Continuing the trend of reinventing sixties iconic figures such as Batman and James Bond, Star Trek was inevitably next in line. For those who fretted that the new incarnation of creator Gene Roddenberry’s beloved franchise of ‘Wagon Train to the Stars’ would be dishonored or ignored, they needn’t worry. This new version, intended to reboot the franchise that was so popular in TV reruns and subsequently in a series of big budget films, is a remarkably balanced take on the origins of the classic Enterprise crew. It is designed to appeal to the non-initiated audience while referencing the existing canon of Star Trek lore. Director J. J. Abrams (Fringe, Alias, Mission Impossible III) brings a fresh vision abetted by Trekkie fan/writers, Roberto Orci and Alex Kurtzman.
James T. Kirk is born as his father rescues a starship crew during a Romulan attack led by the mysterious Nero (Eric Bana). A young rebel who grows into a brash, thrill seeking adventurer, young Kirk (Chris Pine) is recruited into Star Fleet Academy by Captain Christopher Pike (Bruce Greenwood). Meanwhile the half Vulcan / half human Mr. Spock (Zachary Quinto) has matured amid bullying kids and decides his destiny lies with The Federation as a cadet instead of his home planet Vulcan. Kirk strikes up a friendship with an ornery young Doctor Leonard McCoy (Karl Urban is a hoot) whose distrust of space and things not medical will become legendary. It is McCoy who devises a way for Kirk to become a crew member of the newly commissioned starship Enterprise. In fact, most of what will become the core crew is assembled including communications officer Uhura (Zoe Saldana), helmsmen Sulu (John Cho) and Chekov (Anton Yelchin), and later, engineer Scotty (Simon Pegg). Seeking vengeance against the Federation, Nero has traveled through time to exact pain and destruction with a planet killing device that will draw the Enterprise to Vulcan and ultimately Earth. With the Universe in the balance, Kirk and Spock must decide if they can work together (with the help of a certain mentor).
The parallel life paths of Kirk and Spock are marked contrasts of two men who will clash and reconcile their future relationship. Kirk smacks of hawkish, shoot-from-the-hip reactionary while Spock is the logical, think-inside-the-box good soldier. Nero reminds us a bit of Khan from Wrath of Khan. The character of Uhura is a major upgrade. She is a multi-talented officer who has romantic longings for a certain Vulcan. Greenwood shines as the veteran Pike. Leonard Nimoy makes a welcome, pivotal appearance as an elder Spock who figures prominently in the history that is to come. The cast makes the most of iconic roles and excels at recreating the personas of what we remember; each crew member gets an opportunity to shine. It is nice to see this group working and improvising together for the first time to solve a crisis. Further, this story takes it for granted as does its audience that this crew is not only multicultural, but multi-species, a far cry from the novelty of the integrated crew of classic Trek.
The screenplay has some well written dialogue and clever Trek references sprinkled throughout, and age old lines of the classic show are introduced for the first time. When McCoy utters, “I’m a doctor, not a physicist”, it’s a riot. Part of the fun is watching two heavyweights like Kirk and Spock faceoff and slowly bond and seeing how Kirk ascends to the captain’s chair. We finally get to learn what the ‘Kobayashi Maru’ wargame really is and how Kirk manages to defeat the test.
Sure, the plot has some gaping holes if you think about continuity and the fate of a certain venerable, classic character. Nero’s motives are explained in time, but they don’t make total sense. This film also does not have the gravitas of deep themes as previous films which is perhaps its only true failing, but instead, we get a strong character study that more than compensates.
Technical effects are quite impressive although Abrams seems to favor close-ups and tight camera setups that put the viewer in the middle of action scenes. Fortunately, there are no jarring Cloverfield handheld camera moves. There is a good fight sequence on a weapons platform and a surprise on an ice planet. You want phasers shooting back and forth in space battle? You’ve got them here. In fact the energy level keeps this voyage bouncing along.
The Enterprise is stunning-it has never looked quite this way ever, and it is cool how they depict the starship going into warp drive. There are imaginative points of view when showing off the ship’s exterior, and the interior is brimming with activity and sound, which is in stark contrast to the more antiseptic views from the earlier show. The costumes (complete with female miniskirts) harken back to that period and yet seem fresh. At credits’ end, there is a nice dedication to the Roddenberrys, Gene and Majel Barrett (who voices the Federation computer one last time).
Fans of the old show may tear up at how faithful and creative Abrams and his screenwriters are with Trek lore and how they set everything up nicely going forward. This is their alternate universe now, and we are game for the experience. This crew, baptized under fire, is ready for new missions, and they cannot come soon enough. Way to go, Mr. Abrams. This Trek rocks!
***1/2 of **** stars
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