
Zachary Quinto and Chris Pine
by Pilgrimsarbour
It's rare indeed that I see a new movie on its opening day. But of all the possibilities for this upcoming summer movie season, this is the one that most demanded my attention. It's also very rare that I write a review of a movie that is still in the theatres at the time of my writing.
The much-anticipated Star Trek opened today to what is, by all accounts, going to be record audiences. Which means record profits.
It was time. The franchise, having long been faithfully helmed by Gene Roddenberrry's successors Rick Berman, Michael Piller and Brannon Braga had nonetheless, frankly, overstayed its welcome. And while the most recent TV incarnation, Star Trek: Enterprise had its shining moments and competent cast, the audience started to sense that the energy and originality had finally drained out of the system. What seemed to be needed was both a hiatus and eventually a fresh perspective.
When talk of re-energising the movie franchise with a new cast based on the characters of the original series, J.J. Abrams (Alias, Lost, Fringe) was brought in to co-produce and direct. The film was slated to be released in December 2008 but Paramount delayed it until May 2009 to maximize audience interest. A synopsis of the story can be found anywhere on the net, and it's not my purpose to publish spoilers here. But I do want to comment on my experience with two of my boys today.
Rarely in my experience has a film so hyped lived up to its lofty ideals. This is one occasion where the film far exceeded all my expectations. There is so much to praise about it, notably in the areas of story, directing, character development and acting, musical score and of course, special effects.
Story
The Trek films have suffered, in my view, from a kind of mental block when it comes to the storyline. In fact, I would argue that every one of the now eleven films is merely a variation on the same theme: a bad guy, seeking revenge for some perceived wrong done to him or his people, or seeking to otherwise advance himself at the expense of others, hatches a plan which puts the galaxy (or the entire universe) in peril. Only the Enterprise captained by Kirk or Picard is in the right place, at the right time, to thwart the evildoer's plans and restore order. And such is basically the plot to Star Trek XI. The addition of a time-travel element to this storyline is welcome, however, and is reflective of the best episodes of the various television series. Whereas I found the tenth film, Star Trek: Nemesis, boring, incongruous and lacking in many of the best elements to be plumbed from the Star Trek universe, this new Trek explodes off the screen fresh, as if something entirely new. It's an odd way to state it, I'll admit, but I really did feel like I was watching a different kind of story. The advantage of going back to Kirk's origins--his upbringing and subsequent joining of Star Fleet--has its potential pitfalls. But the beauty of the time story here is that the timeline has been altered before Kirk is born, or as it happens, as he is being born, making the continuity of the Star Trek canon much less of an issue. Since the timeline has changed, never before seen adventures with the new actors playing the roles of the original characters are not only possible, but the possibilities are nearly limitless. So while recognising the same basic plot up on the screen, albeit very interesting, the other elements were so spectacular that I really didn't care that I'd seen the story before. It was, in fact, a good story. Familiar, yes. Boring, no.
Directing
After several years of producing and directing in television, J.J. Abrams made his feature film directorial debut with Mission Impossible III. Having had no formal connection to Star Trek prior to taking the reigns of Star Trek XI, that needed fresh perspective was in full view today. The pacing of the film was quick and consistent. When it needed to slow down, it was never dull. Nor did it drag on. When the film came to an end, I couldn't believe it was over already, even after more than two hours. The editing was quick, but not overwhelming. By way of contrast, I recently watched the latest James Bond flick Quantum of Solace on DVD. It had a great deal of action, but the editing was simply dreadful. Apparently catering to an internet audience of steadily diminishing attention spans, Quantum's action sequences cut, zoomed and jerked me around so badly that I knew while I was watching it that I hated it. Landing on a different shot every one or two seconds, I simply gave up trying to follow the action. It became, well, boring. Not so with Star Trek. As I said, although the pacing was fast, the editing was excellent, and at no time did I not understand what was going on. The cinematography is breathtaking and the CGI is seamless and not overwrought.
Characters and Actors
The temptation to parody the original actor portrayals must have been strong. In some other hands, they might have failed. But this cast and this director were able to pay homage to the orginals without camping it up. This is not to say that the film is without humour. There is plenty to smile about, and occasionally laugh out loud at. And the portrayals were stunning. In fact, it all seemed so natural. Kirk was Kirk, Bones was Bones, Spock was Spock. There were times when a mannerism or a turn of the head caused the original actors' faces to pop into my mind. It was uncanny, really. This happened for me especially with Spock (Zachary Quinto), Scotty (Simon Pegg) and Dr. McCoy (Karl Urban). And Abrams is not stingy with his cast; each of the main characters gets their "moment in the sun," none of which is frivolous or forced. Chekov, Uhura, Sulu and Captain Christopher Pike are here to round things out and add to the tapestry. Even Leonard Nimoy makes a substantial contribution to the film as "Spock Prime," a role with a lot more meat than I had expected. The cast balance is unusually well moderated without seeming laboured. But make no mistake; James T. Kirk is still the focus, the glue which binds this ensemble together. And Chris Pine does an excellent job of doing just that. It's easy to get the impression that Pine's portrayal of Jim Kirk as a bad boy and chronic underachiever who steps up when the crisis arises is not too much out of character for Pine himself. It just seems natural.
Scoring
I received my soundtrack CD from Amazon on Wednesday May 6. As is my habit before going to a new movie I expect to enjoy, I listened to the soundtrack over and over from then through today. Curiously, it was while listening to the samples at Amazon before I got the CD that I found I was unable to shake Michael Giacchino's theme from my mind. It struck me originally as more like a motif than a theme, but the more I listen and think about it, the more I'm convinced it was the right approach. And that theme is heard in variations throughout the film. I'm not listening to it as I write this, but it's running through my mind anyway; a haunting and poignant simple melody which adds to the film in unexpected ways, making the entire experience more palpable. Giacchino has collaborated with Abrams for some ten years now on various projects. He is most familiar to me having scored The Incredibles, Ratatouille, Lost and Alias, among many others. He has also won awards for scoring the Medal of Honor video game series.
Effects
This is, without a doubt, one of the most impressive effects movies I have ever seen. And it has the added benefit of not being overblown or otherwise frivolous. I saw nothing that was unnecessary to the storyline or that was there simply for the "wow factor." The Enterprise has been beautifully re-made. All the original lines are there, with some eye-catching updates to the nacelles and a bit sleeker secondary hull. It may not be my favourite Enterprise; that title is still reserved for the refit Enterprise of 1979's Star Trek: The Motion Picture. But it comes mighty close. It strikes me as somewhat reminiscent of the Enterprise-C featured in an episode of Star Trek: The Next Generation. The bridge is bright and airy, with a "window" where the viewscreen is. It is made of (no doubt) transparent aluminum and features a 23rd century version of a heads-up display. A big change is in the layout of the engine room. It is more akin to something seen in TV's recent Battlestar Galactica, a kind of industrial factory chic where pipes, tubes, valves and hatches remind one of an enormous submarine, as opposed to the smooth, shiny, hi-tech look of the various television series. The overall effect is both futuristic and realistic without either the excessive weathering of Star Wars or the sterile, pristine look of previous Treks. The regular use of shuttlecraft is another practical and welcome touch in a universe where transporters can take you just about anywhere you want to go. The transporter effect is less flashy than what we've seen before, but it's so much the better for its minimalist approach. I even like it better.
In conclusion, I say emphatically that this movie was engaging, touching, exciting and enjoyable. But it was more than that. It was flawless. I'm going to see it again. And again. And then I'm going to buy the DVD. The one with all the frills, bells and whistles. The one that costs extra. If you like science fiction, you'll probably like this film. If you're a fan of Star Trek in its various forms, you'll love this film. If you're a Trekkie and are still stewing about all the other television and movie incarnations of Star Trek, and if you're a strict constructionist when it comes to the Star Trek canon, you don't deserve this film. Sorry if that sounds mean, but you people really don't know what you're missing. When my sons and I left the theatre, we had two things on our minds; "When can we see that again?" and "I wonder when the next one is coming out?"







