Star Trek

What Nolan meant for comic book adaptations and Batman stories, J. J. Abrams represents for the Star Trek world. He fully utilized everything that the latest visual effects technology and a large budget offer, resulting in a magnificent blockbuster filled with visually stunning scenes, grand action, and impressive special effects- in short, everything that makes a blockbuster a blockbuster. There is no doubt that this is the most visually attractive film in the Star Trek series, closely followed by the horror-themed First Contact. The effort to attract the youngest generation to the Star Trek phenomenon and gain a new group of fans is evident throughout the entire film. It focuses on pleasing today's teenagers, which is reflected in the age structure of the characters, pace, atmosphere, and plot. Unlike previous Star Treks, an attempt to bring in some humor is noticeable, both verbal and non-verbal. Especially the character of the beloved comedian Simon Pegg seems to have jumped out of the series of humorous sketches. While the form is polished, the content is not as glorious, although this film does not represent a decline in quality compared to previous Star Treks, nor does it move forward. The plot is somewhat shallow and, above all, in some respects, logic is a bit lacking. For example, the fact that the Federation's most advanced battle cruiser is occupied almost exclusively by inexperienced cadets is insufficiently justified, simply because the screenwriter and director needed it that way. However, the generosity with which the film was made compensates for everything. Every fan of the genre must appreciate the beautiful shots of spaceships and their interiors and the surface of the planet. One more thing is evident in Star Trek - it seems the creators of the film want to end the long-standing rivalry between Star Wars and Star Trek fans, as there is a clear shift to please the fans of Star Wars. The inspiration is clearly visible in some characters and scenes. Overall impression, considering that I grew up with Star Trek: 90%. (09/05/2009)

After successfully watching all the feature-length adventures of the old crew, I smiled indulgently at the passion of all the Trekkies and welcomed the restart of their adventures mainly because of Abrams behind the camera. When a tear dropped at Kirk's birth, I became uncertain, but I attributed it mainly to the huge emotional intensity of the opening minutes. But when another tear dropped just because Leonard Nimoy appeared on the screen, I realized that despite all possible objections, I am a fan who devours every minute. Whether it's breathtaking ice adventures, a smile at the fact that Čechov had an amazing accent from the first minutes on the Enterprise, or the realization that James Tiberius Kirk is cool even without Shatner's charisma. A week after the screening, it is ultimately 90%. I rejoice at the registration into the Starfleet, and perhaps only the first adventure of promising novices could have been a bit more original than a confrontation with an angry avenger. But something tells me that the second time around, it will be at maximum warp. P.S.: The second screening definitively revealed a spectacle without a dull moment. Hopefully, no blockbuster deserved a new series like the voyages of the USS Enterprise. (19/05/2009)

The intro blows you away both emotionally and in terms of special effects. Abrams combines eye candy with the inexorability of fate with masterly skill. Nero’s passage through the wormhole is appropriately monstrous (thanks to the marvelously designed ship) and destructive. Since I had the chance to look at the comic book preceding it, the second part of the story and the storyline around the red matter and preventing the destruction of the galaxy are all more than familiar. For me, Nero isn’t such an incomprehensible character. And Eric Bana moreover imprinted incredible charisma into him. In fact, I thought it was rather a shame the movie didn’t focus on him more. But this is all made up for with storyline about young Kirk, who is really cool in Pine’s delivery. That loud-mouth, constantly spouting snappy lines is just about right opposite Quint’s “rebel" Spock and these two (along with the superb space battles) are the powerhouses of the movie. And for me, time travel has a special aura and I just have to give the full five. Abrams proves that he seriously has skills like nobody else (I hope he proves this again tomorrow during the finale of season five of Lost) and I’m pleased that he was chosen to bring us King’s fantastic saga, Dark Tower. (13/05/2009)

I may have just watched the best blockbuster of the year. I’m don’t care about the Star Trek universe, but to me this was an excellent ride packed with emotions, jokes and explosions. The contrast between the squeaky clean Enterprise and the squeaky dirty Romulan ship is almost as sexy as the contrast between Kirk’s impulsiveness and Spock’s logic. The casting is incredibly good, the whole crew are amazingly likeable and I had no problem at all relating to them (with the possible exception of Uhura). Once again, J.J. Abrams confirms that everything he touches turns to gold. This is what nerdvana should be like :-) PS: The infantile monstrosity of the new Star Wars can lower its head in shame, because right here and now, a new era of modern sci-fi has begun (hopefully). (07/05/2009)

Several hundred flashes, a tattooed Bana and two Spocks. JJ began this nicely from scratch and not only did he manage to breathe life into a long-dead legend, he also resuscitated the half-forgotten space opera genre as a whole. Abrams and Giacchino get the adrenalin pumping, the wonderfully cast (while criminally unexploited) crew bristles with charisma, but the stupidity of the screenplay (however much it might be intentional) trips everybody up like at an ice-hockey match. And I haven’t yet got over how the nearer it gets to the end, the more it slips into the classic Star Trek template, but it does wear a technical cloak that is very impressive in view of the year this was made. Yes, although it’s logical that in the end it assumes the form that we know so well, but from that moment on it stopped being at all interesting. (09/05/2009)