I find it funny, because by recreating the climax of another film as the climax of their own film, they indirectly admit that the previous film is far superior to theirs. It's not just a subtle homage, it's a complete lift.
There's a thread full of criticism against the re-use of a stock VFX shot of the exploding Bird of Prey in Star Trek: Generations. But this film re-used an entire part of another film's script.
At least the CLIMAX of a film should be original, shouldn't it?
I don't see why adapting a previous work indicates its superiority. If that were so, no work could ever improve on a past work. EDITED to add: if you mean that recreating
is what indicates the original's superiority, I might agree--except that I don't think the new scene is at all a recreation of the scene in Khan
As it is, I don't see the scene as a complete lift at all. The resemblance between the climaxes of the two films is marginal at best: both are set in a similar location and feature a similar sacrifice. The dialogue is almost entirely new. The narrative beats are new. The thematic resonance is new.
The original scene was primarily a farewell and a confirmation of a relationship between characters. Kirk used emotion to express his friendship. Spock used logic to express his
friendship. These are the roles these two characters embraced throughout the bulk of two films and three seasons of television. The scene wasn't meant to push its characters to new places. Rather, it affirmed the relationships that already existed.
The new scene is more interested in character development, ushering both characters through a moment of transformations and firsts: Kirk finally admits that he fears, finally faces certain death, finally earns his captaincy, and he does these things through what he perceives as a logical act taught to him by Spock. Spock finally admits his own internal strife and puzzlement about his logical side, and he recognizes that his act was essentially emotional, culminating in a moment of raw anger in which his Vulcan side breaks down entirely. These movements feel earned, and there are a lot of them. It's a tightly and carefully written scene.
None of the above beats are part of the original seven or so lines in Khan
, which primarily highlighted Spock as logical and Kirk as emotional. The original gave us stasis we longed for between these two; the reinterpretation gives us character movement and direction. I guess I just don't see this scene as a direct lift or lazy appropriation of material from Khan
; only the most perfunctory elements have been retained, with the themes, dialogue, and character interactions working entirely differently. It works for me, possibly more so than the original.