Star Trek Movie Review
Posted By Casey on May 15, 2009
The bottom line: JJ Abrams should eat some red matter and then disappear forever into his own asshole.
For the sake of argument, consider all Hollywood film series as lying along an artistic spectrum. At the lowest level of this spectrum would certainly be such series as Police Academy Harold and Kumar. Perhaps slightly higher might be the Bond films, and also Final Destination and Scream series.
Moviegoers expect little of such films, as little was ever promised or delivered. Cornball jokes, flashy action, and a bit of skin suffice to satisfy. You can’t really criticize such films for lacking more; you have only yourself to blame if you ever expected more.
But then there are films of cultural value. These rare and precious films awe our eyes and enrich our sense of the moral substance of the human experience. The Godfather series, the original Star Wars trilogy, the Terminator trilogy, and a few precious others might arguably fit in this class.
I would argue that large portions of the Star Trek series have serious cultural value. Among the films, I think that Star Trek’s II, IV, VI, Generations, and First Contact are all in this league. I think that many of the original series and TNG episodes are also in this league, for three main reasons.
To me, the greatest single reason that Star Trek has such value is for its ability to take familiar moral problems and then present them in a new context which makes them seem both clearer and more idealistically charged. Consider the moral problem of killing whales, which many biologists would argue are intelligent, sentient creatures. In Star Trek IV, we are encountered with belligerent aliens who befriended whales, and who provide external condemnation for our whale-killing immorality. Star Trek VI offers illuminating parallels to the post Cold War detente.
A second great merit of Star Trek is it’s creative but realistic suppositions of new technologies. Transporters, warp drive, phasers, and communicators are among the more familiar forms. But there are also viruses that rewrite the genetic code, “Dyson spheres”, solar sails, and other more advanced efforts to be creative but also consistent with physics.
The final reason that Star Trek occasionally yields top quality film is simply the quality of writing. Characters have plausible relations and motivations, and complex plot threads are woven together into a fair tapestry (consider the episodes “All Good Things” or “Cause and Effect”, or “Star Trek VI”).
The new Star Trek movie fails in all these respects. JJ Abrams’ “Star Trek” is a morally vapid, technologically spurious, and hamfistedly written mess with two plot holes for every wormhole.
There are no real moral conundrums faced by anyone in the film. The writers intended to make it morally relevant by blowing up Vulcan, which was supposed to evoke 9-11. Yet for all the moral weight in the stories of 9-11 itself, “Star Trek” misses it all. Spock faces a decision to risk the Enterprise to save the Vulcan elders, but this is hardly labored on his part. Unlike the trapped firefighters on 9-11, Spock can just beam back out of Vulcan. Like most decisions in the film to sacrifice or kill, this one was quick and straightforward.
Then there’s the film’s tech problems. First there is “red matter”. What the hell is “red matter”? It has no scientific basis. Does it carry some sort of space-AIDS or something? Why not just use goofy fairies to blow up the planet? There would be about as much science to it.
Then there is the Romulan mining ship. The mining ship has, most importantly: a drill. And then about 3,000 other squid-like appendages sticking out in front of it. Why does a mining ship, or any ship for that matter, need thousands of squiddy tentacles? Why isn’t a drill sufficient?
Finally, and most fatally, the film has two plotholes for every worhmhole (and only because it has tons of wormholes). Consider the evil Romulan Nero and his space traveling mining ship. First, Nero arrives some 26 years before Kirk ever sets foot on the Enterprise to get in a fight with Kirk’s dad. It takes him 26 years to get from that fight to Vulcan and blow it up, even though Starfleet can get from Earth to Vulcan in a matter of seconds. What the hell is up with that?
Apparently, Captain Christopher Pike wrote his thesis on the original encounter with Nero where papa Kirk died. Did he ever mention, like, “Because this thing is really dangerous and super slow moving, we should maybe go attack it some time before it gets to Vulcan?” And why is it such a surprise when the thing finally shows up there? Wasn’t it headed there for 26 years?
Anyways, the crew don’t go after the Romulan squid until right as Kirk is getting a hearing over the Kobayashi Maru scenario (the one decent-feeling part of the film). Unfortunately, Kirk isn’t allowed into space to go after the Romulan squid, so McCoy has to sneak him on to the Enterprise. While Kirk is there, Captain Pike gives him a spontaneous field promotion to first officer. What kind of ridiculous crap is that? “Captain, we have a stowaway.” “Good, promote him to first officer.” Isn’t Starfleet supposed to be like a space navy? When would that ever happen in a real navy?
Then Vulcan finally gets blown up, and a pissy Spock beams Kirk to an ice moon that used to orbit it. Kirk then gets chased by a super-big polar bear and then a giant squid (WTF? A giant squid on an ice moon? Isn’t it enough that the ship looks like a squid?), until he is saved by Spock from the future, who super-magically just happens to be in the right place at the right time.
The two of them go for a walk, and who should they bump into but Scotty?!?! What the hell! Every original crew member, just randomly in the right place at the right time.
Then Uhura decides she should slut it up with Spock because his planet died, despite Kirk’s clear territorial claim on Uhura. Apparently Uhura has a soft spot for people with exploding planets, because no other romance is established between the two. She and Princess Leia should lez it up some time.
Then there’s a butload of shooting things in space.
Then old Spock gives advice to young Spock. “Do what you feel.” Yes, thousands of years of Vulcan philosophy, endless philosophical contemplations, and old Spock finally discovers that yielding to one’s id is morally best. Nothing could be more contrary to Vulcan character (or human moral character, for that matter).
JJ Abrams famously remarked that the film is “not for Trekkies.” Well JJ, this Trekkie humbly requests that you disappear into your own buthole and let a decent director make the next Star Trek.
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