Geekscape Movie Reviews: ‘Star Trek Beyond’
When I was younger, long before the horrors of adult life turned me into the cynical specimen you see before you, I used to watch Star Trek. I say “used to,” because the epic space-opera has been off the air for some time now. I was a little too young for the Original Series (TOS, for those of you in the know), and Enterprise just didn’t capture the same spirit as the other entries. I was raised on a healthy diet of Next Generation, Deep Space Nine, and Voyager. I sat with my brother and father and watched the future unfold in episodic fashion. I shared the adventures of the bold and fierce Janeway, the authoritative Sisko, and the reverent Picard. That was the Star Trek I knew and loved. So when J.J. Abrams stepped in to reboot the franchise for a new generation, I was a little torn.
On the one hand, I was a huge fan of J.J.’s work in TV and film thus far. He had proven himself to be an innovative auteur, willing to take on challenging material and complex narratives. On the other hand, LOST. Seven years later, despite positive reviews for the reboot, the fans were still polarized by the new universe, and I felt squarely in the middle.
Enter Star Trek Beyond. Written by Simon Pegg and Doug Jung, and directed by Fast and Furious veteran Justin Lin, this was poised to be the straw that broke the camel’s back. The trailer overloaded the senses with quick cuts, motorcycle chases, and Beastie Boys. Honestly, it was hard to even call this a Star Trek film. So, with no small amount of trepidation, I purchased my ticket and entered the theater.
I can’t say that this is a movie we will be talking about for generations to come. I won’t pretend it is a flawless script or impeccably performed. I can say, without question, that this is the most Trek-like film in the trilogy, and may be the best of the three films overall. I will be discussing a few items from the plot in depth, so let’s take a breath and together shout:
SPOILER WARNING!
After a cutesy cold open involving cat-sized aliens and a McGuffin, we find the crew of the USS Enterprise heading for some much needed R&R at the deep space station Yorktown. Kirk opens the movie with the infamous Captain’s Log. In a not-so-subtle nod to the series, Kirk laments that his first 3 years of the 5-year mission have felt “episodic,” and he doesn’t feel as focused on the mission as he used to. In many ways, his frustration and apathy mimics our own, as we see the cinema overwhelmed by sequels and reboots and copies. The entire crew seems to feel it as well, as each looks toward a future off the ship.
This brief respite on the station includes a few brief moments and scenes that were handled with subtlety and timing not often attributed to a Fast and Furious director (it should be said that Justin Lin is, in fact, a fantastic movie-maker). The infamous reveal of Sulu and his husband is handled without commentary, only a wistful smile from Kirk at seeing his crew happy. The revelation of Ambassador Spock’s passing is also done without sap or unnecessary dialogue, just a brief moment for Zachary Quinto. All-in-all, the few scenes aboard the station set up the theme of the movie very well.
I won’t bore you with a play-by-play of the action, and I honesty can say that the film is worth seeing in theaters just to witness the spectacle on screen. Justin Lin is used to telling a visually compelling story, and his work here is no different. Star Trek Beyond moves at a rapid pace, without feeling like a series of snapshots. There are a few rough patches, particularly during a late-night investigation aboard the shattered saucer section, but overall the film is coherent and exciting.
There has been a lot made recently about the difference between scenes and moments, as popularized by this brilliantly done video on Batman v Superman. Star Trek Beyond has its share of stand-alone moments, but they tend to feed the larger story in a way Mr. Snyder’s did not. Here is a spoilery example.
Spock finds out that his alternate-universe self has passed away. This scene is handled with respect and distance, allowing the audience to share is the stunned moment with the characters onscreen. Later, a wounded Spock reveals to Bones (played perfectly by the venerable Karl Urban) that he plans to quit Starfleet in order to continue Spock’s mission and increase the future of all Vulcans universe-wide. Spock breaks from his emotionless logic and tears up as he talks of the “many lifetimes” his elder self had lived. This was an emotional scene for Mr. Quinto, as the legendary Leonard Nimoy had been a close friend and mentor to the young actor when he first started out. Spock’s decision to quit his day job to focus on his species also feels earned due to the events of the series. His planet is gone, his people are scattered and limited, and the wisest among them has passed. A series of moments has added up to a powerful scene, since we as an audience have shared it with the characters.
Great movies need great heroes, and Chris Pine brings a much stronger performance to this latest iteration of Kirk. Into Darkness was blasted by critics for being too regressive from the first film. Kirk still isn’t “fit to command,” Spock doesn’t like Kirk’s methods, there is no trekking taking place. Beyond fixes many of these issues by doing what every good story must: Arriving late and leaving early. What I mean by this is that we open the movie in the middle of the adventure. This isn’t Day 1, Year 1 of the journey into the beyond. This is year 3, and the crew is exhausted. Kirk has not only accepted the responsibilty of command, but he is a revered and beloved leader. Uhura puts her life in danger to protect her captain without a moment’s hesitation. Bones and Spock act like war-weary friends rather than strangers. Scotty acts with earned authority when repairing the ship. By delivering a lived-in universe instead of one still smelling of shrink-wrap, the writer allows the hero to have a more involved arc.
Back to Kirk, we no longer see the petulant man-child from the first movie. Kirk may throw the odd glance toward an attractive member of the opposite sex (although nothing akin to the cringe-inducing scene with Alice Eve from Into Darkness), but he is by a large a different man than the one we’ve met before. In fact, I would say he feels more like the Kirk of TOS. More than that, he bears the resilience and attitude of a Starfleet officer. He wants to settle problems with wit rather than violence. A great example is shortly into Act Two. Kirk realizes that his crew was duped by an alien refugee into a trap, and he confronts the alien with his phaser in hand. The female admits her role and puts up no defense. A lazy screenwriter, and one without thought of the series, would be likely had Kirk shoot her down to demonstrate his extreme emotional state. That would have been a grave mistake, and Pegg and Jung avoid it deftly. Instead, Kirk uses the alien to suss out details of the greater plot against his crew and the Federation as a whole.
Heroes need villains, and the movie brings in a powerhouse to portray the big bad. Idris Elba, best known for being amazing (let this man be James Bond already), plays the sinister Krall. His arc is a very slow burn, which is unfortunate because it is a pretty solid turn overall. Elba is simply epic in his delivery and presence, even under layers of makeup. His attitude is important as well, as it demonstrates one of the main issues Trek fans have had with the reboot: The militarization of the Federation (Scotty even says as much in Into Darkness). Krall believes that might makes right, and that the Federation’s unity of species and belief in diplomacy is a great weakness. In a refreshing turn, Kirk becomes the voice of reason, espousing the beliefs of the Federation as the correct course for humanity and the universe as a whole.
For all the hardcore haters out there, I’m sure you will find your flaws within the film. The use of “classical” tunes by the Beastie Boys is worthy of an eye-roll, female characters still mostly act as filler, and the end space battle is hilariously simple given the shellacking the Enterprise took in Act One. Still, there is a heart of charm in this movie that the previous film sorely lacked. There is a sense of wonder, of joy in exploration, that hearkens back to the theme and tone of the original.
As a caveat to my comment about female characters, I must bring up Jaylah, played wonderfully by Sofia Boutella. Despite both her English and attitude coming from late 90’s hip hop, Jaylah is a wonderful addition to the roster and one of the best parts of the movie. She is fiercely independent, innovative, and determined in her goal to leave the forsaken planet. Her story lacks a defined third act, but she more than delivers in the film. She is never reduced to a mere sexual object, which is a huge step for the new franchise (again, Alice Eve, what the hell were they thinking?). More than just not being objectified, Jaylah is integral in moving the plot forward. She takes action, fights her own battles, and makes decisions based on her self-interest rather than that of the crew. She has agency and direction, and can seriously kick ass.
Star Trek Beyond released in the wake of the tragic loss of Anton Yelchin, the young and talented actor behind Chekchov. In the final scenes of the film, the crew of the Enterprise get together to celebrate Kirk’s birthday. Kirk delivers an iconic toast “to absent friends,” and for a brief moment the camera cuts to Anton raising his glass. The shot lingers just a beat, but editing choice is clear. This is paired with a “For Anton” during the end credits. It is another soft-handed approach to a sensitive topic, and feels like the right choice given the circumstances. It is not as direct as the Blue Angel’s motif done in the latest Fast and Furious film, but the implication is just as obvious and, at least for me, appreciated.
Simon Pegg and Doug Jung put together a strong and well-paced Star Trek adventure. The themes, arcs, and actions in the story call to mind the films of the Original Series. There is a reverence and love in each scene that was absent previously, and its return marks a change for the better. Will you find things you don’t like? Most definitely. This is not a perfect film by any stretch. There are plot holes, dropped story lines, and downright bad choices made for the sake of moving the plot forward. Overall, however, this is an enjoyable and moving film for the franchise. If this turns out to the be the last in the series, I think it ends on a high note. In an age of cynicism and pessimism, Star Trek Beyond boldly goes in a direction of hope.
GRADE: 3.5 / 5
If enjoy Star Trek, or sci-fi of any kind, you’ll probably enjoy my book. You can also read more of my scribblings on my site.
