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Uhura spends most of the movie in a prison camp. Krail's fire-and-brimstone sermonizing is turned to nonsense by a pointless and self-defeating third act "twist"-like we need another one of those after the boneheaded fan service of "Darkness"!-and there are points late in the film where "Star Trek Beyond" seems jolted by the sudden remembrance of things that it told us it was going to deal with but didn't.
Too bad none of these aspects are filled out with the detail they deserve. There's psychological nuance, irony, even a political subtext (Elba's character, Krall, a reptilian Che Guevara-type who wants the galaxy's "frontier" to "push back" against the Federation's expansionism).
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Simon Pegg and Doug Jung's screenplay provides the right amount of homage (as when Kirk grumbles after an opening action scene that he ripped his shirt again), plus Spock/McCoy odd-couple banter and some marvelous, character-based laugh lines (Scotty demands that Kirk give an opinion on one of his engineering improvisations, because "if I mess it up, I don't want it to be just my fault"). Abrams' "Star Trek" movies, but that's not the sort of thing one should brag about. A climactic reprise of a certain overused Beastie Boys song might be the franchise's low point, rivaled only by the laughable credits sequence of "Star Trek V," which cut from a helicopter shot of a lean young stuntman scaling a craggy peak in the Pyrenees to a close-up of the 57-year-old star/director Shatner's meaty hand in a studio, gripping a fiberglas "rock."
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Lin, who proved in the "Fast and Furious" series that he could do great or near-great action, here substitutes wobbly camerawork, chop-chop editing and rumbling sound effects for suspense and a sense of spatial design. Escher on us-the action is not good enough to be the film's main course. And aside from three magnificent setpieces-the first, crippling sneak attack by a fleet of tiny ships that swarm the Enterprise like explosive bees, and two vertigo-inducing chase-and-fight scenes in which geography goes all M.C. And there are suggestions of classic "Star Trek" style action-plus-characterization-plus-cleverness, and pleasing performances by a cast that has settled into each others' rhythms, as a real-world naval crew would after years of sailing together.īut the movie never delivers on its considerable promise because it's always in such a hurry to get to the next action scene. Yes, there's a promising setup (the Enterprise crew is held hostage by a vicious bad guy who rules a backwater planet a la Kurtz in "Heart of Darkness"). But that's not what we get here-not really. Advance publicity hyped "Star Trek Beyond" as a return to the original series' roots as a showcase for a bunch of eccentric personalities traveling the galaxy, ingeniously solving problems, and indulging in populist philosophizing about civilization and the frontier as they went along. It's the best of the new "Trek" films, but it's still an unsatisfying effort if you want "Star Trek" to be something more than a military-minded outer space action flick, with familiar, beloved characters shoehorned into a standard mix of martial arts slugfests, close-quarters firefights, and scenes of starships and cities being shredded and burned. "Star Trek Beyond" pits the crew of the Enterprise against another bellowing megalomaniac ( Idris Elba) who wants to punish the United Federation of Planets for its perceived sins. But in the end it's mostly a good big-budget sci-fi action movie that's been marinated in "Star Trek" flavor packets-and thus not terribly different from the 2009 "Star Trek" reboot or its sequel, " Star Trek Into Darkness." What undermines "Star Trek Beyond" is that it's ultimately not interested in taking a long look at the "you" of Kirk, Spock ( Zachary Quinto), ship's doctor "Bones" McCoy ( Karl Urban), communications officer Uhura ( Zoe Saldana), and the rest of the NCC-1701 crew. It was more soap opera than space opera at times, but always fun to watch, sometimes moving. Spock, between Kirk and the United Federation of Planets, between Kirk and the Klingons who tormented his civilization and killed his only son, and between all the characters (Kirk especially) and the prospect of aging and death.
The screenplays gave us detailed examinations of, say, the relationship between Kirk and his half-Vulcan first officer Mr.
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Where all of the TV incarnations of " Star Trek" were mainly about morality and philosophy, with characterization serving as a means of examining those dramatic values, most of the big-screen film versions, including the '80s and '90s versions of the flagship TV show, were mainly concerned with the heroes' personalities. There's a precedent for this sort of thing.
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