Review: Star Trek

STAR TREK
Directed by J.J. Abrams
Starring Chris Pine, Zachary Quinto and Eric Bana

*** 1/2 Stars

Last week, it was an amnesiac mutant with indestructible claws. This week, starships are roaming the galaxy. In the weeks to come there will be transforming robots, cyborg warfare, wizards, gangsters, nazis and dinosaurs. Yes, movie lovers, blockbuster season is here again; and J.J. Abrams’ Star Trek is the first legitimate contender of 2009.

Now, let’s get one thing out of the way. Trekkies will want to know how this film compares to previous outings.

Honestly, I have no idea. Before seeing Abrams’ reboot, my knowledge of Star Trek boiled down to the following: Spock had pointy ears, and William Shatner’s ego knew no bounds. Throw Patrick Stewart into the mix somewhere and that’s everything I once knew about the most beloved sci-fi property of all time.

All of which makes me the perfect test subject, since Abrams’ biggest challenge is not pleasing the faithful but convincing a whole new generation that Star Trek is cool, sexy and not just for geeks.

I’ve seen it twice now, and I can quite confidently say: mission accomplished.

Chasing a distress signal, the USS Kelvin is attacked by a hulking beast of a starship led by Nero (Eric Bana), a Romulan warlord seeking revenge against a half-Vulcan, half-human named Spock no one has yet heard of.

With the captain murdered, first officer George Kirk takes over the Kelvin and initiates evacuation orders. In the ensuing battle, he sacrifices his life to save 800 others, including that of his newborn son, James.

Years later, James Kirk (Chris Pine) is a disaffected youth, his lengthy rap sheet concealing his natural abilities. Convinced by Capt. Christopher Pike (Bruce Greenwood) to enlist in Starfleet Academy, James’ brash, cocky personality clashes with Spock (Zachary Quinto), a brilliant but troubled young man whose mixed heritage is his only vulnerability.

When Starfleet receives a distress signal, James stows away on the maiden voyage of the USS Enterprise en route to a rendezvous with Nero.

More than anything else, Star Trek is two hours of high-energy fun. It has the spirit of great adventure, a rousing and greatly entertaining ride. Abrams gets the tactical derring-do of starship battles, but he also keeps the pace rollicking along towards a number of thrilling action sequences.

This is also a film with heart, particularly in James’ strained relationship with Spock and a weathered Leonard Nimoy’s poignant cameo. Pine and Quinto are terrific in their roles, the former displaying glimpses of a young Tom Cruise’s cheeky charm and the latter concisely portraying Spock’s inner struggle between logic and impulse.

The supporting cast all get their moment, but only Karl Urban as Dr Leonard “Bones” McCoy gets enough screen time to flesh out his character. Bana makes excellent use of his limited opportunities, but Nero’s motivations are too thinly sketched to make him more than a minor villain. His anger at Spock rests on a flimsy premise (basically, Spock was tardy), and much of the plot is similarly weak.

Black holes are a slippery logic at the best of times, and the screenplay (from the writing team behind Transformers) rests on convenient coincidences and a time travel scenario I suspect doesn’t add up.

There is also the unshakable sense that nothing is really at stake. As Star Trek needs to end where the Enterprise’s voyages begin, nobody is ever in any real danger because they’re a shoo-in for the sequel.

As such, there’s nothing especially memorable about Star Trek beyond a fondness for the experience and the recognition of familiar catchphrases. The film lacks something exceptional, a singular performance, sequence or storyline, to elevate it to the upper echelon.

That said, the franchise is clearly safe in Abrams’ hands; and Trekkies and newcomers alike will eagerly await his next adventure.

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