It’s not the tragic, yet lovely sight of the USS Enterprise burning through the sky as nameless red-shirts get sucked into the silence of space. It’s not the relentless and systematic attack that caused it all.
Advertisement
Take a look at the reviews before heading to the theater! And now, they are dying.
The message of unity and optimism in the face of the unknown is not a popular message in what seems to be a dark, separatist political landscape of the United States, but that only makes it much more refreshing in “Star Trek Beyond”. Abrams and his Bad Robot shingle are still on as producers; fortunately, Lin not only keeps the momentum going but drastically improves upon 2013’s awful “Star Trek Into Darkness”.
Star Trek: The Motion Picture was released on December 7, 1979 – just over five months before The Empire Strikes Back. The result is a film that knows its limits, is without the trilogy baggage of making the third film bigger, bad and more epic than the last. “There’s no direction in the vastness of space”. And for a man who joined Starfleet “on a dare”, it can’t be that hard, can it? It’s a softer, more audience-inclusive kind of humor than Trek’s allowed before, and for these precious minutes, the film is self-aware and amusing, instead of dripping with angst, anger, and panic.
Director Justin Lin’s very capable hands have received the reins this time, having sharpened his action skills on a string of Fast and Furious instalments. The piece is enwrapped in a fantastic score by Michael Giacchino, whose music has become intrinsic to the series’ DNA.
Shades of Dom and Letty, anyone? Justin Lin and screenwriters Simon Pegg (Shaun of the Dead) and Doug Jung (Confidence) have a pretty simple answer: walk down a well-worn road, but do it with style. They need not have anxious as despite a slight overabundance of action in the second half, this isn’t TREK FURIOUS, or FAST TREK, or anything like that at all, with this, the third installment of the new TREK saga being the closest in spirit to the original franchise so far. Also classy is the homage to Leonard Nimoy and the inadvertent nod to Anton Yelchin too. Lin furthers what Abrams, and fifty years of Trek lore has established, with respect, and joy.
So on to the villain, Krall, he served his objective well, but was a one note villain. Like Nero in the 2009 movie and Khan in Into Darkness (although in his case, it was the hoopla around Cumberbatch that was to blame and not, necessarily, the character) Krall… is underwhelming.
According to Idris Elba, Pine’s black eye isn’t makeup. The intention is obvious enough: “Go see this one so we can make the next one!”
The film is also dedicated to the late Anton Yelchin, who plays the Russian Chekhov, though it is doubtful he would have liked to be remembered for this role where all he does is shout incomprehensible instructions and ask questions just to propel the story forward.
But Trek also now owes a lot to Star Wars.
“Space, the final frontier”.
At the start of the film, the crew of Starship USS Enterprise is at a crossroads. James Tiberius Kirk needs a change, and once the Enterprise arrives at the Federation’s newest, jaw-dropping space station, we find out his intentions when he meets with Commodore Paris (Shohreh Aghdashloo).
In order to serve content on our website, we rely on advertising revenue which helps us to ensure that we continue to serve high quality unbiased journalism.
Then, when the first trailer landed – all smashy-smashy with the spaceships and with motorbikes going vroom – it did seem like just a matter of time before Vin Diesel and the Rock joined Starfleet.
Advertisement
Request to please follow the steps below and once done, please refresh your page.
