7/10
I am not a Star Trek purist so I will provide limited
commentary on the merits of the series reboot and the mighty convenient
back-in-time plot device that allows for an entire new future for all of the
same and familiar characters. For those
who think the idea sacrilege, at least you get a new Star Trek story to kick
around and more ammunition to use in your debates about new vs. old. Oh, there is a lot of old.
The omnipresent debate and battle of wills between Kirk
(Chris Pine) and Spock (Zachary Quinto) is the dominant theme woven throughout
the action-heavy Star Trek Into Darkness.
Kirk leads by the seat of his pants and acts according to his gut, which
is the most illogical leadership method Spock can think of. Settled in earlier films, the punch line is
that the two Star Fleet officers complement each other and combined make the
perfect Captain for The Enterprise. Into
Darkness just provides a few more scenarios for this obvious fact to sink in.
After a splashy Raiders of the Lost Ark beginning
with angry natives chasing Kirk, he deliberately chooses to break the Prime
Directive. Has any Star Fleet Captain
ever followed that pesky rule to the letter?
He would have gotten away with it too if it wasn’t for that
goody-two-shoes Spock – the man whose life he saved. This cues up about two hours worth of
morality and ethics-driven philosophy discussion; they even have time to argue
about it during volcano explosions and one-on-one hand combat with bad guys.
At least the personality differences between our two leads
has more screen time than an awkward sub-plot involving relationship
difficulties between Spock and Uhuhra (Zoe Saldana). To its discredit, Into Darkness mostly
ignores The Enterprise’s key supporting crewmates including Sulu (John Cho),
Chekov (Anton Yelchin), and Uhura, but Scotty (Simon Pegg) gets some time in
the limelight. Bones (Karl Urban) is
unfortunately becoming more of a caricature of DeForest Kelly than an actual
character as his cast mates are achieving.
This is not his fault as an actor, screenwriters Roberto Orci, Alex
Kurtzman, and Damon Lindelof are choosing to write him this way. Quinto is especially good as the new Spock
and John Cho surprises with just a glimpse of what Sulu is capable of before
the movie goes back to ignoring him.
Even Zachary Quinto is outshined by the best actor out of
them all though, Benedict Cumberbatch.
Known almost exclusively as Britain’s new Sherlock Holmes, Cumberbatch
finally gets his chance to play Moriarty for once. As the film’s main villain, Cumberbatch is
ice cold, brilliant, baritone-voiced, and steals every single scene he is
in. I would have liked a bit more brains
than brawn in this area, excluding a tense ship-to-ship human luge while dodging
space debris. Solving problems and
certain death again and again using fists instead the mind is more in the Jason
Bourne arena than Star Trek.
Cumberbatch and Quinto are really the only reasons I give a
positive review to the film. The score
is atrociously melodramatic and over-the-top to the point of distraction and
the production design, specifically The Enterprise’s bridge, is
ridiculous. The bridge would be too neon
for the Vegas strip. However, seeing
what London and San Francisco look like in the year 2259 is well done. Star Trek is all about looking up and out
into the unknown; however, these brief glimpses of two major future cities are
more than intriguing.
The script latches onto a reliable and effective villain,
cheats on character development except for Kirk and Spock, and contains
multiple references to contemporary issues.
The most blatant of these is the ongoing debate concerning drone
strikes. As expected, Kirk is all for
launching justice-serving revenge attacks from afar while Spock advocates for
arrest and trial. I suppose they’ll have
to compromise and meet in the middle once again – just like they always do.
Directed by: J.J. Abrams
Written by: Roberto Orci, Alex Kurtzman, Damon Lindelof
Starring: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Peter Weller, Alice Eve
No comments:
Post a Comment