earth fails, the Borg travel back in time to prevent Earth's first contact by stopping its first warp drive flight. Jean-Luc Picard and the crew of the new Starship Enterprise-E set out to prevent the Borg from succeeding, while simultaneously trying to keep them from assimilate the Enterprise itself.

Following the crossover venture of Star Trek: Generations, it was time for the crew of The Next Generation to make their first solo big screen event. Many questions arose as to whether or not Captain Picard and his crew could hold their own movie without the presence of William Shatner or anyone of the rest of the original cast. Did they succeed? A very resounding yes! Not only does the cast and crew of TNG deliver a solid movie that would become their strongest outing, First Contact would also be viewed as one of Star Trek's best movies period.

After studio interference helped to sink Generations, much more freedom was given to producer Rick Berman and writers Ronald D. Moore and Brannon Braga. From the beginning, the best decisions they made were to not only use time travel (something they were not allowed to use in Generations), but to also employ one of Star Trek's deadliest villains; the Borg. While the Borg would go on to become overused and "defanged" in Star Trek: Voyager, here the Borg were still frightening and menacing, adding to their great success here.

The story is fresh and near flawless. The writing by Moore and Braga is very tight, and is only heightened by the directing of freshman movie director Jonathan Frakes (doubling onscreen as Will Riker). The plotting is masterful, with a slick pace that barely lets up to breathe. The main plot aboard the Enterprise, following the action of Picard, Data and Worf battling the Borg, is contrasted with the more comical plot of Riker, Geordi and Troi trying to help Zefram Cochrane (James Cromwell) repair his ship for the first warp flight. The writing, editing and directing is very tight and never lets up. Nothing is visited more then it needs to be, and everything is given enough room to be explored.

The action is the most intense and most violent that has been seen in any Trek production. It's well choreographed and you really feel the intensity of every moment. The action is enhanced by the great score of Jerry Goldsmith, who is assisted by son Joel Goldsmith. Goldsmith's main theme that centers on the first contact at the end of the picture is one of Trek's most rousing and poignant themes, and a personal favorite.

Production design is top-notch. The new Enterprise-E is quite a sight, both in and out, and the cinematography is very appropriate, giving the right amount of shadows and lighting to give a creepy feeling as we wonder what lurks around the next corner. The makeup of the Borg is greatly enhanced from where it was at on the series. They are now even scarier then they ever were on the show. Also very creepy is the montage of the Enterprise being overrun and crew assimilated by the Borg. The special effects are very strong, especially during the battle at the beginning as multiple starships fight the lone Borg cube. It's too bad they didn't have this kind of technology during the series to fight the Borg, because it's truly breathtaking. One of my only complaints is that the battle lasts only a couple minutes before we move on to the rest of the movie.

My other complaint is that while it's an improvement over Generations, the screen time for some of the characters is still rather limited. While everyone is given more to do, the focus is still rather obviously on Picard and Data. Troi and Crusher still aren't given much to do. Even though Troi is given a good scene in which she gets drunk with Zefram Cochrane (Marinia Sirtis' performance is priceless), there's not much else she adds to the plot. And once again, while Gates McFadden's screen time is increased, her contribution to the overall plot is limited. While an improvement over Generations, this is an area in which the TNG films needed improving.

The performances are excellent. The cast of TNG is at their best, particularly Patrick Stewart and Brent Spiner. Spiner is given much better material then he was in Generations to fully develop and explore Data's emotions. This is the Data we should have seen in the previous movie. Stewart's Picard is vengeful, but not so much so that we catch on right away. It isn't until he is called out by Michael Dorn's Worf that we realize how angry and bitter Picard is towards the Borg, and it's wonderfully realized by Patrick Stewart. The movie's best scene takes place in the observation lounge between Picard and outsider Lilly (played by Alfre Woodard). It's incredibly powerful, with great writing, acting, direction and music. Everything comes together perfectly to make it one of Star Trek's best scenes.

Praise must also be given to James Cromwell as Zefram Cochrane. Cromwell is able to be funny and serious at the same time. His performance is truly exceptional. His scenes with Jonathan Frakes are also well done, particularly their scene together in which Cochrane expresses his fear and selfishness to Riker. It's well-written and depicts Cochrane as someone who never set out to achieve great things, but ended up accomplishing them anyway. He's the reluctant hero, and Cromwell nails the character.

Alice Krige is frightening as the Borg Queen. While the character turns everything we know about the Borg on its head, here the character works well, especially against Brent Spiner. Their scenes together are electrifying and creepy. Krige is seductive, yet very dangerous and frightening, and her scenes with Brent Spiner's Data are quite enticing, filled with energy and suspense. How she pulls it off is amazing.

First Contact is one of Trek's best outings, especially for the crew of The Next Generation. When the big moment at the finale ends with the highly anticipated first contact, the payoff is earned and powerful. Goldsmith's score shines as the alien ship lands and Cochrane steps forward to meet his destiny. It's easily one of Star Trek's finest moments, which this movie is filled with.

Star Trek: First Contact is the perfect blend of elements that make Star Trek such a success; humor, action, drama, in addition to wonderful characters and great insight into the human condition. It also shows that hope for the future that Gene Roddenberry set out to depict. Every moment is near perfect and is tough competition for The Wrath of Khan. This is a monumental achievement for the Star Trek franchise, and one of its best movies to-date.

(of 4)

Review: Star Trek: Generations

Directed by: David Carson
Produced by: Rick Berman
Screenplay by: Ronald D. Moore & Brannon Braga
Story by: Rick Berman, Ronald D. Moore & Brannon Braga
Executive Producer: Bernie Williams
Cinematography by: John A. Alonzo, A.S.C.
Production Designed by: Herman Zimmerman
Edited by: Peter E. Berger, A.C.E.
Costumes by: Robert Blackman
Co-Producer: Peter Lauritson
Music by: Dennis McCarthy

Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, William Shatner, Malcolm McDowell, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, James Doohan, Walter Koenig, Whoopi Goldberg, Alan Ruck, Jacqueline Kim, Barbara March, Gwenyth Walsh

1994 / 117min / Rated PG (for sci-fi action and some mild language)

Seventy-eight years after the apparent death of James T. Kirk during the maiden voyage of the Starship Enterprise-B, Captain Picard and the crew of the Enterprise-D must stop an El Aurian scientist named Soran from destroying an entire solar system in his quest to enter the paradise known as the Nexus.

Having just ended a 7 season run of 178 episodes, it was only natural that the cast and crew of the hit series Star Trek: The Next Generation would make the transition onto the big screen. As well as a critically-acclaimed series finale that had viewership of around 20 million, The Next Generation remains to this day the only Star Trek series to be nominated for an Emmy for Best Dramatic Series. TNG's first trip to the big screen would also feature the first meeting between Captain Kirk and Captain Picard. Star Trek was at the height of its popularity, and Star Trek: Generations was the most anticipated Trek film to-date, with so much hype surrounding it that Patrick Stewart and William Shatner both donned the cover of TIME magazine. The question was, would Generations live up to that hype?

Unforunately, it would not. Instead of being a movie that would've cemented Star Trek's popularity, Generations was a mixed bag that did only moderately well at the box office and is rather controversial amongst fans. A lot of that is probably due not only to the inexperienced of move writing by TNG writers Ronald D. Moore and Brannon Braga, but also due to the studio's laundry list of things that needed to be done in such a short period of time. Considering the list of things that Moore and Braga had to accomplish in their script, it's rather impressive that Generations made as much sense as it did.

Generations has great ideas and attempts big ideas. The filmmakers try to take the series and make a big transition to the big screen. There's everything present that there should be for a TV show-turned-movie. An intergalactic energy ribbon, Klingons, Worf being promoted, Data getting emotions, planets exploding, starships exploding and crashing. There's some great ideas present in this script. It's the execution that holds the movie back.

One of Generations' problems is one that became inherent in modern day-Trek; technobabble dialog and solutions. It takes place from the very beginning as we witness the christening and maiden voyage of the Enterprise-B, at which Kirk, Scotty and Chekov are honorary guests. Not only are the characters spatting out "shields at xx percent", they are also using made-up technical jargon which was never used in any incarnation of the original series. Hearing James Doohan as Scotty use this dialog is awkward, since he's never done that before, even when referring to any of the original Enterprise's technical terms, because all those were fairly easy to follow. Not here. Modern day Trek had a way of getting caught up in its own tech and made-up dialog, and with its presence within the opening minutes of Generations, it's obvious that this is a TNG production.

The humor in the opening sequence also falls flat. Something about the humor of the opening sequence feels forced. While the original crew always seemed to have a natural knack for humor, modern Trek always seemed to struggle, including TNG. Something about the attempted humor feels forced and unnatural.

The final solution to defeating the Duras sisters and their bird-of-prey is a miracle tech solution. The crew of the Enterprise-D is only able to win because of made-up technical jargon. While it is really cool to see Jonathan Frakes as Commander Riker given the order to "fire" (Mr. Frakes always had a cool way of giving orders, especially barking out "Rrred alert!"), you can't help but feel cheated as a viewer because the writers cheated in their solution to given the Enterprise ultimate victory.

Generations also suffers from a not-too-great villain. As great an actor as Malcolm McDowell is, his character of Dr. Soran is under-developed. He's not a bad villain, but he's nowhere near being a great villain. Soran is obsessed with reaching the Nexus to rejoin his family. It's as simple as that. In addition to Soran, we find villains in the former of TNG villains Lursa and B'Etor, the Duras sisters, played quite nastily by Barbara March and Gwenyth Walsh. Unfortunately, something that always kept Lursa and B'Etor from becoming great and memorable villains in TNG was that they weren't very developed. That same flaw is found here, and they don't feel very menacing. It's too bad, then, that they are the ones who use a twenty-year-old Klingon bird-of-prey to accomplish what the Borg and multiple Romulan warbirds could not do; destroy the great Enterprise-D.

One of the drawbacks to having a large cast is that there isn't enough time to give everyone something to do. Even though this is a TNG's move, some of the TNG characters not given much to do. Most of the focus is placed on the storylines of Picard and Data, while Riker, Worf and Geordi are given very secondary roles, although they are still given their moment to shine. The TNG characters who suffer the most in screen time and rather insignificant roles are Troi and Crusher. While Troi is given a nice scene with Picard, Crusher is given barely any screen time. It's sad to say, but the movie would not be any different if Troi and Crusher were cut out of it entirely. TNG was always an ensemble series, so the shift to only a couple key characters is startling and rather disappointing.

The movie's best scene is between Picard and Data in Stellar Cartography. The scene perfectly mixes together plot and characterization. It's also probably the only scene where an emotional Data works, as the rest of the movie tries to use Data as comic relief, but he only becomes annoying. But here, the characterization is perfect, and the explanation of how the plot works is spot-on. If every scene were as good as this one, this could easily have been one of Trek's best outings. It's a short but simple scene, and it's incredibly effective in accomplishing its goals.

The visceral highpoint of the movie, comes in the form of the evacuation of the Enterprise, the destruction of the stardrive section in a warp core explosion, and ending in the saucer section crashing on the planet below. From the moment Geordi pronounces the Enterprise's fate, the movie is fast and pulse-pounding and doesn't let up until the saucer comes to a halt. The effects are excellent and the destruction of the Enterprise is painful to watch, yet so thrilling you want it to go on. If you wanted to instruct anyone on how to crash a starship, this is where to look to. It's loud, it's exciting, and it's incredible!

It's downhill from there, unfortunately. This is what happens when you reach the peak of excitement with half an hour to go in the movie. The plot starts to lose credibility once we enter the Nexus, which is supposed to be so incredible that Picard should never want to leave. But he comes to the realization that he needs to head back too easily, and the Nexus turns out to be a disappointment. Also, the Nexus creates a big plot hole. Picard could leave the Nexus to go anywhere at anytime. If he can do this, why not go back to when Dr. Soran was on the Enterprise and just throw him in the brig?

The big first encounter between William Shatner and Patrick Stewart is also very disappointing. What should've been exciting and incredible to watch is dull and boring. While the acting is good from both, William Shatner carries much more charisma then Stewart and is a lot more fun to watch. Unfortunately, their great first meeting is very underwhelming.

The big finale is also underwhelming. The film ultimately boils down to three men fighting on a mountain. And Kirk's ultimate death is rather disappointing, although not as bad as many fans make it out to be. While I feel Kirk deserved a better death, at least he went down saving millions of faceless lives.

Generations is visually a success. The visual effects are top-notch. The sets of the Enterprise-D are updated to fit the scope of the big screen, the lighting darkened, and the bridge has never looked better. This is also probably the most colorful of any Trek film. The production is top-notch. This is the way to update a TV show for a movie.

Generations isn't a bad movie, it's just not an overly good one. All the right ideas are there, it's in the execution that the movie falls short. There are some really good things present, and had the filmmakers been allowed more time and more freedom, it's possible that Generations could've been the grand event it was meant to be. As is, though, Generations is rather lackluster.

1/2 (of 4)

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)

Is This a Good Sign?

I for one don't view box office receipts as being a way to measure the quality of a movie. After all, The Phantom Menace made over $400 million but was not a good movie. It is, in fact, the only Star Wars movie that is not a part of my DVD collection. However, I do know that in order for there to be further incarnations of a favorite film/TV franchise, there must be success in the box office.

As much as I'd like to say I don't care whether or not Star Trek is successful just as long as it's good, I want to see more! So I care about both.

A year ago, a little movie called Iron Man opened to almost $100 million its opening weekend and went on to gross $318 million domestically, second in 2008 only to another little movie called The Dark Knight. A lot of that success was to due advanced ticket sales. So is this article any indication of good things to come?