Trekkers must have held a collective breath at the announcement that TV prodigy Abrams (Alias, Lost) was to helm a re-boot of the long-loved space opera. The franchise has taken several different directions since the original sixties show, but this proposition takes viewers back to the very roots of the concept, posing the question: how did it all begin?
Those with concerns needn't have worried. This incarnation handles the property with such reverence and care, few will leave the cinema disappointed.
New Born James T. Kirk
Throwing the audience straight into the action, viewers join the crew of the USS Kelvin as they investigate a space storm which isn't quite what it seems. A ferocious exchange of firepower results in tragic sacrifice, leaving newly-born James T. Kirk fatherless and, 22 years later, reckless and nihilistic back home in Iowa. Following a bar-room brawl, Captain Pike (Bruce Greenwood) sees how Kirk (Chris Pine, surprisingly good) is wasting his talents, daring him into Star Fleet Academy.
This is certainly a film of two halves. The first hour introduces key characters - Spock (Zachary Quinto, perfectly cast), shining star at the Academy, wrestling with his half-human side; cantankerous 'Bones' McCoy (Karl Urban, superbly channeling the original character), an older recruit with shaky space-legs; plus the enigmatic Uhura (a solid, tender show by Zoe Saldana ), rebuffing Kirk's clumsy advances. These early scenes crackle with fun and energy, shot with such aplomb it's hard to imagine anyone not enjoying the movie. Taken right back to its roots, Star Trek is accessible for all, even with no prior knowledge. Although, much fun is had through spotting those little nods to the original.
However, following the maiden voyage of the spectacular Enterprise (space has rarely looked this good), things become more problematic. After a tense standoff with the villain of the piece (an unrecognisable Eric Bana as a Romulan with serious issues), an old Spock (Leonard Nimoy, the only original cast member invited back) is encountered, opening up a time paradox plotline that seriously compromises the pace and undermines all the hard work that went before it.
Leonard Nimoy Given Clumsy Plotline
Poor Nimoy has to carry a clumsy, overused plot device - the old SF staple of alternate possibilities - and whenever he's on-screen, the movie begins to flag. It isn't his fault; this is tedious, well-trodden guff, used many times in episodes of the TV show.
Thankfully, the pace picks up again with the introduction of Scotty (Simon Pegg), a very late addition to the cast, providing comic relief. After some rather misjudged slapstick involving Scotty stuck in water conduits, the plot gets back on track and from there, the pace doesn't flag. A reliance on another old SF chestnut -spontaneous black holes - will raise a few groans, especially given how the science is so inadequately explained. But hey, this is Star Trek, built on the very same shaky principles - got a plot hole? Have someone spout technobabble for half a minute!
These criticisms are relatively minor - churlish, even - given the bravado on display. Visually, the movie is breathtaking - seamless CGI blends wonderfully realised architecture and creatures with live-action locations and sets. Nothing seems over-stated; previous Trek movies have indulged in loving track-shots of the Enterprise, but not here.
Likewise, prosthetics and makeup are sparingly used; one scene - the movie's only overtly sexy moment - recalls Trek of yore, when a girl painted green and dressed in a bikini would pass as an alien (you know, the sort that would ask Kirk 'what is... to love?' before getting snogged).
For fans of the genre, Star Trek is a near-perfect slice of science fiction. Expect even greater things from the inevitable next installment.
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