May 2009
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Star Trek (12a)
Printed 6th May 2009

Revitalising cultural icons is the new remake. Batman was first, beginning again under the control of Chris Nolan and re-emerging from the shadows better than ever before. Next up was Bond, rejuvenated and reborn (or should that be rebourne?) in the gritty guise of a blonde and buff Daniel Craig. Now it’s Trek’s turn for the reboot and relaunch sequence, boldly going back to blast off in a phaser’s set to stunning fashion.

Audaciously and fan-appeasingly setting up an alternate timeline/reality that allows for the return of fan-favourite characters (albeit new in appearance) without overlooking or overwriting the exploits of the originals, Star Trek (Zero or XI or whatever postfix you might want to bestow upon it) opens with the energizing and eye-fetchingly rendered destruction of the USS Kelvin and the concurrent birth of one James T. Kirk.

Destroyed by a Romulan mega-ship from the future, events as “Trekkers” have previously known them are irrevocably altered, most notably for our future staccato starship Captain who has to suffer the premature death of his father. Flash-forward to the future (of the future) and the Federation are on the verge of launching their new flagship starship the USS Enterprise, under the capable command of Capt. Christopher Pike (Bruce Greenwood – National Treasure 2) and some fresh-faced recruits.

Little do they know, however, that still lurking amongst the stars are the time-travelling and revenge-seeking Romulan’s (led by Eric Bana’s slightly-underwritten chief villain Nero), biding until the time to strike is right. That time has now come after the emergence of an old and familiar face means their endgame can finally be put in motion after 25 years of patient waiting. The only thing standing in their way is one ship and her new crew, most notably one headstrong human (the unnaturally-large noggin also known as Chris Pine – Smokin’ Aces) and an unemotive half-Vulcan/half-human (Heroes’ Sylar also known as Zachary Quinto). If they can figure out how to work together and get along.

As fans of J.J. Abrams’ various output already knew (Alias / Lost / M:i:III / Cloverfield / Fringe), the quality of Star Trek’s relaunch was never in doubt. Everything the director and creator extraordinaire has involved himself with thus far in a glittering career has turned out to be golden. Perhaps die hard’s were unsure though? They really should rest assured, their beloved series and its intrinsic characters have been both respected and updated in equal measure. This is Star Trek all right, but not as we once knew it.

More operatic, more mythical, more action-orientated and much more kinetic than any incarnation that has come before, Abrams’ fanbase and newbie-alike appealing edition of Star Trekkin’ is arguably less high-brow Roddenberry and more (whisper it) warping in the direction of another well-known and beloved space saga from the Seventies (especially in its depiction of central hero Kirk, the cavalcade of alien beings populating the galaxy and the celebratory, self-congratulatory ending). Some of the pointy-ear wearing brigade may well grumble (as may fans of social sci-fi Battlestar Galactica) at the lack of pondering, politicking and weighty themes that its inspirator and originator so heavily relied upon and its replacement with intense space battles, sword fights, space dives, mano-e-Romulan fisticuffs and simple-to-digest topics such as the importance of friendship and belief in one’s own convictions, but the majority will probably be too busy being wowed by the canon-reverential nods (blockbuster writers extraordinaire Roberto Orci & Alex Kurtzman are out-of-the-closet Trek fanatics) and the best visual effects (courtesy of ILM), sound effects (provided by guru Ben Burtt) and music (from maestro Michael Giacchino) that the series has had to offer so far.

Of course the 21st Century Trek isn’t all-action and no character, mind. In fact it’s surprising quite how many little character building moments are factored in amongst all the kinetic bustle, each member of the next generation crew given their particular moment to shine. Needless to say this is also the most contentious and risky part of the whole enterprise for Abrams and his redesign team: will audiences accept their favourite fictitious personage in their new, hand-picked, P.Y.T shapes and sizes?

Well, as it goes, they probably couldn’t have been more perfectly-judged. Sylar as Spock: that one was a shoo-in, but Quinto still impresses and makes the character his own. As was Zoe Saldana as Uhura really: brains and beauty in one handy little (about to blow up – she’s also set to star in James Cameron’s return to the big screen: the envelope-pushing, 3D motion-capture extravaganza Avatar) package. Everyone else though: inspired. For starters, the man previously known as one-part of stoner comedy duo Harold and Kumar, John Cho as Sulu: surprisingly good when serious (which is a good thing when you consider his partner-in-comedy-crime, Kal Penn, has temporarily retired from acting to take up a post in Obama’s Presidential team) and handy with a sword. Anton “Babyface” Yelchin as Chekov: cracking comedy “wussian” accent and a vivacious energy essential to the character here as written. Simon Pegg as Scotty: the accent’s toned-down from James Doohan, but no less ropey and he comes into the event pic a little late in the game, but makes an impacting and promising screen presence nevertheless. Then there’s “best thing” Karl Urban as Bones: leftfield casting or what? Just what the doctor ordered, as it turns out, though. Where J.J. and his casting team saw that superlative and unforgettable and irreplaceable performance from amongst his previous is anybody’s guess (Eomer in LOTR / the baddie in Bourne Supremacy / John Grimm in Doom / Ghost in Pathfinder), but thank Q they did.

The one man thus far without a mention is, of course, perhaps the most important piece of the puzzle: Chris Pine in the unenviable position of playing Captain James Tiberius Kirk. Different but enough the same, cocky and charming, arrogant and irrepressible, but most importantly winningly likeable from-the-off, Pine’s Kirk is categorically not Shatner’s Kirk (and he definitely doesn’t try to imitate The Shat’s characteristic dialogue delivery style, thankfully), but then that’s exactly the point of this reboot: these times, these people they are a-changed and most dramatically, at least to begin with, is Kirk. Pine is fine, not the best of the new class, but nothing to tribble over either.

The truly best thing of all about Trek: Redux though is the little flourishes that Abrams and his design team show particular flair for. Like the notable differences between the pristine-looking THX-1138 inspired bridge of the Enterprise (or the flying cop chasing a car-boosting teen tearaway Tiberius glimpsed in the trailer for that matter...) and the Titanic-inspired industrial feel to the heart and driving force of the ship. Or the subtle change they’ve made to how people disappear/reappear when transported. Or the way that phaser’s now change settings between stun and kill (the coolest “reload” since Arnie and that shotgun in T2). Or the way in which we see the Enterprise streaking through space at warp speed (see a rough approximation on the poster below). It’s obvious in these touches that this was a real labour of love experience for everyone involved, just as the film itself proves to be for anyone, new-and-fanboy-alike, that beam up for the renewed and, on this evidence, welcome continuing voyages of the starship Enterprise.

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