Nivenus at the Desk XII: Star Trek
At last, I return for a contemporary review. Finals and preparations for such have kept me somewhat busy (as have my many, many other numerous projects) but I have worked out the time to do a double feature review to conclude my trip through Star Trek cinema.
This time I bring you my reviews of Star Trek: Countdown and Star Trek, which, believe it or not, work far better together than they do apart, as I will explain in a bit.
For those who are worried that there might be spoilers, fear not. These are no longer retrospective pieces so there will be no spoilers in either review.
Onwards, to go boldly where I have gone many times before…
What the Score Means
10.0: Excellent. Terrific. Might not be perfect, but it's damn close. Best in the field.
9.0: Pretty damn good. I've seen better stuff, but not much. Most people should enjoy it.
8.0: Pretty good, if you really like this sort of stuff, but it might be more underwhelming if you're not. Even if you are one of the latter, though, I'd expect you to find it passingly amusing, if nothing else.
7.0: Good or average, but take note that your mileage may vary. In other words, if you're already a fan or predisposed to works like this you may really like it or think it's good. But if you're not, steer clear or at least approach with a cautiously open mind.
6.0: Meh. You might enjoy it, but I wouldn't guarantee it. If you do like it, it'll probably be a passing thing and I wouldn't count on it having any revisitable value. Semi-average, semi-poor. What I like to call "thoroughly mediocre."
5.0: This steps beyond thoroughly mediocre into the realm of true bad. I'd be surprised if anyone thought this was high quality and would be highly suspect of their opinions from the on on matters of criticism. It might not be horrible, but it leaves a bad taste in your mouth.
4.0: Okay, we've definitely passed into bad here. This stuff actually will make you walk out of a movie theater it's so lame. It's not even stylistically bad. It's just boring bad and you likely won't have the patience to go through with it.
3.0: This is a wierd little category few get to but a few deliberately reach for. So bad it's good. That is to say, if you take this at face value it's going to be horrific. But, if you just hang along for the ride and turn off your brain or, conversely, decide to get ridiculously symbolic about it, it can actually be very entertaining, if only for its comically bad quality.
2.0: Could be so bad it's good, but more likely this has verged into so bad it's horrible quality. There's nothing funny about it, except perhaps that the human mind could be so warped that it would actually produce the shit. Not fun.
0-1.0: Burn! Burrrrrrn! Burn the evil! It hurts!
Table of Contents
Star Trek: Countdown
Star Trek
Star Trek: Countdown
Overview
Believe it or not, the new Star Trek is not a straight up BSG or Casino Royale reboot. That’s not to say it isn’t a reboot for, no matter how much J.J. Abrams or screenwriters Robert Orci and Alex Kurtzman might want to say it isn’t it is. But it’s only a partial reboot. That is, to say, the old continuity still counts.
Confused? Understandably, I assure you. However, the prequel comic Star Trek: Countdown, one of the few licensed products in the Star Trek franchise to be considered canon, basically exists to smooth out the details. To sum it up, although I have not read either franchise in particular detail, imagine that the Star Trek reboot is akin to the Marvel or DC reboots. From what I understand of them, they’re more or less the same in style.
I was at first hesitant to buy the comic. First of all, I avoid Star Trek licensed material like the plague because, A) like Star Wars there is so god-damned much of it and B) unlike Star Wars it’s not even canon so why bother. However, I made an exception in the case of Countdown for two reasons. First of all, it basically is canon, unlike so much of the licensed material for Star Trek and the events within its pages lead directly to (and straight up to the first seconds of) the film. Secondly, it got pretty dang good reviews, which I was not expecting.
I’m glad that I did go through and buy it. It’s not only pretty good in of itself and could even, with a few weaknesses, stand on its own as a story, but it also is somewhat (and unintentionally I presume) essential to understanding the plot of the film that follows it, as those of my friends and family who did not read it can confess. Also, it serves as one last goodbye to the TNG crew in a way that is ultimately more satisfying (with a few exceptions) than Nemesis’ final goodbye was.
Plot
Countdown is really a sequel to the TNG episode Unification, a two-parter that resulted in the most memorable TOS cameo within TNG, that of Spock. Decades have passed since the episode’s events and Spock, long in hiding as an agent of peace and reconciliation between his people and the Romulans has come out of hiding. He goes one step further and acquires Romulan (partial) citizenship, hoping that it will help bridge the gulf yet further.
However, the new Romulan government, obviously formed fairly recently given the trauma the civilization suffered during Nemesis, is not exactly ready to trust Spock. They offer him only courtesy tolerance, seeing lies between his every word, and believing that he is a Federation spy. It seems likely that their offering of citizenship was only part of an olive branch exchanged after the temporary alliance between the Romulan Senate and the Federation during Nemesis, in which the two forces aligned to fight Shinzon and his Reman usurpers.
As Spock struggles in the forum of public debate and the secret rooms from which Romulus is actually run, lightyears away a mining vessel called the Narada, commanded by a seemingly insignificant, hard-working miner named Nero, begins to conduct another mining operation. Their task is, however, interrupted when the star they are orbiting suddenly begins to give out very strange and unusual readings. Within minutes it is clear it is preparing to go nova and Nero, recognizing the danger to his crew, abandons their equipment and directs the Narada into warp just in time to avoid being consumed in an intensely powerful wave of heat and radiation.
It is not long before Spock and several other Vulcan scientists learn of this event, which Spock quickly relates to the Senate. He informs them that he believes that the star is “unlike any natural phenomenon we have encountered.” In other words, it’s not just a supernova. It’s something way crazier. Whatever that is. Nonetheless, they do continue to call is a supernova in the story, even though it clearly isn’t one (because, among other things, the blast travels at warp speeds).
This is one of the major weaknesses of the story, which is in many other ways quite good. The big, giant, mean space phenomenon just doesn’t make sense. It’s a natural phenomenon that travels at warp speeds? It happens to be capable of destroying the entire galaxy? It’s blast can be contained with a black hole (ignoring the fact that black holes often lie at the center of supernovae)? This, once again, shows to hardcore Trekkers/Trekkies that, really, Star Trek isn’t any more scientifically plausible that say, Star Wars. It just does a really good job at disguising that fact with technobabble.
However, if you ignore this rather large conundrum the story otherwise makes a lot of sense. It makes, sense, for instance, that the Romulans don’t trust Spock’s motives nor are willing to listen to the warnings of a commoner like Nero. It also makes sense that the Vulcans are just as suspicious (with good reason, really) of the Romulans. What follows makes sense. And it’s well plotted, with a steadily rising arc until you reach a climax, at which point it resolves itself quickly… perhaps a little too quickly. But ultimately, the ending is satisfying.
Also, the comic has more than a few nice continuity nods, both towards the coming film and backwards with respect to what’s come before. For instance, much as I disliked the Remans in Nemesis is was nice to see that their existence was acknowledged, having since become expatriate pirates and raiders that seem to skim along the borders of Romulan space. Similarly, there are several references to the Borg (one clue, there’s a certain something in the new film which is actually of Borg design, though it’s not obvious if you haven’t read the comic).
If there’s one thing, other than the rather obtuse plot twist, that I can say is poor about the plotting it’s that the comic moves too quickly. We leap from one even to another with little or no time to rest, although this really only becomes evident in the latter half, when we go from one very major event to a major character transformation within a page or two, and which solves the problems brought up in the third quarter very quickly. Slowing down would have probably helped the story.
However, Countdown does what it set out to do. Namely, it sets up for the new movie very, very well. I actually finished reading it only hours before I saw the film so it worked quite effectively in my case, providing me with an insight no one else I knew (except one of my brothers) had. Best yet, the comic literally ends an instant before the new film begins, so it really leads straight in.
All around, good work, though far from perfect.
Score: 8.8 (out of 10)
Characters
The characters of Countdown are important for two very large reasons. First of all, this is (very, very much almost certainly) the last goodbye for the TNG cast. While they’re obviously not played by their actors (after all, it’s a comic), it’s still nice to see the characters in action one last time - at least some of them. Second of all, Countdown also sets up the villains for the film that it precedes, along with Nimoy!Spock as he appears in the film.
Let’s start with Nero. This is his story after all. He actually only gets about half of the screen-time but while Spock gets about as much attention per capita, we already know Spock. We don’t know Nero, however, who is a completely original character. Those who’ve paid attention to the press coverage know he is a Romulan and that he happens to be pretty pissed off. Those who’ve seen the film (or even haven’t) probably know he’s a time traveler. These bits are pretty well established.
However, Countdown explores Nero’s origins and how he came to be who he is in the new film. It does this with loving, careful, and deliberate detail. When the story begins, Nero is no more villainous, no more capable of evil than any run-of-the-mill blue collar worker. He’s certainly less insidious or malicious than the members of the Romulan Senate and he’s far more sympathetic than the members of the Vulcan High Command. He seems to be, in just about every way, a hero, if one with a bit of a temper problem. And a very pregnant wife.
Nero’s transformation into the following film’s villain is a natural and completely understandable one. It does move, like the plotting, a little bit too quickly at times but it never feels forced or unnatural. In fact, the writing even does a good job of making you feel sympathy for Nero, even as he begins his descent into the dark side, caring for him and his struggles even when, in all honesty, you should be cheering the others in their attempts’ to stop him. So the characterization for Nero is a real big plus here. He’s ruthless, dedicated, passionate, and, above all other things, sympathetic. He feels like a down to earth guy that, at any other time, could be a good friend.
Spock is certainly the second most prominent character. This is the first time the character’s been seen since the TOS films and the episode Unification and the character has certainly grown, though, again, in a natural manner. This is a half-Vulcan who has learned that, rather than fight the emotions and try to suppress them, it is better to learn to live with them in harmony and at peace. As a result, this Spock seems, while logical at nearly all times, far less uptight and pompous than most of the other Vulcans they run into. He also seems far wiser than the highly intelligent but un-intuitive Spock that we knew on TOS. It’s a strong evolution.
The third most prominent character is likely Picard, who has since resigned his commission as a Starfleet officer and gone on to become the Federation ambassador to Vulcan (although I’m still confused as to why such a position would exist since Vulcan is a member of the Federation). This doesn’t seem all that unlikely. After all, Picard spent as much time acting as a diplomat in TNG as he did firing a weapon, most notably culminating his diplomatic enterprises (pun unintended) with the mission to Romulus in Nemesis (which makes me wonder, considering the good will he earned then, why he isn’t the ambassador to Romulus).
The Picard here is much more laidback, seemingly comfortable in his retirement in a way that Kirk never would have been. However, Picard, always an intellectual type, seems to fit into this role quite nicely. All in all, it’s good to see him again and his relationship with Spock, while seemingly sudden, does tie into the bond that Picard formed with both Spock and his father, Sarek, in the episodes Sarek and Unification.
Data, reincarnated (as Nemesis so strongly hinted) through B-4, makes an appearance here. I don’t really count that as a spoiler since his face is on the cover. Data does pretty all right in this comic but he doesn’t come of quite as strongly as the above three. It’s not that I don’t think his captainship of the Enterprise-E doesn’t make sense - in fact, his initial appearance is quite kickass. But as in Spock’s resurrection in The Search for Spock this resurrection feels kind of heavy-handed and without any of the impact one would expect from such an event. Granted, it’s been eight years since Nemesis so any of the drama that occurred is likely over. However, it made Data’s reappearance kind of jarring (not to mention the fact that it rather annoyingly ignores the central premise of Nemesis - that a clone isn’t identical). After all, wasn’t B-4 an individual (albeit a really retarded one) too?
Two more characters from TNG make an appearance. Geordi, who was kind of a surprise appearance, makes a far stronger cameo here than his friend Data, playing an important role in the comic’s story as well as (by extension) the story of Star Trek. I do wonder, however, why Spock is friends with everyone. I mean, yeah, he is about 150 years old. Still, you’d think he wouldn’t be best of friends with every member of the TNG cast. This is a minor nitpick however.
The last TNG cameo is from Worf. This one was, by far, the one I least liked, not least of which because Worf’s characterization makes no sense. It just doesn’t. He acts like your typical Klingon soldier rather than, you know, the ambassador to Qo’noS (like he was made at the end of DS9) or, I don’t know, a Starfleet officer. Instead of being a surprisingly cunning and empathic warrior who often found his people’s culture too brutal for his tastes, Worf here is essentially a clone of a TOS Klingon. Brutal, dumb, and ultimately unsatisfying.
While we’re on the topic of disappointments, I think it kind of sucks that they didn’t bring characters in from other series. This would be the sole opportunity to do this and give them a brief walk in the sun. After all, it’s almost completely (as in 99.999999%) certain that neither DS9 nor Voyager will get a film. So it would have been nice to see, say, Odo or Kira (though I know Sisko’s out of the question) or hell, even Seven of Nine or Chakotay. Perhaps it wouldn’t have served the story and the comic’s not really weaker for their absence but the fanboy in me screams at the fact that those DS9 in particular was more or less outright ignored.
This is a rather small and unimportant complaint however.
As for supporting characters, they’re a mixed bunch. Very few are, in fact, named, and those that were… well, with the exception of Ayel, Nero’s lieutenant, I can’t really remember their names. Ayel stands out, however. He’s not a great character but he fills his role as a loyal but questioning subordinate fairly well. It would have perhaps been nice to see more of him but Nero quite literally (and purposefully) steals the show.
Overall, the characterization of Countdown was near spot on. The supporting characters were somewhat weak and neither Data nor Worf really worked for me the way they should have, but I thought, overall, the comic was a strong work in this regard.
Score: 8.2 (out of 10)
Presentation
Star Trek: Countdown is a very slickly put together piece of art. It’s not the best comic work I’ve ever seen but it’s definitely up there, fitting a nice niche between stylistic and realism. It also has, appropriately as a film tie-in, a very cinematic style, with frames looking very much like shots from a film. Some are even modeled deliberately after shots in the movie, most notably one where Picard and Spock speak with the Vulcan Science Council, which has almost identical framing to the shot of Spock facing the same council seen in many of the trailers.
The paper quality of the comic book is pretty high too. It’s nice, glossy stuff, though that’s kind of expected when you buy a comic book. As usual, I bought the TPB version since I absolutely can’t stand the little flimsy jackets that regular issues come in.
I’m not sure really what more I can say here. The art was really good and so was the rest of the production values. All in all, a good buy in this regard, but there’s only so much you can say about a comic book’s art. Or at least, only so much as an untalented artist like me can say. I’m sure a penciler or painter would have a much more detailed opinion.
So from this visually challenged writer: good work.
Score: 9.2 (out of 10)
Summary
Plot: 8.8
Characters: 8.2
Production: 9.2
Overall: 8.7
Star Trek
Overview
I saw Star Trek opening day (but not night) - which was last Friday (May 8th). For those who follow me regularly it’s easy enough to tell that I was looking forward to it. This is in spite me being a bit iffy about the writers’ reluctance to commit to a specific description of the film, worries about the film trying to simultaneously remain ideologically “pure” while also attracting new fans, and the fact I wasn’t too thrilled with the last season of Lost (Season 3), though, recently, I’ve been considering going back and watching the much praised Season 4. But, everything I heard about the film seemed more and more pleasing.
This gave me secondary worries. I was worried, for instance, that I might be disappointed, that my expectations might exceed the reality. I was worried that I’d leave the film, sighing and saying “well, that was pretty good but still…”
I am happy to say this was (mostly) not the case. Overall, I think J.J. Abrams and his crew have done a wonderful job rebooting the franchise. And yes, as I covered in the above review, this is a reboot (albeit not of the strictly blank slate variety). But it does so in such a way that will undoubtedly please many of the most ardent fans of Star Trek (whichever series) while also successfully updating Star Trek to pop culture status in a way I didn’t even really think was possible. Seriously.
If you haven’t seen this movie already, I highly recommend you do now. It’s quite worth the price of admission and I plan on seeing it again in theaters (which will be the first time I’ve done that voluntarily since Casino Royale’s release in 2006).
Read on, those who require further assurance or those who are merely curious as to what I thought in more detail.
Plot
I have to get one thing out of the way. This film very, very much riffs off of Wrath of Khan. Very much. Entire swathes of dialogue are lifted out of or inspired by scenes from the famous film, which screenwriters Orci and Kurtzman are big fans of. For those who claimed Nemesis took reference from Khan - uh-uh. This film makes Nemesis look nothing like Khan.
That said, these are more of shout-outs than actual rip-offs. Orci and Kurtzman have repeatedly made reference to the fact that Khan played a role in development and the plot itself, while with important similarities, is far from identical. For one thing, Khan didn’t involve time travel in the least. And where Khan was a getting old and dying story (much as Generations was) this is more of a coming of age story - wherein the characters learn to grow up rather than to age with dignity.
The film surprised me in one regard by being wholly linear - something I would not have expected from Abrams, Orci, and Kurtzman, who seem to have a near obsession about using non-linear storytelling in their projects. Instead, Star Trek starts at the beginning of the story and ends with its end. All the bits in between run, more or less, in chronological order, with no jumping to en media res or somesuch. In some way, I don’t think this is entirely a good thing. It certainly makes the story less confusing than it could have been, but as I will note later in the characters’ section, it also hurts character development slightly.
In any case, as such, the film opens some 26 years before the rest of the film when the Federation starship USS Kelvin encounters a miniature black hole that appears out of nowhere, from which a massive and unidentifiable ship emerges. The ship, later revealed to be called the Narada, immediately opens fire (for no apparent reason), dealing heavy damage in a very well put together action sequence before an officer of the vessel, a Romulan named Ayel, addresses the crew via their viewscreen and informs them that they will surrender and send their captain, Richard Robau, over to the invading vessel for interrogation. Robau’s XO (second-in-command), George Kirk, objects but Robau agrees, leaving the Commander in command.
When Robau gets over to the vessel, which he finds full of more Romulans, all bald and tattooed like Ayel, he is questioned by Ayel while the captain, Nero, sits silently. Robau is asked about the location of a small and futuristic little ship, which he does not recognize. He is then asked also about the location of “Ambassador Spock,” which he is also unaware of and who he has never heard of. Realizing something’s up the Romulans ask what the stardate is. Robau’s answer does not please Nero, to say the least, since he spears the captain, killing him.
When Commander Kirk witnesses this (since they have Robau’s life signs on monitor), he orders the Kelvin to attack the Narada before they have a chance to shoot first. However, this proves to be a bad idea as the Narada vastly outguns the Kelvin, overcoming its defenses almost instantly. Realizing that the ship is lost, Kirk orders the crew to evacuate, including his pregnant wife, who goes into premature labor because of the stress. Kirk then stays behind to hold off the Narada while the rest of the crew escape, ramming the Kelvin straight into the larger ship to do considerable damage.
This is by far one of the strongest movie openings I’ve ever seen. It immediately sets the tension high and gets you interested in what’s going on - even if you already know what the result is going to be (I knew long before the film even had preview screenings that the Kelvin’s fate would not be so good). It’s well-paced and filled with both heartwarming and depressing moments. In particular, Kirk’s final farewell to his wife and newborn son (guess who…) was particularly poignant.
Cut forward to ten years later and we see that Kirk’s son, you guessed it, James T. Kirk, has turned into one crazy punk, going so far as to steal his uncle’s antique car and wreck it. As this is occurring we are introduced to a young, half-Vulcan boy named Spock, who becomes the target of surprisingly biting taunts by his classmates due to his human heritage. Inevitably, he loses his temper and gets a lecture from Sarek, his father. These establishing bits don’t really do much for the story since most of the scenes that went along them were cut, leaving them sort of hanging as a result. Altogether, they’re probably the weakest part of the film.
However, the next scenes are very important since they set up the backdrop of the film. First, we see Spock apply to and get approved for admission into the prestigious Vulcan Science Academy. However, when some not-so-nicely-put words are set about his heritage and human mother, Spock turns down the commission, instead joining Starfleet.
Meanwhile (given context revealed later on, probably at least a few years later), on Earth, James T. Kirk gets into a brutal barfight after flirting relentlessly with a Starfleet cadet named Uhura (he can’t get her first name though). This fight is broken up, however, by the timely arrival of Captain Christopher Pike, both a captain at Starfleet as well as a recruiter for Earth’s Starfleet Academy, the most prestigious and largest of the Federation’s Starfleet training academies.
Pike is impressed by Kirk’s intelligence and charisma, which he thinks are the mark of a good captain. He also is interested when he learns who Kirk’s father was, since he himself has a personal interest in the Kelvin incident. He encourages Kirk to join Starfleet. Kirk at first rebukes Pike’s offer but decides to go with it. He reports for a shuttle departing to the Academy, where he not only see Uhura again but meets up with another new recruit - Leonard McCoy, whose recent and messy divorce has left him with “nothing but his ‘bones,’” a nod to the well-known nickname for the good doctor.
Skip forward again. It’s now three years later. Here we see Kirk as he begins to finish his training at the Academy. We, of course, see his infamous solution to the Kobayashi Maru simulation as well as him making out with hot alien women. It’s all very familiar. It also fits very much and gives us the chance to see Spock and Kirk meet for the first time. Which is less than, shall we say, friendly.
It’s at this point that the film really starts rolling. In the middle of an investigation into Kirk’s solution to the Kobayashi Maru scenario, Starfleet receives word that Vulcan is suffering severe seismic disturbances. Since most of the fleet is otherwise preoccupied (again), Pike and other captains present on Earth are ordered to lend their aid. Since most of the ships present at Earth aren’t completely finished the graduating class of the Academy is drafted into service to help crew the new ships.
From here, the story turns into a thrilling and fast-paced adventure, with little time to pause and take a breather. It’s a story filled with incredible twists and turns, several mini-climaxes that push you to the edge of your seat, and just a bunch of sheer awesomeness. In most regards, this is a very, very good story, with never bores and which is sensical enough to understand for those who might be unfamiliar with the material while retaining a very Star Trek-like feel that makes it appealing to those who are.
That’s not to say the story is without weakness. For instance, the science is laughably bad at parts. And no, I’m not talking about warp drive or transporters or any of the standard stuff. I’m talking about the galaxy-eating supernova, the drill that digs a hole through a liquid mantle, the black holes with gravity so strong it overcomes warp drive but can be beaten with a simple explosion, or the fact that said black holes can be used to consume the galaxy-eating supernova. Most of this was covered in my review of Countdown, however, so I won’t go into detail here.
Also, I find the rapid promotions that proliferate through this film to make no sense whatsoever. Sure, McCoy becoming a lieutenant commander kind of makes sense (our military does the same thing for specialized medical officers) and Uhura’s promotion to lieutenant isn’t much of a stretch. But Kirk - from cadet to captain? That’s jumping a total of… let’s see… I’m looking it up… six ranks.
There is indeed such a tradition in our military. It’s called brevetting. However, it is only temporary and for an official promotion you still have to do all the ground work. The few exceptions to this have been during periods of extreme duress in which officers are seen dropping left and right - such as the French Revolution in which a certain Corsican officer who became general by age 24, within eight years of his joining the French military. Kirk does Napoleon one better by making captain in a few days.
I understand why they did it. And when the second movie comes along and Kirk’s making one badass of a captain, it’ll probably be worth it. But really? If it were me I would have done one of two things. A) I would not have had Kirk’s mission on the Enterprise start with him straight out of the Academy or B) I would have made him, at the most, a lieutenant commander and left Pike or Spock in charge. How’s that for a reboot, not even making Kirk captain?
There’s also a few other things that bug me. Why, for instance, does the Narada simply hang around for some twenty-six years waiting for Spock? I mean, yes, they were obsessed with him. But come on, they had to have been doing something else besides that otherwise they would have run out of supplies and gone insanely bored. The film doesn’t provide any explanation for this, however, nor for why they don’t age in the slightest (granted, they are Romulans, but still…).
The really sad thing is that the film does have an explanation for this. But it, namely that Nero attempted an attack on the Klingon Empire, was captured, and then held prison on Rura Penthe for about a decade or so, was cut from the film. Why? For pacing. The film, like the comic that precedes it, has a breakneck pace. While it certainly serves a purpose (to never give the viewer a chance to get bored) I think it hurts the story in some ways.
In my own private canon I’ll continue to regard the Rura Penthe scene as canon - particularly since Uhura does confirm that a Klingon fleet was obliterated by Nero shortly before the attack on Vulcan.
However, in spite of plot holes like this, the plot of Star Trek is overall, very, very good. Better yet it’s very entertaining. Definitely among the best films in this regard.
Score: 8.8 (out of 10)
Characters
Characters wise, the new Star Trek is generally fantastic. Nearly all the characters are not only really, really enjoyable to watch, but they also fit into the general outlines of the TOS characters on which they are based, with the exceptions usually being improvements. There are a few weaknesses here, but not many, and I wholeheartedly embrace this new crew.
First, let’s start with Kirk. This film, in spite of what you might have heard, is not entirely focused on him. It really is a duo piece with Spock and Kirk both taking the lead (after all, Spock’s the only character played by two adult actors in this film - which, by the way, since that’s included in a trailer and has been outright advertised, you should know by now). But Kirk is certainly one of the most prominent characters and he’s also one of the best, bequeathed with witty dialogue, a brash but cunning personality, and a demeanor that really does seem like it could have been the young version of James T. Kirk.
Some think that Kirk seems a bit too much of a mustang in this film. I disagree. Even in TOS, Kirk was well-known for ignoring orders he didn’t much like - note how many times he violates the vaunted Prime Directive. And while his conquests of alien women have been exaggerated (he’s only confirmed to sleep with about two women in the whole show) it was clear that he indeed enjoyed pursuing them, given that he flirted with just about every woman he came across. And Kirk’s not a sex machine in this movie either. He only really gets it on (and doesn’t get past third base) with one woman in the film. But it’s the attitude that matters, and this Kirk has it in spades.
There are a few differences. For example, Kirk in TOS, while flirtatious, was not outright lewd, the way that this new Kirk often is. But that’s more likely due to the censors of the time than any actual intention on the part of Roddenberry and enough innuendo is dropped in TOS and the following films to indicate that Kirk Prime would have been more than happy to mouth off in the same manner that Kirk Alpha (I’m borrowing here nomenclature from TrekMovie.Com discussions about the parallel universes) does.
As for Spock, I was also impressed. The character’s not perfect (after all, it’s been established again and again that humans have more control over their emotions than Vulcans do, hence the logic philosophy) but he’s portrayed pretty well all-around - both the Prime and Alpha versions of the character. Cool and collective most of the time, while still given to violent outbursts, this Spock is a divided character with many dimensions. Angry, arrogant, cool, detached… these all describe the new Spock. It’s been said that in this film Kirk learns to control his emotions, while Spock learns to accept them. That’s probably pretty close to the truth here.
As for Spock Prime, well, he’s gone a long way since those early days. In fact, he’s so open about his emotions that he almost seems, well, human. But given the arc presented the character (particularly since The Voyage Home) this doesn’t seem unlikely. In fact, it seems very natural, allowing Spock to become, for the first time, the Cool Old Guy. The Obi-Wan, so to speak.
Other characters also are great. I love, for instance, the new McCoy. He’s less different than the other varieties, but that’s all right. After all, there wasn’t much wrong with DeForest Kelly’s portrayal to begin with. His friendship with Kirk seems both natural and lively, with the two obviously coming out of the Academy as close friends (which was heavily implied in TOS although never stated on screen). In spite of this, though, McCoy never loses his edge, never making it easy for Kirk and expressing his disapproval when Kirk does something he deems too far out of left field (like, for instance, cheating).
Uhura, as you may have heard, also gets a big upgrade from her character in TOS. Much as I like Nichelle Nichols’ performance and much as I understand that in the context of the time her very presence was extremely radical for the times, she was still little more than a backdrop character, whose actions rarely made a difference and who had even less characterization than several other female characters - like Nurse Chapel or Yeoman Rand.
No more in Star Trek, where she has a pivotal role in her interactions with Kirk and Spock as well as in of herself. In fact, her skill with xenolinguistics becomes a key plot point, allowing the Enterprise’s crew to anticipate a danger they would otherwise have been unaware of. And it is through her that Spock learn to come to terms with his emotions. Allow me to give a thumb’s up towards Orci and Kurtzman’s reimagining of the character.
Another character that figures prominently is Captain Pike. Pike, in the old show, wasn’t really much of a character. He only showed up in one episode. Yes, one. The Menagerie is just a remake of The Cage with another plot gently layered over it to justify airing it. Pike wasn’t a bad captain in those episodes, but he never seemed like a very in depth one. Likely he would have become one if we’d seen more of him. But we didn’t.
The new Pike, on the other hand, is a figure who truly attracts attention. A father to his crew, Pike doesn’t come off as Kirk’s ill-fated replacement. He comes off, rather, as a badass who precedes Kirk and informs the latter’s command philosophy. Bruce Greenwood wants to return for the next film as the character. I say, by all means, let him. I’d love to see this new Pike some more.
Other characters also get their time to shine, though they are less prominent than the above four. The new Scotty retains all the wit and humor of the old while also keeping the keen intelligence and innovative miracle working that are hallmarks of the character. He’s also, much like the original Scotty, one of the older crewmembers. Sulu is, in many ways, a badass, just like the old Sulu was - an expert pilot with a commanding presence and an aptitude for… fencing. Chekov is a boy genius (though not in the obtusely annoying way Wesley Crusher often was).
The characters in this movie are, in fact, so awesome that even characters who are in the film for only ten minutes are intensely badass. Witness, for instance, both Captain Robau and George Kirk. How is it that Robau, who is in the film for, like, five minutes before he gets gutted already a character who has acquired enormous fan appeal and become subject to his own “(fill in your favorite action hero name here) facts” list? Because he’s just that cool. And the new Sarek, while a minor character, really comes across nicely and in much the same way as Sarek Prime did.
Not all of the characters fare well, however. For instance, although they certainly came off as appropriately menacing and no nonsense, the villains of the new Star Trek in no way reach Khan-like qualities, as screenwriters Orci and Kurtzman promised. They just don’t. In large part this is because no time at all is given to them and their own characterizations. The only time we see them is while they’re interacting with the good guys, thereby meaning we only see them as villains. We never get a clear idea of Nero’s motivations nor that of his followers. Oh, yes, Nero goes on a bit of a tirade to Pike about his wife and planet getting blown up, but this is never seen - nor is its impact. It’s glazed over, delegating the villains to carboard cut-outs with a suitable degree of charisma and gravitas to get away with it.
This is disappointing, really, given the amount of detail that goes into Nero’s backstory in Countdown. Surely they could have worked in some flashbacks (and no need to show TNG characters - it’d be easy enough to cut around them) that would explain Nero’s motivations to the people who hadn’t read the comic. But the way it’s presented in the film is minimalistic in the extreme, with a handful of expository lines. Ultimately disappointing, with Nero coming nowhere near the greatness of Khan, Chang, the Borg Queen, or hell, even Kruge.
However, with the exception of the Romulans the film’s characters are all around fantastic. A writing triumph in this regard.
Score: 9.4 (out of 10)
Production
I don’t know how they did it, but like last years’ The Dark Knight J.J. Abrams’ Star Trek has some of the best production values I’ve ever seen. It exceeds all previous Star Trek films, even the fairly impressive Search for Spock, excelling in all fields from visuals to music to acting. It is all around, a poster child for good production and design.
Visually, Star Trek is astounding, easily on par with the best that film has yet offered us. It goes above and beyond the most visually impressive film I’d seen to date, which was Revenge of the Sith, likely because the same guys worked on it. The new Enterprise looks fantastic, though, to be honest, I still prefer the 1977-1992 design and Enterprise-E better. But that’s just me.
The Narada is a truly alien ship. This is a bit weird, considering that it’s a Romulan mining vessel unless you know about the little revelation from Countdown about the ship’s unusual design. However, though this seems a bit contrary to previous Romulan designs, the Narada doesn’t look bad. To the contrary - it looks quite awesome in just about every regard and while the fact that there was water on the floor didn’t quite make much sense (at all) it did give it a very grimy and nasty feel that was strangely appealing.
The Kelvin is also pretty cool. I know that some fans throw a fit over it having one nacelle instead of two but… well, come on guys. Really? That’s by far the least of your problems when it comes to reimagining TOS-era designs. Personally, I loved the tough little ship, which served as a nice bridge between the designs used on Enterprise and those on TOS - right down to the set design and uniforms. That, to me, was a nice touch - an excellent example of acknowledging continuity without letting it become obtrusive.
And I have to say, I love the new 23rd century feel. I love the costumes, which upgrade the TOS designs from somewhat campy by modern standards to outright awesome. I love the small little references to things like cell phones and fast food. I love the fact that Kirk has a bike. I love the new transporter effects. I love it all.
Seriously, they had some really excellent art direction in this film.
And what about the actors? I had some doubts but really, they pulled in quite a bit of talent. Every single person works in their role. Every single one. Chris Pine exudes the confidence and charisma of Kirk that became so legendary when William Shatner first displayed it. And he does it while simultaneously seeming true to the character but not an imitation or mockery. Similarly, I was doubtful that Zachary Quinto, previously best known as the villain Sylar from Heroes, could rid me of my mental image of him as a sociopathic serial killer with telekinesis. But he does and now, when I think of Quinto, I instantly think of Spock. Hell, when I think of Spock I instantly think of Quinto.
Which is not to say that Leonard Nimoy’s return as Spock Prime is not wholeheartedly welcomed by me. It is, indeed, a crowning moment of heartwarming as he first steps into the camera’s view, greeting the confused Kirk as an old friend would. Nimoy, as always, captures the essence of Spock and renders forth the duality of a man who has come to embrace his twofold nature, rather than fear it or suppress it.
It would also be a crime to not mention that Karl Urban is, without a doubt, the surprise breakout actor in this film. Urban is pure awesome as McCoy and although his performance comes very close to an imitation of Kelly it doesn't come off that way. It just comes off as... well, McCoy, condensed and distilled into the essence of the character. And made badass. Honestly, I did not go in expecting to find Urban my favorite actor of the trio. But he ended up that way.
Really, everyone’s great in this film. Everyone. From Simon Pegg as Scotty (with a somewhat faux Scottish accent - he is British and no one complains that Ewan McGregor’s accent in the Star Wars films is fake even though it is) to Zoe Saldana as Uhura to Eric Bana as Nero… everyone is awesome.
And hell, as a bit of trivia for those of my readers who are KotOR fans, Greg Ellis, better known to us as the Disciple, actually makes a brief appearance in the film as Scotty’s ill-fated predecessor.
And as for the music… I’m not sure if it’s the best Star Trek soundtrack but it is definitely up there. Michael Giacchino, a composer whom I am otherwise unfamiliar with, does a terrific job here. He brings a score that soars, working with the intense visuals and wonderful acting to evoke powerful emotions from you, from deeply moving tragedy to thrilling cheer. I’ll definitely be picking up that soundtrack, which is also one that manages to make the TOS theme actually seem cool. Seriously. I don’t actually like the original theme all that much, but Giacchino makes it awesome.
There are sure to be problems here that I am overlooking. But I don’t care. The production values of Star Trek were so damn close to perfect that I might as well have been.
Score: 10.0 (out of 10)
Summary
Plot: 8.8
Characters: 9.4
Production: 10.0
Overall: 9.4
Final Star Trek Film Ratings
Now, for the final moment of truth, for those who are curious, I present to you my final ratings of the entire Trek film franchise, from order of worst to best (and, in the case of the tie, time of release), with their overall score to the right.
Star Trek V: The Final Frontier: 2.0
Star Trek: Insurrection: 4.2
Star Trek: The Motion Picture: 7.0
Star Trek Generations: 7.2
Star Trek Nemesis: 7.6
Star Trek IV: The Voyage Home: 8.0
Star Trek III: The Search for Spock: 8.6
Star Trek II: The Wrath of Khan: 9.4
Star Trek: First Contact: 9.4
Star Trek: 9.4
Star Trek VI: The Undiscovered Country: 9.6
This time I bring you my reviews of Star Trek: Countdown and Star Trek, which, believe it or not, work far better together than they do apart, as I will explain in a bit.
For those who are worried that there might be spoilers, fear not. These are no longer retrospective pieces so there will be no spoilers in either review.
Onwards, to go boldly where I have gone many times before…
What the Score Means
10.0: Excellent. Terrific. Might not be perfect, but it's damn close. Best in the field.
9.0: Pretty damn good. I've seen better stuff, but not much. Most people should enjoy it.
8.0: Pretty good, if you really like this sort of stuff, but it might be more underwhelming if you're not. Even if you are one of the latter, though, I'd expect you to find it passingly amusing, if nothing else.
7.0: Good or average, but take note that your mileage may vary. In other words, if you're already a fan or predisposed to works like this you may really like it or think it's good. But if you're not, steer clear or at least approach with a cautiously open mind.
6.0: Meh. You might enjoy it, but I wouldn't guarantee it. If you do like it, it'll probably be a passing thing and I wouldn't count on it having any revisitable value. Semi-average, semi-poor. What I like to call "thoroughly mediocre."
5.0: This steps beyond thoroughly mediocre into the realm of true bad. I'd be surprised if anyone thought this was high quality and would be highly suspect of their opinions from the on on matters of criticism. It might not be horrible, but it leaves a bad taste in your mouth.
4.0: Okay, we've definitely passed into bad here. This stuff actually will make you walk out of a movie theater it's so lame. It's not even stylistically bad. It's just boring bad and you likely won't have the patience to go through with it.
3.0: This is a wierd little category few get to but a few deliberately reach for. So bad it's good. That is to say, if you take this at face value it's going to be horrific. But, if you just hang along for the ride and turn off your brain or, conversely, decide to get ridiculously symbolic about it, it can actually be very entertaining, if only for its comically bad quality.
2.0: Could be so bad it's good, but more likely this has verged into so bad it's horrible quality. There's nothing funny about it, except perhaps that the human mind could be so warped that it would actually produce the shit. Not fun.
0-1.0: Burn! Burrrrrrn! Burn the evil! It hurts!
Table of Contents
Star Trek: Countdown
Star Trek
Star Trek: Countdown
Overview
Believe it or not, the new Star Trek is not a straight up BSG or Casino Royale reboot. That’s not to say it isn’t a reboot for, no matter how much J.J. Abrams or screenwriters Robert Orci and Alex Kurtzman might want to say it isn’t it is. But it’s only a partial reboot. That is, to say, the old continuity still counts.
Confused? Understandably, I assure you. However, the prequel comic Star Trek: Countdown, one of the few licensed products in the Star Trek franchise to be considered canon, basically exists to smooth out the details. To sum it up, although I have not read either franchise in particular detail, imagine that the Star Trek reboot is akin to the Marvel or DC reboots. From what I understand of them, they’re more or less the same in style.
I was at first hesitant to buy the comic. First of all, I avoid Star Trek licensed material like the plague because, A) like Star Wars there is so god-damned much of it and B) unlike Star Wars it’s not even canon so why bother. However, I made an exception in the case of Countdown for two reasons. First of all, it basically is canon, unlike so much of the licensed material for Star Trek and the events within its pages lead directly to (and straight up to the first seconds of) the film. Secondly, it got pretty dang good reviews, which I was not expecting.
I’m glad that I did go through and buy it. It’s not only pretty good in of itself and could even, with a few weaknesses, stand on its own as a story, but it also is somewhat (and unintentionally I presume) essential to understanding the plot of the film that follows it, as those of my friends and family who did not read it can confess. Also, it serves as one last goodbye to the TNG crew in a way that is ultimately more satisfying (with a few exceptions) than Nemesis’ final goodbye was.
Plot
Countdown is really a sequel to the TNG episode Unification, a two-parter that resulted in the most memorable TOS cameo within TNG, that of Spock. Decades have passed since the episode’s events and Spock, long in hiding as an agent of peace and reconciliation between his people and the Romulans has come out of hiding. He goes one step further and acquires Romulan (partial) citizenship, hoping that it will help bridge the gulf yet further.
However, the new Romulan government, obviously formed fairly recently given the trauma the civilization suffered during Nemesis, is not exactly ready to trust Spock. They offer him only courtesy tolerance, seeing lies between his every word, and believing that he is a Federation spy. It seems likely that their offering of citizenship was only part of an olive branch exchanged after the temporary alliance between the Romulan Senate and the Federation during Nemesis, in which the two forces aligned to fight Shinzon and his Reman usurpers.
As Spock struggles in the forum of public debate and the secret rooms from which Romulus is actually run, lightyears away a mining vessel called the Narada, commanded by a seemingly insignificant, hard-working miner named Nero, begins to conduct another mining operation. Their task is, however, interrupted when the star they are orbiting suddenly begins to give out very strange and unusual readings. Within minutes it is clear it is preparing to go nova and Nero, recognizing the danger to his crew, abandons their equipment and directs the Narada into warp just in time to avoid being consumed in an intensely powerful wave of heat and radiation.
It is not long before Spock and several other Vulcan scientists learn of this event, which Spock quickly relates to the Senate. He informs them that he believes that the star is “unlike any natural phenomenon we have encountered.” In other words, it’s not just a supernova. It’s something way crazier. Whatever that is. Nonetheless, they do continue to call is a supernova in the story, even though it clearly isn’t one (because, among other things, the blast travels at warp speeds).
This is one of the major weaknesses of the story, which is in many other ways quite good. The big, giant, mean space phenomenon just doesn’t make sense. It’s a natural phenomenon that travels at warp speeds? It happens to be capable of destroying the entire galaxy? It’s blast can be contained with a black hole (ignoring the fact that black holes often lie at the center of supernovae)? This, once again, shows to hardcore Trekkers/Trekkies that, really, Star Trek isn’t any more scientifically plausible that say, Star Wars. It just does a really good job at disguising that fact with technobabble.
However, if you ignore this rather large conundrum the story otherwise makes a lot of sense. It makes, sense, for instance, that the Romulans don’t trust Spock’s motives nor are willing to listen to the warnings of a commoner like Nero. It also makes sense that the Vulcans are just as suspicious (with good reason, really) of the Romulans. What follows makes sense. And it’s well plotted, with a steadily rising arc until you reach a climax, at which point it resolves itself quickly… perhaps a little too quickly. But ultimately, the ending is satisfying.
Also, the comic has more than a few nice continuity nods, both towards the coming film and backwards with respect to what’s come before. For instance, much as I disliked the Remans in Nemesis is was nice to see that their existence was acknowledged, having since become expatriate pirates and raiders that seem to skim along the borders of Romulan space. Similarly, there are several references to the Borg (one clue, there’s a certain something in the new film which is actually of Borg design, though it’s not obvious if you haven’t read the comic).
If there’s one thing, other than the rather obtuse plot twist, that I can say is poor about the plotting it’s that the comic moves too quickly. We leap from one even to another with little or no time to rest, although this really only becomes evident in the latter half, when we go from one very major event to a major character transformation within a page or two, and which solves the problems brought up in the third quarter very quickly. Slowing down would have probably helped the story.
However, Countdown does what it set out to do. Namely, it sets up for the new movie very, very well. I actually finished reading it only hours before I saw the film so it worked quite effectively in my case, providing me with an insight no one else I knew (except one of my brothers) had. Best yet, the comic literally ends an instant before the new film begins, so it really leads straight in.
All around, good work, though far from perfect.
Score: 8.8 (out of 10)
Characters
The characters of Countdown are important for two very large reasons. First of all, this is (very, very much almost certainly) the last goodbye for the TNG cast. While they’re obviously not played by their actors (after all, it’s a comic), it’s still nice to see the characters in action one last time - at least some of them. Second of all, Countdown also sets up the villains for the film that it precedes, along with Nimoy!Spock as he appears in the film.
Let’s start with Nero. This is his story after all. He actually only gets about half of the screen-time but while Spock gets about as much attention per capita, we already know Spock. We don’t know Nero, however, who is a completely original character. Those who’ve paid attention to the press coverage know he is a Romulan and that he happens to be pretty pissed off. Those who’ve seen the film (or even haven’t) probably know he’s a time traveler. These bits are pretty well established.
However, Countdown explores Nero’s origins and how he came to be who he is in the new film. It does this with loving, careful, and deliberate detail. When the story begins, Nero is no more villainous, no more capable of evil than any run-of-the-mill blue collar worker. He’s certainly less insidious or malicious than the members of the Romulan Senate and he’s far more sympathetic than the members of the Vulcan High Command. He seems to be, in just about every way, a hero, if one with a bit of a temper problem. And a very pregnant wife.
Nero’s transformation into the following film’s villain is a natural and completely understandable one. It does move, like the plotting, a little bit too quickly at times but it never feels forced or unnatural. In fact, the writing even does a good job of making you feel sympathy for Nero, even as he begins his descent into the dark side, caring for him and his struggles even when, in all honesty, you should be cheering the others in their attempts’ to stop him. So the characterization for Nero is a real big plus here. He’s ruthless, dedicated, passionate, and, above all other things, sympathetic. He feels like a down to earth guy that, at any other time, could be a good friend.
Spock is certainly the second most prominent character. This is the first time the character’s been seen since the TOS films and the episode Unification and the character has certainly grown, though, again, in a natural manner. This is a half-Vulcan who has learned that, rather than fight the emotions and try to suppress them, it is better to learn to live with them in harmony and at peace. As a result, this Spock seems, while logical at nearly all times, far less uptight and pompous than most of the other Vulcans they run into. He also seems far wiser than the highly intelligent but un-intuitive Spock that we knew on TOS. It’s a strong evolution.
The third most prominent character is likely Picard, who has since resigned his commission as a Starfleet officer and gone on to become the Federation ambassador to Vulcan (although I’m still confused as to why such a position would exist since Vulcan is a member of the Federation). This doesn’t seem all that unlikely. After all, Picard spent as much time acting as a diplomat in TNG as he did firing a weapon, most notably culminating his diplomatic enterprises (pun unintended) with the mission to Romulus in Nemesis (which makes me wonder, considering the good will he earned then, why he isn’t the ambassador to Romulus).
The Picard here is much more laidback, seemingly comfortable in his retirement in a way that Kirk never would have been. However, Picard, always an intellectual type, seems to fit into this role quite nicely. All in all, it’s good to see him again and his relationship with Spock, while seemingly sudden, does tie into the bond that Picard formed with both Spock and his father, Sarek, in the episodes Sarek and Unification.
Data, reincarnated (as Nemesis so strongly hinted) through B-4, makes an appearance here. I don’t really count that as a spoiler since his face is on the cover. Data does pretty all right in this comic but he doesn’t come of quite as strongly as the above three. It’s not that I don’t think his captainship of the Enterprise-E doesn’t make sense - in fact, his initial appearance is quite kickass. But as in Spock’s resurrection in The Search for Spock this resurrection feels kind of heavy-handed and without any of the impact one would expect from such an event. Granted, it’s been eight years since Nemesis so any of the drama that occurred is likely over. However, it made Data’s reappearance kind of jarring (not to mention the fact that it rather annoyingly ignores the central premise of Nemesis - that a clone isn’t identical). After all, wasn’t B-4 an individual (albeit a really retarded one) too?
Two more characters from TNG make an appearance. Geordi, who was kind of a surprise appearance, makes a far stronger cameo here than his friend Data, playing an important role in the comic’s story as well as (by extension) the story of Star Trek. I do wonder, however, why Spock is friends with everyone. I mean, yeah, he is about 150 years old. Still, you’d think he wouldn’t be best of friends with every member of the TNG cast. This is a minor nitpick however.
The last TNG cameo is from Worf. This one was, by far, the one I least liked, not least of which because Worf’s characterization makes no sense. It just doesn’t. He acts like your typical Klingon soldier rather than, you know, the ambassador to Qo’noS (like he was made at the end of DS9) or, I don’t know, a Starfleet officer. Instead of being a surprisingly cunning and empathic warrior who often found his people’s culture too brutal for his tastes, Worf here is essentially a clone of a TOS Klingon. Brutal, dumb, and ultimately unsatisfying.
While we’re on the topic of disappointments, I think it kind of sucks that they didn’t bring characters in from other series. This would be the sole opportunity to do this and give them a brief walk in the sun. After all, it’s almost completely (as in 99.999999%) certain that neither DS9 nor Voyager will get a film. So it would have been nice to see, say, Odo or Kira (though I know Sisko’s out of the question) or hell, even Seven of Nine or Chakotay. Perhaps it wouldn’t have served the story and the comic’s not really weaker for their absence but the fanboy in me screams at the fact that those DS9 in particular was more or less outright ignored.
This is a rather small and unimportant complaint however.
As for supporting characters, they’re a mixed bunch. Very few are, in fact, named, and those that were… well, with the exception of Ayel, Nero’s lieutenant, I can’t really remember their names. Ayel stands out, however. He’s not a great character but he fills his role as a loyal but questioning subordinate fairly well. It would have perhaps been nice to see more of him but Nero quite literally (and purposefully) steals the show.
Overall, the characterization of Countdown was near spot on. The supporting characters were somewhat weak and neither Data nor Worf really worked for me the way they should have, but I thought, overall, the comic was a strong work in this regard.
Score: 8.2 (out of 10)
Presentation
Star Trek: Countdown is a very slickly put together piece of art. It’s not the best comic work I’ve ever seen but it’s definitely up there, fitting a nice niche between stylistic and realism. It also has, appropriately as a film tie-in, a very cinematic style, with frames looking very much like shots from a film. Some are even modeled deliberately after shots in the movie, most notably one where Picard and Spock speak with the Vulcan Science Council, which has almost identical framing to the shot of Spock facing the same council seen in many of the trailers.
The paper quality of the comic book is pretty high too. It’s nice, glossy stuff, though that’s kind of expected when you buy a comic book. As usual, I bought the TPB version since I absolutely can’t stand the little flimsy jackets that regular issues come in.
I’m not sure really what more I can say here. The art was really good and so was the rest of the production values. All in all, a good buy in this regard, but there’s only so much you can say about a comic book’s art. Or at least, only so much as an untalented artist like me can say. I’m sure a penciler or painter would have a much more detailed opinion.
So from this visually challenged writer: good work.
Score: 9.2 (out of 10)
Summary
Plot: 8.8
Characters: 8.2
Production: 9.2
Overall: 8.7
Star Trek
Overview
I saw Star Trek opening day (but not night) - which was last Friday (May 8th). For those who follow me regularly it’s easy enough to tell that I was looking forward to it. This is in spite me being a bit iffy about the writers’ reluctance to commit to a specific description of the film, worries about the film trying to simultaneously remain ideologically “pure” while also attracting new fans, and the fact I wasn’t too thrilled with the last season of Lost (Season 3), though, recently, I’ve been considering going back and watching the much praised Season 4. But, everything I heard about the film seemed more and more pleasing.
This gave me secondary worries. I was worried, for instance, that I might be disappointed, that my expectations might exceed the reality. I was worried that I’d leave the film, sighing and saying “well, that was pretty good but still…”
I am happy to say this was (mostly) not the case. Overall, I think J.J. Abrams and his crew have done a wonderful job rebooting the franchise. And yes, as I covered in the above review, this is a reboot (albeit not of the strictly blank slate variety). But it does so in such a way that will undoubtedly please many of the most ardent fans of Star Trek (whichever series) while also successfully updating Star Trek to pop culture status in a way I didn’t even really think was possible. Seriously.
If you haven’t seen this movie already, I highly recommend you do now. It’s quite worth the price of admission and I plan on seeing it again in theaters (which will be the first time I’ve done that voluntarily since Casino Royale’s release in 2006).
Read on, those who require further assurance or those who are merely curious as to what I thought in more detail.
Plot
I have to get one thing out of the way. This film very, very much riffs off of Wrath of Khan. Very much. Entire swathes of dialogue are lifted out of or inspired by scenes from the famous film, which screenwriters Orci and Kurtzman are big fans of. For those who claimed Nemesis took reference from Khan - uh-uh. This film makes Nemesis look nothing like Khan.
That said, these are more of shout-outs than actual rip-offs. Orci and Kurtzman have repeatedly made reference to the fact that Khan played a role in development and the plot itself, while with important similarities, is far from identical. For one thing, Khan didn’t involve time travel in the least. And where Khan was a getting old and dying story (much as Generations was) this is more of a coming of age story - wherein the characters learn to grow up rather than to age with dignity.
The film surprised me in one regard by being wholly linear - something I would not have expected from Abrams, Orci, and Kurtzman, who seem to have a near obsession about using non-linear storytelling in their projects. Instead, Star Trek starts at the beginning of the story and ends with its end. All the bits in between run, more or less, in chronological order, with no jumping to en media res or somesuch. In some way, I don’t think this is entirely a good thing. It certainly makes the story less confusing than it could have been, but as I will note later in the characters’ section, it also hurts character development slightly.
In any case, as such, the film opens some 26 years before the rest of the film when the Federation starship USS Kelvin encounters a miniature black hole that appears out of nowhere, from which a massive and unidentifiable ship emerges. The ship, later revealed to be called the Narada, immediately opens fire (for no apparent reason), dealing heavy damage in a very well put together action sequence before an officer of the vessel, a Romulan named Ayel, addresses the crew via their viewscreen and informs them that they will surrender and send their captain, Richard Robau, over to the invading vessel for interrogation. Robau’s XO (second-in-command), George Kirk, objects but Robau agrees, leaving the Commander in command.
When Robau gets over to the vessel, which he finds full of more Romulans, all bald and tattooed like Ayel, he is questioned by Ayel while the captain, Nero, sits silently. Robau is asked about the location of a small and futuristic little ship, which he does not recognize. He is then asked also about the location of “Ambassador Spock,” which he is also unaware of and who he has never heard of. Realizing something’s up the Romulans ask what the stardate is. Robau’s answer does not please Nero, to say the least, since he spears the captain, killing him.
When Commander Kirk witnesses this (since they have Robau’s life signs on monitor), he orders the Kelvin to attack the Narada before they have a chance to shoot first. However, this proves to be a bad idea as the Narada vastly outguns the Kelvin, overcoming its defenses almost instantly. Realizing that the ship is lost, Kirk orders the crew to evacuate, including his pregnant wife, who goes into premature labor because of the stress. Kirk then stays behind to hold off the Narada while the rest of the crew escape, ramming the Kelvin straight into the larger ship to do considerable damage.
This is by far one of the strongest movie openings I’ve ever seen. It immediately sets the tension high and gets you interested in what’s going on - even if you already know what the result is going to be (I knew long before the film even had preview screenings that the Kelvin’s fate would not be so good). It’s well-paced and filled with both heartwarming and depressing moments. In particular, Kirk’s final farewell to his wife and newborn son (guess who…) was particularly poignant.
Cut forward to ten years later and we see that Kirk’s son, you guessed it, James T. Kirk, has turned into one crazy punk, going so far as to steal his uncle’s antique car and wreck it. As this is occurring we are introduced to a young, half-Vulcan boy named Spock, who becomes the target of surprisingly biting taunts by his classmates due to his human heritage. Inevitably, he loses his temper and gets a lecture from Sarek, his father. These establishing bits don’t really do much for the story since most of the scenes that went along them were cut, leaving them sort of hanging as a result. Altogether, they’re probably the weakest part of the film.
However, the next scenes are very important since they set up the backdrop of the film. First, we see Spock apply to and get approved for admission into the prestigious Vulcan Science Academy. However, when some not-so-nicely-put words are set about his heritage and human mother, Spock turns down the commission, instead joining Starfleet.
Meanwhile (given context revealed later on, probably at least a few years later), on Earth, James T. Kirk gets into a brutal barfight after flirting relentlessly with a Starfleet cadet named Uhura (he can’t get her first name though). This fight is broken up, however, by the timely arrival of Captain Christopher Pike, both a captain at Starfleet as well as a recruiter for Earth’s Starfleet Academy, the most prestigious and largest of the Federation’s Starfleet training academies.
Pike is impressed by Kirk’s intelligence and charisma, which he thinks are the mark of a good captain. He also is interested when he learns who Kirk’s father was, since he himself has a personal interest in the Kelvin incident. He encourages Kirk to join Starfleet. Kirk at first rebukes Pike’s offer but decides to go with it. He reports for a shuttle departing to the Academy, where he not only see Uhura again but meets up with another new recruit - Leonard McCoy, whose recent and messy divorce has left him with “nothing but his ‘bones,’” a nod to the well-known nickname for the good doctor.
Skip forward again. It’s now three years later. Here we see Kirk as he begins to finish his training at the Academy. We, of course, see his infamous solution to the Kobayashi Maru simulation as well as him making out with hot alien women. It’s all very familiar. It also fits very much and gives us the chance to see Spock and Kirk meet for the first time. Which is less than, shall we say, friendly.
It’s at this point that the film really starts rolling. In the middle of an investigation into Kirk’s solution to the Kobayashi Maru scenario, Starfleet receives word that Vulcan is suffering severe seismic disturbances. Since most of the fleet is otherwise preoccupied (again), Pike and other captains present on Earth are ordered to lend their aid. Since most of the ships present at Earth aren’t completely finished the graduating class of the Academy is drafted into service to help crew the new ships.
From here, the story turns into a thrilling and fast-paced adventure, with little time to pause and take a breather. It’s a story filled with incredible twists and turns, several mini-climaxes that push you to the edge of your seat, and just a bunch of sheer awesomeness. In most regards, this is a very, very good story, with never bores and which is sensical enough to understand for those who might be unfamiliar with the material while retaining a very Star Trek-like feel that makes it appealing to those who are.
That’s not to say the story is without weakness. For instance, the science is laughably bad at parts. And no, I’m not talking about warp drive or transporters or any of the standard stuff. I’m talking about the galaxy-eating supernova, the drill that digs a hole through a liquid mantle, the black holes with gravity so strong it overcomes warp drive but can be beaten with a simple explosion, or the fact that said black holes can be used to consume the galaxy-eating supernova. Most of this was covered in my review of Countdown, however, so I won’t go into detail here.
Also, I find the rapid promotions that proliferate through this film to make no sense whatsoever. Sure, McCoy becoming a lieutenant commander kind of makes sense (our military does the same thing for specialized medical officers) and Uhura’s promotion to lieutenant isn’t much of a stretch. But Kirk - from cadet to captain? That’s jumping a total of… let’s see… I’m looking it up… six ranks.
There is indeed such a tradition in our military. It’s called brevetting. However, it is only temporary and for an official promotion you still have to do all the ground work. The few exceptions to this have been during periods of extreme duress in which officers are seen dropping left and right - such as the French Revolution in which a certain Corsican officer who became general by age 24, within eight years of his joining the French military. Kirk does Napoleon one better by making captain in a few days.
I understand why they did it. And when the second movie comes along and Kirk’s making one badass of a captain, it’ll probably be worth it. But really? If it were me I would have done one of two things. A) I would not have had Kirk’s mission on the Enterprise start with him straight out of the Academy or B) I would have made him, at the most, a lieutenant commander and left Pike or Spock in charge. How’s that for a reboot, not even making Kirk captain?
There’s also a few other things that bug me. Why, for instance, does the Narada simply hang around for some twenty-six years waiting for Spock? I mean, yes, they were obsessed with him. But come on, they had to have been doing something else besides that otherwise they would have run out of supplies and gone insanely bored. The film doesn’t provide any explanation for this, however, nor for why they don’t age in the slightest (granted, they are Romulans, but still…).
The really sad thing is that the film does have an explanation for this. But it, namely that Nero attempted an attack on the Klingon Empire, was captured, and then held prison on Rura Penthe for about a decade or so, was cut from the film. Why? For pacing. The film, like the comic that precedes it, has a breakneck pace. While it certainly serves a purpose (to never give the viewer a chance to get bored) I think it hurts the story in some ways.
In my own private canon I’ll continue to regard the Rura Penthe scene as canon - particularly since Uhura does confirm that a Klingon fleet was obliterated by Nero shortly before the attack on Vulcan.
However, in spite of plot holes like this, the plot of Star Trek is overall, very, very good. Better yet it’s very entertaining. Definitely among the best films in this regard.
Score: 8.8 (out of 10)
Characters
Characters wise, the new Star Trek is generally fantastic. Nearly all the characters are not only really, really enjoyable to watch, but they also fit into the general outlines of the TOS characters on which they are based, with the exceptions usually being improvements. There are a few weaknesses here, but not many, and I wholeheartedly embrace this new crew.
First, let’s start with Kirk. This film, in spite of what you might have heard, is not entirely focused on him. It really is a duo piece with Spock and Kirk both taking the lead (after all, Spock’s the only character played by two adult actors in this film - which, by the way, since that’s included in a trailer and has been outright advertised, you should know by now). But Kirk is certainly one of the most prominent characters and he’s also one of the best, bequeathed with witty dialogue, a brash but cunning personality, and a demeanor that really does seem like it could have been the young version of James T. Kirk.
Some think that Kirk seems a bit too much of a mustang in this film. I disagree. Even in TOS, Kirk was well-known for ignoring orders he didn’t much like - note how many times he violates the vaunted Prime Directive. And while his conquests of alien women have been exaggerated (he’s only confirmed to sleep with about two women in the whole show) it was clear that he indeed enjoyed pursuing them, given that he flirted with just about every woman he came across. And Kirk’s not a sex machine in this movie either. He only really gets it on (and doesn’t get past third base) with one woman in the film. But it’s the attitude that matters, and this Kirk has it in spades.
There are a few differences. For example, Kirk in TOS, while flirtatious, was not outright lewd, the way that this new Kirk often is. But that’s more likely due to the censors of the time than any actual intention on the part of Roddenberry and enough innuendo is dropped in TOS and the following films to indicate that Kirk Prime would have been more than happy to mouth off in the same manner that Kirk Alpha (I’m borrowing here nomenclature from TrekMovie.Com discussions about the parallel universes) does.
As for Spock, I was also impressed. The character’s not perfect (after all, it’s been established again and again that humans have more control over their emotions than Vulcans do, hence the logic philosophy) but he’s portrayed pretty well all-around - both the Prime and Alpha versions of the character. Cool and collective most of the time, while still given to violent outbursts, this Spock is a divided character with many dimensions. Angry, arrogant, cool, detached… these all describe the new Spock. It’s been said that in this film Kirk learns to control his emotions, while Spock learns to accept them. That’s probably pretty close to the truth here.
As for Spock Prime, well, he’s gone a long way since those early days. In fact, he’s so open about his emotions that he almost seems, well, human. But given the arc presented the character (particularly since The Voyage Home) this doesn’t seem unlikely. In fact, it seems very natural, allowing Spock to become, for the first time, the Cool Old Guy. The Obi-Wan, so to speak.
Other characters also are great. I love, for instance, the new McCoy. He’s less different than the other varieties, but that’s all right. After all, there wasn’t much wrong with DeForest Kelly’s portrayal to begin with. His friendship with Kirk seems both natural and lively, with the two obviously coming out of the Academy as close friends (which was heavily implied in TOS although never stated on screen). In spite of this, though, McCoy never loses his edge, never making it easy for Kirk and expressing his disapproval when Kirk does something he deems too far out of left field (like, for instance, cheating).
Uhura, as you may have heard, also gets a big upgrade from her character in TOS. Much as I like Nichelle Nichols’ performance and much as I understand that in the context of the time her very presence was extremely radical for the times, she was still little more than a backdrop character, whose actions rarely made a difference and who had even less characterization than several other female characters - like Nurse Chapel or Yeoman Rand.
No more in Star Trek, where she has a pivotal role in her interactions with Kirk and Spock as well as in of herself. In fact, her skill with xenolinguistics becomes a key plot point, allowing the Enterprise’s crew to anticipate a danger they would otherwise have been unaware of. And it is through her that Spock learn to come to terms with his emotions. Allow me to give a thumb’s up towards Orci and Kurtzman’s reimagining of the character.
Another character that figures prominently is Captain Pike. Pike, in the old show, wasn’t really much of a character. He only showed up in one episode. Yes, one. The Menagerie is just a remake of The Cage with another plot gently layered over it to justify airing it. Pike wasn’t a bad captain in those episodes, but he never seemed like a very in depth one. Likely he would have become one if we’d seen more of him. But we didn’t.
The new Pike, on the other hand, is a figure who truly attracts attention. A father to his crew, Pike doesn’t come off as Kirk’s ill-fated replacement. He comes off, rather, as a badass who precedes Kirk and informs the latter’s command philosophy. Bruce Greenwood wants to return for the next film as the character. I say, by all means, let him. I’d love to see this new Pike some more.
Other characters also get their time to shine, though they are less prominent than the above four. The new Scotty retains all the wit and humor of the old while also keeping the keen intelligence and innovative miracle working that are hallmarks of the character. He’s also, much like the original Scotty, one of the older crewmembers. Sulu is, in many ways, a badass, just like the old Sulu was - an expert pilot with a commanding presence and an aptitude for… fencing. Chekov is a boy genius (though not in the obtusely annoying way Wesley Crusher often was).
The characters in this movie are, in fact, so awesome that even characters who are in the film for only ten minutes are intensely badass. Witness, for instance, both Captain Robau and George Kirk. How is it that Robau, who is in the film for, like, five minutes before he gets gutted already a character who has acquired enormous fan appeal and become subject to his own “(fill in your favorite action hero name here) facts” list? Because he’s just that cool. And the new Sarek, while a minor character, really comes across nicely and in much the same way as Sarek Prime did.
Not all of the characters fare well, however. For instance, although they certainly came off as appropriately menacing and no nonsense, the villains of the new Star Trek in no way reach Khan-like qualities, as screenwriters Orci and Kurtzman promised. They just don’t. In large part this is because no time at all is given to them and their own characterizations. The only time we see them is while they’re interacting with the good guys, thereby meaning we only see them as villains. We never get a clear idea of Nero’s motivations nor that of his followers. Oh, yes, Nero goes on a bit of a tirade to Pike about his wife and planet getting blown up, but this is never seen - nor is its impact. It’s glazed over, delegating the villains to carboard cut-outs with a suitable degree of charisma and gravitas to get away with it.
This is disappointing, really, given the amount of detail that goes into Nero’s backstory in Countdown. Surely they could have worked in some flashbacks (and no need to show TNG characters - it’d be easy enough to cut around them) that would explain Nero’s motivations to the people who hadn’t read the comic. But the way it’s presented in the film is minimalistic in the extreme, with a handful of expository lines. Ultimately disappointing, with Nero coming nowhere near the greatness of Khan, Chang, the Borg Queen, or hell, even Kruge.
However, with the exception of the Romulans the film’s characters are all around fantastic. A writing triumph in this regard.
Score: 9.4 (out of 10)
Production
I don’t know how they did it, but like last years’ The Dark Knight J.J. Abrams’ Star Trek has some of the best production values I’ve ever seen. It exceeds all previous Star Trek films, even the fairly impressive Search for Spock, excelling in all fields from visuals to music to acting. It is all around, a poster child for good production and design.
Visually, Star Trek is astounding, easily on par with the best that film has yet offered us. It goes above and beyond the most visually impressive film I’d seen to date, which was Revenge of the Sith, likely because the same guys worked on it. The new Enterprise looks fantastic, though, to be honest, I still prefer the 1977-1992 design and Enterprise-E better. But that’s just me.
The Narada is a truly alien ship. This is a bit weird, considering that it’s a Romulan mining vessel unless you know about the little revelation from Countdown about the ship’s unusual design. However, though this seems a bit contrary to previous Romulan designs, the Narada doesn’t look bad. To the contrary - it looks quite awesome in just about every regard and while the fact that there was water on the floor didn’t quite make much sense (at all) it did give it a very grimy and nasty feel that was strangely appealing.
The Kelvin is also pretty cool. I know that some fans throw a fit over it having one nacelle instead of two but… well, come on guys. Really? That’s by far the least of your problems when it comes to reimagining TOS-era designs. Personally, I loved the tough little ship, which served as a nice bridge between the designs used on Enterprise and those on TOS - right down to the set design and uniforms. That, to me, was a nice touch - an excellent example of acknowledging continuity without letting it become obtrusive.
And I have to say, I love the new 23rd century feel. I love the costumes, which upgrade the TOS designs from somewhat campy by modern standards to outright awesome. I love the small little references to things like cell phones and fast food. I love the fact that Kirk has a bike. I love the new transporter effects. I love it all.
Seriously, they had some really excellent art direction in this film.
And what about the actors? I had some doubts but really, they pulled in quite a bit of talent. Every single person works in their role. Every single one. Chris Pine exudes the confidence and charisma of Kirk that became so legendary when William Shatner first displayed it. And he does it while simultaneously seeming true to the character but not an imitation or mockery. Similarly, I was doubtful that Zachary Quinto, previously best known as the villain Sylar from Heroes, could rid me of my mental image of him as a sociopathic serial killer with telekinesis. But he does and now, when I think of Quinto, I instantly think of Spock. Hell, when I think of Spock I instantly think of Quinto.
Which is not to say that Leonard Nimoy’s return as Spock Prime is not wholeheartedly welcomed by me. It is, indeed, a crowning moment of heartwarming as he first steps into the camera’s view, greeting the confused Kirk as an old friend would. Nimoy, as always, captures the essence of Spock and renders forth the duality of a man who has come to embrace his twofold nature, rather than fear it or suppress it.
It would also be a crime to not mention that Karl Urban is, without a doubt, the surprise breakout actor in this film. Urban is pure awesome as McCoy and although his performance comes very close to an imitation of Kelly it doesn't come off that way. It just comes off as... well, McCoy, condensed and distilled into the essence of the character. And made badass. Honestly, I did not go in expecting to find Urban my favorite actor of the trio. But he ended up that way.
Really, everyone’s great in this film. Everyone. From Simon Pegg as Scotty (with a somewhat faux Scottish accent - he is British and no one complains that Ewan McGregor’s accent in the Star Wars films is fake even though it is) to Zoe Saldana as Uhura to Eric Bana as Nero… everyone is awesome.
And hell, as a bit of trivia for those of my readers who are KotOR fans, Greg Ellis, better known to us as the Disciple, actually makes a brief appearance in the film as Scotty’s ill-fated predecessor.
And as for the music… I’m not sure if it’s the best Star Trek soundtrack but it is definitely up there. Michael Giacchino, a composer whom I am otherwise unfamiliar with, does a terrific job here. He brings a score that soars, working with the intense visuals and wonderful acting to evoke powerful emotions from you, from deeply moving tragedy to thrilling cheer. I’ll definitely be picking up that soundtrack, which is also one that manages to make the TOS theme actually seem cool. Seriously. I don’t actually like the original theme all that much, but Giacchino makes it awesome.
There are sure to be problems here that I am overlooking. But I don’t care. The production values of Star Trek were so damn close to perfect that I might as well have been.
Score: 10.0 (out of 10)
Summary
Plot: 8.8
Characters: 9.4
Production: 10.0
Overall: 9.4
Final Star Trek Film Ratings
Now, for the final moment of truth, for those who are curious, I present to you my final ratings of the entire Trek film franchise, from order of worst to best (and, in the case of the tie, time of release), with their overall score to the right.
Star Trek V: The Final Frontier: 2.0
Star Trek: Insurrection: 4.2
Star Trek: The Motion Picture: 7.0
Star Trek Generations: 7.2
Star Trek Nemesis: 7.6
Star Trek IV: The Voyage Home: 8.0
Star Trek III: The Search for Spock: 8.6
Star Trek II: The Wrath of Khan: 9.4
Star Trek: First Contact: 9.4
Star Trek: 9.4
Star Trek VI: The Undiscovered Country: 9.6