Star Trek Into Darkness

I ventured into darkness the weekend before last - Star Trek: Into Darkness (2013) to be specific.  The darkened room of the local cinema called to me for this one.  Not many can pull that off.  I suspect Guillermo del Toro's Pacific Rim, Zack Snyder's Superman and Neill Blomkamp's Elysium (three directors we continue to watch) will be the ones to get me out of my home and into the cinema house- well, that and the hot buttered popcorn with extra salt.  That's the place to see these films.

Star Trek: Into Darkness kicked off the summer in style. The film is indubitably the epitome of high flying, high octane summer adventure.  In this, the film is a soaring enterprising success capturing the spirit of all of those great summer films from summers past that I so thoroughly enjoyed with buttered popcorn, candy and soda.

Of course, Star Trek: Into Darkness is not my father's Star Trek: The Original Series (or mine) as the saying goes.  But, of course, having children, mine would be the first to say thank God.  I have no delusions in this nor such an expectation.  ST:TOS was then and this is now. The former will always remain special and the very best science fiction has to offer in my mind, but the latter is now, special in its own right, but for the texting generation.



In stunning fashion, director J. J. Abrams has reinterpreted, reimagined and recreated the spirit of that series in a young, slick, smart, funny, sophisticated new cast of young actors and actresses that feels very much alive breathing much required new life into Gene Rodenberry's lasting and living dream.  As visionary as the great bird of the galaxy once was, Abrams, too, has brought his own sense of imagination and style to an already pre-determined and pre-existing mythology.  Abrams is handcuffed in this as he should be, but he adds muscle and excitement, testosterone and sex appeal to a franchise that seemed nearing extinction to some - not me, but some.



Mind you, Star Trek: Into Darkness is both a reworking of the classic second film Star Trek: The Wrath Of Khan (1982) starring the Original Series cast, yet surprisingly is also original in its alternative approach to the outcomes and underpinnings of that original film and inverting aspects of the always profound relationship between James T. Kirk and Spock.  So Abrams manages a fine tightrope here of being at once original while also reinventing the wheel.  Star Trek: Into Darkness, as such, couldn't be better than this and, for what it is, is exceptional.





The very thing I worried most about going into this film was just how boldly going it would be.  Ultimately, the film is an undeniably fun film and one that I wholeheartedly embrace as the new Star Trek with characters that are (almost) as infinitely appealing and likable as that original cast.

Chris Pine and Karl Urban are spot on amazing.  Zachary Quinto is also stunningly good, but lacks some of that distinct presence offered by my beloved Leonard Nimoy.  I love Simon Pegg as an actor, but my James Doohan never had to be geek funny.  He was science cool all the way.  He was a technician that could kick your ass.  The comparisons aren't entirely fair.  It's just fun.  It's like comparing a 2013 Lotus to the 1970s James Bond model.  Both are exquisite and would have a place in my garage.  Nevertheless, this is the new Star Trek and I love Pegg's approach to the character and his minor touches in making Scotty his own. And of course, James Doohan never had an Ewok-like sidekick either.  Abrams is sure to have fun with that Star Wars franchise.



Still, these are just minor fanboy quibbles by a self-professed fan of Star Trek: The Original Series and, trust me, I do not hold any of it against what is trying to be achieved here for a new era and new generations.  You would have to be unreasonable and potentially out of your mind.  Star Trek, of course, will and should endure and this film is exactly what the franchise required for it to do so with new blood and new energy.  While, it's another interpretation in the journey of the Star Trek legacy, the film is more than that, topical in keeping with the war on terror, fresh and exciting.  It's not just any old reimagining.  Remember Tim Burton's Planet Of The Apes (2001)?  It doesn't always work.  This is something much more successful with its fresh ideas, new twists and execution.  And listen I love Star Trek. I wouldn't be writing about it if I didn't, but I'm not so stubborn that I can't step back and enjoy the ride that is this film.  How could you not enjoy this picture?  In fact, this second Abrams installment easily out performs his Star Trek (2009) reintroduction by sheer force and focus of its story delivered like a red hot cattle prod.  This one simply out pops his debut arrival on the franchise.



Star Trek: Into Darkness takes on terrorism, torture, the behavior of men and political chess between great powers and turns the mirror on our own political past, the affect of decions past and present and the impact on our future.  Star Trek: Into Darkness is a terrific morality play. It will likely be the best one of the summer next to Elysium (2013).  It's everything science fiction should be.

A young boy I know is clamoring for this particular Star Trek to become a television series as it so often has been teased.  Wouldn't that be something special?



Admittedly, I had read much about Star Trek: Into Darkness before seeing the film, so I knew the basic layout going in and I wonder how it would have played for me had I not read those spoilers.  I attended the picture with a friend - a casual, but versed, fan of Star Trek.  He let out an audible gasp, along with a small percentage of others within the theatre when the identity of actor Benedict Cumberbatch (can you believe he is the son of UFO's Wanda Ventham?) was revealed.  Much laughter followed either by those seeing the film a second time or by those like me who couldn't help themselves to read about the film.  While I saw it coming I was just as amused by the reaction of those ignorant of the facts.  One older man in front of me was audibly irked at the reveal and literally shrugged seemingly prepared to exit the theatre as if he had just been violated.



I was in the back row.  It was crowded. Do you know I've never been in the back row before.  Interesting place.  A teenage girl was sleeping and literally snoring next to me.  She woke maybe twice to take a sip of her slurpee.  She showed up midway through the film.  She had to be tired because I don't know how you could sleep through this one.  These teenagers have no stamina for movie crashing/ hopping today.

 

The film closes with Kirk team reassembled with a refurbished and shiny new U.S. S. Enterprise with Chris Pine reciting those famous lines from the original series about boldly going.  My hope in that final scene was that this crew would take us out at warp speed into the great unknowns and truly deliver us the promise of something surprisingly original. In fact, I read that Abrams wished he had closed his film with that opening Nibiru sequence.  In many respects, that might have worked quite well lightening things up after the dark and heavy heart of the film's overall pulse. Nevertheless, the film is assembled with near perfection and darted with good humor and character interaction throughout.

 

This film is splendid and as reimaginings go it's a wonderful production, but venturing into a place we've not gone before might be something to see with an incoming new creative team as Abrams relieves himself of Star Trek for Star Wars.  The promise of a new director brings with the picture a new hope and new fears.  I like that.  But listen, anyone who is a fan of The Original Series opened to new possibilities should hardly fear anything. 

I'm not threatened in the least by new Star Trek pictures.  I can't wait for them.  Star Trek: The Original Series will always be my girl, but like Alice Eve, variety is the spice of life and she and this film were welcomed new arrivals.  This trumped the first Abrams picture for me.  So this new Star Trek crew or reinterpretation of the original Star Trek crew couldn't be finer.

What if The Original Series crew finally met the Borg?  That's not only an alternate vision of one franchise but two in Star Trek television and film history combining the best of both worlds, but is that the kind of originality we want?  Ultimately, if the creators continue to put out Star Trek films of this caliber who really cares.  I'm eager to experience the adventures to come.  This group has settled in beautifully and the potential is wide open.



One final point, Abrams felt he may have been overly gratuitous by spotlighting a half naked Alice Eve in space underwear.  But really, in the time honored tradition of Star Trek women dating back to the unabashed Original Series and its handling of all manner of lovely ladies, and following a long line of endless beauties, including Jolene Blalock and Jeri Ryan, would we have it any other way?  Besides, listen, I hardly noticed.

Star Trek: Into Darkness: B+/ A-.

Star Trek Into Darkness Promo

 

The U.S.S. Enterprise. You have to love her. She looks terrific warping, firing photon torpedoes, submerged in water, and even on fire, doomed and crashing.  What a girl.  How many ships can do all of that and look amazing doing it?

 

With the arrival of Star Trek Into Darkness (2013) who could possibly have imagined the seeds of a story by Carey Wilber and the legendary Gene L. Coon (1924-1973; the other great Gene) captured for the Star Trek: The Original Series Season One episode Space Seed (February 1967) would endure and span more than forty-five years?  Like Star Trek itself, those are inspired ideas and characters that have truly stood the test of time.

Star Trek IV: The Voyage Home

Having a whale of a good time!

... or Star Trek IV: The Whale Movie. Come on, you know that's how you remember this one. Star Trek IV: The Voyage Home [1986] is a classic in its own right. Leonard Nimoy directs what turns out to be one of Star Trek's funniest films coupled with a sweet environmental love letter without being preachy. It's an entertaining adventure yarn with the aging crew of the Original Series. I believe the old folks here might have been competing with Roger Moore [pushing it in A View To A Kill] in his final days as James Bond in the 007 pictures. Nevertheless, all are charming and I love both franchises. The original crew of the Starship Enterprise are simply the best!

With several bowls of popcorn in hand, I needed a fun film and one fairly age appropriate quickly the other night. I decided to unleash Star Trek IV: The Voyage Home on the neighborhood kids. They loved it. I have to say looking back on it, it was missing significant action for me. I also prefer the more serious tone of the series over the cutesy antics found here. I suppose when you get older you tend to compensate for your lack of action ability with comedy. Still, this is good and when I saw this in theatres I loved it myself especially when they transported the whales from Earth past back to present day Earth to save the planet. It's an interesting premise well-executed by Nimoy with great effects, a good story and snappy dialogue.

The film begins with a dedication to the men and women who lost their lives in the space shuttle Challenger. Director Leonard Nimoy the film with the sound of whales emanating from an incoming vessel of unknown origin.

Meanwhile, William Shatner is on trial as a terrorist. Can you believe in a world filled with the kind of terror that's out there Captain James T. Kirk would be considered one of them? He is being held accountable by a Klingon prosecutor for the murder of Klingons and the theft of a Klingon Bird Of Prey. The alien demands justice for Kirk's crimes. Spock's father, Sarek [with Mark Lenard returning], speaks on Kirk's behalf, making the case for his innocence.

Elsewhere, the exiled Kirk and crew agree to return to Earth in their stolen Bird Of Prey to face charges. All of this of course comes as a result of events which occurred in Star Trek III: The Search For Spock. Spock continues to assimilate his intellectual growth via computer. He is approached by his mother when he is asked "How do you feel?" As a vulcan, Spock does not compute. His human mother, Amanda [played by the always beautiful Jane Wyatt returning], appeals to the human side of her son's very fiber. He is still coming to terms with his rapid growth and development particularly coming to terms with his human attributes. The question is one posed not only to Spock but also to the audience? It is a thread that ties the film together as you'll see here.

*

Well thanks for asking. I'm feeling quite fine actually.

The alien probe passes the Saratoga sapping it of its power. Anything in its path is either damaged or destroyed. The probe is a funny design, simple but effective. It's like a long, metallic cigarette and it is one hell of an imposing, immovable object. Lt. Saavik [played by Robin Curtis] bids farewell to Kirk and informs him of his son David's bravery in saving their lives. Spock greets Kirk and Kirk insists he call him "Jim," but Spock just isn't quite there yet or as Bones puts it, "He's not exactly working on all thrusters." It's humorous as Kirk wills Spock to call him Jim with some frustration throughout the film. This is one of the trademarks of the series and the triangle of characters that is Kirk, Spock and Bones. Bones attempts to make a breakthrough in reaching out to his old friend, but is merely frustrated by his efforts as only Spock can thwart them.

*

Before long the probe is wreaking havoc on Earth's weather patterns. Electrical storms and cloud cover is so intense there is no sun. I must say the Bird Of Prey is a pretty spectacular ship design and one that I enjoy seeing on the screen even if it is in the form of a matte painting. Great color and design. Earth sends out a distress signal and informs Kirk and crew to avoid the planet.

Kirk opens speakers and listens to the sound transmissions. Using the database Kirk begins scanning the files for a match to other Earth lifeforms at Spock's suggestion. Uhura modifies the sound clip to determine what it would sound like underwater. Whales? Spock finds a match. Humpback whales to be exact. At this point, Humpback whales have been extinct since the 21st Century. Spock indicates they might need to find some whales because fighting the problem would be futile. Kirk orders Spock to figure out computations for time warp. Time warp must be really handy. You can fix anything.

*

Weather patterns are certainly becoming critical on Earth. So Kirk and Scotty discuss the possibility of storing some whales aboard the Bird Of Prey in the form of a kind of intergalactic space aquarium for transport. Kirk informs present day Earth of his plans for time travel if they are sto stave off complete disaster. The crew's destination is the Pacific basin of Earth past. "May fortune favor the foolish," prays Kirk. I supose foolish is better than dead.
*

As you might have guessed, they are successful in arriving at the latter half of the 20th Century. The Bird Of Prey picks up the sound of whales from San Francisco. Scotty informs Kirk the ship has some significant engineering issues that may not allow them to get home. The Dilithium crystals are weak. Those damn Klingon crystals! No cloaking ability and no time travel will be capable for 24 hours. Spock suggests nuclear material from the 21st Century that might just solve their problem. Photons will repower the crystals and give them the necessary power. Kirk asks Spock to cloak the ears and he makes a kind of instant sweat band to everyone's amusement.
*

Off go our friends to the groovy sounds and goings on of 1980s Earth.

Uhura and Checkov will handle the nuclear materials issue by looking for the "nuclear wessels." Sulu, Bones and Scotty will handle tank building and assembly issues inside the Bird Of Prey. Kirk and Spock will handle looking for the whales.

*

This kills me as Chekov [with Uhura] is looking for the "nuclear wessels." It really kills me.

*

And so begins the comical second half of the film as our heroes from the future take a step back in time to Earth of old for their comic antics and reactions to Earth circa 1986. One good example is when the taxi driver yells at Kirk and calls him a "dumb ass" only to have Kirk respond in child-like frustration with "double dumb ass on you." Money issues. Communication issues. This is all part of the fun. Here is one of those classic moments.

*

It wouldn't be a proper Star Trek film without the vulcan neck pinch. You also get one of those frustrated "Jim" exchanges.

*

Kirk and Spock arrive at the Cetacean Institute and meet Dr. Gillian Taylor [played like nails on a chalkboard by Catherine Hicks]. She reminds me of one of those yippee little dogs that nips at your heels when you ride by someone's house and it chase you for the next quarter mile.

*

Classic line by Spock in response to learning about the whaling industry by humans back in the day: "To hunt a species to extinction is not logical." Some of the most interesting information on whaling can be found at the whaling museum in Nantucket, MA. And if you've never read the book you should do yourself a favor and check out In The Heart Of The Sea: The Tragedy Of The Whaleship Essex by Nathaniel Philbrick. It's a haunting, brutal but fascinating story. I think Spock would agree.

*

The whales, George and Gracie, are slated to be released back to the ocean from the institute. Spock dives into the waters to speak with the whales via mind meld.

*

Uhura and Chekov find the materials they need on a warship dubbed, ironically and with the proverbial wink, the U.S.S. Enterprise.

*

Dr. Gillian Taylor gives the boys a ride as they attempt to explain who they are. Spock drops a bombshell by telling her Gracie is pregnant. It's a bombshell not because she's pregnant [and Taylor already knows as we find out later], but because he knows and she is dumbfounded by the possibility that Spock could know.

Scotty, Bones and Sulu get their answers at Plexicorp. There are so many funny moments in this film it's hard to keep track.


*

I remember having to train this fellow on how to use a mouse years and years ago. I literally had to hold his hand on the mouse and show him how to move his hand with the mouse in it. It sounds quite disturbing, but it's true.

Taylor: "Are you sure you won't change your mind?"

Spock: "Is there something wrong with the one I have."

Kirk: "Little joke." There's plenty here.

*

Over dinner Kirk gives Taylor the lowdown on how he and his friends could help those whales.

*

Taylor: "You're from outerspace."

Kirk: "No. I'm from Iowa. I only work in outerspace." You see.

*

This is key moment in reaching Spock's humanity and the question of how he feels. It's easy to miss.

Collecting the necessary materials Uhura is beamed aboard the Bird Of Prey, but Chekov is captured by the military. I can't imagine a Russian being captured on the Enterprise on Earth in 1986 is a good thing for Chekov with the Cold War and all. Chekov makes a break for it but gets hurt and is hospitalized in critical condition.

*

I love moments like this.

*

Sulu brings back some nifty materials for the whale tanks via chopper. While outside the Bird Of Prey Dr. Taylor is yelling for Kirk in the park. They beam her aboard to quiet down that yippee little dog. She is an annoying woman and an annoying actress. Kirk is informed the whales have been released. Chekov is in the hospital and critical, but our man Bones saves the day. Spock agrees the one must be saved. "It is the human thing to do."

*

They bust into the hospital in medical garb and using Dr. Taylor as a patient with a bad case of upper abdominal distension otherwise known as "cramps." Damn that doctor lingo sounds good though.
*

Back on board the Bird Of Prey the crew heads off looking for the whales. I'm reminded of a-ha's song We're Looking For The Whales. I never really thought I'd have reason to think of that song until now.

*

There are a number of very subtle moments like this throughout the film bringing the Spock we know and love back into the fold.

*

Our fearless heroes find George and Gracie just in time arriving above a whaling ship prepared to harpoon their catch. Lock and load. Scotty beams our watery mammal friends aboard the ship with water for the containment tanks to boot. "Admiral, there be whales here!" celebrates Mr. Scott in excitement. Back to the future they must go. I'm not really sure about the whole time travel special effect. It was a little pathetic and weak.

*

The Bird Of Prey arrives and crashes waterbound into the Earth oceans releasing the whales to communicate with the probe and in turn prevent the destruction of Earth. It's a flawless landing that might never actually happen in real life except for that one miraculous instance in New York's Hudson Bay. Bless them.

*

Success. I love the visuals of the Bird Of Prey in the water and rain. It's a nicely executed segment with the cast outside looking on at the surviving whales against the backdrop of the green vessel. I also like the swimming moments with the crew. There is such joy in these shots. So what exactly was the probe that spoke whale? Why? Why did it need to hear the whales in order to go away? I can only say I have no idea still, but fascinating. Happy with its findings, the probe turns and departs, but to where it has gone is anyone's guess.

*

The sun shines once again and all is literally right with the world.

*

The epilogue: Kirk is brought before the court for his charges with his crew and Spock. Spock, who while not named, chooses to stand with his shipmates. Kirk pleads guilty, but the court dismisses all charges except for Kirk's charge of disobeying the orders of a superior officer. In effect, it's a godsend as he is reduced in rank to captain from admiral. He will be back in command of a starship as only we have come to know and love. They receive the one and only home they know, the NCC-1701-A, U.S.S. Enterprise. There is great meaning in the film's title, the voyage home, on many levels and this is no exception for the crew.

*

Spock says goodbye to his father. This is yet another fine moment in the Star Trek cannon answering his mother's question asked earlier in the film.

*

Star Trek IV: The Voyage Home is worth the trip.

*

Star Trek IV: The Voyage Home: B+

Star Trek II: The Wrath Of Khan

The U.S.S. Enterprise. The queen mother of all vessels.

The Boy Wonder has suddenly become obsessed with Star Trek's U.S.S. Enterprise and I decided that I must seize the moment as they say. Carpe Diem. Right? He loves the ship! So I thought, it is time. He must learn the ways of the force, Star Trek style. So his education begins with the foundation of all things science fiction [in my mind], Star Trek The Original Series. It will be interesting to see how I view Star Trek through these aged eyes.

I begin somewhat unrhythmically with Star Trek II: The Wrath Of Khan [1982]. Those behind Star Trek had some serious bouncing back to do following the snoozer that was Star Trek's reintroduction to the world in the form of Star Trek: The Motion Picture [1979]. It had been some time since I had seen this one. I remember it well. It's a solid, good story, real good.
*

Speaking of age, our heroes have done a little aging of their own and are not far off from joining the granny contingent here. Captain James T. Kirk is coming to terms with his own mortality and it's an interesting opening. It's terrifically symbolic of this aging franchise, in particular this group, and the limitations of our stars going forward at this point in the game. Our old friends have aged well, but they have aged indeed. DeForest Kelly is certainly the oldest of the group.

Chekov and the Captain of The Reliant head to what they believe to be City Alpha 6 as part of a scouting mission for the Genesis Project, but Chekov reacts with great fear and trepidation upon discovering the remnants of the S.S. Botany Bay on the planet's surface. Escape is too late. Yes, this is the graveyard of Khan Noonien Singh played by our recently departed friend Ricardo Montalban. Khan is quite surprised to find his old nemesis Captain James T. Kirk is now an admiral. Khan tortures Chekov with an alien space creature's offspring that burrows into the ear. I remember this scene quite vividly and was pretty freaked out by it upon the film's release. It forced the Boy and Girl Wonder to cringe and shield their eyes with some fright despite the PG rating reminding me of my earlier reaction when first seeing the film.

*

Nasty little ear-burrowing critter. Yucko!

Elsewhere the U.S.S. Enterprise launches in all its glory. Saavik, played by Kirstie Alley [in much less heftier days], is captaining the Enterprise.

Note Scotty beaming wth pride over the young man to the left who was a child star once upon a time in Escape From Witch Mountain and Return To Witch Mountain. The actor is Ike Eisenmann.

Dr. Carol Marcus, Kirk's old flame, reports into Kirk after receiving word from a coerced Chekov [on the Reliant] that Kirk is taking over the Genesis Project. Kirk is out on a training mission with Spock and friends. Spock insists he should not have taken the promotion to admiral.

This sequence has much to do with the final heartbreaking moments within the film.

Kirk heads off to Regular One to find out more. He accesses the data files to learn about Genesis. Genesis is "life from lifelessness." The Genesis Project hopes to reinvigorate a lifeless planet through something referred to as the Genesis Effect. "It literally is Genesis." "The power of creation." The biblical undercurrent must have influenced Shatner for his directorial debut on Star Trek V: The Final Frontier [1989]. Anyway, the fear is using it on a planet already teeming with life. It would have a deleterious or thoroughly destructive effect. We are treated to a classic exchange between Spock and Bones with Kirk in the middle.
*

The Enterprise happens upon The Reliant. Caught unawares the Enterprise is fired upon while her shields are down and disabled substantially. Comm lines are opened with the Enterprise limping along. Kirk is puzzled by the enemy who has commandeered the Reliant until his eyes gaze upon his old, long lost enemy Khan. Khan wants revenge- plain and simple. His motives are pure. Needless to say the battle sequence is reasonably exciting for its day.

*

It's deceiving but Shatner and Montalban never worked together on this film.

Kirk and Spock get the prefix code for the Reliant and cunningly bring down Khan's shields giving the Enterprise a chance to fire upon Khan. Khan escapes and Kirk and friends do their best to assess damage as they arrive at Space Station Regular One.
*

One of the losses is the Escape From Witch Mountain boy. If I'm not mistaken, it was James Doohan, in his own words in his biography, Beam Me Up, Scotty, where he indicates there was much more to this subplot than meets the eye. He is grief stricken here by the loss of this young man and we never fully understand why. He indicates more was intended to be fleshed out about it, but was left on the editing room floor. For some reason I thought this problem was corrected for the DVD, but I was still left uncertain over what exactly transpired for Scotty in ths film.
*

Aboard the Regular One, Kirk, Bones and Lt. Saviik find everyone aboard dead. They do find Chekov and Captain Clark Terrell [played by the late Paul Winfield; you'll remember he was the father of Dr. Stephen Franklin on Babylon 5]. The creepy crawlies that slithered into their ears have control of their minds and cause them great pain. The Genesis materials are missing. Kirk and company beams down to the planet below. He finds Dr. Marcus and his son. Chekov and the Captain hold them hostage and report back to Khan because they are involuntarily under his control thanks to those little alien thing-a-mabobs.

The Genesis materials are with Dr. Marcus. Captain Terrell shoots himself and Chekov falls to the ground while the little alien slime-slug thingy slides out and Kirk blasts it with his phaser. I'm not sure it presented any great trouble, but fry it anyway. I never could understand why the alien slug slid out of Chekov of its own accord, other than perhaps saving one of our legendary heroes from certain death.
*

Kirk contacts Khan and lets him have it. "You've managed to kill just about everyone else, but like a poor marksman you keep missing the target." Surely that must piss him off. Those are fighting words.

Khan beams the Genesis materials aboard the Reliant. Khan plans on hurting Kirk by leaving him marooned on a dead planet [or so he thinks]. That waterfall looks like a lot of fun.
*

Kirk and Dr. Marcus have a heart to heart regarding their son David. Only David doesn't know Kirk is his father. "How am I feeling? I'm old. I'm worn out." Shatner does a great job of playing strong while vulnerable. We all get there and he is a voice for all of the fans when he speaks on some level. Somewhere along the way, as Shatner aged, he learned to laugh at himself more and more. In fact, I think there came a point later where there was a little too much humor to overcompensate for the lack of action.
*

Spock comes to Kirk and company's rescue, but the Reliant is after them. It's faster and stronger than the damaged Enterprise. The Enterprise heads for the Nebula to even the playing field. The Nebula wreaks havoc on communications and other radar systems which gives the Enterprise a chance.

*

Crikey! Will you just look at those freakin' pecks!

Khan's ripped chest is really something for a man his age. That's not make-up. That's HIS damn chest and it is really something. It's like a damn six pack! I'm not in love. I'm just awestruck. It's hard to believe he and Kirk never come face to face throughout the whole film despite being mortal enemies. I think Montalban might have kicked Shatner's ass. The fact Director Nick Meyers pulls it off speaks volumes about his skill. The conflict is real, but the drama is told from afar throughout the film. They never come face to face as they did in Star Trek: The Original Series, Episode 22, Space Seed [1967]. It's astonishing really.
*

Khan goes after Kirk because he cannot resist his insatiable lust and thirst for revenge. It is his undoing. It is his failure. His own people advise against it but he cannot resist like a bug to a light zapper.
*

Inside the Nebula the battle begins. The ships are unable to raise shields. Both ships are vulnerable. Kirk positions the Enterprise behind the Reliant. With all of the communications static the Reliant turns around and comes upon the Enterprise and both fire away at one another exacting much damage.
*

Chekov returns to the helm and doesn't exactly look 100% actually, but joins the fray amidst this cat and mouse battle. Although which is which I'm not sure until a victor emerges. There are moments of pure quiet as the two tacticians attempt to figure each other's next move. Kirk comes upon Khan and his ship and truly hammers away at him. Khan responds to Kirk with his disfigured face by preparing the self-destruct on the Reliant while the Enterprise sits very nearby unable to propel away with its malfunctioning warp drive systems.
*

"Scotty, I need warp speed in three minutes or we're all dead." Scotty is injured. The Enterprise moves slowly away with little chance of gaining enough speed to escape.
*

Spock goes into the highly radioactive central core of the warp engine to reestablish warp speed. He unfortunately has to give Bones the Vulcan neck pinch to get in there. He has to be careful not to hurt his old bones. "Remember" he tells Bones. Khan is all spitting vile and venom right up until his dirty last breath. "No you can't get away. From hell's heart I stab at thee. For hate's sake I spit my last breath at thee."

*

Spock gets her done as the Enterprise narrowly escapes at warp speed. Kirk thinks Scotty has done the job once again. Sadly, he will quickly learn the sad fate of his old friend Spock. Where once the Nebula was is now a newly forming planet.
*

Kirk is informed he needs to report to the engine room immediately. The urgency is unsettling and he rushes there. This is quite the powerful scene. When he bumps into the glass wall it's tough to watch our old friend struggle. Nimoy always was such a tremendous presence.

The death of Spock is simply one of the most powerful movie moments in science fiction history. I am always touched to see that scene. A farewell tribute is given as he is launched into space. He is launched toward the newly formed planet and there is hope.



Classic line Kirk line over his loss of Spock to death: "I haven't faced death. I've cheated death. Tricked my way out of death and patted myself on the back for my ingenuity. I know nothing."

David Marcus visits Kirk in his quarters and tells him he is proud to be his son. They embrace in a fairly moving but brief sequence.
*

Not surprisingly as our friends leave the new planet's orbit it looks awfully familiar. It looks an awful lot like a thriving, big, vibrant, blue planet we know and love. Hint, hint, wink, wink, nudge, nudge. We are reminded to treasure the life on our very own planet. These touches are subtle and never force fed to us which makes it all especially effective. It's all so ironic Kirk should lose his dear friend Spock on the heels of his own birthday in the film.

"He's really not dead as long as we remember him"- Bones [more than you know]

Star Trek II: The Wrath Of Khan: B+