The re-imagining of classic Star Trek shares some similarities with the previous Trek movie, Nemesis; an enraged Romulan with an invincible spaceship seeks to destroy Earth with his ultimate weapon. Unlike Nemesis, where everybody calmly sits around desks to politely discuss what to do, Star Trek is a adrenalin fuelled, entertainment blast.
JJ Abram’s Star Trek represents the biggest reboot of the franchise since The Motion Picture in 1979. Yep, even greater than The Next Generation in ‘87 which inherited that movies set designs (to a large degree), reserved inter-personal dramatics and restricted parameters regarding direction. The Trek movies mostly followed the Wrath Of Khan template each time (small scale, intellectually stimulating, old fashioned dramas)…and why not, since Trek 2 is still the best example of Star Trek to date. On TV, producer Rick Berman creatively smothered the spin off TV series into blandness (restricting the types of music scoring done or limiting inventive camera moves, etc) so the work might retain a timeless quality. Alas, while both media outlets produced some strong work, eventually the highs were swamped by the quantity of overwhelming mediocrity.
The success of the movie as a reboot has, in part, to do with the cunningness and political savvy of the script. Knowing full well, a complete reboot (like the much loved but much less-well remembered Battlestar Galactica) might alienate the massive Trek fan base, the writers decided to pull a ‘Back To The Future 2’ and create a parallel universe. This wisely resets the Trek universe, allowing us to see the most popular Trek characters, Captain Kirk and Mr Spock, in their youth, while allowing them to reinvent the product so that is visually exciting and dramatically compelling to a 21st Century audience, weaned on $200 million blockbusters. However it’s a story device that allows for the rich history of Star Trek to still exist and be relevant.
The second aspect of the reboot’s success is the way it’s been directed by JJ Abrams. I expected it to be a more dynamic movie, visually…it needed to be for the franchise to continue…but Mr Abrams has constructed himself a unique directorial style that is not only fresh and exciting in Trek franchise terms, but frontier pushing in general movie-going land too. His debut, MI:III, was lacking a certain cinematic element, as JJ seemed unable to escape his TV directing root. With Star Trek, his confidence and imagination has grown, using multiple techniques to create a different style.
There’s elements of Paul Greengrass in the direction, as Abrams keeps the camera moving without quickly editing, so we feel thrilled, without the confusion caused by fast cutting. JJ has lessened the use of the steady cam, getting rid of a lot of the TV feel in the process, and uses cameras on dollys instead (again like McTiernan) allowing the camera to move.. but giving a smoother, more cinematic look. A running gunfight, late in the movie, is shot in a frantic, frenetic way that wouldn’t have been considered a couple of years ago in a Trek movie. With the steady cam reduced, he needed a different technique to boost that fly-on-the-wall documentary feel, that makes the events more naturalistic, so he employs another strong John McTiernan device; colourful lens flares which creep into nearly every shot. He's pushed the use of colour since MI:3, with rich vibrant lighting and production design (red matter is really red/ the royal blue of sick bay walls). The man knows how to compose a shot, often with high contrast lighting with figures cloaked in shadow or dazzled behind flaring lights. Abram’s is also attuned enough to pull back and deliver an epic master shot (such as the shuttles evacuating the Kelvin). And just to make sure, there’s some unusual, surreal shots thrown into the mix, like the opening shot of the USS Kelvin (all moving lights, bleep and flashes) or the exploding red matter particles…something Trek’s never dared to try before.
ILM’s effects are practically flawless. The art direction matches the live action style and the compositions are extremely detailed and beautifully framed. In particular, the hero shot of the Enterprise leaving Saturn’s atmosphere showcases the quality on display.
It doesn’t stop with the visuals. Ben Burtt's sound design is stunning, using the full range of volume and story-telling devices to tell the story; the audio in the vacuum of space is absent in a couple of scenes as well as the score being the only sound present in a hauntingly tragic sequence where Kirk is being born. Most enjoyably is the use of contemporary songs in a couple of early sequences. The Beastie Boy’s Sabotage reflects the rebellious nature of young Kirk (and besides, why has Star Trek up till now never showed people playing pop songs…shouldn’t it be considered classical music of the 23rd century?). I also love the way the songs bridge the scenes between Iowa and Vulcan.
Michael Giachinno’s score may end up being the best of the year. In an ages when every budding composer is trying to mimic Hans Zimmer (and doing it badly…see Wolverine), its refreshing to get someone who’s got their own distinctive arrangements and who isn’t afraid to use a traditional orchestra.
The main theme is exciting, memorable and a little different from recent Trek…being more of a classic Western genre theme than the maritime inspired melodies of past. Nowhere is this more noticeable than in the main title sequence as the logo is revealed to a deafening, rousing fanfare; if the exhilarating Kelvin sequence doesn’t stir you; the is will.
The production design reflects the aims of the script; renew and reinvent. We get to see the familiar settings (bridge, transporter room) but they are retro-fitted for contemporary sensibilities. It all looks impressively futuristic, with a hint of that reality-based ‘Blade Runner’ lived-in quality. The lighting incorporated into the sets, especially the Enterprises bridges and the Iowa bar, interact with the crew. I love the Titanic inspired engine room with mazes of pipes and boilers; the ships have two areas now, below decks and above decks, living/working areas. Also noticeable are the cool stalactite shaped Vulcan architectural structures.
The cast are uniformly superb. Pine is a great leading man, bringing the charisma, drive, initiative, horniness and cockiness that defines Captain Kirk. For the most part he plays the character his way, but it’s a blast when he delivers several subtle Shatnerisms, especially upon his bridge arrival at the finale.
Quinto is fine as Spock, delivering a more emotional take on the character (that’s required in this reboot). It's only in his exchange with McCoy that he really captures Spocks codecending delivery and the character subtly enjoying his own superiority. Urban nails the essence of Leonard McCoy better than his colleagues and their characters, never once coming across as false when cynically and curmudgeonly uttering Bones’ famous catch-phrases. Simon Pegg steals the show as Scotty, bringing energy and humour to his interpretation, while never reducing the engineer to a caricature or buffoon. Zoe Saldana is sexy and sassy as hell as Uhura. To her credit, she makes the role her own, helped by her script requirements which are much more pivotal (and emotional) than Uhura’s has been before. Anton Yelchin has limited screen time as Chekov but entertainingly makes the most of the young ensign’s intelligence, excitability and thick Russian accent. Only John Cho as Sulu feels interchangable…but at least his character has a couple of hero moments to shine (saving Kirk above Vulcan and his ballsy Saturn manoeuvre ).
Story-wise, the first hour is relentless and pitch perfect. It doesn’t harm it’s effectiveness by being a reworking of Star Wars; farm boy with daddy issues meets a wizened figure and goes on a space journey to battle a baddie who’s destroyed one planet and want to decimate his home base too. A brilliant and provocative Bruce Greenwood plays Christopher Pike (the Obi Wan role) while Scotty gets to be C3-PO and Deep Roy his sidekick Keenser (or R2D2).
I wasn’t sure, at first if the second hour worked so well, due to Nero back-story and time travel consequences being introduced. Although he has impact as Nero, Eric Bana doesn’t get much screen time, lessening his presence on the story. Maybe he should have been removed from the story leaving just an aggressive, malevolent spaceship as the adversary. In addition, the convenience that Kirk meets Spock Prime (a dependable Nimoy) irked somewhat.
But after consideration I think both Spock Prime and Nero are vital to the main story, which is really all about Spock. Having Nero in the story antagonises Spock to become visibly angry. Nero’s feelings of revenge are also reflected in Kirk and Spock, who parents deaths were caused by Nero.
This couldn’t have been created with a faceless villain so the writers created a baddie that could be effective with minimal screen time; a bloody angry bloke. Dis I mention he was really really angry?
Spock Prime brings insight to his younger incarnation’s inner turmoil, as well as supplying some needed exposition and connection points to bind and drive the story, as the characters band together into the family we know. What matters less is his exposition; it's his emotional impact on Kirk and young Spock that is vital.
It’s a movie with many great moments and details to enjoy and savour;-
1/ Young Kirks mobile ring-tone.
2/ Uhura’s bar entrance…fun, infectiously bubby…Trek history right here.
3/ Uhura’s knowingly fake line-delivery in the Kobayashi Maru Test.
4/ Enterprise’s view screen is now a window…you can see the hull!
5/ McCoy’s line “Good God Man!”
6/ The Enterprise pirouetting through debris (arriving at Alderan anyone?)
7/ Bana’s line “Hi Christopher, I’m Nero”.
8/ Engineer Olsons enthusiasm to fight Romulans only to die in a hilarious and brutal red shirt death shortly after.
9/ Chekov’s sigh of “Oh, Yey” as he’s left in charge, mid emergency.
10/ Acting Captain Spock’s line to Kirk, “Out of the chair!”
11/ Keenser’s bottom lip wobbling as his mate Scotty transports off-planet.
12/ 25 years of simmering rage conveyed in one, long duration close up of Nero’s face.
13/ Scotty final line "Get down!!" to Keenser.
There’s some nice homage’s too:-
1/ The Ceti Alpha Eels.
2/ Captain Pike in a wheelchair
3/ The Motion Picture inspired Admiral’s uniform.
4/ The Voyage Home inspired Vulcan learning pods.
Many have questioned the narrative hoops that have been jumped to put Kirk in the Captain’s chair…but that doesn’t bother me at all, for 2 reasons. Any convenience in the plotting can be explained away by the time travel shenanigans in the plot; they’ve reset the universe and that’s just the way fate rolled the dice. Plus, as it was pointed out to me, it’s Kirk… one of the greatest contemporary fictional characters. If anyone can make Captain, straight out of the academy, it’s James Tiberius!
There’s no great depth to Star Trek 2009. This is more Indiana Jones and Star Wars than 2001 or The Dark Knight. The only subtext is that of destiny verses freewill….the timeline has been radically altered due to Nero & Spock Prime’s actions, yet the Enterprise crew seem destined to come together. Characters find themselves in tough situations (Kirk is fatherless / Spock’s mixed heritage) due to events beyond their control. Then again, many characters make a conscience choices…Spock and Kirk to join Starfleet that are theirs to make, and theirs alone.
But it doesn’t matter. What it loses in philosophical depth it gains in audio/visual and emotional punch. You get involved in the people…even George and Winona Kirk, who are only on screen a few minutes, manage to bring a lump to the throat. Emotion is kept at the centre of all scenes, not the spaceships or the spectacle. McCoy's introductory rant reveals why he’s called Bones…it’s funny but it adds depth, making us understand and care for the Doctor further. Even a scene which reveals that a Klingon outpost has been attacked is made infinitely more entertaining by having Kirk be discovered hiding under Uhura’s roommates bed. If there was a flaw in the original concept of Star Trek it was that people have learned to overcome their differences…that we have evolved. Well this shows that you can have humans, fight, argue, insult and conflict frequently…and not undermine the Trek universe.
Its relatable. It’s entertaining. Most of all it’s bloody fun.
2 comments:
Yep. Trek is mint. Here's my thoughts...
I can sum up JJ Abrams Star Trek in one word: fun.
To me Abrams Star Trek is the Iron Man of this summer. It’s a perfectly cast movie that looks great, flies along, is full of great characters, fun dialogue, and is just about as smart as it needs to be. The key is to not think too much about the plot but just get swept up in the rollicking adventure and enjoy spending time with these wonderful characters.
I gotta say the cast are all pitch perfect. I was initially concerned about Chris Pine as Kirk as I wasn’t familiar at all with him as an actor. And Shatner is such an iconic presence in this role, how could anyone else capture the essence of James T. Kirk without just descending in to parody and falling back on classic Shatnerisms? But to his enormous credit Chris Pine doesn’t do that. He’s done his own thing as Kirk with just a few tiny classic Shatner/Kirkesque poses creeping in – especially on the great final bridge scene. Pine’s Kirk is just as brash, cocky, charismatic and eager to storm in fists first as good ol’ Shat was. He has that same mischievous, adrenaline hungry glint in his eye that lets you know that whether he’s chasing lovely ladies or shooting Romulans or Spock baiting…he’s LOVING it. But you can also tell that he has the brains and the backbone to carry it off. And that he also has a deep rooted sense of responsibility and of doing what’s right. This makes you like and respect him rather than just wanting to punch him for being so smug. Pine also has excellent comic timing. The way he handles the Kobayashi Maru test is hilarious. And the sequence with Kirk charging around trying to convince everyone of the Romulan trap while McCoy is running after him and injecting him with various hyposprays to counter act the viral symptoms the doc has given Kirk to get him aboard the Enterprise is also very funny.
Karl Urban inhabits Leonard ‘Bones’ McCoy completely. His take on the irascible doctor and extremely reluctant space traveller is great. It’s almost like good old Deforest Kelley is back with us. We also get to find out why Kirk calls him Bones.
Zachary Quinto is also very good as Spock, although he is quite a different Spock than I remember. He’s far more emotional and easy to rile. He’s even having a full on romantic relationship with a certain lovely young bridge officer. Even more so than Nimoy did in the original series Quinto really shows the tortured, conflicted and human side of Spock with his obvious love and devotion to his mother in the film being genuinely touching.
The rest of the usual crew are also fine with Zoe Saldana’s Uhura probably having the biggest role of them all. Hers is a continual presence in the film from Kirk’s first meeting with her in the bar at the start to their time through Starfleet Academy until they all get on to the Enterprise and go off to battle Nero. Kirk’s been unsuccessfully trying to woo Uhura all this time. But she’s been having none of it. Frustratingly for the hugely virile young James T, he doesn’t even manage to get her first name until near film’s end.
From a technical standpoint Star Trek is magnificent. The design, photography and score are all top notch. The sleek lens flare photography is lovely while Michael Giacchino’s score is both grand and subtle and emotionally evocative. Industrial Light and Magic’s FX are just simply gorgeous. There are some wonderfully creative starship shots with the camera creeping around their hulls from all elevations before eventually pulling back to reveal the beautiful vessels in their stunning environments. I also loved how they didn’t treat the starships as aircraft ala Star Wars and most of the latter Trek series. They don’t fly around like jet fighters. They are fast yet majestic with manoeuvring being far more elegant invoking the original series naval feel.
The film’s sound design is also excellent. Many original series sounds are retained such as the comms whistles. In fact the comms whistles are the first things you hear as we see the first starship, the USS Kelvin, alone in space. And in this Trek, space is mostly silent with the noise of travel and battles coming from within the ships themselves. Silence suddenly comes when a poor crewmember gets hurled out side the ship after battle damage is incurred. In the wonderful Kirk/Sulu/Ensign Ricky Redshirt space dive sequence they leave the shuttle in silence with noise gradually coming as they hit Vulcan’s atmosphere. Great stuff!
Future Earth in this film is much more functional and recognizable to us 21st Century types. In this 23rd century people still swear, act badly, drink beer and listen to rock music despite now being part of a greater interstellar Federation. Teenage Kirk even has a Nokia phone/stereo in his car (the one that goes over the cliff in the trailer) on which he gets a call from his angry step dad before playing Beastie Boys Sabotage very loudly indeed.
But for all the great stuff (of which there is much) the film isn’t perfect. The main problem I have with Abrams Star Trek is in some of the plotting. It often feels a bit clunky and forced. This mainly comes about in the middle act. There are too many contrivances and coincidences to get people together, to get them where they need to be. Some rather odd things also occur that made me think hang on a sec. Why on earth would X do that? To get the most out of the story you really need to read the comic prequel Star Trek: Countdown to know properly what’s going on.
To sum up, Star Trek is enormous fun. Probably the most fun I’ll have at the cinema this year. It’s a wonderful looking and sounding adventure with a great cast who’s charisma and talent, as well as the film’s furious pace, help gloss over its few small problems. Star Trek manages to be at the same time both nostalgic and modern. It is littered with references to Treks previous such as Ceti Alpha V's mind-slug critters; Admiral Archer’s pet beagle; “I don’t believe in the no-win scenario...” I‘d also challenge any Trekker not to tear up a little as old Spock tells young Kirk, “I have been and always shall be your friend.” Or as the full-on Alexander Courage music soars over the lovely end credits sequence. Even though Star Trek isn't perfect, it’s still a darn fine movie and just tons of rip roaring, space faring fun. It’s a proper space opera. Something we don’t really see anymore on the big screen. Hopefully it will make loads of money and with the sequel they might perhaps include some genuine exploration.
Meh!!!
It was OK, repeat viewing will be required, but just not the rip roaring adventure most people had told me it was. But then those people probably would never have bothered with old Trek.
It was just same old Trek story telling timeline with a couple of comedy updates that had been done/tried before to the same level and effectiveness in IV and First Contact.
Too critical I know but we need to bring balance to the force.
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