Star Trek Into Darkness (2013)
by Steve Habrat
It has been four long years since JJ Abrams ventured into the Star Trek universe and left both die hard Trekkies and casual moviegoers hungry for more deep space adventures from the brash Captain James T. Kirk and the brilliant Mr. Spock. For some, that lengthy wait felt almost like a lifetime. In between 2009s Star Trek and Star Trek Into Darkness, Abrams buddied up with director Steven Spielberg on the set of their 2011 alien-in-suburbia throwback Super 8, and it seems that this friendship has really inspired Abrams and his approach to science-fiction blockbusters. Almost every single frame of rollicking action in Star Trek Into Darkness is alive and bursting with Spielberg’s spirit for adventure, something that will absolutely delight anyone who is a fan of Spielberg’s breezy approach to summer diversions. Yet you don’t necessarily have to be big on Spielberg to adore the second installment in this rebooted franchise. We may only be three weeks into the summer movie season, but after taking this bad boy in, I think we may have an early contender for best blockbuster of the year. Featuring two times the action, two times the thrills, two times the emotion, two times the fun, and two times the laughs, Star Trek Into Darkness finds Abrams burning with sugary creativity and bubbly enthusiasm to deepen the relationships between his wonderfully reinvented characters.
Star Trek Into Darkness begins on the primitive planet of Nibiru, with the crew of the USS Enterprise on an undercover mission to monitor a volcano that is on the verge of erupting and wiping out the planet’s natives. The crew has been warned that they are not to reveal their presence natives, but after a dangerous attempt to stop the volcano from erupting, Captain James T. Kirk (played by Chris Pine) breaks orders to save Spock’s (played by Zachary Quinto) life. Back on earth, Kirk and Spock are reprimanded by Admiral Pike (played by Bruce Greenwood), who reassumes command of the Enterprise, relieves Kirk of his command, and reassigns Spock. Meanwhile, in London, a Starfleet archives is attacked and destroyed by a shadowy Starfleet agent named John Harrison (played by Benedict Cumberbatch). Kirk and Spock are called in to attend an emergency meeting at Starfleet headquarters to discuss how to respond to the attack. The meeting is interrupted by another attack that kills several high-ranking members of Starfleet including Admiral Pike. With Pike dead, the USS Enterprise is given back to Kirk and Spock, who quickly hatch a plan to go after Harrison, who has fled to the hostile Klingon planet Qo’noS.
Much like Abrams’ first Star Trek film, the second installment is loaded with nifty little plot twists that should not be spoiled by a review. Just know that if you are a major Star Trek fan, there a more than a few surprises that will almost make your head explode. With all of the characters fleshed out in the first film, Abrams can strictly focus on the nonstop action that practically blasts the audience into the neighboring theater. The film begins with an Indiana Jones-style chase between the terrified Kirk and “Bones” McCoy (played by Karl Urban) and a yelping tribe from Nibiru, who launch spears out of the screen in glorious 3D. In case there wasn’t enough to marvel at in this particular set piece, Abrams flips to the glowing action that is taking place within the swirling volcano. From there on out, there is a city-shaking attack on Starfleet, a wicked shootout between Klingons and a handful of crewmembers of the Enterprise, a nerve-frying space jump through a spinning field of spaceship debris, and a breathtaking fistfight on the streets of San Francisco. If that isn’t enough to hold your attention, you’ll certain find yourself unable to stop scanning the inside of the seriously amazing USS Enterprise or grinning over the wild crew members that operate it. Surprisingly, the film was converted into 3D in postproduction, but it is totally worth spending the extra cash to check it out in immersive 3D.
While the action will certainly have you drooling, Star Trek Into Darkness really comes to life through Pine and Qunito. It really is a treat to see these guys hilariously bickering it out every step of the way. They argue in a disciplinary meeting, during the opening chase, and even while they are trying to infiltrate Qo’noS. Pine continues to be reckless and cocky all while he flirts with one girl after another. The early scenes between Pine and Greenwood’s fatherly Admiral Pike were especially touching and shattering when Pike meets a nasty laser blast. Quinto continues to bring the laughs as the rigid and emotionless Spock, a stickler for the rules if there ever was one. Here, Spock’s emotional detachment is put to the test and it truly does strike a chord. Yet the real magic happens when Pine and Quinto are together, with their egos clashing and banging around the iPod walls of the Enterprise. Their friendship is really put to the test when the confront Cumberbatch’s Harrison. While it is best not to reveal much about John Harrison, just know that Cumberbatch nearly steals the entire movie away from Pine and Quinto. He is one hell of a commanding villain.
If you were worried that the rest of the Enterprise crew had flew the coop, never fear, as they are all back where they belong. The sexy Zoe Saldana is back as Nyota Uhara, who has developed a relationship with Spock that goes far beyond the Enterprise. Karl Urban continues to bring the pessimism as Dr. Leonard “Bones” McCoy, who is constantly getting under Kirk’s skin with some of the worst metaphors you can think of. Simon Pegg continues to delight as the hilarious engineer Montgomery “Scotty” Scott, who hams it up through an exaggerated Scottish accent. John Cho brings a quiet intensity to the role of Lieutenant Hikaru Sulu and Anton Yelchin is cartoonishly frantic as Ensign Pavel Chekov. We don’t get nearly as much of them as we did in the first film, which is a bit disappointing but understandable considering everything that is going on within the story. And we can’t forget the outstanding newcomers Peter Weller and Alice Eve, who are here as the ruthless Starfleet Admiral Alexander Marcus and the beautiful weapons expert Dr. Carol Marcus.
As far as summer movies are concerned, Star Trek Into Darkness is about as strong as they come. While there is an abundance of action and explosions to keep those with a severe case of ADHD hooked, there is still plenty of humanity to this story. We genuinely care about these characters and after a while they almost start feeling like close friends. They are especially irresistible when Abrams shakes the Enterprise and lets all these drastically different walks of life mix. Overall, Star Trek Into Darkness is a massive step up for the sleek and sexy franchise and at just over two hours, Abrams still leaves you wanting more of absolutely everything. Just like the first outing, it simultaneously pleases Trekkies and those just looking to be dazzled on a Friday night. You know what? Just stop reading this review right now and go see it. Just don’t be surprised if you want to see it again the second its all over.
Star Trek (2009)
by Steve Habrat
Before JJ Abrams’ sleek 2009 reboot, the Star Trek franchise was basically old hat and met with eye rolls or bored sighs from anyone who wasn’t a fanatic. Every so often, a new Trek movie would trickle quietly into theaters and it would basically only appeal to your Trekkie uncle or that weird kid up the street, but everyone else ignored it. It was a very closed-off franchise that seemed to be fading away as the years passed. Then something remarkable happened. In May of 2009, Lost creator JJ Abrams sparked the franchise back to life and introduced the crew of the USS Enterprise to a whole new generation of action-hungry moviegoers. Believe me when I say that you don’t have to be a Trekkie to absolutely adore Abrams’ Star Trek, a splashy, sexy, and clever re-envisioning of the classic television show. Right from the get-go, Abrams makes it clear that this is not your father’s Star Trek, and he catapults the viewer into a world of candy-colored action, shiny spaceships that look like they were designed by Steve Jobs, devilish humor, and fresh-faced youngsters looking to make a name for themselves in Hollywood. It would be just what the doctored ordered for a franchise on life support and it would go on to be one of the strongest films of the 2009 summer movie season.
Star Trek begins in 2233, with Federation starship USS Kelvin investigating a mysterious lightning storm in space. Out of the lightning storm emerges the Romulan ship Narada, which proceeds to attack the USS Kelvin. The Narada’s captain, Nero (played by Eric Bana), demands that the USS Kelvin captain board the Narada so that he can be questioned about the current stardate and about a man named Ambassador Spock. After Nero kills the captain for not answering his questions, he then orders his crew to destroy the USS Kelvin, which is now captained by first officer George Kirk (played by Chris Hemsworth). George orders that the ship’s crew, which includes his pregnant wife, Winona (played by Jennifer Morrison), quickly evacuate the ship before it is destroyed. During the evacuation, George’s wife gives birth to a boy they name James. Many years later, we are introduced to the brilliant young Vulcan Spock (played by Zachary Quinto) and reckless James T. Kirk (played by Chris Pine) as they both enlist in the Starfleet Academy and form a nasty rivalry. Kirk and Spock are forced to put their rivalry on hold and join forced after Spock’s home planet is attacked and destroyed by the mysterious Narada. As the young crew of the USS Enterprise races to understand this deadly enemy, they are forced to put their egos aside once they realize the Narada’s next target is Earth.
Abrams’ Star Trek is absolutely loaded with enough backstory to fuel half a dozen origin stories. There is plenty of character development, especially in Kirk and Spock, but there is also tons of talk of time travel, red matter, supernovas, and more. While the storyline is certainly absorbing and full of surprises which won’t be revealed here, what will truly hold you are the introductions to characters you have certainly heard about from your dad or through pop culture chatter. We are treated to smile-inducing introductions of the cynical doctor Leonard McCoy (played by Karl Urban), spiky Nyota Uhura (played by Zoe Saldana), fast-talking Scottish engineer Montgomery “Scotty” Scott (played by Simon Pegg), senior helmsman Hikaru Sulu (played by John Cho), and Russian navigator Pavel Chekov (played by Anton Yelchin). Each one of these characters is given more than enough time to shine, especially Pegg’s motor mouthed Scotty, who nabs most of the film’s laughs. My personal favorite moment is Kirk’s first encounter with McCoy, who pokes Kirk with a number of syringes that contain various illnesses so that he can sneak him aboard the USS Enterprise. It’s a moment of absolutely brilliance.
Then we have Pine’s daredevil Kirk and Quinto’s relentlessly serious Spock, both who play a game of tug of war with the film. Pine excels as the slacker Kirk, who refuses to see his full potential. He stumbles around drunk in futuristic bars and nightclubs, chasing around the repulsed Uhura and getting into fistfights with a number of Starfleet students. He’s absolutely irresistible as he sneers through bloody lips and taunts through black eyes, but his performance really takes hold when he finally looks inside himself and realizes his true potential. Quinto is the polar opposite as Spock, a brainy but cold Vulcan who is constantly conflicted over the fact that he is half-human. When you aren’t marveling at Kirk’s transformation, you’ll be glued to Spock’s realization that he needs to simply relax and trust those around him. And we can’t forget the superb villain Nero, brilliantly tackled by a surprisingly intense Eric Bana. Nero may not be a household villain, but he certainly makes you remember him as he spits threats at the USS Enterprise and demands that his crew “FIRE EVERYTHING!” With so much happening in the story, Bana’s screen time is limited, but he certainly hits a home run when he can.
Considering that Star Trek is a summer movie, Abrams constructs numerous action sequences that will have you gasping. The USS Kelvin’s encounter with Nero is appropriately tense and the evacuation is big, busy, shaky, and emotional even though the movie has only been going for maybe ten minutes. A nail-biting space jump onto a massive drill is fierce, only to be followed up by a white-knuckle fistfight that will have you on the edge of your seat. Just when you don’t think it can’t get any cooler, Sulu whips out a sword and Abrams blows an entire planet to smithereens. And how can I forget Kirk’s marooning on snowy Delta Vega, where he flees the jaws of some seriously nasty creatures hungry for some human flesh and comes face to face with a man that even non-Trekkies will be able to identify? For all the adrenaline rushes that pepper the bulk of the film, the climax is both expectedly epic and surprisingly intimate. Don’t worry, folks, there is no shortage of shootouts, narrow rescues, and bone-crunching fistfights that will have you cheering right along.
What has really turned Abrams’ lens-flared vision of Star Trek into such a winner is the fact that he has found a way to evenly balance fan expectations with an accessibility that was lacking in previous Star Trek efforts. You really don’t have to be a fan to appreciate or enjoy the film. The shiny visuals will have teens ignoring their smartphones while the storyline will have the Trekk fans chatting for hours upon hours. It truly is a balanced and fizzy concoction from a director who understands how to reach a wide audience. Overall, Abrams manages to rescue the Star Trek franchise from the black hole that it was threatening to consume it, punch up the action and adventure, give fresh life to aging characters, polish the outside of the rusty USS Enterprise, and then leave the viewer wanting a whole lot more. There is no doubt in my mind that moviegoers will follow Abram and this new crew where no man has gone before.
Star Trek is available on Blu-ray and DVD.
This Means War (2012)
by Steve Habrat
Love is a battlefield, a clammy, sexy, battlefield according to director McG, the hot shot, second rate Michael Bay. This Means War is a film overly concerned with a sexy appearance and frankly, not much more. McG, the director of such sugary blockbusters like Terminator: Salvation and Charlie’s Angles, is only interested with the outer shell of his products, sacrificing story and even moments of coherence just to nab a shot of Reese Witherspoon’s bottom to drive the male audience wild or twist Tom Hardy or Chris Pine into the proper pose to take the female audience’s breath away. For a film as shallow as This Means War, there are sporadic moments of hilarity and fizzy chemistry between the three stars that almost make up for a one-note script, half-hearted message about love, and a sub plot that is almost entirely forgotten by the people behind the camera. Oh well, at least it looks good!
This Means War introduces us to super spies FDR (Played by Chris Pine) and Tuck (Played by Tom Hardy), a pair of best chums who globe trot around in slick suits, hit on gorgeous gals, and track a terrorist by the name of Heinrich (Played by Til Schweiger). After their target narrowly gets away in the opening shoot out, a confrontation that leaves Heinrich’s brother Jonas dead, FDR and Tuck return to the states and are benched out of protection from Heinrich. These perfect male specimens also apparently have crappy luck when it comes to women. FDR enjoys womanizing and Tuck, a divorced dad, resorts to online dating to meet a good gal. As it turns out, down-on-her-luck Lauren (Played by Reese Witherspoon), a product-testing executive, is paired up with Tuck. After their first date, which goes rather well, Lauren bumps into FDR, who pursues her until she agrees to go on a date with him. FDR and Tuck soon decide to reveal to each other who they have been dating. When they realize it is the same girl, they decide they are still going to pursue Lauren and let her decide who she wants to be with. This does not stop them from trying to sabotage each other in the process, using every spy trick in the book.
This Means War leans heavily on the gag that these two guys use every espionage tool at their disposal to keep tabs on each other’s progress with Laruen, who remains clueless the entire time. They conceal hidden cameras in her apartment, tap her phone, and have a team of techies that aid them along and deliver information. It’s all slightly amusing but never overly hilarious until Tuck takes Laruen paintballing, after she tells her best friend Trish (Played by Chelsea Handler, who plays herself here) that he is a bit too safe and earnest. What transpires is a hysterical shoot out at a paintball range, a scene that single handedly out shines every other humorous moment This Means War has to offer. This trumping each other does get fatigued at times, the film always trying to devise another scenario where one can shoot the other with a knock out dart or one can use a mini spy plane to tail the other.
When the one note gag yawns, the film suddenly remembers the side plot involving Heinrich, who is slowly making plans of his own to find FDR and Tuck. The problem here is that the film brushes over these moments and seems too anxious to get back to Tuck and FDR’s battle for Lauren. If the filmmakers were going to half-ass this aspect of the film, you would have thought that they would have made their scuffle over Lauren the only plot. What makes this even worse is that there are so many plot holes in the Heinrich plot that nothing ever adds up! Half the time we are just left hanging. We learn that he is a terrorist but who does her terrorize exactly? What is the device at the beginning of the film and why is it so sinister? Why does he even need to be arrested? Because he is frequents swanky rooftop bars? Who cares, back to Tuck hijacking a radio frequency and feeding FDR false information while he is on a date!
For such a lackluster film, at least Pine, Hardy, and Witherspoon all come out with their dignity in tact. In addition to their physical appearance, these three actually posses talent and know how to make everything work, even if they are straining. It’s good to have Witherspoon back after a string of low-key dramas no one remembers. She was lovable while she juggles two love interests. If you’ve seen Inception, Bronson, or Warrior, then you already know that Hardy is an astonishingly talented guy (Seriously, see Bronson for a mind blowing performance) and here, he plays things fairly average, something that was both fresh after some of the roles he has taken and somewhat disappointing because he is a truly colorful guy. Like Witherspoon, Pine hasn’t had much of a presence at the movies since his awesome performance as Captain Kirk in Star Trek. He retains some of the cockiness he utilized when he tackled Captain Kirk, acting as the much more confident one to Hardy’s average Joe.
This Means War is loaded with photogenic moments. A glimmering explosion here, a sexy thespian there, and strobe like fight scenes everywhere. It’s painfully obvious at times (Lauren is a product tester who is also testing two guys to figure out who is the better choice) and the message is about as subtle as an elephant crashing through your front door. Yes, love is a battlefield where people get hurt and it can also be a game where you have to plot your next move meticulously. But in This Means War, the plotting of the moves is sometimes borderline creepy (Seriously, phone tapping?!). It’s all in good fun says director McG, who plays everything up to juvenile boys just being juvenile boys. I enjoyed myself in spurts during This Means War, never really hating it but never really having my funny bone tickled too hard (The paintball scene was an exception). I guess I should look on the bright side, at least Katherine Heigl was nowhere to be found.