THE STORY – The brash James T. Kirk tries to live up to his father’s legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.
THE CAST – John Cho, Ben Cross, Bruce Greenwood, Simon Pegg, Chris Pine, Zachary Quinto, Winona Ryder, Zoe Saldaña, Karl Urban, Anton Yelchin, Eric Bana & Leonard Nimoy
THE TEAM – J.J. Abrams (Director), Roberto Orci & Alex Kurtzman (Writers)
THE RUNNING TIME – 127 Minutes
In the highly segmented camps of pop culture that divide us into uncompromising allegiances for one intellectual property over another, the divisions between “Star Trek” and “Star Wars” have always seemed like one of the foundational conflicts that pits lovers of science fiction against each other. The former always came across as a true celebration of the genre, one that valued an altruistic look toward the future, rooted in heavy philosophical discussions that often reflected the current political turmoil. The latter was an indulgence on spectacle, a grandiose showcase of pioneering visual effects that were riveting to watch unfold with every new entry. Interestingly, these two franchises experienced a period of great popularity before receding from the culture, only to lay dormant before unleashing themselves with a reinvented look for new audiences. For this particular series, the shot of adrenaline was welcomed, even though, among the excitement, a core aspect of the series’s identity becomes muted.
Most of us are familiar with the adventures of the Starship Enterprise and its crew, traveling across the galaxy on scientific expeditions in the far-off future with the hope of expanding human knowledge and experiences. We are now taken back to the point of inception, at which these individuals first collided. Still, that previously known history has been disrupted thanks to a vengeful Romulan, Nero (Eric Bana), who has traveled back in time. His actions cause a rift in the past, which leads to the mass slaughter of another starship crew. Escaping is James Kirk (Chris Pine), who grows up with a chip on his shoulder and a strong, rebellious persona. It isn’t until he’s introduced to Captain Pike (Bruce Greenwood) that he becomes enticed to join Starfleet, the academy with an altruistic mission for space exploration. It is here that he crosses paths with Spock (Zachary Quinto), an alien whose race prizes logic over emotion. This sets in motion a heated conflict between the two, vying for control; all the while, Nero plans to enact a plan that will destroy Earth. Both of these individuals must find a way to work together, and in the process, they will discover new friends who will form the lovable crew that is well known today.
For all that this franchise may be known for as a showcase of action spectacle, its core identity has never really been built around that. The storytelling of the world has always valued intellectual discussions and commentary above thrilling set pieces, though the films certainly did their part to indulge more in the latter. In the hands of J.J. Abrams, that balance has definitely shifted here. Every moment of intense action moves with a propulsive momentum, capturing a frenetic environment in which the camera is constantly moving and blinding the audience with those trademark lens flares. Even though it doesn’t particularly feel like “Star Trek” and primarily acts as Abrams’s audition for “The Force Awakens” gig he’d get a few years later, what Abrams does manage to accomplish is creating an engaging atmosphere that works to bring together both compelling action and endearing characters. The scenery may, at times, be a little too disorienting, but the light tone helps keep the pace moving. The impressive crafts, from the Oscar-winning makeup design to Michael Giacchino’s delightful score, help to forge an entertaining environment.
The screenplay by Alex Kurtzman and Roberto Orci is a curious concoction. There is a playfulness to the interactions between the characters that keeps things lively and engrossing. The structural foundation of the plot is a solid launching pad to build this narrative, and for the type of genre it exists within, the work is serviceable. However, there is also a shallowness to the storytelling that further emphasizes the glossy sheen that has been transposed upon what was once revealed in stimulating intellectual commentary. There is no antagonist here with goals that are built from a complex political background that engages in an interesting philosophical debate. Instead, we are treated to a generic villain with pedestrian motivations that would appear in any number of similar works. The dynamics between the crew also play to familiar tropes and sand down the more intriguing layers. It makes sense for Kirk and Spock to have the spotlight, but neither of their journeys are particularly inventive. Their “enemies to lovers” arc, so to speak, is obviously constructed as it reaches a predictable endpoint. The script does a decent job of establishing this new take. Still, it also manifests basic characterizations and mundane archetypes as a means to fill out the plot, which is very underwhelming for a framework that has the potential for much more enthralling discussions.
Despite the aspects behind the camera that can make the final results a bit uneven in their effectiveness, what makes this film work at all is the exceptional cast that has been assembled. Without them, this structure would crumble over its pretty but hollow construction, and this ensemble doesn’t have a false note within it. It’s a daunting task for all of these players to inhabit roles that have been made iconic in the past, and Pine has extra difficulty in trying to forge his own path that’s separate from a portrayal that can be easily prone to parody. However, he manages to create a new invention of the character, one that is molded from certain hero types of the past but still has a charismatic presence that is endearing to watch. However, Quinto delivers even more impressive work. The character of Spock requires a very narrow lane to play within, as a character that constantly holds back emotion is limited in the notes to play. But Quinto manages to find those subtleties in a way that makes his interpretation feel like a natural continuation of Nimoy’s turn while also making it feel inventive. He can deliver the dry wit, the stern persona, and, when needed, demonstrate the volatile emotion that does indeed build from within. It’s a complicated performance surrounded by dizzying spectacle, which is why it deserves commendation.
Of course, the recognizable crew that many have come to love also requires dependable actors to fill those roles. While their overall contributions may be minor in comparison, their group is still littered with talented performers who make a significant impact with what they are given. Karl Urban takes on the third member of the famous trio, Dr. Leonard “Bones” McCoy. While, at times, he leans a little too close to a straight-up DeForest Kelly impression, his cantankerous personality never fails to delight. Zoe Saldaña is quite lovely as Uhura, bursting with a fiery charm that is effective despite the introduction of her becoming involved in a tiresome love triangle. Simon Pegg takes on Scotty and mostly serves as comic relief. There isn’t much to the character outside of that purpose, but Pegg is always amusing with every line delivery. John Cho and Anton Yelchin, as Sulu and Chekov, respectfully, are given the least material to work with and ultimately don’t contribute much. However, they are still fine additions to the collection. One wishes there was more depth to Nero so Bana could have made a more notable impression, but he fulfills the villainous role as well as can be expected. The same can be extended somewhat to Greenwood, though there is not a single monologue he can’t lean in with intrigue due to his stirring voice. Even the weakest additions to this trope are still alluring elements that keep one invested.
There is a contingent out there for which this incarnation of “Star Trek” provides mixed feelings. The attempts to create a more action-oriented perspective with this story do make for an enticing exhibition, and one is thoroughly entertained throughout. Yet, there’s also a hollowness that steals away a more absorbing perspective. These stories have not only provided large-scale genre thrills but also engaged in challenging discussions. Nothing of the sort is found here, and truthfully, what is presented instead is a broadly defined world that, on more than one occasion, can seem rather dumbed down. But just when you’re ready to dismiss it, this fantastic ensemble pulls you right back in with their excellent work. This is not a Star Trek entry intended to please its hardcore fan base. It casts its net out to ensnare a wider audience. One laments what is lost in that endeavor, but it’s also hard to deny how splendid the ride can be in the end.
