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Sure, on television it may be crucial to explain every plot point in great detail, but for a two hour film, audiences can get pretty bored, pretty fast. Personally speaking, I am actually a fan of slow-burn storytelling, as long as it has a worthwhile payoff. Being a fan of all genres of film, slow-paced and extremely exciting films have all impressed me in the past. This is not how the average moviegoer feels.

The average person walks into a theatre hoping for an exciting time, helping them escape from reality for a few hours. If a film is not engaging enough, it becomes a bore, losing its audience and making them remember the reason they wanted to come to the cinema in the first place. From the very first scene with Kirk's father, to the incredible voyages through time and space, to the eventual climax, this film never lets up, making for a very exciting thrill ride.

Instead of hard-to-understand terms, this film has the perfect balance of both smarts and wits. That is solely due to the fact that J. Abrams was brought on to helm this film. Say what you will about how Star Trek is always compared to Star Wars, or vice versa, but it is without question that Star Wars has always been the more accessible franchise for all ages.

Star Trek: Ongoing

Abrams on board to direct was probably the best decision they could have ever made for this franchise. Giving the helm to a man who is known for bringing new life to a franchise, while simultaneously keeping the old feel, is something very rare to accomplish. Star Trek has always been more brain than bronze, while Star Wars is the exact opposite. Staying true to the original series, director J. Abrams was able to cast young versions of the classic original characters, all feeling like worthy shoe-fillers.

Filled with lens flares, fast-paced action sequences, and some pretty funny quips from some of the characters, this film definitely feels like an upgraded version of its name. While Star Trek does change the feel of the original series, which may turn some fans away, it also keeps the smart interaction between the characters, making for an even more engrossing experience. Meshing modern day style with the old slow-burn pacing of the original television series, this is the Star Trek that I believe we needed for this decade.

Beginning with the origin of James T. Kirk, fans of the series get a really cool treat in watching this character grow up from a toddler to a full grown adult. Against all odds, Kirk is able to train to become a part of Star Fleet like his father and passes with flying colours. Not being allowed on the ship after a few arguable mistakes, he is able to find his way on and provide both insight for the captain, as well as being a nuisance for everyone else. Being the smart-ass he is, this makes for a very fun film when characters get to interact with one another.

Who would have thought that a Star Trek film would feel this original after all these years? Sure, it borrows many elements from the past in order to move its story forward, but it's also a fresh story all on its own. Not only does it still feel fresh, but is also able to keep the time travel elements and a cool villain, while making them completely different than any aspects of these elements audiences have seen in previous films. Speaking of the villain, this is where Star Trek films usually fail, but bringing personal motive into the story, this villain was more interesting than I believe many viewers were expecting at the time.

Nero, played enjoyably by Eric Bana, may not be one of the best aspects of the film as a whole, but he is definitely better than I believe he had any right to be. Having a personal vendetta against Spock and his crew, his path of vengeance is not one to take lightly. Eric Bana's performance as this character was a blast to watch. Him not being in the film would mean that Kirk would not have been captain in the future.

His purpose is far greater than just a throwaway villain. Travelling through time after being involved with Kirk's father in the past, added some great depth to the film, which I felt was absolutely necessary. Once you are able to accept that they are once again using time travel as a story element in this franchise, you will be able to forgive the big moment in the second act of the film.

Minor spoilers for those who have yet to see this film: After being deported from the ship by Spock in the second act, Kirk lands in a different place in time. Meeting the older version of the Spock he currently despises played by Leonard Nimoy , felt like a nice surprise for fans. While it was unnecessary to have Leonard Nimoy back as Spock, it also felt earned and respectful of the source material. In the older films, time travel is used to further the story, just like this film does, but there was a bit too much comedy interjected to really take it seriously ie.

The fourth film of the original series was a great one, but too much comedy in a dramatic film can be jarring. This film balances the comedy aspects perfectly in my opinion. Pretty much every great aspect, plucked out of the original films, is present here. They just seem to have done everything right with this reboot. Overall, Star Trek is a far better picture than anyone would have predicted.

Filled with exciting visuals, directed with care, and a cast that both feels fresh and that pays tribute to the original actors, there is just too much in this film to love. Feeling fresh and invigorated, this film is what the franchise needed if it was going to come back to the cinema in this day and age. Abrams was definitely the right choice to helm this film and I can't wait to see what the future sequels in this rebooted franchise will hold.

Star Trek is fantastic! Abrams is perhaps the single most overrated filmmaker working today. In a cinema age dominated by marketing and brand name recognition, he is the crown prince of hype, who has pulled off audacious levels of success by pulling the wool over our eyes. He is the master of taking something which is ordinary, unremarkable or downright poor and making it appear like the Second Coming of compulsive viewing. He is, to put it another way, our generation's Wizard of Oz. Having sold us a decent monster movie in Cloverfield, and co-created the most overrated TV series of all in Lost, Abrams has now turned his hyping hands to Star Trek.

In the series' first outing since Star Trek: Nemesis seven years earlier, Abrams attempts to reboot the entire series and bring in a new, younger audience while appeasing long-time fans. What results is promising and watchable, but it also squanders a lot of its potential and ultimately leaves us feeling empty. There can be no denying that Star Trek looks good. Notwithstanding Abrams' baffling obsession with lens-flare which reared its ugly head again in Super 8 two years later , the film is a breath of fresh air for those who endlessly groaned about the creaky special effects in 'Trek films.

You won't find any plastic rocks or monsters made out of pipe cleaners here, with the CGI being crisp and the aliens realised in a generally convincing way. The camera may be on the move a little too often for those of us who like stories to unfold naturalistically, but cinematographer Daniel Mindel keeps us on an even keel with attractive lighting and responsive compositions. From a character perspective, Star Trek manages to give us fresh character portrayals which also tie up well with their older selves.

We can certainly believe that these young characters will grow into the people we know from the TV series and original films. Chris Pine nicely captures the headstrong, impulsive, reckless nature of Kirk, and there are early traces in Zachary Quinto's performance of the imperious stoicism that the late Leonard Nimoy made his own. The best piece of casting, however, is Karl Urban as Bones: Because the film is attempting to appease old fans as well as bring in the new, there are quite a lot of references to the Star Trek back catalogue in here. The Wrath of Khan. Some references are broad and well-known, such as the Prime Directive and the Romulans, while others are more obscure: Captain Pike will be a familiar figure only to those who saw the original pilot.

Regardless of how well this would have worked, there is quite a lot of welcome humour to be found in Star Trek. One of the biggest problems of the original series was how seriously William Shatner played every scene, when the sensible thing would have been to acknowledge its limitation and knowingly embrace its silliness. Here, we get to see Kirk as more of a wisecracker, and Spock is the perfect foil, especially during his early scenes at Starfleet.

So far, Star Trek is shaping up to be decent effort, improving on the originals' production values, bringing more humour to the table and doing justice to the characters. But there's one massive problem with Star Trek which leads onto several smaller but equally bothersome problems, and when combined they ultimately scupper this film. The single biggest problem with Star Trek is this: Even at their weakest, the Star Trek series and film franchise were idea- or concept-led, much like the halcyon days of Doctor Who; rather than simply settling for a clearly drawn, good vs.

For everything that is wrong with Star Trek: The Final Frontier, they deserve a modicum of credit for the ideas they attempt to espouse. Star Trek starts off very promisingly, but it eventually becomes a Star Wars film by any other name. It's not surprising that Abrams was more of a Star Wars fan than a Trekkie growing up, with the resemblances growing stronger as the film progresses. The entire sequence on the ice planet is simply the beginning of The Empire Strikes Back with a bigger, less memorable monster.

When Nolan approached the Batman franchise, which had been in hibernation for a similar length of time, he wanted to take Batman back to its dark, moral roots, reshaping the iconography to explore complex philosophical ideas. It's no surprise that Abrams is now helming the latest Star Wars film, because he clears prefers spectacle to scintillating conversation, and dog-fighting to dissections of dogma. All the aspects of Star Trek which should have weight is either overlooked or quickly abandoned. The time travel and comparisons between the universes are reduced to an Austin Powers-style plot device: Kirk's conversations with Spock Prime are largely padding, with Nimoy's appearance serving as a sop to older fans.

The red matter used by Nero a good performance by Eric Bana could have been explored in the manner of the Genesis device, as a symbol of how uncontrollably powerful yet dangerous the desire for revenge can be. Instead, it becomes just another plot mechanism, brought up occasionally in an attempt to add drama when it actually does nothing of the sort.

Then there is the problem of sexualisation, with Star Trek going strongly after the teenage boy market at the expense of everyone else. The romance between Spock and Uhura makes little sense and goes nowhere, and then there are the costumes. On the one hand we have the shots of Uhura and her roommate in their underwear for no good reason; on the other hand, all the woman wear very short skirts, but all the men are always fully clothed. It's bizarre that Star Trek Into Darkness got such a public wrap for a similar double standard while this escaped seemingly unscathed.

Although Gene Roddenberry always intended to make a prequel to the original Star Trek series, this film does not honour the intentions or spirit of his work in any meaningful way. While the best Trek films were properly plotted and ended on a strong and resonant note, this gradually unspools into a series of incoherent and frankly boring battle scenes. We are constantly bombarded by noise, special effects and lens-flare but not given enough by way of character stakes to keep us interested. Star Trek is a disappointment which could easily have been better if anyone other than Abrams had directed it.

While it generally looks better than some of the other films in the series, and benefits from a good-humoured cast, on a narrative level it has far too little between its ears and not enough substance or discipline to sustain our attention. As a totally disposible slice of space fantasy, you could do a awful lot worse, but true Trek fans will not be abandoning the old films any time soon. Yeah, this movie was kind of awesome.

Kirk offers Nero help to escape, but Nero refuses, prompting Kirk to give the order to fire, dooming Narada to be consumed in a black hole. Spock encounters his older self, who persuades his younger self to continue serving in Starfleet, encouraging him to do, for once, what feels right instead of what is logical. Spock remains in Starfleet, becoming first officer under Kirk's command. Enterprise goes to warp as the elder Spock speaks the " where no one has gone before " monologue.

Star Trek (2011-2016)

Mark Wahlberg was also approached for the role. Winona Kirk, Kirk's mother, is played by Jennifer Morrison. Greg Ellis plays Chief Engineer Olson, the redshirt who is killed during the space jump. James Cawley , producer and star of the web series Star Trek: The Next Generation , was brought in, through urging by Greg Grunberg, to voice several of the other Romulans in the film. Orci and Kurtzman wrote a scene for Shatner, in which old Spock gives his younger self a recorded message by Kirk from the previous timeline. He suggested the film canonize his novels where Kirk is resurrected , but Abrams decided if his character was accompanying Nimoy's, it would have become a film about the resurrection of Kirk, and not about introducing the new versions of the characters.

As early as the World Science Fiction Convention , Star Trek creator Roddenberry had said he was going to make a film prequel to the television series. Roddenberry rejected Bennett's prequel proposal in , after the completion of Star Trek V: The film that was commissioned instead ended up being Star Trek VI: In February , after the financial failure of the tenth film, Star Trek: Nemesis , and the cancellation of the television series Star Trek: Enterprise , the franchise's executive producer Rick Berman and screenwriter Erik Jendresen began developing a new film entitled Star Trek: It was to revolve around a new set of characters, led by Kirk's ancestor Tiberius Chase, and be set during the Earth-Romulan War —after the events of Enterprise but before the events of the original series.

Gail Berman , then president of Paramount, convinced CBS' chief executive, Leslie Moonves , to allow them eighteen months to develop a new Star Trek film, otherwise Paramount would lose the film rights. Impossible III writers Orci and Kurtzman for ideas on the new film, and after the film had completed shooting she asked their director, Abrams, to produce it. In an interview, Abrams said that he had never seen Star Trek: Nemesis because he felt the franchise had "disconnected" from the original series.

He also acknowledged that as a child he had actually preferred the Star Wars movies. On February 23, , Abrams accepted Paramount's offer to direct the film, after having initially been attached to it solely as a producer. I didn't love Kirk and Spock when I began this journey — but I love them now. Roberto Orci on the film's emotional context. Orci said getting Nimoy in the film was important. The Next Generation set in Orci noted while the time travel story allowed them to alter some backstory elements such as Kirk's first encounter with the Romulans, they could not use it as a crutch to change everything and they tried to approach the film as a prequel as much as possible.

Star Trek Beyond - Trailer (2016) - Paramount Pictures

Kirk's service on Farragut , a major backstory point to the original episode " Obsession ", was left out because it was deemed irrelevant to the story of Kirk meeting Spock, although Orci felt nothing in his script precluded it from the new film's backstory. The Wrath of Khan as a child, but it was dropped because the film needed more time to introduce the core characters. The line was difficult to write and was ultimately cut out.

The filmmakers sought inspiration from novels such as Prime Directive , Spock's World and Best Destiny to fill in gaps unexplained by canon; Best Destiny particularly explores Kirk's childhood and names his parents. Orci had sent the fan art to Abrams to show how realistic the film could be. Orci and Kurtzman said they wanted the general audience to like the film as much as the fans, by stripping away " Treknobabble ", making it action-packed and giving it the simple title of Star Trek to indicate to newcomers they would not need to watch any of the other films.

Orci and Kurtzman read graduate school dissertations on the series for inspiration; [57] they noted comparisons of Kirk, Spock and McCoy to Shakespearian archetypes, and Kirk and Spock's friendship echoing that of John Lennon and Paul McCartney. Abrams' grandfather, as well as the physicist and engineer Lord Kelvin William Thomson. Orci theorized the fictional character was born in Cuba and grew up in the Middle East.

Star Trek: Ongoing | Memory Alpha | FANDOM powered by Wikia

Abrams created the fictitious drink for Alias and it reappeared in viral marketing for Cloverfield. Its owner, Tagruato, is also from Cloverfield and appears on a building in San Francisco. The film's production designer was Scott Chambliss, a longtime collaborator with Abrams. Thus the production design had to be consistent with the television series but also feel more advanced than the real world technology developed after it. That must go if it's going to be something that you believe is real.

Another prop recreated for the film was the tricorder. Bobbitt brought the original prop to the set, but the actors found it too large to carry when filming action scenes, so technical advisor Doug Brody redesigned it to be smaller. Production designer Scott Chambliss maintained the layout of the original bridge, but aesthetically altered it with brighter colors to reflect the optimism of Star Trek.

The viewscreen was made into a window that could have images projected on it to make the space environment palpable. Abrams compared the redesign to the sleek modernist work of Pierre Cardin and the sets from A Space Odyssey , which were from the s. At the director's behest, more railings were added to the bridge to make it look safer, [7] and the set was built on gimbals so its rocking motions when the ship accelerates and is attacked was more realistic.

Abrams selected Michael Kaplan to design the costumes because he had not seen any of the films, meaning he would approach the costumes with a new angle. For the Starfleet uniforms , Kaplan followed the show's original color-coding, with dark gray almost black undershirts and pants and colored overshirts showing each crew member's position. Command officers wear gold shirts, science and medical officers wear blue, and operations technicians, engineers, and security personnel wear red.

Kaplan wanted the shirts to be more sophisticated than the originals and selected to have the Starfleet symbol patterned on them. But how do you make legitimate those near-primary color costumes? Lindelof compared the film's Romulan faction to pirates with their bald, tattooed heads and disorganized costuming. Their ship, Narada , is purely practical with visible mechanics as it is a "working ship", unlike the Enterprise crew who give a respectable presentation on behalf of the Federation.

The ship's interior was made of six pieces that could be rearranged to create a different room. Neville Page wanted to honor that by having Nero's crew ritually scar themselves too, forming keloids reminiscent of the 'V'-ridges. It was abandoned as they did not pursue the idea enough. Kaplan tracked down the makers of those clothes, who were discovered to be based in Bali , and commissioned them to create his designs. Barney Burman supervised the makeup for the other aliens: Abrams deemed the scene too similar to the cantina sequence in Star Wars and decided to dot the designs around the film.

Principal photography for the film began on November 7, , and culminated on March 27, ; [95] however second unit filming occurred in Bakersfield, California in April , which stood in for Kirk's childhood home in Iowa. The filmmakers expressed an interest in Iceland for scenes on Delta Vega, but decided against it: Chambliss enjoyed the challenge of filming scenes with snow in southern California. Other Vulcan exteriors were shot at Vasquez Rocks , a location that was used in various episodes of the original series. A Budweiser plant in Van Nuys was used for Enterprise ' s engine room, while a Long Beach power plant was used for Kelvin ' s engine room.

Following the initiation of the — Writers Guild of America strike on November 5, , Abrams, himself a WGA member, told Variety that while he would not render writing services for the film and intended to walk the picket line, he did not expect the strike to impact his directing of the production. The production team maintained heavily enforced security around the film.

Karl Urban revealed, "[There is a] level of security and secrecy that we have all been forced to adopt. I mean, it's really kind of paranoid crazy, but sort of justified. We're not allowed to walk around in public in our costumes and we have to be herded around everywhere in these golf carts that are completely concealed and covered in black canvas.

The security of it is immense. You feel your freedom is a big challenge. Simon Pegg said, "I read [the script] with a security guard near me — it's that secretive. Moore , [] Jonathan Frakes , Walter Koenig , Nichelle Nichols , Ben Stiller , Tom Cruise and Steven Spielberg who had partially convinced Abrams to direct because he liked the script, and he even advised the action scenes during his visit.

When the shoot ended, Abrams gave the cast small boxes containing little telescopes, which allowed them to read the name of each constellation it was pointed at. After the shoot, Abrams cut out some scenes of Kirk and Spock as children, including seeing the latter as a baby, as well as a subplot involving Nero being imprisoned by the Klingons and his escape: Afterward, she agrees to open the e-mail containing his patch that allows him to pass the Kobayashi Maru test.

Abrams chose to shoot the film in the anamorphic format on 35 mm film after discussions about whether the film should be shot in high-definition digital video. Cinematographer Dan Mindel and Abrams agreed the choice gave the film a big-screen feel and the realistic, organic look they wanted for the film setting. There's just something incredibly unpredictable and gorgeous about them. Abrams avoided shooting only against bluescreen and greenscreen , because it "makes me insane", using them instead to extend the scale of sets and locations.

Star Trek was the first film ILM worked on using entirely digital ships. Abrams had fond memories of the revelation of Enterprise ' s refit in Star Trek: The Motion Picture , because it was the first time the ship felt tangible and real to him. Goodson recalled Abrams also wanted to bring a " hot rod " aesthetic to the ship.

Effects supervisor Roger Guyett wanted the ship to have more moving parts, which stemmed from his childhood dissatisfaction with the ship's design: The new Enterprise ' s dish can expand and move, while the fins on its engines split slightly when they begin warping. For shots of an imploding planet, the same explosion program was used to simulate it breaking up, while the animators could manually composite multiple layers of rocks and wind sucking into the planet.


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Lola Visual Effects worked on 48 shots, including some animation to Bana and Nimoy. Bana required extensive damage to his teeth, which was significant enough to completely replace his mouth in some shots. Nimoy's mouth was reanimated in his first scene with Kirk following a rerecording session. The filmmakers had filmed Nimoy when he rerecorded his lines so they could rotoscope his mouth into the film, even recreating the lighting conditions, but they realized they had to digitally recreate his lips because of the bouncing light created by the camp fire.

Michael Giacchino , Abrams' most frequent collaborator, composed the music for Star Trek. He kept the original theme by Alexander Courage for the end credits, which Abrams said symbolized the momentum of the crew coming together. You just hope you do your best. It's one of those things where the film will tell me what to do. An erhu , performed by Karen Han, was used for the Vulcan themes. A distorted recording was used for the Romulans. The sound effects were designed by Star Wars veteran Ben Burtt. Whereas the phaser blast noises from the television series were derived from The War of the Worlds , Burtt made his phaser sounds more like his blasters from Star Wars , because Abrams' depiction of phasers were closer to the blasters' bullet-like fire, rather than the steady beams of energy in previous Star Trek films.

Burtt reproduced the classic photon torpedo and warp drive sounds: Burtt used a s oscillator to create a musical and emotional hum to the warping and transporting sounds. In February , Paramount announced they would move Star Trek from its December 25, , release date to May 8, , as the studio felt more people would see the film during summer than winter. The film was practically finished by the end of Even though the filmmakers liked the Christmas release date, Damon Lindelof acknowledged it would allow more time to perfect the visual effects.

The showing was publicized as a screening of Star Trek II: The Wrath of Khan , followed by a ten-minute preview of the new Star Trek film. A few minutes into Khan , the film appeared to melt and Nimoy appeared on stage with Orci, Kurtzman and Lindelof, asking the audience, "wouldn't you rather see the new movie? The first teaser trailer debuted in theaters with Cloverfield on January 18, , which showed Enterprise under construction. Abrams himself directed the first part of the trailer, where a welder removes his goggles.

Professional welders were hired for the teaser. Kennedy in particular was chosen because of similarities with the character of James T. Kirk and because he is seen to have "kicked off" the Space Race. Paramount faced two obstacles in promoting the film: Six months before the film's release, Abrams toured Europe and North America with 25 minutes of footage.

Abrams noted the large-scale campaign started unusually early, but this was because the release delay allowed him to show more completed scenes than normal. The director preferred promoting his projects quietly, but concurred Paramount needed to remove Star Trek ' s stigma. So we have to give [J. Abrams] a little bit of leeway, when he is traveling the 'galaxy' over there where they don't know Trek , to say the things that need to be said in order to get people onto our side.

Promotional partners on the film include Nokia , Verizon Wireless , Esurance , Kellogg's , Burger King and Intel Corporation , as well as various companies specializing in home decorating, apparel, jewelry, gift items and "Tiberius", "Pon Farr" and "Red Shirt" fragrances. Playmates hope to continue their toy line into Some of these are based on previous Star Trek iterations rather than the film.

In Sweden and Germany, it was released on November 4. Revenge of the Fallen and G. The Rise of Cobra. Adjusted and unadjusted for inflation, it beat Star Trek: First Contact for the largest American opening for a Star Trek film. Star Trek was acclaimed by film critics. Ty Burr of the Boston Globe gave the film a perfect four star rating, describing it as "ridiculously satisfying", and the "best prequel ever".

It reminds us why we loved these characters in the first place. He felt that the acting from the cast was the highlight of the filming, asserting that the performance of Pine radiated star quality. It's also a testament to television's power as mythmaker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from. Quinto brings wry charm to an otherwise calculating character, while Pine powers through his performance in bullish, if not quite Shatner-esque, fashion.

The chemistry between Pine and Quinto was well received by critics. Gleiberman felt that as the film progressed to the conclusion, Pine and Quinto emulated the same connection as Kirk and Spock. The two ground each other and point toward all the stories yet to come. Chris Pine and Zachary Quinto, who give inspired, utterly unselfconscious and lovable performances, with power, passion and some cracking comic timing. Some film critics were polarized with Star Trek.

Keith Phipps of The A. It might not even be immediately recognizable to veteran fans. The film garnered numerous accolades after its release. Star Trek received several nominations. The film's major cast members signed on for two sequels as part of their original deals. A third film, Star Trek Beyond , directed by Justin Lin and starring Idris Elba as the main antagonist, [] was released on July 22, , to positive reviews. In July , Abrams confirmed plans for a fourth film, and stated that Chris Hemsworth would return as Kirk's father.

Most of the cast and producers of Beyond have also agreed to return; however, Abrams stated Anton Yelchin's role would not be recast following his death. From Wikipedia, the free encyclopedia. This article is about the film.


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For the Star Trek film, see Star Trek: For the film series, see Star Trek film series. Roberto Orci Alex Kurtzman. Mary Jo Markey Maryann Brandon. Spyglass Entertainment Bad Robot Productions. From top to bottom: Kirk and Spock are opposites from two worlds. That's us in a nutshell.