Star Trek review
Director J.J. Abrams and crew have accomplished their mission — to reboot and recharge the Star Trek franchise — with spectacular results. Star Trek is a great summer movie. It’s a fast-paced but soulful romp that will leave the masses cheering and wanting more.
Some long-time Trek fans might not love it. It’s faster, louder and sexier than any other Trek film, plus it throws canon out the window. But it’s still Star Trek. Gene Roddenberry’s vision of a thrilling and promising future remains intact in Abrams’ film.
What Worked
The filmmakers don’t only reinvent the Trek franchise here, they also offer a brilliant alternative to action-adventure moviemaking. Star Trek doesn’t feel chaotic or noisy like most modern action flicks (I’m looking at you, Trensformers), even though the film is loaded with loud explosions and chaotic showdowns. Daniel Mindel’s cinematography makes the action look and feel inventive and elegant, not jerky and tense. Visually, the film is almost dreamlike, but it also has a documentary quality to it. I felt like I was in the middle of the action, but not assaulted by it.
Like most of the film, the opening battle between a barbed Romulan battleship and the USS Kelvin is thrilling and emotionally moving. It’s one of the best opening sequences I’ve ever seen in a sci-fi flick. The action rarely lets up, but Star Trek manages to deliver on multiple levels.
The film’s tone is almost perfect. It does a good job of balancing action, tragedy and comedy while introducing multiple characters. Things do get a little silly here and there, but the weight of the story and the rich characters keep the film grounded and absorbing.
Chris Pine is surprisingly natural and appealing as the young James T. Kirk. Abrams and Pine dial up Kirk’s brashness and give him a new and dangerous edge that matches the film’s audacious spirit. As the young Spock, Zachary Quinto does more than mimic Leonard Nimoy’s stoic performance. Quinto plays the character as a conflicted and burdened soul. It’s terrific. His Spock is tortured but perfectly poised. His few emotional outbursts feel more electrifying than some of the effects-heavy space battles.
The rest of the cast pays homage to the original Enterprise crew while giving their characters new quirks and, in some cases, more dimension. Kyle Urban’s funny Deforest Kelly impersonation is a bit much at first, but the actor’s commitment to the role made me come around eventually. Same goes for Anton Yelchin as Chekov. I couldn’t stand hearing him say “Wulcan” over and over again, but I found myself rooting for the little guy before the end.
John Cho’s Sulu is nerdy and sharp, like George Takei in the old movies, and ballsy like Pine’s Kirk. Zoe Saldana is smart, sexy and heroic as Uhura. Plus, the character deservedly gets more screen time than she ever did in the old days. Simon Pegg is funnier than ever as Scotty. Star Trek allows him to display his knack for improvisation and physical comedy (I loved his exaggerated facial expressions) like never before on film.
And then there’s Nero, Eric Bana’s Romulan baddie. Thankfully, Bana doesn’t go for a boring British bad guy accent here. Instead, he turns Nero into a burly bruiser who might fit in at a biker bar. He’s scary and belligerent but oddly casual when first confronting his enemies. It works. I’d love to see more villains like him in future Trek movies.
The futuristic, but somehow retro-looking, sets and props look classy and sleek. (It’s nice to see something other than a dreary post-apocalyptic future onscreen for once.) The new Enterprise looks amazing, inside and out. It’s definitely different, like everything else, but I bought the explanation for that.
It makes sense that Nero’s attack on the Kelvin would create a new timeline. It turned Kirk into a slightly darker, fatherless badass, and it influenced the sophistication of Federation technology. Think about it. The arrival of Nero’s super-advanced ship probably got Starfleet techies buzzing about the possibilities of advanced technology and design. It inspired them to create new ships, space stations and other stuff. That could explain why everything looks a lot more “futuristic” than it did on the TV show.
I like the idea of an alternate Trek reality. It means we’ll get to see new stories with the same great characters. Nimoy’s Spock is still around, so that means the 40 years of Trek canon we know and love isn’t entirely erased. He still remembers it, so it’s still valid.
What Didn’t Work
Two minor things. First, I could’ve done without Scotty’s waterslide ride. I’m sure the kids liked it, but I didn’t. (I know, I’m heartless).
Second, why the hell was Winona Ryder in this movie? Why would Abrams cast a well-known bad actress and cover her up in old lady makeup to play Spock’s mom? It took me out of the movie.
I truly enjoyed everything else. Rumor has it that Abrams’ crew is already scratching out ideas for the sequel to Star Trek. I can’t wait.
Giving Credit Where Credit Is Due
Star Trek was written by Roberto Orci and Alex Kurtzman, based on Star Trek created by Gene Roddenberry. It was directed by J.J. Abrams and stars Chris Pine, Zachary Quinto, Bruce Greenwood, Zoe Saldana, Anton Yelchin, Karl Urban, Winona Ryder, John Cho, Simon Pegg, Eric Bana and Leonard Nimoy.
(Review originally published at AirlockAlpha.com)
If you enjoyed this post, please consider to leave a comment or subscribe to the feed and get future articles delivered to your feed reader.
