Star Trek: The Bold Genesis Of Mythology

[Editor's Note: This summer we will be featuring two reviews for some of the movies. Here is the second for Star Trek]

“I don't believe in the no-win scenario.”
-- Admiral James T. Kirk from Star Trek II: The Wrath Of Khan

“You're a great one for logic. I'm a great one for rushing in where angels fear to tread. We are both extremists. Reality has brought us somewhere in-between.”
-- Captain James T. Kirk from Star Trek VI: The Undiscovered Country

“You've always had a hard time finding your place in this world, haven't you? Never knowing your true worth. You can settle for less in ordinary life, or do you feel like you were meant for something better? Something special.”
-- Captain Christopher Pike from Star Trek (2009)

The explosive birth of James T. Kirk during the film’s cataclysmic opening ushers in the J.J. Abrams bold vision of Star Trek’s origins.. It is a birth that is very appropriate for the iconic Kirk. His father, George Kirk (Chris Hemsworth), has taken command of the USS Kelvin, after the ship’s captain has been killed onboard a Romulan vessel, by Nero (Eric Bana). The ship is under siege by the Romulan ship. It is a chaotic, wonderfully staged set piece as ship debris and explosions fill out the galactic canvas. During all of this madness, Winona Kirk (Jennifer Morrison) is in labor and is being evacuated from the doomed vessel. Her husband communicates with her from the bridge. The older Kirk is not going to survive, but he is going to make sure his wife and soon to be born son will survive. As luck would have it, James T. Kirk is born as all this is going on. His father lives long enough to name him. His father was captain for twelve minutes, but he managed to save 800 lives. His heroism becomes part of Starfleet lore. It is a wonderful moment in a film filled with many wonderful moments. The film is respectful to the source material, but never reverential. Young Kirk’s entrance is fitting. He is born during incredible circumstances. His birth reminds me of King Arthur’s birth in Excalibur, Benjamin Button’s birth in The Curious Case Of Benjamin Button and Tarzan’s birth in Greystoke: The Legend Of Tarzan Of The Apes. James Tiberius Kirk was born in the darkness of space-- it is where he was always meant to be.

J. J. Abrams understands what is at stake here. He has been brought in to resuscitate a dying franchise. The results are not merely great; they are outstanding. The newest Star Trek film is not a prequel or a remake, but a reboot. The reboot has become popular in this decade. The reboot has done wonders for the James Bond films which have starred Daniel Craig and the Batman films directed by Christopher Nolan. The reboot is becoming the common cure to revive dying franchises-- to make them fresh again for a new generation of filmgoers. There is a certain level of nostalgia involved for older audiences. Nostalgia can often be a bitter bitch that has no desire to make amends for the sick and tired clichés of stale storytelling. (The one reboot that remains in limbo is Rob Zombie’s Halloween. While I liked Rob Zombie’s approach to John Carpenter’s original film, it was met with a lot of resistance by the original film’s loyal following.) There is nothing to be upset with or resist with J.J. Abrams’ bold take on the legendary television and film series created by Gene Roddenberry. The newest film is not just for Trekkies, but for everyone. It is Abrams’ stroke of genius to have taken one of the most insular franchises and made it universal for everyone without having to dumb it down. Robert Orci and Alex Kurtzman’s screenplay is not afraid to break new ground and take chances. The film is richer for the bold chances it takes. In fact, the film’s major plot twist that involves time travel makes the reboot work better than anyone could have ever thought in the first place. It is fitting that J.J. Abrams is the director of the film. He understands the power of the television medium just as well David Simon, David Chase and Ron Moore. His shows such as Alias, Fringe and especially Lost, have made network television desirable again. His Mission: Impossible III may be the most memorable of the series because he understood it was based on a television show. The film had a flashback structure which is one of the primary storytelling devices he has used on Lost. With Star Trek, he introduces a time travel device that works very well into the film’s narrative. Actually, his brilliant work on Star Trek, has made me appreciate what he attempting to do on the current season of Lost with the time travel element. Abrams is respectful enough to the Star Trek canon, especially when it comes to the original films. He uses what worked very well in those films and jettisons everything else that bogged down those films, especially the ones that focused on Star Trek: The Next Generation. The film’s action pieces are incredible in their chaotic elegance. While the special effects are spectacular, they never drown out the human element of the film-- the visual effects are impressive. Speaking of being respectful, but not reverential, Michael Giacchino’s musical score echoes the works of Alexander Courage, Jerry Goldsmith and James Horner while breaking new ground as well. The film pays homage to Star Trek II: The Wrath Of Khan in several ways-- the best film of the original series. Nero, a Romulan, has a vendetta against Starfleet and specifically a certain Vulcan. Nero is very reminiscent of Ricardo Montalban’s Khan. Eric Bana who was so good in Munich and Chopper, is unrecognizable in the role-- kind of like Bernie Casey in Gargoyles. His facial tattoos make him like a cross between Darth Maul and Mike Tyson.

The Star Trek film also addresses another reason why the reboots are so popular, and especially with boomers. This film goes back to where it all began. Everyone is young again. Mythology has been reborn to not only suit the needs of greedy and desperate studio executives to sell many DVD and Blu-Ray box sets, but also to recapture the youth of the Boomer Generation and maybe Generation X as well. I get it. Who does not want to be young again? And with Star Trek, the opportunity to go back and be young again is done in the best possible way. The audience witnesses the major events in the lives of the young James Kirk and the young Spock. When we see the young Kirk (Jimmy Bennett) several years after his birth, he is a rebellious ruffian racing a stolen classic Corvette in 23rd Century Iowa. He drives the car over a cliff, but not before he is able to get out. It is the first sign of his daring escapades that provide a stunning foreshadowing to the older Kirk we know so well as played by William Shatner. On the planet Vulcan, the young Spock (Jacob Kogan) has his own ordeals to go through. He is half human and half Vulcan. He father Sarek (Ben Cross) married a human woman, Amanda Grayson (Winona Ryder). Spock is incredibly bright, but is bullied by his classmates because of his parentage. Years later, we catch up Kirk, wonderfully played by Chris Pine as he starts trouble in a local bar. He can handle himself well against a whole host of Starfleet Federation Cadets. After this major brawl, Kirk is introduced to Captain Christopher Pike, a Starship Captain, who had served on the same ship as his father. He was on the ship and witnessed his father’s bravery and heroics. Pike offers him the chance to be better than himself, to join Starfleet. It is the grandest offer he can make to the young troublemaker. He is Kirk’s surrogate father in this film. Greenwood’s performance is wonderfully paternalistic and downright charismatic. Kirk decides to enlist in Starfleet. Meanwhile the young Spock, played by Zachary Quinto (Heroes), decides to defy tradition on his native Vulcan and enlist in Starfleet as well. These two young men and their opposite extremes will collide as they encounter each other at Starfleet Academy which is still located in San Francisco. It is essential for these opposites to work well off one another and they do. Each performance is done in a loving way, but let me be very honest and say that the actors playing the young members of the USS Enterprise are not caricatures at all. J.J. Abrams Star Trek is not Muppet Babies-- far from it. Each performance is one of loving homage, but also vital originality. Chris Pine’s Kirk has the manic flare and daring bravery of Shatner’s Kirk, but none of the over the top acting that came with that package. It is an absolute joy to actually witness Pine’s Kirk take the famous Kobayashi Maru simulation test. It is incredible to see this piece of Star Trek mythology brought to life. Spock is the one who designed the test. Kirk’s solution to the situation is every bit as inventive as we ever imagined since Star Trek II: The Wrath Of The Khan. At the core of this film is the relationship between Kirk and Spock which evolves from animosity to respect and their great friendship. . Not only does it work, but it works better than one could ever hope. They do not meet until they are adults at Starfleet Academy. It is a rocky start as they begin to get to know each other. Quinto is able to convey by his facial expressions, the deep struggle between his human and Vulcan sides. Pine has a much more difficult task-- how to channel Kirk, but without all of William Shatner’s overkill. It is to Pine’s credit that he succeeds and elevates the role to something more than amateur theatrics. Leonard Nimoy has an extended cameo as the older Spock. It is to Leonard Nimoy’s credit that his cameo serves as the heart of the film. It is the essential bridge between the old and new. His presence in the film connects the entire series. His performance is essential for the film-- it makes Spock, not only the centerpiece of the film, but also the centerpiece of Nimoy’s life. There is an enormous sense of pride which accompanies his lifelong performance as Mr. Spock. This connection to the original television series and films is in many ways similar to the time when Obi-Wan Kenobi takes Anakin Skywalker’s lightsaber from him after their duel in Star Wars: Episode III: Revenge Of The Sith. This is the lightsaber that Obi-Wan gave to Luke Skywalker in A New Hope. Anakin’s lightsaber is the bridge that connects the inferior Prequel Trilogy to the superior Classic Trilogy of films.

The evolving relationship between Kirk and Spock must work for the film to be successful on any level. It is a joy to watch these iconic and mythic figures interact with each other for the first time. It is also incredible and pleasing to watch Kirk’s various and unsuccessful flirtations with Nyota Uhura as played by Zoe Saldana. First of all, Uhura has more to do in this film than Nichelle Nichols had to do in the entire original series and all the original films combined. Saldana’s Uhura sees right through Kirk’s flirtations. She wants nothing to do with him romantically despite all his advances. It is a refreshing change of pace not to see Kirk get his way all the time. This Uhura is more interested in Quinto’s Spock, which provides an interesting dynamic. I look forward to seeing how this dynamic is played out in future installments. Simon Pegg is nothing short of perfect as Engineer Montgomery “Scotty” Scott. Everything we love about Pegg from Shaun Of The Dead, Hot Fuzz and Run, Fatboy, Run is on full display here, but he never overdoes it. James Doohan would be very proud. John Cho of the Harold And Kumar films is perfect as Lt. Hikaru Sulu. He proves himself in an incredible action sequence involving skydiving and fighting various Romulan thugs on Vulcan. Charlie Bartlett’s Anton Yelchin is Pavel Chekov and I did not mind his Russian accent at all. There is something sweet and iconic in his mannerisms. Yet, the biggest credit has to go to Karl Urban for his intense and moving portrayal as Dr. Leonard “Bones” McCoy. Even before we physically see Urban’s Dr. McCoy, we can hear him. We know it is Bones. His first encounters with Pine’s Kirk are funny and heartfelt. They have an instant chemistry which is almost as important as the Kirk/Spock relationship. Once we see the two of them interact with each other, we totally believe the following interchange in Star Trek III: The Search For Spock as the USS Enterprise’s wreckage burns up along the Genesis Planet’s horizon:

Kirk: “My God, Bones... what have I done?”
McCoy: “What you had to do. What you always do: turn death into a fighting chance to live.”

It is his blossoming friendship with Dr. McCoy that sets the events in motion in this film. It is pleasure to watch this relationship unfold as well as Kirk’s relationship with Spock. Urban’s McCoy is the perfect compliment to DeForest Kelley. Abrams’ film truly shines when we get to see all of these iconic characters interact with each other on the bridge of the Enterprise. The greatest praise one can give this cast of young actors is that they are as good as the originals-- if not even better. The respect to the originals is inspiring.

While waiting to get into my screening of the film on Thursday night, I noticed something unique. As the previous audience was getting out from the 7:00 PM screening, everyone was smiling. These were people from all walks of life. Everyone was happy from their viewing experience. I have not seen this kind of reaction for several years. Last year’s Iron Man is a good example of a great movie going experience where everyone had a great time watching the film, but this was different. J.J. Abrams was able to not only make a film for the fanbase, but he made a film for everyone. It is a lesson that Zach Snyder could have used while making his epic, Watchmen. I enjoyed his reverential treatment of Alan Moore’s classic graphic novel, but it was made for only a limited part of the population. It is too loyal to the source material. No doubt it turned off some audience members. Luckily, J.J. Abrams decided it was wise to make a film for everyone. His methods are not unlike the utopian ideals that Gene Roddenberry based his series on in the first place. Star Trek was and has always been about hope. Hope is what the world needs right now. This film provides hope and promise for the future. It is a film that has resonated with audiences so far. One cannot help but feel elated as the film’s credit’s roll up at the end-- a wonderful rush of euphoria. It is as though that J.J. Abrams realizes when it comes to movies, the needs of many truly outweigh the needs of the few. Star Trek is just not a great Star Trek film, but it is an incredible film on its own merits. This is epic storytelling at its grandest and most exciting. Star Trek is the perfect film for our interesting times.