Ditto for one of its stars.I'd seen Mind Meld: Secrets Behind the Voyage of a Lifetime once before, but it's been at least four years since I haven't logged it since I began tracking my at-home viewings with DVD Profiler. There’s a reason it endures in pop culture in so many ways. And of course the poignancy of Spock’s death at the end. The Nicholas Meyer script, the James Horner score, the creation of a truly great villain in Ricardo Montalban’s Khan. And then of course there was the addition of Nimoy as Spock Prime, ingeniously inserted into the story via a clever device, offering us the chance to watch Nimoy do his thing even long before Spock started to look like him. Abrams created a complex but clear narrative, Chris Pine and Zachary Quinto feel like Kirk and Spock of younger years, and indeed much of the cast is stellar - Zoe Saldana as Uhura and Anton Yelchin as Chekov, to name two. Also, one of two “Star Trek” movies directed by Nimoy, which makes it resonate a little more on this day. In an era when a strong villain was essential, “Voyage Home” flouted all that and got away with it.
But it picks up nicely on the elements of the previous two films, and the fish-out-of-water comedy, as it were, as the crew makes its way in downtown San Francisco is sharp and funny (give or take a couple cringey dated moments).
Sure, it had that save-the-whales preachiness, and it took things out of the Enterprise and down to earth. This ranking may be controversial to some, but the film deserves high marks. But the film does partly redeem itself with some strong dialogue, an eclectic cast that includes Kim Cattrall and Christopher Plummer and the fact that, well, it wasn’t “The Final Frontier” of a couple years before. And the fights between Gene Roddenberry and writer Nicholas Meyer could almost be felt in the final product. There’s a thunderingly obvious end-of-the-Cold War allegory (Gorkon?) that was devised by Nimoy himself, and the possibility of a youth-themed prequel hovering over it (it was the initial idea for the film, then scotched, to be reborn nearly two decades later by Abrams). The schmaltzy emotions freight it down, and there is some serious New Age-y stuff: what’s this about Bones carrying the Katra of a deceased Spock ? But the space -opera thing was a nice idea, and the early image of a dying Spock behind glass, his hand reaching out for what he can’t have, haunts us still. Fortunately for Nimoy, he wasn’t in it very much.
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The whole movie felt like a deflation after the charge of the first reboot. cities looked cool (and events there connected nicely to what was happening in space), but the effects were loud and uninspired and the plot a mess. Abrams’ sequel film nobly tried to go where it had gone before but failed in its quest. One wished the massive energy cloud from the film would just hit our planet and be done with it, preferably while we were watching the movie.Ī disappointment.
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But it also helped kick-start the run of TV shows to the movie theater, not exactly a welcome development. OK, so it got one of the great movie franchises of all time going. The most generic, danger-hurtling-toward- Earth premise.
Bloated and inert, filled with jargon-heavy dialogue even the Enterprise crew members didn’t seem to understand, this one is a dud, the kind of empty spectacle that makes people just go back and watch a good TV episode instead. Yes, there are always going to be revisionists who say this film is an underappreciated gem.
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