Okay. I saw this movie. Twice, so far. And I’ll probably see it again.
I’m going to talk about the plot and give it away here. If you don’t want to know, just stop reading. Right now. I mean it. Go away. You’ve been warned.
I spent the last few months as the hype built hoping for one thing: that while it might be called Star Trek, and the theaters would undoubtedly be filled with costumed canonazis and Comic-Con alumni, it might still just be a good movie.
And it was.
But parts of it are retarded. All the rest of it is shiny and funny and fast-paced–it’s more than two hours long but it never feels long. After two viewings I can tell you, as a movie fan who grew up with Star Trek and, while not a nazi about it, knows the canon, that it takes all the best parts of Star Trek (best=most likely to attract new and wider audience) and tells the rest to pound sand.
The actors do a fantastic job–this is very much a character movie. Chris Pine plays the asshole quite well (and since that’s all Kirk really is, at heart, it works) and Zachary Quinto does a very good–and very conflicted–Spock. John Cho brings his own take on Sulu, and Karl Urban just flat-out steals the movie as Leonard “Bones” McCoy. Anton Yelchin does excellent work as Chekhov, and Zoe Saldana (zomg that girl is hawt!) brings new dimensions to Uhura*.
One of the standouts of the cast, however, has to be Bruce Greenwood as Captain Christopher Pike, who was more of a bit character in the original series but who has a well-developed and well-acted mentor role in this film. Eric Bana’s villian is convincingly villianous but remains one of the weakest parts of the film**.
As one expects with a summer skiffy flick, the effects are outstanding and the set designs and art choices are utterl beautiful. In an aspect that not too many people have yet commented on (at least not positively, or completely) the sets have a very heavy steampunk influence (the engine room of starships, or instance, have a great resemblance to the cavernous engine rooms of turn-the-century ocean steamers. It’s a noticeable–and welcome–contrast of the set designs for the rest of ship, which can be summed up as “pretty Apple store motif”.
The script is both excellent and trash. The dialogue is snappy, humorous, and character-driven, but the plot is ridiculous. It almost relies on anti-logic, since it laughs at anything approaching science and is somewhat contradictory in places. We won’t mention “red matter” (or the rabbit’s foot or the Cloverfield monster) or point out the immensity of space (supernovas to threaten galaxies, eh? Did no one do the “look, this golf ball is the earth, and this tennis ball sitting on the opposite coast is the sun” example for JJ Abrams?) or any rational explanation of black holes, you know, actually work. Also how the villians do suitably retarded things to move the plot along, or why no one, in all the history of screen-depicted Trek, has ever just thought “let’s throw a rock” or anything to do with kinetic energy weapons.
The real gem of it is, though, that despite all of that, it’s still a damn entertaining movie. Even if you’re not a Trekkie (and thank god if you’re not) go see it, if you like flashy movies with shit blowing up and somewhat-witty banter.
* – okay, all over the blogosphere I’ve seen women complaining that Uhura is “just a guurrl” in this movie. All she seems to be there for is sexual tension, to make out with her boss, to pull the “I’m sleeping with you so I get what I want or else I tell your friends” card, and to strip down to her underwear at one point. “Why couldn’t she do the hand-to-hand combat, or shoot the phasers, or anything important (in a 21st century, I-am-woman-hear-me-roar-seduce-and-be-just-as-manly-as-the-men sort of way). All she does is be smart. How sad is that!?
Ladies, with respect, pound sand. I’m all for liberated women and breaking the glass ceiling and all that other shit I get blamed for while I’m working three jobs as a single dad. In fact, you smart, independent, sassy, successful women are exactly who I’m attracted to. The stay-at-home, cooking-and-praising-Jesus types are a huge turn-off. But, sometimes, in a movie, it’s just better to be, you know… girlie.
** – I like Eric Bana. I really do. But his character in this movie is a RETARD. So a random natural occurence destroys his homeworld and kills his pregnant wife. And Spock just can’t get through traffic fast enough to save the planet (which is one of the truly stupid dialogue moments… during Spock’s infodump (here’s what all this bother is about, kids) he says “And then the unthinkable happened…” except that, well, you just said two sentences ago that you’d stop it from happening, so you obviously did think about it) so Nero gets all vengeful, accidentally falls through a time warp to kill Jim Kirk’s Dad, then hides out unnoticed for 25 years, then starts killing every planet of the Federation. Because, you know, Spock couldn’t stop the patently-impossible “supernova that will destroy the galaxy (because it’s like a tsunami, right? Goes around the world–er, the galaxy–in an hour?)” so he has to kill Vulcan and Earth “to stop Romulus from being threatened by the Federation”–the same Federation who, incidentally, had the only plan to save Romulus from the totally random natural occurence that Nero now has a 128-year calendar for, even though it failed. It’s not “fascinating.” It’s retarded.