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Star Trek XI (2009) - Included The Enterprise versus Death Star Footage
The Adventures of a Galaxy Class Sequel Rebooted
Director: JJ Abrams
Writer: Roberto Orci & Alex Kurtzman
Starring: Leonard Nimoy, Winona Ryder, Chris Pine, Zachary Quinto, Eric Bana, Bruce Greenwood, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Ben Cross
“I like this ship! It's exciting!” - Scotty
Before we begin a little perspective is required. John Doe needs to declare from the off set that he is a Trekkie, Trekker…a fan of Star Trek.
One need look no further than the fact he was married on the bridge of the U.S.S Enterprise in Vegas for evidence. (That he attended the Vermont premiere in his Starfleet uniform while others pointed and giggled speaks for itself) So this review can only be a little obsessive and written from a purist’s perspective. (Eg; He watches Star Wars for action adventure, what makes Trek unique is its moral and psychological quandaries.)
It was with trepidation and more than a little anxiety that JD approached JJ Abrams reboot of the Star Trek franchise. You see he is not a fan of Abrams style nor products (With the exception of Cloverfield). Well set his phasers to stunned, it’s with relief that Johnny must declare a level of satisfaction at what he saw, despite these previously held views.
Star Trek XI is an action adventure extravaganza that is rescued by an acute knowledge of Trek lore, making the whole experience one giant in-joke. The more you know about the Trek universe the funnier it is. (Think of the Battlestar Galactica rework but with an abundance of nods and winks to its predecessors).
In the spirit of remaining spoiler free (No small feat) this synopsis will be brief.
Star Trek XI is an origins story, a prequel that thanks to a time shift paradox allows for a reinvention of the existing storyline continuity we all know. Launching with James T Kirk as a juvenile delinquent in small town Iowa through to Starfleet academy where he meets his future crew members Spock, Uhura, Checkov and Bones. Circumstances and fate conspire swiftly and soon we are in outer space boldly going where no man has gone before, kind of.
John Doe says:
Ideally cast, with a dizzying self awareness of the established character dynamics and storylines this chapter toys with our existing geek boy analysis of the pop culture mythology behind the series. This is undoubtedly the best in the series since First Contact, which also manipulated the established timelines.
The dialogue and situations are hilarious, overflowing with hubris and sly nudges. The warp factor 8 pacing and “get out of jail free” structure leave little time for wider thoughts about the very pedestrian plotting.
You find yourself laughing out loud with more frequency than many other films purported to be in the comedy genre. Nare a minute goes by where there isn’t clever humor that substitutes for the much needed smarts. It is this intelligent manipulation of “what we know” that allowed Johnny to contradict his previously held view of what attracts him, to Trek. It’s forgivable to adopt the less thought provoking stance in the film because after all Kirk was always a womanizing man of action with a never say die attitude. Not as focused or intelligent as later master and commanders of the revered galaxy class starship.
This direction also facilitates that non devotees can enjoy the film on an alternate level, while still recognizing obvious gags and certainly getting wrapped up in the well executed combat scenes.
Deft cinematography and editing “mind meld” for quick recognition and provide a much needed sense of geography when in the vastness of space. Tracking shots executed with flair are given urgency and carefully paced cuts elevate emotion with equal aplomb.
Big on special FX in its opening minutes, thankfully as the running time progresses the CG is toned down to a point where it often appears to be retrograde in its visual style. Some shots of the Enterprise are only slightly more polished than those of its 1960’s inspiration. It’s a delicate balancing act between new millennium filmmaking technologies and nostalgia that works.
The crew are eerily on the nose and the producers even managed to find an actor more wooden than William Shatner in Chris Pine (Smokin’ Aces) for the almighty Captain. His bee stung lips and artificial, forced delivery reminiscent of Casper Van Dien in Starship Troopers. Reckless, horny and arrogant this is the young Kirk as was always inferred in the TV Show and films.
As many have already stated, Zachary Quinto (Heroes) as a young Spock is almost too good. There are times where it is practically uncomfortable to watch him deliver memorable catch phrases like “fascinating”. Seeing him struggle with his duality as a half Human/Vulcan trapped in two cultures is again as we imagined. The rigid suppressing of human emotion, defaulting to logic during his early development works in juxtaposition to Kirk’s reckless behavior. This forms the crux of a rivalry between the two that is rich in understanding.
Equally realized is Karl Urban (Lord of The Rings) as Bones and Simon Pegg (Shaun of the Dead) as Scotty, both nailing the attitude of their original counterparts.
Zoe Saldana (Avatar) is eye candy as Uhura. Stealing all his scenes Anton Yelchin (Huff) makes the dialectically challenged Chekov into a giggle factory, without having to utter “Nuclear Wessels” , (to easy) though hearing “Wulcan” never loses its charm.
John Cho (Harold and Kumar) in the part of Sulu works keeping his fencing abilities intact but sadly the writers give him martial arts prowess playing into the racial stereotype that Gene Rodenberry always fought so vigorously against. (“Did I ever indicate I knew Kung Fu” - Futurama)
Eric Bana (Chopper) as the villain Nero does his best King Conan impersonation whenever seated on his throne.
Bruce Greenwood (Below) as Captain Pike and Winona Ryder (Heathers) as Spock mummy Amanda Grayson are welcome variations on the existing narrative.
Lastly there is the meeting of old and new in Leonard Nimoy as Spock. On a sentimental level welcome, but depressing to see him aged much like Harrison Ford in the latest Indy, sleepwalking through the role.
It is hard to fault without nit picking. The film is exciting, wise and enjoyably tackled with loving respect. The only real criticism comes from where the saga goes from here, because approaching the origin story in this way is a one trick pony. Will the next installment return to the socially minded intentions of creator Gene Rodenberry or become just another mindless science fiction ala Stargate?Afterall the U.S.S Enterprise is a scientific vessel built for exploration, not a military weapon.
Trailer for JJ Abrams Star Trek XI
The much discussed Enterprise versus Death Star video
The New Bird Soars
Director: JJ Abrams
Writer: Roberto Orci & Alex Kurtzman
Starring: Leonard Nimoy, Winona Ryder, Chris Pine, Zachary Quinto, Eric Bana, Bruce Greenwood, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Ben Cross
“I like this ship! It's exciting!” - Scotty
Before we begin a little perspective is required. John Doe needs to declare from the off set that he is a Trekkie, Trekker…a fan of Star Trek.
One need look no further than the fact he was married on the bridge of the U.S.S Enterprise in Vegas for evidence. (That he attended the Vermont premiere in his Starfleet uniform while others pointed and giggled speaks for itself) So this review can only be a little obsessive and written from a purist’s perspective. (Eg; He watches Star Wars for action adventure, what makes Trek unique is its moral and psychological quandaries.)
It was with trepidation and more than a little anxiety that JD approached JJ Abrams reboot of the Star Trek franchise. You see he is not a fan of Abrams style nor products (With the exception of Cloverfield). Well set his phasers to stunned, it’s with relief that Johnny must declare a level of satisfaction at what he saw, despite these previously held views.
Star Trek XI is an action adventure extravaganza that is rescued by an acute knowledge of Trek lore, making the whole experience one giant in-joke. The more you know about the Trek universe the funnier it is. (Think of the Battlestar Galactica rework but with an abundance of nods and winks to its predecessors).
In the spirit of remaining spoiler free (No small feat) this synopsis will be brief.
Star Trek XI is an origins story, a prequel that thanks to a time shift paradox allows for a reinvention of the existing storyline continuity we all know. Launching with James T Kirk as a juvenile delinquent in small town Iowa through to Starfleet academy where he meets his future crew members Spock, Uhura, Checkov and Bones. Circumstances and fate conspire swiftly and soon we are in outer space boldly going where no man has gone before, kind of.
The new-old crew with eyebrows and jaw bones intact
John Doe says:
Ideally cast, with a dizzying self awareness of the established character dynamics and storylines this chapter toys with our existing geek boy analysis of the pop culture mythology behind the series. This is undoubtedly the best in the series since First Contact, which also manipulated the established timelines.
The dialogue and situations are hilarious, overflowing with hubris and sly nudges. The warp factor 8 pacing and “get out of jail free” structure leave little time for wider thoughts about the very pedestrian plotting.
You find yourself laughing out loud with more frequency than many other films purported to be in the comedy genre. Nare a minute goes by where there isn’t clever humor that substitutes for the much needed smarts. It is this intelligent manipulation of “what we know” that allowed Johnny to contradict his previously held view of what attracts him, to Trek. It’s forgivable to adopt the less thought provoking stance in the film because after all Kirk was always a womanizing man of action with a never say die attitude. Not as focused or intelligent as later master and commanders of the revered galaxy class starship.
This direction also facilitates that non devotees can enjoy the film on an alternate level, while still recognizing obvious gags and certainly getting wrapped up in the well executed combat scenes.
Deft cinematography and editing “mind meld” for quick recognition and provide a much needed sense of geography when in the vastness of space. Tracking shots executed with flair are given urgency and carefully paced cuts elevate emotion with equal aplomb.
Big on special FX in its opening minutes, thankfully as the running time progresses the CG is toned down to a point where it often appears to be retrograde in its visual style. Some shots of the Enterprise are only slightly more polished than those of its 1960’s inspiration. It’s a delicate balancing act between new millennium filmmaking technologies and nostalgia that works.
The crew are eerily on the nose and the producers even managed to find an actor more wooden than William Shatner in Chris Pine (Smokin’ Aces) for the almighty Captain. His bee stung lips and artificial, forced delivery reminiscent of Casper Van Dien in Starship Troopers. Reckless, horny and arrogant this is the young Kirk as was always inferred in the TV Show and films.
A spicy little green number gets Kirked
As many have already stated, Zachary Quinto (Heroes) as a young Spock is almost too good. There are times where it is practically uncomfortable to watch him deliver memorable catch phrases like “fascinating”. Seeing him struggle with his duality as a half Human/Vulcan trapped in two cultures is again as we imagined. The rigid suppressing of human emotion, defaulting to logic during his early development works in juxtaposition to Kirk’s reckless behavior. This forms the crux of a rivalry between the two that is rich in understanding.
Equally realized is Karl Urban (Lord of The Rings) as Bones and Simon Pegg (Shaun of the Dead) as Scotty, both nailing the attitude of their original counterparts.
Zoe Saldana (Avatar) is eye candy as Uhura. Stealing all his scenes Anton Yelchin (Huff) makes the dialectically challenged Chekov into a giggle factory, without having to utter “Nuclear Wessels” , (to easy) though hearing “Wulcan” never loses its charm.
John Cho (Harold and Kumar) in the part of Sulu works keeping his fencing abilities intact but sadly the writers give him martial arts prowess playing into the racial stereotype that Gene Rodenberry always fought so vigorously against. (“Did I ever indicate I knew Kung Fu” - Futurama)
Eric Bana (Chopper) as the villain Nero does his best King Conan impersonation whenever seated on his throne.
Bruce Greenwood (Below) as Captain Pike and Winona Ryder (Heathers) as Spock mummy Amanda Grayson are welcome variations on the existing narrative.
Lastly there is the meeting of old and new in Leonard Nimoy as Spock. On a sentimental level welcome, but depressing to see him aged much like Harrison Ford in the latest Indy, sleepwalking through the role.
It is hard to fault without nit picking. The film is exciting, wise and enjoyably tackled with loving respect. The only real criticism comes from where the saga goes from here, because approaching the origin story in this way is a one trick pony. Will the next installment return to the socially minded intentions of creator Gene Rodenberry or become just another mindless science fiction ala Stargate?Afterall the U.S.S Enterprise is a scientific vessel built for exploration, not a military weapon.
Trailer for JJ Abrams Star Trek XI
The much discussed Enterprise versus Death Star video
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