Dennis McCarthy's score was adequate, if generic. In one sense it's the best of the TNG film scores, though - as Jerry Goldsmith's scores for the remaining three films were largely rehashes of his TMP material, with litle or no new themes (and those frequently of subpar quality). I think the best TNG score is probably INS, though.
RoHoJen said:
Picard: "Why doesn't he just fly into it with a ship?"
My guess is there's too big a risk that the ship would be destroyed and Soran killed before he actually made it to the Nexus.
As Kirk, Guinan, and Soran all entered the Nexus by means of an exploding ship (or being ripped out of a ship in Kirk's case) I'd say the chances of that being a problem are... nil.
Clearly the film disagrees with me, as Data cites the fact ships are destroyed as the reason Soran doesn't use this approach. This is, frankly, the one plot hole that really bugged me in the film because it doesn't even work on its own internal logic. A lot of other problems come from questions never even considered in the film, this is one that is integral, is inconsistent, is actually said and is never given a damn proper answer. Soran's insistence that his sun-destruction is 'the only way' gives greater credence to this stupidity.
Oh, and I didn't like the action movie cliche of 'the villain faces death, sudden close shot of their reaction as they do absolutely nothing to avoid it.' This applies to both Soran and the Klingon sisters (the least interesting of TNG's recurring villains), and Data's fist-pumping when the latter are incinerated simply add to the sense that this is just a popcorn movie.
That's a shame. It had a lot going for it. The issue of time, the vulnerability of death - Picard facing himself as the last scion of his family, Soran's position that 'time is a predator', and the Nexus as the ultimate, heavenly release from this problem - there was workable material there.
They're only responsible for having written many of the series' best episodes.
