It’s been eight years since the last Star Trek film, the disappointing Nemesis, and though the franchise has lived long, it’s hardly prospered. Enter J.J. Abrams, creator and co-creator of the likes of Felicity, Alias, Lost and director of Mission Impossible 3, hired by Paramount to reboot the venerable series for a new audience, make it sleeker, sharper and boldly go where no Trek film has gone before.
The Origins of Kirk and Spock
Essentially an origins film, Star Trek chronicles the fledgling careers of series’ favourites James Tiberius Kirk (Chris Pine) and Spock (Zachary Quinto), whilst exploring the fragile relationship between the universe’s dominant species.
Kirk and Spock are the focus of the film, and function on opposite ends of the character spectrum. Kirk is brash and reckless, introduced in a scene from his childhood where he steals his step-father’s antique car and drives it into a gorge, narrowly escaping death. Spock, being the son of a Vulcan father and Human mother, endures incessant racial persecution, but excels in his studies, learning to remain emotionally detached.
The pair eventually meet in Starfleet, when Kirk completes a simulation routine programmed personally by Spock to be impossible. They clash, sparks fly, but they must put aside their differences when a new threat emerges.
Nero, Time-Travelling, and Red Matter in Star Trek
Star Trek’s plot alternates between past, present and future, although not in chronological order, with the volatile substance Red Matter, able to rend holes in space and time, allowing writers Roberto Orci and Alex Kurtzman to further explore the story and its characters.
The antagonist of the film is Captain Nero, a Romulan miner who saw his home planet destroyed by a supernova. Nero is understandably angry, and blames a certain character, who shall remain nameless, for Romulus’ destruction. Armed with Red Matter and aboard his colossal mining vessel Narada, Nero is zigzagging back and forth through time in pursuit of his quarry.
Star Trek’s Confusing Plot
The problem with a plot concerning time-travel is that confusion can often ensue. Nero, who first appears in the opening scene, disappears for the twenty-five years before Kirk and Spock enlist in Starfleet, before suddenly reappearing, with no explanation given for his abrupt absence and reintroduction.
Abrams has been vocal of his dissatisfaction with the script, written during the Writer’s Strike, which perhaps explains some of its problems. It can be a mess at times, with Nero and Red Matter distorting the story’s clarity, but it’s an enjoyable mess.
Kirk and Spock and the U.S.S. Enterprise Crew
Considering the actors who portrayed Kirk and Spock in the original series, its impressive just how well Chris Pine and Zachary Quinto perform in Star Trek. Certain expectations are associated with Kirk and Spock, but instead of imitating their counterparts Shatner and Nimoy, Pine and Quinto embody the spirit and quality of their respective characters.
Pine’s Kirk is rougher and rawer, but carries the same swagger and nonchalance Shatner’s version exuded. Quinto, who Heroes’ fans may recognise as the villain Sylar, manages to convey the cool, calm exterior Nimoy so famously displayed. The chemistry between Pine and Quinto is believable, and their gradual respect for each other grows naturally rather than abruptly to serve story purposes.
The rest of the cast are equally superb. Bruce Greenwood’s Pike acts as mentor for Kirk, bestowing wisdom and guidance upon what he deems to be a rough diamond. Zoe Saldana’s Uhura is strong and fierce, a calming force between Kirk and Spock. Karl Urban’s “Bones” McCoy seems perpetually anxious and irritable, perfectly in-character for the paranoid doctor.
John Cho’s Sulu is more action-oriented than his George Takei counterpart, excelling alongside Kirk in a katana-brawl with Romulans. Simon Pegg’s Scotty provides comic-relief, and his relationship with the pintsize alien Keenser (Deep Roy) is hilarious. Anton Yelchin’s Chekov, however, feels out of place with his stereotypically comic accent.
Star Trek’s Spectacle
The original Star Trek series is infamous for its low-budget aesthetics, produced during an age when miniature plastic ships hung before painted backgrounds was the pinnacle of special-effects technology. But with Industrial Light and Magic onboard, Abrams and Paramount have injected some much-needed visual flare into the Star Trek universe.
The scale and scope of the film’s environments and set-pieces is extraordinary. Vistas range from snow-swept tundra to the vast emptiness of space itself, with stars, suns and supernovas rendered in exquisite detail. The ships, from the smooth, sleek Enterprise to the gigantic, bristling Narada, are iconic and command attention.
Star Trek Film Review
Star Trek is an incredibly enjoyable film, blending the series’ iconography and motifs with a new cast, wonderful imagery and intense set-pieces. It’s easily the best film of the summer thus far, and unlike last year’s winner, The Dark Knight, Star Trek’s emphasis on hope and optimism is refreshing.
Pine and Quinto are likeable leads, and the rest of the cast add enough humour and quality to complement the ensemble. Abrams, Orci and Kurtzman wisely eschewed including too many esoteric remarks or references, maintaining an accessible appeal the average moviegoer will appreciate.
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