The Star Trek franchise has always been about a futuristic group of beings trying to uphold order. Usually humans, but some aliens, make up the Starfleet force of the United Federation of Planets. Over the course of events, new friends and enemies are introduced; but that’s the shortest way to sum up the series. In this installment, the central characters from the original TV series meet for the first time. This is all courtesy of a feud between an angry Romulan Nero (Eric Bana), and Spock (Leonard Nimoy) that sends both back in time.
With the two disrupting the past, the timeline varies slightly from that of the shows and other films, we meet Jim Kirk (Chris Pine) and Spock (Zachary Quinto) whose destiny guides each toward Starfleet regardless. Though director J.J. Abrams winks to the true blue fans with occasional references, Star Trek is friendly to newcomers, adequately explaining most matters.
With such a grand scope, cynics will find that plenty of it unravels as Abrams fits two or more films worth of plot into a two hour window. Truthfully, there are several elements whose questioning presents problems. One such example is the logic of old Spock carrying aboard his spaceship an excessive amount of the most destructive material in the galaxy, when all he needs is a small vial. It appears that he was asking for trouble. Another point tells us that Nero has one shockingly loyal crew, as they are willing to sit adrift for 25 years under his command.
Maybe the plot isn’t the brightest star in the sky, as much of it seems recycled. The most pleasing aspect is the interactions of the heroes. Granted, it was strange to see them each come into their own all within the same adventure. Also, some of the actors decided to channel those previously in their role, while others do not. Karl Urban is a crowd pleaser as DeForest Kelley playing the role of Leonard McCoy. John Cho, on the other hand, doesn’t stress the distinct vocals of George Takei. This contrast in styles could negatively affect some fans, but to me both served a purpose in moving forward this interpretation.
There are risks taken with the franchise, but many can be written off as part of an alternate vision if they offend too greatly. Star Trek plays at a much faster pace than it’s forbearers, and even divulges previously unmentioned relationships. It’s also quite funny at times, while sad at others. Emotions run the gamut in this film, so come properly equipped.
Star Trek doesn’t reestablish the franchise in such dramatic fashion as Batman Begins. The camera work is adventurous, serving to livens up dialogue driven segments. Sound effects, costumes, and sets are standard upgrades. Special effects sequences are respectable. The PG rating goes unquestioned and without whines from a mostly 30+ audience. Leonard Nimoy’s appearance gives this “reboot” some credibility as does taking place in an alternate timeline. Bruce Wayne didn’t have the same luxury of a believable time travel device. It is now clear that like comic books, films are going to contain “visions” by a number of directors. ***
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