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Non-Review Review: Star Trek (2009)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek was not in a healthy place at the end of the first decade of the twenty-first century. The last film, Star Trek: Nemesis, had been box office poison – partially due to the terrible script and direction, and partially due to the monumentally stupid decision of opening it during a winter season including The Lord of the Rings: The Two Towers, Harry Potter and the Chamber of Secrets and Die Another Day.

On television, things hadn’t been much brighter. Ratings had been in decline since Star Trek: Voyager hit the air, and Star Trek: Enterprise went through both a re-tool and a creative shift before becoming the first Star Trek television show since the eighties to be cancelled before running a full seven seasons. Even the most ardent Star Trek fan would have to concede that the franchise did not appear to have a bright future at that point in time.

And yet, against all odds and despite all the goodwill the franchise had lost, JJ Abrams and Paramount managed to reinject both an energy and a vitality into the film, producing one of the best blockbusters of the decade.

A commanding Enterprise....

A commanding Enterprise….

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Star Trek – Cast No Shadow by James Swallow (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

Valeris is a fascinating character who gets a bit lost in the scope of Star Trek VI: The Undiscovered Country. Given the film’s focus on bidding a fond farewell to the iconic crew of the Enterprise, it’s understandable that the newest addition to the crew should get pushed aside. It’s even more notable because Valeris is clearly a stand-in for the character of Saavik, another of Spock’s young female Vulcan protegés, making her not only a newer character, but a substitute for a newer character.

One of the most interesting things about Star Trek tie-in fiction is the scope afforded by the gigantic shared universe. Across the dozen movies and the seven-hundred episodes of television, there are countless supporting characters and concepts thrown out. Due to plotting necessities and the demands of particular stories, some of these ideas are never truly fleshed out. The sheer volume of tie-in material means that writers do get a chance to develop and expand upon these character which might otherwise be forgotten.

Writing a novel centred on Valeris is a very bold idea, but one which acknowledges just how intriguing the concept of Kim Cattrall’s Vulcan traitor is, despite the fact the film treats her as a minor character at best.

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Star Trek Special #2 (DC Comics, 1994) – A Question of Loyalty (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

A Question of Loyalty is essentially a Star Trek character study, comparing and contrasting the two young Vulcan female characters to appear in the film franchise, providing a meeting between Valeris and Saavik, Spock’s two young protegés. The production history of Star Trek VI: The Undiscovered Country is interesting, as there were early plans to include Saavik. For a variety of reasons, this didn’t work out and director Nicholas Meyer and his writers decided to cast a new role, Valeris. A Question of Loyalty allows the two characters to come face-to-face, and offers both some character motivation for the under-developed Valeris and a fond farewell for Saavik.

Her ears are tingling...

Her ears are tingling…

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Non-Review Review: Star Trek V – The Final Frontier

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek V: The Final Frontier is not a good movie. There’s really nothing that can be excavated from the film that might redeem it. It isn’t a misunderstood masterpiece. It isn’t an insightful diamond in the rough. It’s just a bad film, the one which forms the cornerstone of the “odd-numbered Star Trek films” curse. It’s indulgent, pretentious and narrow-minded. It tries to blend a world-weary cynicism with an ill-judged and mean-spirited sense of humour.

Despite being shorter than Star Trek IV: The Voyage Home, it feels remarkably longer. It feels like a rather halfhearted attempt to recapture the spirit of the television show – oblivious to the fact that the franchise has spent the past decade moving onwards. It confuses ponderous pretension for intelligent insight.

Feeling blue...

Feeling blue…

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Star Trek Special #1 (1994) – The Needs of the One (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

In many ways, the Star Trek movies feature more character development and exploration for the cast than the entire three seasons of the television show. Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home are true ensemble pieces, but there’s also more of a sense that this is a family rather than a bunch of people who just hang out together. I’d argue that the cast of Star Trek: The Next Generation remain the tightest ensemble that the franchise has ever produced, but the first six movies portray the crew of the original Enterprise as a bunch of people who have been to hell and back together.

Michael Collins’ The Needs of the One represents a bit of an interlude between The Search for Spock and The Voyage Home, taking place during the crew’s three month “Vulcan exile.” While Collins’ script suffers from its inability to decide whether it’s a Spock-centric character drama or a day-in-the-life of the renegade crew, it’s a fascinating story situated in a lacuna of the movies’ chronology. It cements the idea that Spock has been radically altered over the course of the film series, and that his character arc spans the first four films.

Indeed, Collins’ opening sequence tying together his failure to achieve Kolinahr in Star Trek: The Motion Picture with his decision to once again rejoin the crew in The Voyage Home.

When all Kirk asked for was a tall ship, he probably should have been more specific...

When all Kirk asked for was a tall ship, he probably should have been more specific…

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Non-Review Review: Star Trek IV – The Voyage Home

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Up until the release of JJ Abrams’ Star Trek in 2009, Star Trek IV: The Voyage Home was the most successful of the Star Trek films. Indeed, it ranks alongside Star Trek II: The Wrath of Khan as the film which has most deeply dug itself into the popular consciousness. “I’m from Iowa; I only work in outer space” might not be as iconic a quote as “KHAAAAAAN!!!”, but a lot of people casually remember “the one with the whales.”

The fourth film in the series closes off an inter-connected trilogy of Star Trek films, wrapping up character development for the leads and tying up loose ends, but it’s also – somewhat paradoxically – the most accessible of the movies. If you’re looking for an introduction to Star Trek, it’s hard to think of a more welcoming entry than The Voyage Home. However, what’s really strangely charming about The Voyage Home is that it’s also probably the film truest to the franchise’s humanist values.

Ship off the starboard bow!

Ship off the starboard bow!

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Star Trek (DC Comics, 1984) #28 – The Last Word (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home form a trilogy that tells a single story, covering Spock’s death and resurrection, the loss of the Enterprise and the construction of its replacement and Kirk’s journey from washed-up old commander to saviour of the planet Earth. Although the three films weren’t planned as a single story, they worked out surprisingly well as a Star Trek epic told across three films and four years.

Four years is a remarkable turn-around for three franchise films, let alone three well-received franchise films. However, it’s worth conceding that the storyline had a fairly significant impact on the tie-in media. Books could be published set in the existing gaps in chronology, but DC’s plan for their first volume of Star Trek comics was to feature stories set in the contemporary film universe. Since that universe was in the middle of its own story, and the comic publishers had no idea how it would play out, the results are interesting.

Lighten up...

Lighten up…

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Star Trek: Myriad Universes – Echoes and Refractions: The Chimes at Midnight by Geoff Trowbridge (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

The death of Spock at the climax of Star Trek II: The Wrath of Khan is one of the definitive Star Trek moments. Pop culture has assimilated the moment, to the point where any half-decent nerd will identify “the needs of the many…” or “I have been and always shall be…” or maybe even “of all the souls I encountered…” It’s an absolutely massive moment for the franchise, where the film series dared to kill off the show’s most iconic and best-loved character.

It’s no wonder that the moment is such a strong focal point for those seeking to explore Star Trek. Star Trek: Into Darkness riffs mercilessly on that iconic scene, inverting it and counting on the iconography to generate enough emotional resonance for the film to get away with a fairly half-hearted homage. (The effects of The Wrath of Khan last until Star Trek III: The Search for Spock, while the consequences of the climax of Into Darkness don’t even last until the closing credits.)

So that famous sequence serves as an effective focal point of Geoff Trowbridge’s The Chimes at Midnight, which offers a parallel continuity of the Star Trek films in a universe where Spock died after the events of Yesteryear.

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Star Trek: To Reign in Hell – The Exile of Khan Noonien Singh by Greg Cox

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

I feel like I’m in the minority because I didn’t much care for Greg Cox’s The Eugenics Wars: The Rise and Fall of Khan Noonien Singh, Vol. 1 & 2. The books had an absolutely great premise, and Cox had a very clever way of explaining how the Star Trek universe could have had a major conflict between genetically-engineered supermen in the 1990s, despite the fact that their version of the 1990s looked a lot like ours. However, Cox became bogged down in shout-outs and continuity references and character cameos. Despite the seemingly epic scope of the story, it seemed like 20th century Earth was inhabited by twenty people who all knew one another.

In contrast, To Reign in Hell has a much less ambitious and exciting premise, but the novel also reigns in some of Cox’s excesses. While the author’s taste for continuity sometimes overwhelms the narrative, he is somewhat restrained in how heavily he cane lean on what came before. While Cox’s prose is still a little prosiac, and his narration a little ham-fisted, he at least has a bit more room here to develop Khan as a character. Without the crutch of feeling the need to reference every 20th century character ever to appear in Star Trek, Cox can focus on his leading man.

Well, mostly.

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Star Trek – Ex Machina by Christopher L. Bennett (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

Ex Machina is really an astoundingly clever piece of work. On the surface, a lot of reads like a fan’s wishlist, a collection of “snags” made while watching the classic Star Trek films and making a conscious effort to fix them up a bit. There’s a lot of effort into explaining the changes between Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan, with character-centric subplots focusing on Kirk’s ego or Chekov’s growing disenfranchisement.

Indeed, Bennett even provides an entirely unnecessary but quite-enjoyable-nonetheless set of annotations for Ex Machina, explaining where and how he’s tying his story into a rake of continuity. He describes Ex Machina as probing “an unexplored gap” in the franchise’s chronology. Ex Machina exists as both a sequel to a rather bland third-season episode of the show (For the World is Hollow and I Have Touched the Sky) and The Motion Picture. Neither is especially loved among fans.

However, what’s fascinating about Ex Machina is the way that none of this prevents Bennett from crafting a compelling and intriguing narrative. It’s clear that he’s enjoying attempts to fill in various gaps, but Ex Machina works incredibly well as a piece of Star Trek which stands on its own two feet.

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