Star Trek Beyond is big, flashy, and loud. After starting off with a bit of humor and some contemplation, Kirk (Chris Pine) and the Enterprise are detailed for a rescue mission: an alien (non-Federation) survey ship has been lost in one of the universe’s many uncharted nebulas.
When the Enterprise succeeds in reaching the mysterious planet at the heart of the nebula, the ship is almost instantly attacked by a swarming horde of drone craft, which chew the ship to bits, and provide cover for pirate boarding craft. After a lengthy sequence of combat and disaster in space, the largest relatively intact part, the saucer, crash-lands.
Most of the surviving crew, having taken to the escape pods, find themselves captured by Krall (Idris Elba), an alien who somewhat resembles both a “Reman” from the Next Gen movie Star Trek: Nemesis, or the alien talking head from the Original Series episode, “The Corbomite Maneuver.”
Krall seems to have both a particular, though unaccountable, grudge against the Federation and a pipeline into Federation data resources.
Of course, Kirk, Spock, McCoy, Scott, and Chekov (Zachary Quinto, Karl Urban, Simon Pegg, and Anton Yelchin) evade capture by various means, but not without mishaps. Scott encounters warrior Jaylah (Sofia Boutella), who provides them a great deal of aid in rescuing the crew from Krall, and hindering Krall’s mad plan to bring war to the Federation.
I won’t go into further detail of the plot here: suffice to say that’s it’s pretty improbable, but not necessarily so much as to be jeering-at-the-screen stupid. Once the aliens attack the Enterprise, it’s pretty much non-stop action, to the extent that all the smashing, bashing, crashing, and flashing gets wearing. (Director Justin Lin was previously known for three episodes of the Fast & Furious auto race/chase/wreck movies--).
The particular good parts include the developing relationship between Spock and McCoy, and between Spock and Uhura, and the lines that Simon Pegg (one of the film’s writers) evidently wrote for himself as Scott. (I find it interesting that Kirk doesn’t seem to have any romantic impulses toward any characters. Even Yeoman Janet Rand, who used to cast longing looks at the Captain, didn’t make the cut into the new timeline. If this would have been a TOS episode, there would have been sparks of lust between Kirk and Jaylah. Instead, there’s a faint possibility of “geek love” between her and Scott--).
And of course, the movie looks fantastic. Special effects are up to par, with the destruction of the Enterprise being harrowing and effective. Best of all is Starbase Yorktown, an amazing concept of an artificial planet, which McCoy derides as looking like a “snow globe,” but which more resembles one of those Perplexus puzzle spheres, with interior buildings growing every which way, possible due to artificial gravity (an effect rather like the dream-sequences in Inception--). The design is “illogical,” but it sure is cool. Some things are a bit overdone, like the hostile planetary surface, a hell of jagged rock that makes the approaches to Peter Jackson’s Mordor look like parkland. The CGI designers must have been frustrated that so much of the action takes place on the planet or the starbase, because the end-title sequence includes some of the most beautiful renderings of nebulae and spatial phenomena I have seen, and is well worth sitting through.
Recommended for series fans with stamina.
Arriving at the Avalon Theater early, we were intrigued to find that, instead of the endless run of ads and promotional materials other theatres run between shows, they ran a couple of short subjects, which in this case, were both science-fictional. Rise, a highly produced short dealing with a developing war between humans and robots, starred well-known actor Rufus Sewell, and the late Anton (Chekov) Yelchin. It looked interesting, but we came in in the middle. Another was an extended music video titled “Holding on to Life”, by a group called Broken Bells, which appeared to be set in a version of the world of Logan’s Run. Neither the music nor the visuals were very compelling, I watched mainly to see if it would jell into something intelligible. It didn’t, but if it’s an extended trailer for some project, it wouldn’t have to.
And, speaking of trailers, we saw ones for a WWII movie, Anthropoid (it’s a code name--), Suicide Squad, XXX: Return of Xander Cage, Jack Reacher: Never Go Back; and Star Wars: Rogue One, all of which seem to be full of the old ultra-violence. Anthropoid looked well-made and interesting; I might see Suicide Squad on my own for the hell of it; Rogue One of course—ironically, it’s the least violent appearing; and give Xander and Jack passes. (Vin Diesel is getting a bit pudgy to be the action hero. On the other hand, I wager there is a seedy-looking portrait in Tom Cruise’s attic--).
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