For me the bad set design and ignorance of basic reality challenged willing suspension of disbelief. Thus, extended action sequences were deprived of power, becoming boring. Worse, the game of incorporating references to Wrath of Khan instead of telling a story was also boring. (The TV series Hannibal recently did Silence of the Lambs references the same way. That was so boring I couldn't finish even an hour and have never looked back.) But there is a story of sorts buried beneath the games, between the inert action sequences. The overall arc is Kirk becomes a competent captain. This is unfortunate because that should have been the story of the first movie. Everything else is actually subordinated to that. The peak of the story is the scene where Kirk pleads guilty/takes responsibility before Admiral Marcus, in an effort to save the crew. The emotional gist is supposed to be that Kirk is facing up to his failures, gone into his personal darkness and confronted the demons, or some such. What did Kirk do wrong that he should blame himself? Follow orders? Not follow the orders of a madmiral? Listen to Spock's advice to not mindlessly assault the Klingon homeworld? Send Scotty to investigate? The movie is not really written, we can only guess. Unlike the first episode, there really isn't anything for Kirk to feel guilty about, except falsifying a report. Which has nothing to do with the rest of the movie, it was just some short-lived quarrel. There is no payoff in the peak moment of this part of the story, just a perfect hero nobly taking false blame. Which is part of the inadequate characterization of Kirk that the maturation arc in this movie was supposed to fix! There are a couple of other emotional aspects. The Spock/Uhura we can dispose of with about as much attention as the movie did. Thus that leaves us Spock's realization when Kirk was dying that being a Vulcan and relying on reason as a guide, on control of emotions, was inadequate. Which is incidentally the moral of that story. There is the fundamental problem that it is still unbelievable that this Kirk and Spock are friends. Trying somehow to quantum leap over that, we have to ask ourselves how exciting it is to learn that reason makes you an asshole and going with the flow of your feelings validates your existence? The answer is, not very. In fact, you wonder why they trouble to write Spock at all. I don't mind that this Spock doesn't serve as a fantasy figure for adolescents troubled by sexual feelings, fulfilling a daydream where those icky feelings are magically gone. But Spock was always more than that, a validation of intellectual interests. This Spock solemnly affirms that the goal is impossible and undesirable in a moment of crisis. The superiority of feeling over thought is a cliché. Spock is apparently just here so it can be Star Trek, a commercial hook. Cliches, marketing, juvenile daydreams about a hero suffering unjustly (before he kicks ass, naturally.) When we go Into Darkness, we see that there really isn't much heart at all.
I entirely disagree. BTW, is that the royal "we" you're using there, or do you have a mouse in your pocket?
I'm with Buzzkill, here. Another soapbox thread. Don't we already have one for opinions about this movie ?
Well, I very much enjoyed it. The story, the characters, even the action and set design. Sorry you didn't, stj.
Posting an opinion or review in the "opinions and reviews" threads? How much special attention is that going to get you?
Spock is young and still figuring out who he is. I don't know that we've ever actually seen Spock this young, except maybe in "The Cage" (and that Spock didn't have his homeworld blow up or his mom die right in front of his eyes). These characters are not yet who they grow up to be, and that's part of the point of these new stories.
Wow. So that's the kind of judgment it takes to be a fan of Into Darkness. Belz is correct, even though the people who made the movie were trying to do more than in the first one, there simply isn't anything worth discussing. My mistake.
Actually, OldPrimeSpock is more in touch with feelings than he was during TOS or TMP. Logic is the beginning of wisdom, not the end, after all. This Spock is just different.
I realize that, but Old Spock has had an entire lifetime to find a balance between logic and emotion. NuSpock is still learning, and in many cases he is overcompensating with logic to shield himself from emotion. Spock screaming "Khaaaan!," silly as it may have looked, was probably the result of his pent-up, suppressed emotions finally exploding out of him.
I completely agree. Watching these new characters grow, and mature together is a very enjoyable aspect of this whole reboot.
Which could be argued as the early onset of pon farr. That's right, folks, you heard it here first: the third Abrams Trek film will be in part based on Amok Time. You're welcome.
Ooo, that. I should probably have amended the Announcement, but I've been a wee bit distracted, the last couple of weeks, and keep forgetting. The plan had indeed been to have all reviews and links to reviews go in the Grading & Discussion thread. However, the One Who Decides Things Around Here expressed a wish that people be permitted to post reviews in separate threads, if they wished, so those have been happening in tandem with the discussion in the pinned thread. Either way is OK. I'll try to remember to edit in something reflecting that change, or—failing that—I might just nuke the announcement. Thanks, Maurice, for reminding me that it's there. Come on, stj. Like the movie or don't like it, there's no need to engage in that sort of jab, even in (apparent) jest.
Read issue 21 of the Star Trek comic, out this week. You're half right. EDIT: posted before I read that someone else already said this. Oh well!
This is my take on the movie (Originally found here). These are the themes that I saw and because of that I see the story and the characters as excelling over the '09 film. To me this is a story about characters growing into the ones that we know on the 5 year mission and beyond. Remember, all of this takes place before the 5 year mission, so these characters should not be exactly what we know. On top of that, this is a different universe, one where Kirk grew up without a father and Spock has lost his planet and his mother. Neither of these is a small matter and both have so much to do with where these characters are in this universe. “Here’s what Gene Roddenberry said in an interview just before he died in August 1991; somebody had asked him, ‘What’s going to become of Star Trek in the future?’ And he said that he hoped that some day some bright young thing would come along and do it again, bigger and better than he had ever done it. And he wished them well.” — Richard Arnold, Roddenberry’s assistant Star Trek Into Darkness has a lot to live up to. For some fans, it needs to redeem itself from a lackluster first movie. On the flip side, other fans don’t see how this film could reach the same heights of Star Trek ’09. Into Darkness is a thrill ride from the beginning that builds on the themes and characters from ‘09 and ramps them up to new levels, giving fans and the general movie audience something worth cheering for. Spoiler Warning. Manning Up: “Is there anything you would not do for your family?” – John Harrison This movie is very much a Kirk story. In the first film, fans and general moviegoers alike scoffed at the idea that Cadet Kirk would be sitting in the captain’s chair by the end of the film. Kurtzman and Orci took that criticism and turned it into a major theme in this film. Kirk may have been given the “Big Chair” for being a wunderkind, but in this film, he earns it. Kirk begins the movie brash as ever, buffeting the rules at his leisure. He cannot hear anyone elses advice or criticism of his decisions. Pike tells him that he is going to get everyone under his command killed because of his reckless disregard for the rules, and Starfleet actually takes the Enterprise away from Kirk. The theme of fatherhood comes up strong in this film, just as it did in Star Trek 2009. Pike is the only father figure that Kirk has left in his life, and he is everything that Kirk needs. Pike is a disciplinarian, yet at the same time lifts Kirk up. As Kirk deals with the loss of his command, Pike says, “I believe in you. If anyone deserves a second chance, it’s Jim Kirk.” Throughout the film, Kirk learns what it means to be a man and a true leader. Kirk begins listening to his superiors and subordinates, and takes what they say to heart. He changes in light of the criticism he receives while discerning the wisest course of action at the same time, even if it does mean going against orders in the end. Kirk may still break the rules when he sees that as the best option, but his path to doing so changes drastically. Unlike Star Trek II: The Wrath of Khan, it is Kirk who learns firsthand what it means to give his life for the needs of the many. This reversal works perfectly for Kirk’s arc; he learns humility and fallibility the hard way, yet by the end, the change in Kirk is evident. He is not just a savant with an ego to match. He is tempered by fire and forged into the leader that Pike always knew he could be. War on Terrible Choices: The purpose is to experience fear. Fear in the face of certain death. To accept that fear, and maintain control of oneself and one’s crew. This is a quality expected in every Starfleet captain. – Spock Another major theme in the film is fear and how it drives our actions. Since the incursion of Nero in the first film, Starfleet has put itself on high alert. It even turned to Section 31, a rogue agency that acts in the interest of the Federation by protecting it at all costs. This film was dedicated to the memory of all those who gave their lives on 9/11 and in its aftermath. It is in that memory that sparks this question: How do we face fear of the unknown and respond to terror when it strikes at the heart of our cities, our countries and our very way of life? The film helps us look at ourselves through the lens of Admiral Marcus. His goal is to protect the Federation and its way of life, but at the cost of the very things he stands for: freedom and liberty. Benjamin Franklin said it best: “Those who would give up essential liberty to purchase a little temporary safety deserve neither liberty nor safety.” Marcus’ militarization of Starfleet along with his willingness to sacrifice the values of the Federation mirrors our world, leaving us with difficult questions. The movie shows us it is always better to do what is right even when it is difficult, even if it costs us our lives, it keeps us from becoming the very thing that we are fighting against. Family Ties: I am a great believer in found families and I’m not a great believer in blood. – Joss Whedon This movie is very much about family and finding it, even if it has been taken away. Kirk has no father and his surrogate is killed when John Harrison attacks a high level Starfleet meeting. Spock learns what it means to be a part of a family that is dominated by humans, as well as deal with the immense pain of losing his home planet in the first film. John Harrison fights to save his family, while Carol Marcus deals with the shame that comes from having a family member betray everything she thought he stood for. The crew of the Enterprise deals with severe growing pains in this film. One of the most interesting things is watching how each officer learns from one other, influencing and complementing each other’s skills. Trust and faith in the gifts of each member of the family clearly shines through. At center stage of this are Spock and Kirk. Each of them leans on the other’s strength, and doing so cements their friendship forever. Spock finally comes to terms with the immensity of his feelings for the loss of Vulcan. The loss is so great that it has wounded him to the core of his being. As a result, he has drawn even further inward, causing to him to repress his typhoon-like emotions, alienating his friends and his paramour Uhura even more in the process. Spock learns the valuable lesson that withdrawing from community and cutting off emotions will not help him heal; he must grieve and process the loss, just like anyone who has experienced an important loss, and doing so is better with a support system of friends. In our world, found families are becoming increasingly more important in place of the once-dominant nuclear family. Community is a key ingredient to the success of individuals, as the old song says, “Lean on me, when you’re not strong,” and this is a message the film speaks loudly. We need each other to remind us of who we are at our best and help us find our way back when we lose perspective. In this film, the crew of the Enterprise becomes a family that is dedicated to a mission that transcends themselves, and it is one that lies at the very heart of Star Trek: to seek out new life and new civilizations for the betterment of all of humanity while being committed to its values and morality. Conclusion: “Space, the final frontier….” – Captain Kirk This is a great brilliant Star Trek film. It lives up the ideals and themes that fans expect from Trek, while at the same time, takes the audience on a wild ride. Some fans may complain about using plot ideas from the original series, but they are used to full effect here. What results is a story that furthers the characters and challenges the viewers. Many will mistake this as a retelling, yet it is not. Kutrzman, Orci and Abrams have taken pieces from previous Trek and re-engineered them into a new tale that is both compelling and contemporary. Personally, I think that this is a better movie that the first. There is no burden of the “origin story,” allowing us to dive right into the narrative from scene one, which lends itself to much more character development in this JJ-verse. Into Darkness uses most of the characters well (Sulu may be the one with the least to do, but he does get a taste of the big chair), and gives them all shining moments, creating a sense of urgency as we eagerly anticipate the next voyage of the starship Enterprise.