“STAR TREK INTO DARKNESS” (2013) Review

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“STAR TREK INTO DARKNESS” (2013) Review

Following the success of the 2009 movie, “STAR TREK”, producer/director J.J. Abrams continued the saga of this alternate STAR TREK with a sequel called “STAR TREK INTO DARKNESS”. This latest film not only continued the adventures of Starfleet Captain James T. Kirk and his crew, but also re-introduced a well-known villain from the franchise’s past. 

Written by Roberto Orci, Alex Kurtzman and Damon Lindelof, “STAR TREK INTO DARKNESS” begins a year following the events of the 2009 movie. The crew of the U.S.S. Enterprise has been ordered to observe the volcanic activities of Nibiru, a class “M” planet that serves as home for its primitive inhabitants. Unfortunately, Kirk and his crew violate the Federation’s Prime Directive by using a cold fusion device to deactivate the volcano. Worse, in order to fetch Spoke from the volcano’s depth, the Enterprise rises out of the planet’s ocean and is seen by the Nibirians. Upon the starship’s return to Earth, both Kirk and his first officer, Spock, are chewed out by Admiral Christopher Pike for violating the Prime Directive on Nibiru. Spock is reassigned to another starship and Kirk has lost command of the Enterprise and ordered to finish Starfleet Academy.

Meanwhile, a mysterious man offers a vial of blood to a Starfleet officer named Thomas Harewood in order to save the life of the latter’s dying daughter. In exchange, Harewood used the mysterious ring to blow up the Kelvin Memorial Archives (a secret Section 31 facility) on the mysterious man’s behalf. This new emergency leads Starfleet to assign Admiral Pike as commander of the Enterprise. Pike manages to convince Marcus to assign Kirk as his new First Officer. The bombing of the Kelvin Archives leads to a meeting of starship commanders ordered to hunt down the mysterious perpetrator, revealed as rogue Starfleet agent John Harrison. However, an attack upon the meeting by a jumpship piloted by Harrison leaves several Starfleet officers dead – including Pike. Admiral Marcus reinstates Kirk as commander of the Enterprise and orders the latter to hunt down Harrison to the Klingon homeworld, Kronos, and destroy the rogue agent’s base with 72 prototype photon torpedoes placed aboard the Enterprise. However, the manhunt for Harrison ends up providing a good deal of surprises for Kirk and his crew – including the revelation of Harrison’s true identity.

When I first saw “STAR TREK” four years ago, my initial response to J.J. Abrams’ reboot of the franchise had been . . . somewhat positive, yet slightly uneasy. A second viewing of the movie made me realize that it was a piece of crap, thanks to a script riddled with plot holes. I still maintained hope that this new sequel would prove to be a improvement. And it did . . . to a certain extent. The plot for “STAR TREK INTO DARKNESS” did not strike me as particularly original. Rogue Starfleet officers have been used in the franchise before – especially in “STAR TREK DEEP SPACE NINE” and the 1991 film, “STAR TREK VI: THE UNDISCOVERED COUNTRY”. The John Harrison character proved to be none other than Khan Noonien Singh, originally portrayed by Ricardo Montalban in an episode of “STAR TREK: THE ORIGINAL SERIES”and the 1982 movie, “STAR TREK II: THE WRATH OF KHAN”. In fact, the screenwriters not only used the Khan character, but also Dr. Carol Marcus and put a different spin on a famous scene from the 1982 movie. Khan/Harrison’s attack on Admiral Marcus’ meeting bore a strong resemblance to a scene from a “STAR TREK VOYAGER” episode called(2.14) “Alliances”.

Despite the lack of originality that seemed to permeate the film, I must admit that I enjoyed a good deal of it. I found the conspiracy that surrounded Khan’s connections to Admiral Marcus rather interesting. This was especially the case in the jumpship attack scene, the phaser fight on Kronos, Carol Marcus’ rescue of Doctor McCoy from one of the photon torpedoes and finally Kirk and Khan’s transportation to Admiral Marcus’ ship U.S.S. Vengeance via a “space jump”. These scene proved to be very exciting, thanks to Abrams’ excellent direction. The chemistry between Zachary Quinto and Zoë Saldaña as lovers Spock and Nyota Uhura seemed to have vastly improved from the 2009 film. Perhaps the emotions between the two characters seemed more two-way and genuine the second time around. The chemistry between Quinto and Chris Pine’s James Kirk seemed stronger than ever. Bruce Greenwood gave an intense and superb performance as Admirable Christopher Pike, even if I found the character’s faith in Kirk rather questionable. On the other hand, I found Peter Weller’s portrayal as the warmongering Admiral Marcus a bit hammy. And Simon Pegg’s Scots accent became slightly more bearable in this film. But I do feel that Karl Urban, John Cho and Anton Yelchin had less to do in this film, than they did in “STAR TREK”. Benedict Cumberbatch struck me as effectively ambiguous and sinister at the same time. However, if J.J. Abrams needed someone to portray the Indian-born Khan, why did he not consider another actor he had worked with in the past? Namely “LOST” alumni Naveen Andrews. He would have been perfect.

Do I consider “STAR TREK INTO DARKNESS” a vast improvement over “STAR TREK”? There are a good number of fans who view the first film as superior. I simply do not share this opinion. However, I would not exactly label “STAR TREK INTO DARKNESS” as one of the better movies for the summer of 2013. In fact, I view it slightly better than the first film . . . and nothing more.

However, this movie did have its share of problems. And one of them proved to be the film’s opening sequence on Nibiru, which found Kirk and Dr. McCoy being chased through some kind of forest by some of the planet’s inhabitants. Apparently, Kirk had stolen some sacred scroll to led the Nibirians away from the volcano. This tactic proved to be unnecessary, considering there were only two means to save the Nibirians – Spock’s cold fusion device into the volcano’s core, or the physical removal of the planet’s inhabitants. In other words, this chase scene proved to be completely irrelevant. Another aspect of this sequence that proved to be irrelevant was Spock’s protests against Kirk raising the Enterprise from the planet’s ocean floor and exposing it to the Nibirians. One, what was the Enterprise doing below the ocean? Why not simply allow it to orbit the planet? And the Enterprise does not have the ability to land on the ocean floor, let alone on solid ground. It was never the 23rd century version of the U.S.S. Voyager. And why was Spock complaining about Kirk violating the Prime Directive in regard to the Enterprise’s exposure, when he was violating it by saving the planet with the cold fusion device? I suspect his decision to save Nibiru may have been related to the loss of Vulcan in the first movie. But why did he even bother to protest against Kirk’s actions, when he was just as guilty? And by the way, what happened to Earth’s defense system? This movie is set in the mid 23rd century. There is a defense system for early 21st century Washington D.C. Why was there not one for mid 23rd century San Francisco, the main location for the Federation and Starfleet? Khan’s ship could have been easily destroyed before it had a chance to enter Earth’s atmosphere. I would go on about the photon torpedoes that harbored members of Khan’s crew. But I found this scenario too confusing to discuss.

There were other problems. Why did Khan risk his hide to fire at the room of Starfleet captains and Admiral Marcus, when he could have easily achieved his goal with a bomb? What happened to the situation on Kronos? Marcus had sent the Enterprise to Kronos in order to hunt down Khan and start a war against the Klingons. Kirk, Spock, Uhura and Khan’s encounter with the Klingons proved to be violent and especially deadly for the latter. But no war manifested after the incident on Kronos. In fact, the screenwriters and Abrams completely forgot about the Klingons once Admiral Marcus appeared aboard the Vengeance. Many critics complained about Alice Eve (who portrayed Carol Marcus) being shown in her underwear, accusing Abrams of exploiting the actress. Where were these same critics, four years ago, when both Zoë Saldaña (as Uhura) and an actress who portrayed Uhura’s roommate stripped down to undies in “STAR TREK”? I found both Khan and Admiral Marcus’ plans somewhat convoluted. But I was willing to . . . tolerate them. What I could not tolerate was the movie’s last twenty to thirty minutes. Apparently, the screenwriters and Abrams decided it would be cool to pay some kind of “homage” to the famous Spock death scene in “STAR TREK II: THE WRATH OF KHAN”. I wish to God they had not. I really do. I found it embarrassing to watch Kirk and Spock switch roles with the former sacrificing his life to prevent the Enterprise from crashing upon Earth. Listening to some of the titters from other members of the audience did not help. And when Zachary Quinto channeled William Shatner’s cry of “Khaaaannn!”, my inner mind screamed “Whhhhyyyy?” I have never been so embarrassed for any actor as I was for Quinto at that moment. To make matters worse – if that was possible – McCoy brought Kirk back to life by using Khan’s superpower blood. And all I can say is . . . “Whhhhyyyy?”

We come to the main problem of “STAR TREK INTO DARKNESS”. James T. Kirk. I had no problem with Chris Pine’s performance. But I am still wondering why his Kirk is in command of a top-of-the-grade starship. Why? He never finished Starfleet Academy. He never even finished his third year. Yet, Christopher Pike not only saw fit to give him command of the Enterprise at the end of “STAR TREK”, but also prevent Kirk from being sent back to the Academy to finish it. Even after watching “STAR TREK INTO DARKNESS”, it was plain to see that Kirk was not ready to be a starship commander. Yes, he sacrificed his life to save the Enterprise. Hell, anyone – crewman or officer – could have done this. It was Spock who discovered a way to damage the Vengeance . . . . and prevent it from destroying the Enterprise. He should be the one in command of the Enterprise, not Kirk. I wish I could say that Pike paid his decision to make Kirk a starship commander with his life. Unfortunately, Kirk’s command skills had nothing to do with his death. Only bad writing.

What else can I say about “STAR TREK INTO DARKNESS”? I found it somewhat more bearable than 2009’s “STAR TREK”. I found the movie’s photography and special effects rather impressive – except for the lens flares, which I despise. And the movie did feature some solid direction by J.J. Abrams and very solid performances from a cast led by Chris Pine and Zachary Quinto. But in the end, I was not that impressed by the movie. If I must be honest, the screenplay by Roberto Orci, Alex Kurtzman and Damon Lindelof nearly sunk it in the end. Better luck next time, fellas.

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“THIRTEEN DAYS” (2000) Review

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“THIRTEEN DAYS” (2000) Review

In 1991, Kevin Costner starred in “J.F.K.”, Oliver Stone’s Oscar nominated film that explored the death of U.S. President John F. Kennedy. Nine years later, Kevin Costner returned to the land of this country’s own “Camelot”, in this docudrama about the Cuban Missile Crisis of 1962 from the viewpoint of President Kennedy and the men who served his Administration.

“THIRTEEN DAYS” got its title from Robert F. Kennedy’s 1969 posthumous memoirs about the incident. Yet, David Self’s screenplay is actually based upon Philip D. Zelikow’s 1997 book, “The Kennedy Tapes: Inside the White House During the Cuban Missile Crisis”. “THIRTEEN DAYS” began in early October 1962, when the Kennedy Administration receive U-2 surveillance photos revealing nuclear missiles in Cuba that were placed by the Soviet Union. Because these missiles have the capability to wipe out most of the Eastern and Southern United States if operational, President John F. Kennedy and his advisers are forced to find a way to prevent their operational status. Also, Kennedy’s authority is challenged by top civilian and military advisers like Chief of Staff U.S. Air Force General Curtis LeMay and former Secretary of State Dean Acheson, who wanted the President to display more obvious signs of military strength in order to scare the Soviets in to removing the missiles. Most of the interactions between Kennedy and his men are witnessed by Kenneth O’Donnell, a presidential adviser and close school friend of Attorney General Robert Kennedy.

There have been complaints that “THIRTEEN DAYS” is not a completely accurate portrayal of the Cuban Missile Crisis. And that the Kenny O”Donnell character, portrayed by star Kevin Costner, was unnecessarily prominent in this film. I do not know if the last complaint is relevant. After all, O’Donnell was one of Kennedy’s advisers during the crisis. But since Costner was the star of the movie and one of the producers, perhaps there is some minor cause for complaint. As for any historical inaccuracy . . . this is a movie adaptation of history. People should realize that complete historical accuracy is extremely rare in fictional adaptations – not only in Hollywood movies and television, but also in productions outside of the country, novels, plays and even paintings.

Were there any aspects of “THIRTEEN DAYS” that I found . . . uh, annoying or off putting? Well, Kevin Costner’s attempt at a Boston accent was pretty terrible. And if I must be frank, there was nothing exceptional about Roger Donaldson’s direction. I am not stating that he did a poor job directing the film. On the contrary, he did a solid job. But there were moments when I felt I was watching a TV movie-of-the-week, instead of a major motion picture – especially in one of the final shots that revealed the President’s advisers discussing policy in Vietnam, while Kennedy prepared to compose a letter to the relatives of a downed U-2 pilot.

Other than Costner’s Boston accent and Donaldson’s less than spectacular direction, I have no real complaints about the movie. In fact, I enjoyed it very much when I first saw it, twelve years ago. And I still enjoyed it very much when I recently viewed my DVD copy of it. “THIRTEEN DAYS” is a solid, yet tense and fascinating look into the Missile Crisis from the viewpoints of President Kennedy and his advisers. Before I first saw this film, I had no idea that Kennedy faced so much trouble from the military elite and the more conservative advisers of his administration. I was especially surprised by the latter, considering that the President himself was not only a borderline conservative, but also harbored hawkish views against Communism.

Although I would never view Donaldson as one of the finest directors around, I must admit that I was more than impressed by his ability to energized a story that could have easily been bogged down by a series of scenes featuring nothing but discussions and meetings. Instead, both Donaldson and Self energized “THIRTEEN DAYS” with a good number of scenes that featured tension between characters, emotional confrontations and two action sequences that featured military flights over Cuba. Among my favorite scenes are Kennedy’s confrontation with Curtis Le May, his angry outburst over Le May’s decision to engage in nuclear testing as a scare tactic against the Soviets; the flight of two U.S. Navy pilots over Cuban airspace; Secretary of Defense Robert McNamara’s confrontation with U.S. Navy Admiral George Anderson; and especially U.N. Ambassador Adlai Stevenson’s confrontation with the Soviet U.N. Ambassador Valerian Zorin.

However, Donaldson’s direction and Self’s script were not the only aspects of “THIRTEEN DAYS” that prevented the movie from becoming a dull history lesson. The cast, led by Kevin Costner, Bruce Greenwood and Steven Culp, provided some superb performances that helped keep the story alive. I am not going to deny that I found Costner’s Boston accent cringe worthy. One would have to be deaf not to notice. But a bad accent does not mean a bad performance. And Costner proved to be a very lively and intense Kenny O’Donnell, whose close relationship and loyalty to the Kennedys allowed him to be brutally frank to them, when others could not get away with such frankness. Steven Culp was equally intense as Attorney General Robert Kennedy, who seemed to inject energy into every scene in which he appeared. But the one performance that really impressed me came from Bruce Greenwood’s portrayal of the 35th President of the United States. Instead of portraying Kennedy as some one-note political icon or womanizing bad boy, Greenwood portrayed Kennedy as a intelligent, multi-faceted politician struggling to prevent the outbreak of a third world war, while keeping his high-ranking military officers in check. Personally, I feel that Greenwood may have given the best portrayal of Kennedy I have yet to see on either the movie or television screen. The movie also featured some first-rate and memorable supporting performances from the likes of Dylan Baker (as Robert McNamara), Michael Fairman (as Adlai Stevenson), Lucinda Jenney (as Helen O’Donnell), Kevin Conway (as Curtis LeMay), Madison Mason (as Admiral Anderson), Len Cariou (as Dean Acheson), Bill Smitrovich (as General Maxwell Taylor), and especially Karen Ludwig and Christopher Lawson as the sharp-tongued White House operator Margaret and the sardonic U.S. Navy pilot Commander William Ecker.

I want to say something about the film’s production designs and setting. If there is one aspect of “THIRTEEN DAYS” that I truly appreciated how J. Dennis Washington’s production designs re-created the year 1962. And he did so without any over-the-top attempt at early 1960s style. Unlike some productions set during this period, “THIRTEEN DAYS” did not scream “THIS IS THE SIXTIES!”. Washington’s production designs, along with Denise Pizzini’s set decorations and Isis Mussenden’s costume designs presented the early 1960s with an elegance and accuracy I found very satisfying. Their work was ably assisted by Andrzej Bartkowiak’s photography. Bartkowiak’s work also supported Conrad Buff IV’s excellent editing, which prevented the film from becoming a dull period piece.

I do not know what else I could say about “THIRTEEN DAYS”. I do not claim that it is a perfect film. I found Roger Donaldson’s direction excellent, but not particularly dazzling or outstanding. And yes, Kevin Costner’s otherwise first-rate performance was marred by a bad Boston accent. But he, along with an excellent Steven Culp, a superb Bruce Greenwood, a solid cast and a satisfying script by David Self made “THIRTEEN DAYS” an interesting and well made account of the 1962 Cuban Missile Crisis.

“FLIGHT” (2012) Review

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“FLIGHT” (2012) Review

For years, I thought that director Robert Zemeckis had lost his way. I thought the Academy Award he had won for the 1994 movie, “FOREST GUMP” had transformed a talented and slightly eccentric filmmaker into a pretentious and boring one. 

I realize this is a cruel thing to say. Robert Zemeckis had been one of my favorite directors ever since I first saw his 1978 comedy, “I WANNA HOLD YOUR HAND” on television. But after he won a Best Director Oscar for “GUMP”, he seemed to have lost his touch. I am not saying that movies like “CONTACT”“WHAT LIES BENEATH” and “CASTAWAY” were terrible. For me, they seemed to lack that Zemeckis touch that had made his previous movies magical for me. But after seeing the director’s latest endeavor, “FLIGHT”, I believe there is a good chance that he may have regained his mojo.

“FLIGHT” tells the story of an airline pilot, who manages to prevent a flight between Orlando and Atlanta from perishing in a fatal crash. Only six people – four passengers and two stewardesses – die in the crash. An investigation of the crash reveals not only malfunctions within the plane, but also evidence of alcohol use by the crew, especially by the pilot, one Whip Whitaker. Whip had used cocaine before the flight to keep himself alert and imbibed alcohol during the flight. The airline pilots’ union hires Hugh Lang to defend Whip and prevent the latter from serving time in prison for drug and manslaughter charges. Lang claims he can get the National Transportation Safety Board (NTSB)‘s toxicology report declared inadmissible in court and focus the investigation on the plane’s malfunctions. But both he and Whip’s friend and union representative, Charlie Anderson, gradually become aware that Whip is a hardcore alcoholic and drug abuser. And his addictions might stand in the way of any successful defense on Lang’s part.

I am not stating that “FLIGHT” is perfect. It had one or two aspects I found questionable. One, I thought a movie that is basically a character study of an alcoholic airline pilot possibly facing the consequences of his substance abuse should not have a running time of 139 minutes. Yes, I believe it was at least fifteen to twenty minutes too long. And one of the scenes I would have trimmed featured a cameo appearance by the very talented James Badge Dale. Do not get me wrong. I thought that Badge Dale gave a superb performance as a cancer patient that Whip Whitaker and future girlfriend/fellow addict Nicole Maggen met in a hospital hallway. Unless Badge Dale had said something that related to the story (and if he did, someone please enlighten me), I saw no reason to include his character into the story. My other problem has a good deal to do with a repentant Whip recounting his alcoholism and drug use to a counseling group. Honestly, it felt as if Bob Zemeckis and screenwriter John Gatins injected a segment from an episode of the “ABC AFTERSCHOOL” television series . . . and that Whip was talking to a group of high school students.

Despite these flaws, I must admit that “FLIGHT” really impressed me. The last time I saw a movie or television series about an alcoholic was CBS’s “KNOT’S LANDING” in which the Gary Ewing character (portrayed by actor Ted Shackleford) experienced his last bout of alcoholism and recovery. It was ugly to watch. Since then, I have made a point of deliberately avoiding movies about alcoholics and drug abusers. At least two family members have died from the consequences of drug abuse. When I sat down in a movie theater to watch “FLIGHT”, I never thought that Denzel Washington would be portraying such a hardcore substance abuser. But you know what? I am glad that I saw the movie.

There are many aspects about “FLIGHT” that I truly enjoyed. Thanks to Robert Zemeckis’ direction, Don Burgess’ cinematography and award worthy editing by Jeremiah O’Driscoll, the movie featured a kick ass plane crash sequence that left me breathless and wired at the same time. It was a beautiful thing to watch and worthy of a series of Academy Awards technical nominations. But more importantly, Gatnis created a superb portrayal of the alcoholic airline pilot that gave plenty of meat for both Zemeckis and actor Denzel Washington. Some of the movie’s best moments aside from the actual crash included Whip’s future girlfriend, Nicole Maggen, nearly dying from a heroin overdose; Lang and Whip’s meeting with the president of the airlines; Whip and Nicole’s conflict over his constant drinking; Whip’s confrontation with his ex-wife and son; Lang’s chewing out Whip about the latter’s legal situation; and Whip’s failed attempt to resist consuming booze he found in a mini bar in a hotel room. My two favorite scenes featured the attempts of Whip’s colorful friend/drug dealer Harling Mays to help him recover from another alcoholic binge before he can testify before a NTSB hearing . . . and the actual hearing itself, which ended with a surprising twist.

The performances for “FLIGHT” were superb. I could not find a bad or mediocre performance from any member of the cast. Not one. I have already pointed out James Badge Dale’s excellent performance as a cancer patient that Whip and Nicole briefly met. I was also impressed by Tamara Tunie’s stalwart, yet emotional performance as senior flight attendant Margaret Thomason; Brian Geraghty as Whip’s religious co-pilot Ken Evans, who lost the use of his legs; Peter Gerety’s colorful portrayal of airline owner Avington Carr; and Nadine Velazquez’s solid performance as Katerina Marquez, the recently deceased flight attendant who had been Whip’s lover.

But the performances that really caught my eye came from Melissa Leo, who gave a brief, yet subtle performance as lead NTSB investigator Ellen Block; John Goodman, who was deliciously larger than life as Whip’s friend and drug dealer, Harling Mays; and Bruce Greenwood’s quiet, yet emotional portrayal of Whip’s much put upon friend, Charlie Anderson.  Don Cheadle (who last worked with Washington in the 1995 movie, “DEVIL IN THE BLUE DRESS”) gave a superb performance, while acting as more or less the backbone of the movie as Whip’s uber talented attorney, Hugh Lang. Kelly Reilly finally caught the eyes of critics in her excellent portrayal of recovering drug addict, Nicole Maggen, who ends up falling for Whip.

But the man of the hour was Denzel Washington. Ever since winning his second Academy Award, eleven years ago, he has given a series of solid or excellent performances in movies that were either successful or not. But it was plain to me that his performance as alcoholic Whip Whitaker was one of his very best in years. Washington was always at his best when portraying characters that were complex – with both likeable and dislikeable traits. Only a true performer, in my opinion, is not afraid to tackle such a character. As the last twenty to thirty years of superb performances have shown, Washington has never been afraid to tackle such characters like Whip.  And for his efforts, he earned both a Golden Globe and an Academy Award nomination for Best Actor.

“FLIGHT” may have suffered from a running time that I found too long and an ending that struck me as a little too adolescent for my tastes. But I must admit that it has become for me one of the best movies I have seen in 2012. As a filmmaker, Robert Zemeckis has returned in top form. And his endeavors were assisted by excellent photography and editing, a top-notch screenplay by John Gatins and first-rate performances from a talented cast led by the always superb Denzel Washington.

A Second Look at “STAR TREK” (2009)

Below is my second look at the new “STAR TREK” film, after seeing it for the second time: 

A Second Look at “STAR TREK” (2009)

Not long after J.J. Abrams’ new TREK film, ”STAR TREK” hit the theaters in May 2009, I wrote a review of it. Despite some criticisms of what I had believed were flaws in the film, I concluded that it was a pretty good film. Well . . . I saw it for a third time, yesterday; and realized that my view of the movie has changed.

When I said that my view of ”STAR TREK” had changed, I meant not for the better. The number of plot holes that had caught my attention astounded me. And considering that Abrams and screenwriters, Roberto Orci and Alex Kurtzman, had decided to create an alternate reality in the script, my opinion of the film has become even worse.

First of all, I want to point out one thing. This alternate reality or timeline created by Orci and Kurtzman has its origins in the arrival of late 24th century Romulan mining ship – the Narada – and its captain, Nero (Eric Bana), to the year 2233, 154 years before his time. His arrival marked the destruction of the U.S.S. Kelvin, along with its captain, Richard Robau (Faran Tahir), and first officer George Kirk (Chris Hemsworth). Just before the Kelvin’s destruction, Winona Kirk (Jennifer Morrison) gave birth to James T. Kirk (Chris Pine), aboard one of the ship’s shuttles.

It is here – Kirk’s birth – where the movie hit its first snag. Many TREK fans pointed out that James Kirk had been born in Iowa, not aboard a Starfleet vessel or one of its shuttles. Robert Orci replied that Kirk would have been born in Iowa if Nero had not arrived from the late 24th century and attacked the Kelvin. I say . . . bullshit to that. Why? One, Winona Kirk was never a Starfleet officer in the original timeline. This has been supported in ”THE ORIGINAL SERIES” (1966-1969). And Nero’s arrival would have NOT changed that. She had no business being aboard the Kelvin . . . even before Nero’s arrival. Orci and Kurtzman also failed to hint that Kirk had an older brother named Sam.

Another problem I had with the film was the manner in which Kirk joined Starfleet Academy. At a bar near Kirk’s home in Iowa, Captain Christopher Pike (Bruce Greenwood) urged him to apply for the Academy, claiming that Kirk would attain an officer’s commission within four years and command of a starship within eight. So, what does Kirk do? He shows up at a Starbase the following morning on his motorbike . . . without even encountering one sign of security. Then he boards a shuttle for San Francisco . . . just like that. He never submitted an application. Nor was he wearing the uniform of an Academy cadet. Come to think of it, neither did Leonard McCoy (Karl Urban). Was this Starfleet’s idea of military discipline in the mid-23rd century? What the hell was this, anyway?

Within three years, Kirk is close to completing his Academy training. Yet, he ended up getting into trouble, when he passed the Kobayashi Maru test by cheating. When Starfleet receives a distress signal from Vulcan regarding a lightning storm in space, the cadets are mobilized to help the Starfleet ships in orbit. Kirk is unable to join this expedition due to being suspended from the Academy. I have two problems with this scene. One, why on earth was it necessary for Starfleet to mobilize so many cadets for a distress signal over a lightning storm in Vulcan space? Two, no one inside the U.S.S. Enterprise’s Sick Bay bothered to questioned Kirk’s presence on board and McCoy ended up ordering others around, despite the fact that he was a mere cadet and not the ship’s Chief Medical Officer. In fact, where was the CMO before his death? And why was it so important for Uhura to join the Enterprise’s crew? She was a cadet. She was not supposed to be there on a permanent basis, in the first place. And could someone please tell me why the cadets assigned aboard the Enterprise were wearing the same uniforms as the regular crew . . . instead of cadet uniforms? They had not graduated from the Academy.

Upon reaching Vulcan space, the Enterprise finds the fleet destroyed and the Narada drilling into Vulcan’s core. Pike promotes Kirk to First Officer. Then he orders Kirk, Lieutenant Sulu (John Cho) and Chief Engineer Olson to an orbital skydive onto the Romulan drilling platform and destroy it before it can drill a hole into Vulcan’s core. Meanwhile, he would meet with Nero aboard the Narad. Unfortunately, Olson is killed during their dive. Kirk and Sulu are forced to fight Romulan miners aboard the drill platform before stopping the drill, using phasers. However, Nero manages to successfully drill the hole, drop the red matter into the planet’s core and destroy Vulcan. Spock transports to Vulcan to save his parents and the planet’s High Council. However, his mother, Amanda Grayson (Winona Ryder), is killed before she could be transported safely from the planet. Not only did I find this sequence, heavily contrived, I found it so unnecessary. Why was it necessary to promote Kirk to First Officer? Aside from identifying the lightning storm for what it was, he did nothing to earn that promotion. What was Amanda doing with the Vulcan High Council? And if Starfleet issued phasers could stop the drill, then why not the Enterprise’s phasers? If Captain Pike had simply ordered his Weapons Officer to fire at the drill, then perhaps it would have been destroyed before it reached Vulcan’s core. Alas . . . we are given this exciting, but contrived nonsense with a fight on the drill platform, the Chief Engineer and Amanda Grayson dead, Vulcan destroyed and Captain Pike a prisoner of Nero’s.

Chekov manages to transport Kirk and Sulu back to the Enterprise. Pike is tortured by Nero for information on Earth’s defenses. Meanwhile, Kirk (who is now First Officer) and Spock (the Acting Captain) have a quarrel on the Bridge about Spock’s decision to return to Starfleet. Kirk wants to go after Nero. During the quarrel, Spock has Kirk marooned on Delta Vega. There, Kirk has an encounter with snow monster straight out of ”STAR WARS” and meets the elder Ambassador Spock (Leonard Nimoy). Old Spock informs Kirk about what led Nero and himself to the 23rd century. He then leads Kirk to a Starbase, where they encounter engineer Montgomery Scott (Simon Pegg). I really disliked this sequence. Nero needed information on Earth’s defenses, but did not need the same for Vulcan’s defenses? And both planets were the premiere members of the Federation? And why maroon Kirk on some snow planet? Spock could have easily hauled the Human’s ass into the brig for insubordination. As for Kirk . . . what is this guy’s problem? Confronting the Captain on the Bridge? Kirk would have never tolerated any officer or crewman doing the same to him. Kirk’s monster encounter was a joke. And after meeting Old Spock, the latter reveals his knowledge of a nearby Starbase. Now, I really have a problem with this. Why did Spock fail to warn Starfleet about Nero? He was pulled into the 23rd century, captured and marooned on Delta Vega by Nero at least two days before Vulcan’s destruction. This was not merely a joke. This was criminal. And why was it imperative to transport Scotty to the Enterprise, along with Kirk? Without Starfleet knowing?

Before Spock transported Kirk and Scotty to the Enterprise, he informs Kirk that the latter needs to assume command of the Enterprise. Once aboard, Kirk deliberately enrages Spock to force him to acknowledge that he is emotionally compromised, thereby forfeiting command which then passes to Kirk. Here was another scene with which I had a problem. Kirk . . . should NOT have assumed command of the Enterprise when Spock removed himself as captain. You see, Kirk had been relieved of duty by Spock before the latter marooned the former on Delta Vega. And Kirk was never reinstated back to duty upon his return to the Enterprise. Nor do I recall Spock deliberately handing over command to Kirk. Whoever was acting as Spock’s first officer during Kirk’s adventures on Delta Vega, should have assumed command. Not Kirk.

Spock, Scott, and Chekov devise a plan to ambush the Narada by dropping out of warp behind Saturn’s moon, Titan. Kirk and Spock beam aboard the Narada. While Kirk rescues Pike, Spock retakes the elder Spock’s ship, destroys the drill and lures the Narada away from Earth before piloting a collision course. The Enterprise arrives and beams Kirk, Pike, and Spock away before the collision, which ignites the remaining red matter and creates a black hole within the Narada’s superstructure. Kirk offers to help rescue Nero and his crew, but the Romulan refuses and the Narada is destroyed. The Enterprise escapes the same fate by ejecting and igniting the ship’s warp drive reactor cores, the resulting explosion pushing them clear. Why were Chekov and Scotty needed to devise a plan to ambush the Narada in the first place? What was Scotty doing on the Bridge? What was he doing aboard the Enterprise? He was not an official member of the crew. And could someone please explain how Spock managed to fly a starship that was 154 years ahead of his time? Who was in command of the Enterprise, while Kirk and Spock were aboard the Narada?

The movie ends with Kirk receiving adulation by Starfleet for his actions against Nero and command of the Enterprise. Spock decides to remain in Starfleet and become the Enterprise’s First Officer. God, I hate this. What exactly did Kirk do in this movie, besides act like a complete asshole? Well, he did rescue Captain Pike. But the latter also assisted in the rescue. It was Spock who came up with the plan to ambush the Narada. It was the person in command of the Enterprise who prevented Spock from being blown to bits by Romulan missiles, while he was inside Old Spock’s ship. It was Spock who destroyed the Narada. Sulu’s flying and Scotty’s engineering skills prevented the Enterprise from being destroyed by the black hole that destroyed the Narada. Why in the hell would Starfleet give most of the credit to Kirk? How in the hell did a cadet, who had yet to graduate, end up with command of Starfleet’s flagship? What kind of military organization is this?

I had one last problem with the movie . . . namely one Pavel Chekov (Anton Yelchin). In the original timeline, Chekov was born in 2245, which would have made him thirteen years old in this movie. According to one of the screenwriters, Roberto Orci, Nero’s appearance in the past caused a ripple effect, allowing Chekov to be born four years earlier in 2241. God, how lame! I suppose one could accept this explanation. But how does one explain Chekov’s transformation from an intelligent and competent Starfleet junior officer to a child prodigy? I really cannot see how a time ripple effect could change a character’s personality traits. Not to that degree.

Look . . . I will admit that ”STAR TREK” had a lot of exciting action sequences. And some of the performances seemed top-notch. But upon second viewing, I discovered that I disliked Daniel Mindel’s photography. I especially disliked the fact that most of the scenes seemed to have been shot with close-ups. I disliked the new transporter style that featured swirling circles. But what I realized that I disliked the most was the script penned by Orci and Katzman. Not only did I disliked the fact that they used an alternate timeline plot device to stray away from the franchise’s original continuity; I disliked that they used badly written plot holes to achieve this goal. ”STAR TREK” might be considered the best movie of the summer, so far. In my opinion, it is the worst movie I have seen since the summer movie season began.

“NATIONAL TREASURE 2: THE BOOK OF SECRETS” (2007) and “CHARLIE WILSON’S WAR” (2007) Reviews

“NATIONAL TREASURE 2: THE BOOK OF SECRETS” (2007) and “CHARLIE WILSON’S WAR” (2007)  Reviews

Three years ago, two movies were released in the theaters . . . two movies that could not be anymore different than if they had tried. I am speaking of “NATIONAL TREASURE 2: THE BOOK OF SECRETS” and “CHARLIE WILSON’S WAR”. The first movie, starring Nicholas Cage and Jon Voight, is a sequel to the 2004 Disney film, “NATIONAL TREASURE”. The other is a comedy-drama about a Texas congressman from the 1980s who found himself involved in Afghanistan’s attempts to free itself from a Soviet invasion.

“National Treasure 2: The Book of Secrets”

This sequel to the 2004 movie – “National Treasure” – opens with the Gates family – Benjamin and Patrick (Nicholas Cage and Jon Voight) – learning from a black market dealer named Mitch Wilkinson (Ed Harris) that their Civil War ancestor Thomas Gates (Joel Gretsch) may have been the mastermind behind Abraham Lincoln’s assassination. Wilkinson’s so-called proof came from assassin John Wilkes Booth’s diary. To prove their ancestor’s innocence and family honor, Ben and Patrick recruit the aid of family friend Riley Poole (Justin Bartha), Ben’s estranged girlfriend Abigail Chase (Diane Kruger), Patrick’s ex-wife Emily Appleton (Helen Mirren), FBI Agent Sadusky (Harvey Keitel) and even the President of the United States (Bruce Greenwood) to help them find the treasure of gold that would vindicate Thomas Gates and the family’s name.

In a nutshell, this sequel turned out to be just as fun and exciting as the first movie. Ben Gates and company follow clues that lead them from Paris to London to Washington D.C. and finally Mount Rushmore in the Dakota Black Hills. The cast were their usual competent selves and Ed Harris turned out to be just as effective as a villain as Sean Bean had been in the first film. My favorite sequences included Ben, Abigail and Riley’s attempt to gain access to one of the rooms at Buckingham Palace, Ben and Abigail’s minor adventures at the White House and Ben’s kidnapping of the President at Mount Vernon.

I did have a few problems with the movie. My biggest gripe turned out to be the treasure itself. I realize that the Templar treasure found in the first film could not be topped. But I must admit that the City of Gold found beneath Mount Rushmore had failed to impress me at all. And why end the movie at Mount Rushmore? Granted there was a war between American settlers and the Dakota Sioux in 1862, but what did that have to do with the Civil War? I would have been happier if the movie’s setting had remained on the East Coast.

Aside from these minor gripes, “National Treasure 2: The Book of Secrets” turned out to be as entertaining as the first film. I would highly recommend it.

“Charlie Wilson’s War”

This historical drama told the story of recently departed Texas congressman Charles Wilson (Tom Hanks)’s efforts to get the United States to aid the Mujahideen (Afghanistan freedom fighters) in their fight against the military invaders from the Soviet Union during the 1980s. Urged on by his staunchly anti-Communist friend and romantic interest, Texas heiress Joanne Herring (Julia Roberts), Wilson became deeply involved to help the Afghans throw the Soviets out of their country without the world knowing about U.S. involvement. The film not only revealed Wilson’s growing disdain for the Soviet occupation of Afghanistan, it also gave moviegoers a look into his gregarious social life of women and partying.

Judging from the movie’s Golden Globe and Screen Actors Guild nomination, one could see that “Charlie Wilson’s War”has become a front-runner for Academy Award nominations. Does it deserve the acclamation? I do not know. Granted, Mike Nichols did a competent job in allowing moviegoers a peek into Washington and international politics, and C.I.A. policies. Tom Hanks, Julia Roberts and Philip Seymour Hoffman (as C.I.A. operative Gust Avrakotos) were excellent. But if I must be honest, the movie did not give me a charge. I liked it. I really found it entertaining. But I did not love it. When leaving the theater, I had this feeling that something was missing. It could have been the unsatisfying ending, which I found to be rushed. Or perhaps I thought the story could have required a little more depth.

I cannot say that “Charlie Wilson’s War” was great. But I did find it entertaining. And if you are intrigued by a look into American politics during the 1980s, I would highly recommend it.

“CAPOTE” (2005) Review

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”CAPOTE” (2005) Review

I finally got around to watching the first of two movies about writer Truman Capote and his work on the non-fiction novel, “In Cold Blood”. This particular movie, “CAPOTE”, starred American actor Philip Seymour Hoffman, who eventually won a SAG award, a Golden Globe award and an Oscar for his performance.

Penned by actor Dan Futterman and directed by Bennett Miller, “CAPOTE” turned out to be a more somber affair than its 2006 counterpart, “INFAMOUS”. Miller had once commented that he wanted to create a more subtle portrait of the flamboyant author in order to emphasize on Capote’s lonely and alienated state . . . despite his relationships with authors, Nelle Harper Lee (Catherine Keener) and Jack Dunphy (Bruce Greenwood); and his popularity with New York high society. This subtle approach not only permeated the movie’s tone and pace, it also affected the cast’s performances – especially Hoffman and Clifton Collins Jr., as Perry Smith.

I do not know if I would have automatically given Philip Seymour Hoffman that Oscar for his performance as Truman Capote. I am still inclined toward Heath Ledger receiving the award for his performance in “BROKEBACK MOUNTAIN”. But I must admit that Hoffman certainly deserved his nomination. He managed to skillfully portray Capote’s ambition and determination to create a literary masterpiece from the real life murders surrounding the Herb Clutter family in Holcomb, Kansas. Hoffman also revealed how Capote used his charm to manipulate others . . . especially Perry Smith.

Catherine Keener earned both BAFTA and Academy Award nominations for her warm portrayal of “To Kill Mockingbird” author, Nelle Harper Lee. Granted, she deserved her nominations and I especially enjoyed how she managed to project a mixture of friendly warmth, reserve and moral fortitude in her performance. But I could not help but wonder if she could receive acting nominations, why not Clifton Collins, Jr.?

It seemed a shame that more praise had not been heaped upon Clifton Collins’ shoulders for his portrayal of the intense and soft-spoken convicted murderer, Perry Smith. His scenes with Hoffman gave the movie an extra bite of emotionalism that saved it from being too subtle. Like Daniel Craig’s performance of Smith in “INFAMOUS”, Collins brought an interesting balance of soft-spoken politeness and intense danger in his performance. Well . . . almost. The real KBI investigator in charge of the Clutter case, Alvin Dewey, had once described Perry Smith as a quiet, intense and dangerous man. In “CAPOTE”, Smith’s own sister had warned Capote that despite her brother’s quiet and polite demeanor, he was easily capable of committing the crimes against the Clutters. And yet, I never did sense any real danger in Collins’ performance. Not quite. Except in two scenes – namely his confrontation with Capote over the “In Cold Blood” title; and the flashbacks revealing the Clutters’ murders. The ironic thing is that I suspect that Collins was not to blame. I suspect that Miller’s direction and Futterman’s script simply did not really allow Collins to reveal Smith’s more dangerous aura.

All of this led to what became my main problem with “CAPOTE” – namely the somber subtlety that seemed to permeate the production. Not only did the director’s desire to create a subtle film seem to mute Collins’ potential for a more balanced portrayal of Perry Smith, it also forced Hoffman to hold back some of Capote’s more flamboyant traits. I am quite certain that this was both the director and the screenwriter’s intentions. But I also feel that this deliberate attempt at subtlety may have robbed both the Capote and Smith characters of a more balanced nuance. It also denied the audience a deeper look into Capote’s New York lifestyle and bogged down the movie’s pacing in the end. During the last thirty or forty minutes, I found myself begging for the movie to end.

But despite the movie’s “too somber” mood and pacing, “CAPOTE” is an excellent movie and I would highly recommend it for viewing.

8/10

“STAR TREK” (2009) Review

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Below is my review of the new movie, “STAR TREK”, directed by J.J. Abrams:

 

“STAR TREK” (2009) Review

Many fans of the ”STAR TREK” franchise seemed to be in agreement that its last television series – ”ENTERPRISE” (2001-2005) – had more or less killed the franchise. That opinion proved to be false with the release of its latest film – ”STAR TREK”, directed by J.J. Abrams.

Not to be confused with Robert Wise’s 1979 movie, ”STAR TREK: THE MOTION PICTURE”, this latest installment in the franchise is about the early years of the U.S.S. Enterprise NCC-1701 from ”THE ORIGINAL SERIES” (1966-1969). In other words, the movie is about how James T. Kirk became captain of the Enterprise and Spock, its first officer. What made this particular story unique is that the film’s opening sequence – an attack upon the Federation starship, U.S.S. Kelvin in 2233 led to an alternate timeline for the rest of the film.

When a supernova threatened the galaxy in 2387 (nine years after the U.S.S. Voyager’s return to Earth), Ambassador Spock piloted a ship carrying “red matter” that can create a gravitational singularity, drawing the supernova into a black hole. Before Spock completed his mission, the supernova destroyed the planet Romulus. Captain Nero (Eric Bana) of the Romulan mining ship Narada blamed Spock and the Federation for his planet’s destruction and its inhabitants, which included his wife and unborn child; and attempted to exact revenge on Spock. But both ships are caught in the black hole’s event horizon and travel to different points in the past. The Narada arrived first in 2233 and attacked the Kelvin. The attack resulted in the death of the Kelvin’s commander, Richard Robau (Faran Tahir) and first officer Lieutenant George Kirk (Chris Hemsworth); and James T. Kirk’s (Chris Pine) birth aboard a shuttle fleeing from the damaged starship. The rest of the movie featured both Kirk and Spock’s (Zachary Quinto) early years, their subsequent first meeting at Starfleet Academy and their clashes aboard the U.S.S. Enterprise, commanded by Captain Christopher Pike (Bruce Greenwood). Meanwhile, Nero has survived and 25 years following Kirk’s birth, is still seeking to exact revenge upon Spock.

Screenwriters Roberto Orci and Alex Kurtzman managed to pen a solid adventure filled with time travel, plenty of action and strong characterization. Which is not surprising, considering that the story strongly reminded me of the Season Four episode from ”STAR TREK: VOYAGER” (1995-2001),(4.08-4.09) “Year of Hell”. But there were differences. Whereas ”Year of Hell”dealt with the moral ramifications of time travel, ”STAR TREK” merely revealed what happened after the timeline was changed. After all, it is more action oriented than the majority of ”TREK” episodes. I had no problems with that. Somewhat. But this slight difference deprived the movie of the depth found in ”Year of Hell”. And I did have problems with other aspects of Orci and Kurtzman’s script.

First of all, James Kirk’s rapid ascent from senior year Starfleet Academy cadet to the captain of the Enterprise within such a short space of time seemed ridiculously unrealistic. Even for a work of fiction. I realized that Pike saw great potential in Kirk’s future with Starfleet. But to promote a cadet so high in the ranks . . . and so fast bordered on the ridiculous. I also had a problem with Nero’s desire to exact revenge upon Spock. Instead of taking the opportunity to kill the Human/Vulcan hybrid in order to save his homeworld and family (which were the motivations of the villain in ”Year of Hell”), the Romulan wanted Spock to remain alive and witness the destruction of both Vulcan and Earth. Again, logic seemed to quickly disappear in what I believe to be an irrelevant plot twist.

Now, due to Nero’s presence in the 23rd century, the following happened:

*George Kirk died on the very day of his son’s birth and did not witness the latter’s graduation from Starfleet Academy.

*Kirk joined Starfleet Academy at the age of 22, instead of 17.

*Kirk became part of the same Starfleet Academy class as Nyota Uhura (Zoe Saldaña) and Leonard “Bones” McCoy (Karl Urban).

*Spock and Uhura became romantically involved during her years at Starfleet Academy.

*Both Hikaru Sulu (John Cho) and 17 year-old Pavel Chekov (Anton Yelchin) were already Academy graduates and Starfleet officers serving under Christopher Pike during Kirk, Uhura and McCoy’s last year at the Academy.

*Nero managed to destroy Vulcan and its inhabitants, using the same ”red matter” that the older Spock used in an attempt to destroy that supernova in the year 2258.

*Spock’s mother, Amanda Grayson (Winona Ryder), was killed during the destruction of Vulcan.

Ironically, the movie ended with these changes in the ”TREK” universe still in place. Most fans might not have a problem with this. When it comes to time travel stories, they seemed to have a problem with the plot device known as”the reset button”. Many fans certainly bitched a lot when this plot device was used at the end of ”Year of Hell”. Not only have I never had a problem with”the reset button” plot device, I was not particularly happy that Abrams and the screenwriters failed to use it at the end of ”STAR TREK”. I do wonder if he or the next director plan to finally use it in the much ballyhooed sequel. I hope so. Because I do not exactly find this altered timeline particularly appealing. Especially since it featured the too rapid ascent of Kirk’s Starfleet career and Amanda Grayson’s premature death. I had feared that the movie would also affect another ”TREK” character – namely Lieutenant-Commander Tuvok (portrayed by Tim Russ) from ”VOYAGER”. Fortunately, Tuvok had been born on a Vulcan colony and not the planet, itself.

One last problem I had with the script’s altered timeline was the Spock/Uhura romance. Abrams and the screenwriters had decided to include this little romance, due to their discovery that Uhura once had a romantic interest in Spock in the early episodes of  ”THE ORIGINAL SERIES”. If I must be frank, this new Spock/Uhura pairing lacked chemistry. Period. Neither Quinto or Saldaña are to blame. Both had the bad luck to attempt to create romantic chemistry between two characters that are basically introverted. They simply lacked balance as a couple. On the other hand, Saldaña and Pine were like a basket on fire in the scene that featured Kirk’s attempt to seduce Uhura upon their first meeting at a bar in Iowa.

The movie’s true strength seemed to be the characters originally created by Gene Roddenberry, and the new cast of actors hired to portray them. Both Chris Pine and Zachary Quinto did excellent jobs in creating the genesis of the Kirk/Spock friendship. They also managed to re-capture the essence of both characters without parodying William Shatner and Leonard Nimoy’s past performance. Zoe Saldaña’s Nyota Uhura seemed a little more fiery than Nichelle Nichols’ interpretation, but I thought she was great as the Communications officer. Her only misstep was that she had been forced to attempt some kind of romantic chemistry with Quinto. And as I had stated earlier, both were doomed to fail, due to the characters they were portraying. And so was Karl Urban as Leonard McCoy. Granted there were moments when he seemed to be aping DeForrest Kelly, but I had enjoyed his performances so much that I tolerated those moments. John Cho was deliciously cool and slightly sardonic as Sulu. And I thought it was a great touch that the screenwriters remembered Sulu’s penchant for fencing . . . and used it in a great fight scene. Anton Yelchin made a charming and energetic Chekov with probably a more authentic Russian accent than Walter Koenig. However, I found his role as a 17 year-old commissioned Starfleet officer rather questionable, considering that Chekov has never been portrayed as some kind of ”boy genius” like Wesley Crusher. I hate to say this, but I found Simon Pegg’s interpretation of Montgomery “Scotty” Scott disappointing and rather annoying. Pegg tried to infuse the character with a lot of broad humor. Unfortunately, it turned out to be too broad. His Scotty was so over-the-top that I found myself longing for another character to shoot him with a phaser.

I had seen ”THE ORIGINAL SERIES” first pilot, ”The Cage” only once in my life. Which means I have vague memories of the late Jeffrey Hunter’s portrayal of Christopher Pike, Kirk’s predecessor aboard the Enterprise. However, I thought that Bruce Greenwood’s portrayal of Pike in the movie to be definitely memorable. Clifton Collins Jr. gave admirable support as Nero’s henchman, Ayel. Both Winona Ryder and especially Ben Cross were believable as Spock’s parents – Amanda Grayson and Ambassador Sarek. I would not exactly call Nero one of the best villains in the TREK franchise. But I must admit that Eric Bana had given it his all with a performance that infused the character with a great deal of passion, malice and complexity without going over-the-top. Last, but not least, there was Leonard Nimoy portraying the late 24th century Spock. There were times when Nimoy seemed to be struggling with the role due to his age (he was at least 77 years old when the movie was filmed). Fortunately, these moments were very few and his Spock was a warm and more matured character who finally seemed to be a peace with his mixed heritage.

Daniel Mindel’s cinematography, along with the visual and special effects featured in the movie seemed pretty solid. However, I found nothing memorable or exciting about them. If the movie does manage to earn Oscar nominations, I will be very surprised. On the other hand, I rather liked Dawn Brown and Kevin Cross’ set designs – especially their work on the Enterprise. A good number of fans have complained that they were not an exact replica of the Enterprise’s interiors from the series. Frankly, I prefer these new interiors. As for Michael Giacchino’s original score . . . I have no memories of it. I found it that forgettable.

In the end, ”STAR TREK” is a pretty solid action film that is sure to provide a great deal of entertainment for moviegoers, this summer. It is not the best”TREK” film I have seen. I believe that “STAR TREK III: THE SEARCH FOR SPOCK”, “STAR TREK IV: THE VOYAGE HOME” and ”STAR TREK: FIRST CONTACT” are better. And as much as I liked Orci and Kurtzman’s script, I had a few problems with their handling of the time travel aspect of the story, along with the backgrounds of characters like Kirk and Chekov, along with the Spock/Uhura romance. And the story seemed like a slightly inferior remake of the ”STAR TREK VOYAGER” episode, ”Year of Hell”. But the cast, led by Chris Pine and Zachary Quinto, was first-rate, aside from Simon Pegg’s hammy performance. And in the end, I would say that J.J. Abrams . . . did a pretty good job.