
I need to write something about this new Star Trek re-imagined film I saw last night and will see again soon, but as with all good films I find it hard to put my like of it into concrete, useful language. Perhaps part of that is the sudden satisfaction of finally seeing a proper 21st century, big-budget treatment the franchise has always had potential for and deserved. By sudden, I mean it’s been more than five years since the last Trek film, and more than 13 since the last Trek film that was any good, First Contact. That’s a drought that spans the entire lifetimes of my father’s sisters’ two kids.
The past few years have been filled by Battlestar, but let’s face it; Battlestar will never be Star Trek. It doesn’t have the heritage or the same sense of nostalgia. I didn’t watch the old Battlestar crap, nor would I ever; I simply missed the boat on it. So the re-imagining of Battlestar by Trek veteran Ron Moore wasn’t a re-imagining to me at all. To me, it was more his vision of what Voyager should’ve been if he’d had full creative control: a down and dirty, desperate, dire, dystopic situation where everything is not going to be okay, but may be after all because of love, or something. And god(s) and angels.
There shouldn’t have been time on Voyager for Trek’s primary mission of exploration, because you’re too busy trying not to starve or be killed by hostile aliens. And certainly not enough power to run the holodecks 26 hours a day. No boldly going, because they’ve boldly already gone. Now it’s boldy don’t die.
DS9 was political and often military sci-fi set on a station that didn’t move, and as a little kid I wondered how that would work. It also sought to take Gene’s optimistic Utopia and show what would happen if suddenly that intergalactic paradise was besieged by a bloody and lasting war that even uprooted the crew from the serie’s namesake station for long periods of time. Not only that, the large cast was given depth and development over the years, both to their characters and the way they interacted.
It beat previous Treks at the Space Opera game by creating lasting, evolving, complex relationships, situations, and plights – not merely episodic ones – and at it’s best, used the full specturm of gray between good and evil and didn’t take moral shortcuts. War is hell, and both sides had good reasons to fight them, even if one side was depicted as misguided.
You’ll notice I haven’t said anything about the only Trek to make it to HD – Star Trek: Enterprise. I don’t really have anything to say about it. It had some watchable episodes, but it just wasn’t a good show, and I’m not sad it was scrapped. It recycled too much, and the crew beyond the Captain/Vulcan/Engineer trio was awful cardboard; scarcely more than extras with lines that just happened to be in every episode.

Okay, so this new film. It’s easiest to start with the special effects, because you can’t have sci-fi without them. I’ve been spoiled by Zoic’s superb FX on Battlestar (and Firefly) for all these years, so my standards for TV visuals are quite high. That said, I wasn’t disappointed; this film had double the budget of Nemesis and they spent every penny well, in my opinion. Watching the new retro-cool Enterprise dart around the screen dodging debris and firing all weapons was a delight, as was the Gaudi-esque Romulan mining ship.
I was weary of two consecutive Trek films with a vengeful Romulan villian, but Shinzon has nothing on Nero. Both are unhinged, but in different ways. Nero has scars on his head and a chomped ear. I’ve heard a lot of “why do they all have Maori tattoos?” Who cares? This is a mining ship of a certain social set of Romulans, not meant to represent all Romulans. Nero makes it clear they’re in business for themselves; not affiliated with their homeworld’s military. It would be like aliens seeing a crew of goths or emo chicks and believing they represented the full spectrum of human diversity. It isn’t fair. Nero has a loyal crew, a beat-up but powerful ship that can drill into planets, and a screw loose.
What surprised me was that not only was Nero not a military commander, he isn’t even from the same timeline as the Enterprise crew. He comes from the same future as old Spock, who makes his first big screen appearence since VI. Only like the old Ambassador Spock whom Picard met in TNG, this Spock embraces rather than suppresses his human side. In this alternate past in which Nero has exacted “a planet for a planet” justice upon Old Spock, Old Spock knows the only way to stop Nero from destroying Earth is to get Kirk into the captain’s chair, which is where he belongs.
A word on the cast: brilliant, I thought. Fresh blood literally breathed new life in a franchise that had gathered quite a bit of dust. Up until now the same actors had played the TOS roles, and all the films and series that followed either had those same actors, new characters, or a combination of both. So this is the first time familiar characters have literally new faces.
I for one did not find this jarring in the least. Chris Pine is extremely abrasive and straddles the line between confident and douchebaggy, but he is exactly how I envisioned a wet-behind-the-ears Kirk, particularly if he never knew his biological father.
Despite their brief screen time, it’s clear George Kirk, and the Kelvin’s Captain, Robau, are brave and honorable men, Starfleet men – who lay their lives down without complaint or hesitation to save the lives of their crew. Unless you believe in Rousseau, those qualities trickled down to George’s son; but considering how spoiled children can get in this century, it’s understandable that a young Iowan on a planet with no hunger, want, disease or war could get bored and act out. But he isn’t just a hick who’ll succumb to natural selection; he has a head on his shoulders, he’s just rudderless. This is not a new story, but I see no reason why the iconic Kirk’s career couldn’t start out as a classic Hero’s Journey, as it does in this film.

I initially worried that I wouldn’t take Zach Quinto seriously because I saw so much of him as Sylar (before the strike; then I stopped watching Heroes.) Fortunately, those worries were unfounded, as Quinto is superb as young Spock. He has the good balance of Vulcan know-it-allism and logic and, as a youngster, shows more of the primal, emotional core that every Vulcan learns ultimately not to simply stuff down, but learn to live with. Being half-human makes this harder for Spock, and it’s portrayed well here, both when he’s a young kid and as a young adult.
Kirk and Spocks’ father figures – respectively Pike and Sarek, are also well-cast and suitibly sage. Sarek isn’t a typical Vulcan either; he has more curiosity and appreciation for humanity than the typical Vulcan, and whenever he’s nearby, I feel like Spock is greatly steadied, which is what a father should project. Pike, like the Kelvin’s Robau, is a Starfleet man; not altogether fearless, but steadfast in his duty to face whatever comes at him standing tall. Pike knew Kirk’s dad, and obviously can help but see those same Starfleet qualities beneath the bar-brawling, rebellious, attention-whoring exterior. He also knows how to talk to young rogues, and mold them into loyal officers – the bar is cleared of cadets with one (loud) whistle. He expertly delivers the kick in the pants that Kirk needs to move on with his life.
I liked Karl Urban’s take on McCoy from the start, and also glad to finally know the real reason his nickname is “Bones.” McCoy, like Pike, can see through Kirk’s armor and generously doesn’t hold it against him, and their friendship evolves quite naturally. McCoy hates technology just as much as Kirk hates authority, so they can certainly relate.
But unlike so many Trek films, this isn’t just about the Kirk-Spock-McCoy triad; Thankfully, Uhura, Sulu, Chekov and Scotty had entertaining introductions as well. Zoe Saldana, John Cho, Anton Yelchin and Simon Pegg all do a good job of channelling a melange of the original character with something new and refreshing. I wasn’t surprised that Scotty’s wild engineering ideas could get him in trouble; nor that Sulu didn’t know jujitsu, but was handy with a sword, or that Chekov could confound the computer’s voice ID. With the limited time they had this film managed to stuff an admirable amount of introductory material. That said, I look forward to a sequel where all the origin stuff is out of the way and the fully-assembled crew gets to be on a normal mission.
The fact that an alternate timeline was created doesn’t bug me. That Old Spock in a future Federation not covered in the current canon caused a time wrinkle that changed history was a clever – and in the Trek universe, plausible – way for filmmakers to say they’re not just making up a new origin story for the sake of newness. The regular Trek timeline we know of ended when Spock opened up that singularity, and this is how things turned out.
As Rom said in the mirror universe (in DS9): “Everything’s the same…just…alternate” is true; its the same Earth, Vulcan, Federation, Enterprise, Kirk, Spock, & Co., they just arrived at where they were differently from that original timeline. Thus, Star Trek was quite literally rebooted. And I have to say this is the best reboot I could have hoped for. Thank God Star Trek is fianally back, and relevant again.