However, there’s also no shortage of intimate, character-driven moments. But even if a team of four editors would normally spell trouble, the pacing, structure and crescendos of suspense are assured, with Michael Giacchino’s forceful score pumping up the action. Lin directs with his foot often jammed on the accelerator, careening from one physical or aerial clash to the next, where the densely packed movie could sometimes stand to take a breath. She also seems a promising potential love interest for Scotty in future installments, if only he’d stop calling her “lassie.” She’s a terrific new addition to the ensemble, played with a sexy sneer by the lithe Boutella. Kirk and Chekov land with the suspicious alien who got them into the mess (Lydia Wilson) Bones ( Karl Urban) and a seriously injured Spock are flung down elsewhere to banter in their respective personae as voluble joker and emotionless literalist Sulu and Uhura are taken prisoner by Krall, along with the bulk of the Enterprise crew and Scotty teams up with Jaylah ( Sofia Boutella), a zebra-faced alien also stranded on the planet and living in an abandoned Federation ship.Ī technical whizz and a take-charge fighter with impressive kickboxing moves, Jaylah’s look has a touch of Iggy Azalea but her taste in music runs more toward the vintage hip-hop of Public Enemy, “Fight the Power” being her anthem of choice. This allows for some amusing interplay among the core characters, outside of their familiar group dynamic. But those concerns get pushed aside when a vicious attack by Krall leaves the Enterprise crew stranded without a vessel and dispersed on the rocky desert terrain of Altamid, an inhospitable planet surrounded by an unstable nebula. Kirk is approaching a birthday that will make him older than his father lived to be Spock is compelled, despite his feelings for Uhura ( Zoe Saldana), to return to his people and help repopulate New Vulcan. Kirk and Spock (Zachary Quinto) both are in the midst of introspective crises and contemplating big changes. The script by Simon Pegg (expanding his duties beyond his onscreen role as engineer Montgomery Scott) and Doug Jung also provides a stirring reaffirmation of the original 1960s vision of a utopian fantasy, ruled by traditional Federation ideals of peace and intergalactic unity. Scenes that show the young Chekov looking up to Chris Pine’s Captain Kirk when they are stranded together on a hostile planet acquire added poignancy. An end credits title card reading, “In loving memory of Leonard Nimoy,” is followed by a separate card that states simply, “For Anton.”īoth those tributes are echoed in the movie itself, in a brief but eloquent farewell salute to Nimoy’s Ambassador Spock (and later, to the entire original crew of the Starship Enterprise), and in the boyish enthusiasm and optimistic spirit of Russian shipmate Pavel Chekov, played by Anton Yelchin in one of his final screen appearances before his untimely death last month at age 27. Whether it will satisfy rabid Trekkers remains to be seen, though even for casual followers (like me), the film’s double dedication packs an emotional punch. The script injects a welcome strain of humor that’s true to the original Gene Roddenberry creation, delivering nostalgia without stiff veneration. With Fast & Furious veteran Justin Lin stepping in as director, the third reboot installment, Star Trek Beyond, regains momentum, and not just in the obvious area of its muscular action set-pieces. Abrams reanimated a dormant sci-fi franchise for the big screen with his propulsive 2009 origin story, Star Trek, but then shifted into neutral for the humdrum 2013 follow-up, Star Trek Into Darkness, a regimented blockbuster that felt hollow and heavy beneath all its noise and brawn.
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