Star Trek: Into Darkness Review

Star Trek:   Into Darkness

A review

May 17, 2013

Viewed May 16, 2013

****.5 out of *****

“What's past is prologue.” 
― William Shakespeare,

              Rhetoric, the kind that moves mountains and people is made up of many factors, but it is most often effective when it is backed up in the words with solid actions often emotion based.   Emotions that based on more than random if not rational thoughts that make up the land of ideas and ideals, but something of deeper substance.   To trust one another in a time of crisis to make the intelligent decisions is the goal of the family and the family unit.    It is in in these times of crisis when one becomes aware of the vulnerable balance between the intellect and the heart.  

          Early on in the marvelous new film, Star Trek: Into Darkness the statement is made to a young, brash officer named James Kirk, by his mentor and commander that he believes in him.   He believes in the young man even though he by his own admission does not play by the rules that govern their federation.   He flaunts them recklessly, and uses emotion based thought to guide his courage. His courage is one of blustery confidence on the outside with the fears well hidden.  His first officer, a man of another race, half human, half Vulcan believes in the rules.   His world is one of logic based ideas, but nevertheless as courageous as his captain.   He hides his emotions behind a veil of reason, but they exist.

          As a television series, Star Trek only lasted three years, but those three years of television launched a new futuristic world of man’s journey into the reaches of the galaxy.    It promoted among other things a half Utopian, half nightmare version of the future with galaxies and alien races that could be explored and learned from, and also beings who would have to be confronted and defeated to maintain the balance of peace.   Standing at the center of this universe are these two opposing forces of reason and emotion, united in the same timeless struggle. 

          The popularity of the multiple television series, the feature films and the endless variations and stories have used a narrative that alters between these factors to make science fiction a story of people and characters and less a story of coming fantastic future. 

          This newest version, directed with style and verve to the max is instantly one of the best in the series.  It is a stunning visual treat, an exciting thrill ride that delivers a new take on the familiar, and yet rings true for all that has come before.  

          In the capable and talented hands of its director, J.J Abrams the film returns us to the origins of the original Star Trek crew, now in charge of their own starship, Enterprise.   The familiar characters return, Kirk, Spock, Dr. McCoy, Scotty, Uhura, Sulu, and Chekov.     Rather than simply pay homage to the previous characterizations the seven actors filling these roles have managed to make the parts their own.     This is a Star Trek for a new generation(without pun), and this film is likely to create thousands of new fans with a spectacle so rich that it demands to be seen at the highest possible format. 

          It must be noted that the Star Trek reboot could have been a failure.   It could have failed either financially or artistically and it has not been either, but with Abram’s shepherding it is likely to survive for many more generations.     

          Although hugely popular Abrams’ first stab at this sacred property in 2009 suffered as many films do from a classic reset to the story and an introduction to the characters that have been so beloved for so long.   Reverential and heartfelt, although epic in scope, the film was new and exciting.   By resetting the universe as it were with the events in Star Trek, it opened a door for the filmmakers to both embrace the mythology of the show and films and run from it with warp speed. 

          This latest epic is more testosterone based entertainment than the series or previous films in the series dared to be.   The Enterprise crew is faced with a threat against as one officer puts it “an all out war against Starfleet.”     The crew sent to eliminate a former Starfleet officer, John Harrison who has brutally attacked Starfleet commanders leaving many of them dead.   As they uncover more information the true nature of the characters and their mission will be illuminated. 

          Star Trek: Into Darkness is largely built around three incredible and powerful sequences that are stunning mini-films.    The sequences including a breathtaking and powerful sequence over a third of the way in that knocks the viewer for a loop.    Finding the surprises hidden in the strong screenplay by Robert Orci, Alex Kurtzman, and Damon Lindelof is only one of the pleasures of the film.   The film’s somber tone is offset by the marvelous touches of humor and warmth that the characters show in their interplay, and in the way the actors seem to be rebuilding the characters anew. 

          Visually this certainly is the top film in the series with its vibrant colors and incredible effects it stands alone.     Only a few minor quibbles here and there prevent the film from masterwork level.   They include perhaps a need to flesh out further some of the relationships in the story, and in my opinion a too-rushed over ending.          

          A unusual name, an accomplished performance is put in by British actor, Benedict Cumberbatch.  Mr. Cumberbatch cut his teeth in television’s Sherlock Holmes and here gives a performance that is honestly one of the strongest recent heavies in film.    His performance is not showy, but sets a convincing and powerful tone for the proceedings.     The returning stars to the series are excellent with a more flushed out performance notable this time for Zachary Quinto who plays Spock, and Zoe Saldana who plays Uhura.    Chris Pine, without apparent effort has overtaken the role of Kirk.   The burden of expectation lies with the audience and Mr. Pine has the chops to make the audience believe he is becoming a leader.  The rest in the cast, Karl Urban as McCoy, Simon Pegg as Scotty, John Cho as Sulu, and Anton Yelchin as Chekov are each given great moments to shine.    Bruce Greenwood and Alice Eve take stabs at former iconic Star Trek characters to nice effect.   The only weak performance is by Peter Weller who plays his critical role with too much bombast.

          Certain to be one of the strongest entries to 2013’s summer movies Star Trek: Into Darkness meet the expectations of the long time Trekkies, as well as those who want to spend two hours with an exciting fast paced tale that leaves you ready to continue further journeys into space.    I imagine there will be more than a few hearts excited as the final credits roll.   

                                                              Tommy Key

Rated PG-13(Intense sequences of sci-fi action and violence, language)

          

Iron Man 3

Iron Man Three

A review

May 4, 2013

Viewed May 3, 2013

***.5 out of *****

“When sorrows come, they come not single spies
But in battalions. “

                                                Hamlet  Act V

                                                Shakespeare

            The outside spectator viewing the life of a brilliant, handsome, charming gentleman known as Tony Stark, who also happens to be Iron Man assumes the mantel of greatness is an easy one to wear.    Victorious over the forces of darkness of this world and the next not once but twice, Tony Stark aka Iron Man, virtually one in the same in the public’s eye, and the man who wears the suit seems to have it all.   After all he has cheated death not once but twice, and capable of expanding his power over his creative mind and his empire.  It is an illusion.  Hidden behind Tony though is a vast amount of fear and angst, who is he really, and will the sins of his past catch him after all? 

            Thus begins the premise to 2013’s first certain blockbuster, Iron Man Three.    The film, a mixture of the fantastic and the familiar, tries and sometimes succeeds on multiple levels, but works well enough for most of its long two hour fifteen minute running time to please fans of the character that anchors Marvel’s film universe.     This Iron Man could have used additional script polishes to flesh out its weaker scenes and narratives, but it is amazing to look at, with by far the best film effects of the trilogy.   The film also is one of the great misdirection marketing campaigns that I can remember, but fortunately for fans of the series features the most twists and turns of the whole series, with one huge one that turns the film upside down, and a few more surprises that represent a definitive shift in tone from the first and second film in the series.

            This third film is a vast improvement over the last outing which did little to expand the character, and was basically an excuse and additional setup to the film universe that exploded with last summer’s The Avengers.   This latest outing takes place after the events of that film and references it often enough that it maintains continuity.  

            This outing is long on plot and action sequences although viewers will be shocked to see so much of the film take place with Stark outside of costume, and the mid film shift in tone and the huge twist is likely to either play well with audiences, or cause some uncomfortable shifting in the seat  The first half hour of the film is pure setup as the audience is introduced in a flashback to two new characters, Aldrich Killian and Maya Hansen, each of whom remember Stark prior to his Iron Man days.     The film also introduces the long standing from the comics Iron Man foe, The Mandarin.    In this version the US is being tested from the threat of the terrorist, Mandarin who is striking at will and murdering civilians, and is targeting the President.    The film also introduces a powerful weapon in Extremis a biological tool which Stark and his allies must face.

            That said the less said about the plot the better.   I will say this much for the marketing of the film, it is nice to go into a film and be surprised.   Part of the credit and blame for both what works and what does not must go to director, Shane Black, who replaces actor/director Jon Favreau who is still in the film as Stark’s loyal friend, Happy.   Black takes the film in a different direction.   The film is much darker, and much more violent in tone from the first two films.   However it contains enough dashes of humor, but unlike the first film I found the humor to be a distraction.    This is a film where Stark and Iron Man are up against greater odds, and the minute by minute wisecracks only work to an extent.  

              Iron Man Three largely works because we are invested in Tony Stark’s success.    This is largely due again to just how much Robert Downey Jr. has adopted and made this role his signature one.    Downey infuses Stark especially in the middle section of the film, with just enough pathos that we believe he can be not only hurt, but that his conscious is taking a beating.    If only the filmmakers and the public could work through the darker stretches of the character arc it might be interesting to see where this area could be taken.   

            The best sequences in the film, the massive attack on Tony’s home, the air rescue out of Air Force one, and the climatic sequence that conclude the film are both enjoyable set pieces that are what audiences crave, but they are only part of the film.     Black, known foremost as a screenwriter utilizes everything at his disposal, but the one element from the screenplay by he and Drew Pierce is any true sense of emotional grounding.      The film simply exists as spectacle with little bits thrown in that indicate a more dramatic arc was needed.

            In addition to Downey the series marks an increased role for actress Gwyneth Paltrow.   Her Pepper Potts has been one of the better highlights of the series, but in this film the actress gets directly in harm’s way, even doing the Iron Man suit in one amusing sequence.    New cast members strike a mixed tone.   As the Mandarin, Ben Kingsley is sadly underused.   The presence of Guy Pearce, as Killian who makes a striking villain in his own right gives a sharp performance.    In what is becoming standard fare Rebecca Hall, an actress who seems initially out of place in a comic book movie gives a solid performance considering how underwritten her role truly is.  

            In the end the virtues of the film, its fine cast, excellent effects, and its visual flair override some of its glaring weaknesses.   Audiences are promised the return of Stark and Iron Man at least by the Avengers sequel due in 2015.    In the meantime, Iron Man Three is a satisfying entry in the series.   My only hope as it continues is that the next film is filled with some genuine sense of growth for its characters.   In a critical moment in the film fearing for his life and not her own, Paltrow’s Pepper screams in agony the name on her lips, the name not belonging to the hero inside the suit, but the man she loves and calls Tony.  

                                                                        Tommy Key

Rated PG-13 ( intense sequences of sci-fi action and violence, language, suggestive content)