STAR TREK BEYOND

US, 2016, 120 minutes, Colour.
Chris Pine, Zachary Quinton, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, Anton Yelchin, Idris Elba, Sophia Boutella.
Directed by Justin Lin.

This is a review from an observer of Star Trek films, rather than a Trekkie fan of the television series, during the last almost 40 years when Robert Wise’s Star Trek appeared in 1979 as the first big screen movie in what has become a series, well respected and liked, led by William Shatner as Captain Kirk and Leonard Nimoy as the Vulcan, Spock. (It is good to notice that the present Spock pays tribute to his father, with his image, with the box that he left him – and, towards the end, there is a close-up of the photo of the crew of the Enterprise).

The film opens with the young Captain Kirk offering a weapon gift to a strange looking group of aliens who take all the elements of his speech the wrong way – and then leap on him, not the huge creatures we thought, but little irritant monsters. This seemed rather silly – but, the filmmakers were probably getting the audience to have a laugh before they plunged them into an intense battle sequence, spacecraft firing on spacecraft as well as hand to hand combat, all very serious.

But then it got more interesting, with the Enterprise waylaid, sent crashing into the mountainous terrain of a foreign planet. And a villain had emerged, Kraal, a heavily made up Idris Elba (but his fans can see his unmasked real face in sequences at the end). What the crew have to do, as they each landed in separate parts of the mountains and valleys, is to get together. Most of the crew are kept as prisoners, including Uhura, Zoe Saldana.and Mr Sulu, John Cho.Captain Kirk, Chris Pine, and Mr Chekov, Anton Yelchin, survive together. Bones Karl Urban) and Spock (Zachary Quinton) land together, Spock wounded and stoically suffering, but some very entertaining dialogue and banter between the two, capitalising on Spock’s extremely strong and rational interpretation, without emotion. While Scotty, Simon Pegg, lands by himself but meets an intriguing creature, female, painted in white with stripes, who saves him. She is the sworn enemy of Kraal, is an agile warrior and skilled in the ships from the Starfleet, although one which the Enterprise crew think is more than a touch prehistoric.

So, repairs all round using the skills of Scotty (some good lines and heroics but Simon Pegg was one of the co-writers of the screenplay), a rescue with beaming up techniques, Captain Kirk providing a huge distraction riding a super-charged motorbike, Mr Chekov’s knowledge and Mr Sulu’s flying skills.

Kraal is able to obtain the mysterious piece of a weapon that was offered as a gift at the opening of the film – but it unleashes all kinds of weaponry, thousands of them, and the target is the space station to be destroyed which will lead on to further destruction throughout space.

As to be expected, there is a desperate flight, Bones and Spock continuing some sparring as they go in their separate vehicle to save the day, Kraal escaping the destruction of his fleet (achieved via loud rock beat music) and a mano a mano confrontation between Kirk and Kraal.

One of the strength of the film is that each of the central characters gets a substantial amount of screen time – and the crew of the Enterprise show excellent modelling of leadership, shared decision-making and delegation of responsibilities.

For those wondering about the next film in the series, we are reassured because the reconstruction of the Enterprise seems to take practically no time such is the wizardry of future technology.

The sad aspect of the film is the memorial to the late Leonard Nimoy and the dedication of the film to Anton, recognising the very sad accidental death of the young Anton Yelchin.

1. 50 years of Star Trek? Part of so many people’s lives? The television series? The development of Trekkies and the fan base? Science fiction, the appeal to the imagination? Its contribution to 20th-century imagination in science fiction, fantasy? Into the 21st century?

2. The movies, developing the television series? The reboot for the 21st century?

3. The title, the focus on Beyond? To return more to original plots from the series? Audiences welcoming this?

4. Audience familiarity, expectations? The Enterprise, the traditions of the series? The personalities in the crew, the new crew, the links with the past? Kirk and Spock? The range of characters, the characteristics and characterisations? The relative skills, in action, relationships? The verbal interchanges? The musical score?

5. Space, The Enterprise and its interiors? The voyage? Fort Yorke, the space cities of the future? The action in the Nebula? The battles? The new planet, the mountains and valleys, caves? The action sequences? The build up to the climax?

6. Star Trek and its sense of optimism and hope, hopes for harmony, the nature of leadership, the captain but the team, collaborative decision-making, delegation?

7. The voyage, the three years? Kirk and his leadership, memories of his father? The invitation to be in the desk job at Fort Yorke? The commander and her offer, her understanding? Spock, his familiar style, reasoning, no emotions, memories of his father, the photo and the box, his decision to go back to help the Vulcans? The rest of the crew and their jobs?

8. The opening, Kirk, the presentation of the gift, the strange characters, taking every piece of information the wrong way, the descent on Kirk – and their being mini-trolls?

9. The message from the woman in deep space, a desperate call? The attack of Kraal? The battles in space, desperate, Kraal and his wanting the weapon, the search, Kirk and his hiding it? His plan, war instead of peace? His associates? The betrayal of the woman, Kraal’s spy?

10. The Enterprise, the attack, the fires, crashing to earth, the terrain?

11. On the planet, Uhura and her helping Kirk? Taken prisoner, with the crew, Mr Sulu? The background of her relationship with Spock and his terminating it? Mr Sulu and his family? Kraal, the interrogation, the crew member giving up the weapon and her being destroyed?

12. Bones and Spock, Spock’s wound, Bones helping him? The repartee between them and the contrast between reason and emotions?

13. Scott, landing by himself, the encounter with Jaylah, her appearance, painted, the story, treatment by Kraal, leading Scott to the Franklin? The possibility for repair?

14. Kirk, Chekhov, the capsule, their landing, the collaboration?

15. The plan, communications, the possibility of beaming people – Scotty working on it, transporting the crew? Scott and his ingenuity?

16. The discovery of the bike, Kirk riding it, serving as a diversion? And Sulu and all the crew able to be beamed back? The return of Bones and Spock?

17. The plan with the Franklin, repair, the old model, the touch of the pre-historic! The music and its loudness, the beat? Preparations, Chekhov and his succeeding with the dangerous takeoff?

18. The information about Kraal? His past as a soldier, the film and interviews, the way he was treated, ousted, is anger, revenge, his plan, destructive? Getting the weapon, creating the thousands of missiles? The vastness of the attack?

19. Bones and Spock, together advancing, the banter, the dangers, helping Kirk?

20. Kirk and Kraal, on the tower, Kraal’s plan, the fight, Kraal falling?

21. Success, the commander and review, Kirk and Spock, the unspoken plans, the change – and then going out into space for further adventures? And the quick repair of the Enterprise?