Tag Archives: critiques

After Earth (2013) Dir. M. Night Shyamalan

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I have a strange soft spot for M. Night Shyamalan’s work.  I don’t know why.  Like most people, I think his best three films are Signs, Unbreakable, and The Sixth Sense, with Signs being my personal favorite.  But maybe it’s just that, through all the disappointments, I feel that he is still an artist with a vision and something to say.  It’s just…something went off in a different direction with his style of filmmaking, and the acting choices he wants from his actors.  Whatever the reason, I still manage to pull something meaningful out of his films, even if they aren’t as great as they once were.  With After Earth, that Shyamalan mediocrity that we’ve had to get used to is unfortunately still there.  But after difficult First Act, I actually found myself warming up to the movie.  Once young Kitai was off on his adventure, there was less talking from him and more action.  Jaden’s Smith’s performance may not have been perfect.  But I did feel something for this kid, who only ever wanted to make his father proud.  Even if the conclusion is inevitable and we know that things are going to turn out okay, I enjoyed the movie.  It had some positive messages about facing fear, knowing that it is an illusion, and how when worse comes to worse, remembering to ground yourself in the present moment.

One of the things I do admire about M. Night’s movies is that you can usually count on the danger being taken seriously, and he does a good job building the rules of the universes his characters inhabit.  The film has a few moments of humor to relieve the tension, but it never got too bogged down into seriousness like some of his other films have.  There was actually a favorite scene I had in the film.  It’s where Kitai gets bitten by a poisonous leech, and in order to stop the poison from spreading, he has to stab a needle in his heart with the antidote medication for it to spread through his system.  The scene had me on edge to watch the poor kid have to stick something in his heart to save himself.  It’s the one scene where I really felt I saw a kid having to overcome his fear to save himself from death.  Strangely with the scene of him jumping off a log to fly, not so much.  I didn’t see the fear in his eyes the way I did in that earlier scene.

Part of the story involves an alien creature known as an Ursa that can “smell fear” through a release of skin pharamones when a person becomes frightened.  Kitai’s father learned a technique, called “ghosting”, which purges fear and makes the creatures unable to sense their victim.  As you can guess, Kitai discovers this technique in himself when he has to face the creature in the climax of the movie.  But personally, the moment didn’t feel earned.  The film in my opinion didn’t build the stakes enough in its danger scenarios for me to believe that this kid found it in himself to conquer his fears.  The problem also lies in the first act of the film, where Kitai comes off as whiny and spoiled.  I couldn’t quite understand how I was supposed to feel the conflict between him and his father, when for the most part, his father is right.  There wasn’t enough of a build up in the conflict between them in those first scenes to relate to Kitai for me to want to side with him.  Kitai seemed more relatable to me once he was away from his father, facing danger, and having to make choices to survive.

When it comes to movies, one of the things I can’t do is judge child actors too harshly, because many times I think some of the criticism is unwarranted when we’re talking about a kid who is trying their best at a performance.  Admittedly, Jaden Smith has some trouble when it comes to his dialogue scenes, and he’s a bit difficult to understand when he voices the opening monologue.  But for a child actor, I found he was very good at being physical, such as with the needle in the chest scene, which I thought he pulled off well.  It might have been more of a challenge if he had to pantomime act through the movie, but the less he talked and the more he did in action scenes, the more I was engaged with him.  It’s more issues with the script than him where the film has its problems.

Overall, I kind of liked After Earth.  It’s not a great movie by any means but it was enjoyable and fun at times.  I think it’s also a decent film for parents looking to take their kids to a movie this summer, one that actually has perilous moments taken seriously that kids can relate to.  It’s certainly better than most of what you’ll seen in the theater right now.  It’s a story that doesn’t need to be too big or too epic to make it’s point.  It’s fast paced, and for the most part it’s an enjoyable ride that I recommend you check out.

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Star Trek Into Darkness (2013) Dir. J.J. Abrams

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I’m not sure how I would categorize myself when it comes to being a Star Trek fan.  I watched all of the Original Series, and admittedly I’m not as huge a fan of it as I am with Next Generation and DS9.  I can’t recite plots for you, I don’t own any of the books with the schematics for how the Enterprise works.  But I know the basic rules of the series.  I know enough of the important things that hold it together.  Simple rules like the Prime Directive.  Or you can’t beam to the surface when shields are up.  When it comes to the Original Series, most of my knowledge about it comes from the first 6 Star Trek features, but I know the characters well enough to understand who they are and what their history is.  When I first saw the Wrath of Khan in 2004, I hadn’t watched all of the original series at that point, but I understood the meaning behind Spock’s death.  I understood that Kirk, Spock, and McCoy had a history that they shared together, over three seasons of televisions and two feature films.  There was also no guarantee at that point that Spock would ever come back.  Even though I knew there was a movie after The Wrath of Khan called The Search For Spock, I was still emotionally caught up in Spock’s death, and the movie was so well written as to make Kirk finally stare death in the face for the first time.  Even if you had no connection to Star Trek at all, you could understand the story well enough to let Spocks death have some sort of impact on you.  It’s that well written.  Everything about that story had built up to that moment, and it was just as beautiful, wonderful and as sad as any other pinnacle moment in motion picture history.

It seems almost idiotic and unbelievably stupid that anyone would try to redo that famous moment in film, but that’s what Star Into Darkness tries to do.  From the moment John Harrison is revealed to be Khan, I had a feeling the movie was getting itself into serious trouble.  This is like retelling the story of the Wrath of Khan from the perspective of Back To The Future 2, seeing the events unfold from another side.  But instead of being worked into the structure of good storytelling, it’s about nothing more than serving the fans of the original movie.  It takes advantage of the audiences naivety when it comes to storytelling by letting their emotions from another film influence them instead of the story we’re watching being able to hold its own.  The film also couldn’t let go of holding hands with the original series and walk on its own once Leonard Nimoy made a useless cameo appearance.  Elder Spock should have been smarter and not told anything about what happened in his timeline, because all he did was allow young Spocks emotions to get caught up about Kirk in a timeline that has nothing to do with him.  Elder Spock should have known this and not said anything.  But the moment has nothing to do with plot.  It’s all about giving fans another reappearance from Spock.  It just goes to show how unwilling J.J. Abrams is willing to detach himself from the Original series, and from that point on the movie falls into disaster.  The moment I saw that Kirk was going in to save the warp drive of the failing ship, I knew what they were doing and what was coming.  I let out an audible “Jesus Christ” starring in disbelief that the film had completely lost its own sense of meaning and purpose to itself.  It couldn’t allow itself to be it’s own thing.  It had to take the easy path, keeping fans of the show unaware that there was no real story here to begin with..  For one thing, the fact that John Harrison is Khan, to Kirk and crew that doesn’t mean squat.  They don’t know who he is.  There is no relationship between them yet.  As of this moment, there even still isn’t enough of a relationship between Kirk and Spock for Spock to shed any tears over Kirk’s “death”.  On an emotional level, the scene makes absolutely no sense.  The people who are getting caught up in the scene emotionally are getting caught up in their emotions from the Original Series.  J.J. Abrams is letting somebody else’s movie drive his film.  In the two Star Trek films Abrams has directed so far, I don’t see how Kirk and Spock could have established any sort of real relationship to make Spock shed tears over his death.  Spocks emotions are based on what Elder Spock told him about the other timeline.  To follow such emotions from somebody elses timeline is…er…illogical.

In fact, I think the new series has failed to establish the primary relationship that does matter: the trio of Kirk, Spock, and McCoy.  It’s these three men who are at the heart of Star Trek.  The new films so far have failed to build up their relationship together.  McCoy is rarely there when the three of them are a group.  As far as the two main characters go, Kirk spends more time cutting off Spock any time he has something important to say.  It made more sense from the first film when the two men were at odds with one another.  I still haven’t seen them go through enough for their relationship to mean anything.

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First, the opening sequence makes no logical sense.  It’s pure action drivel with very little development put on the characters.  It’s not just the fact that Kirk revealed the starship to a race of primitive aliens, the entire mission is a violation of the prime directive.  If the volcano is going to wipe out their civilization, then the Federation can’t interfere with the evolution of the planet or the destruction of a species.  Kirk from the series was known for violating the Prime Directive, but at least his reasons made sense, and he wasn’t about to start impacting an entire ecosystem.  Second…why was the ship underwater again?  I couldn’t understand why they couldn’t keep the ship in space, except for the reason to have a “hey wouldn’t it be cool to see the Enterprise burst out of the ocean” moment.  Third…why could they not beam Spock through water?  In The Wrath of Khan, they could beam through the center of planet.  In Star Trek TNG, there were cities on Earth built underwater where people could be beamed in and out.  If they can beam through rock, why should beaming through water be any different?

The next thing that happened bugged me even more.  The story presents a plot issue that Kirk has his command taken away from him, which we think is going to be a driving story point.  After making a big mistake, Kirk has to prove himself to regain command of the Enterprise.  But all it takes is the death of Captain Pike in the next scene before Kirk is given his ship back.  So any sense of drama that might have related to Kirk losing the captains chair and fighting his way back to it are completely extinguished.  I also can’t relate to Kirk feeling emotionally lost about losing the Captains chair because quite frankly he deserves it.  And he just turns into a whimpering baby over it.  Also, as far as Khan killing Captain Pike goes, I just don’t think there’s enough of relationship between Kirk and Pike to justify Kirk’s need for revenge.  We have to be reminded of Pike giving command to Kirk in the first place from the first film, taking him under his wing and acting like a surrogate father to him.  But it’s not enough to drive an entire emotional arc of a film.  I sometimes think Kirk has the emotional stability of a high school kid, and one would think they would put a person with some ounce of maturity in the Captain’s chair.  It made a little more sense in the first film, which established Kirk as being somewhat of a prodigy, even if he was unruly.  But with his maturity level here, he seems undeserving of command, and I wish the film had spent more time forcing him to see this side of himself instead of instantly giving him back the Enterprise.

And then there’s the completely messed up logic in the build up to Kirk’s death, which is the Wrath of Khan moment in the story.  The Enterprise is falling out of orbit and Kirk has to realign the warp core to power the main thrusters.  Umm…I don’t read Enterprise technical manuals, but I know that’s not how the Enterprise works.  The warp core powers the warp drive.  NOT the Thrusters.  That’s why in any Star Trek series, when the warp core gets knocked offline, the ship can still run on impulse (i.e. THRUSTERS).  It’s one of these imbecilic design flaws where all the ships power is connected to one circuit breaker.   It worked in Wrath of Khan because Spock had to fix the Warp Drive and send the ship into warp to get away from the Genesis explosion.  As far as Spock screaming Khan and turning into the Vulcan terminator, they try to turn Spock into a badass, but without any of the buildup to it.  It made me think like they were trying to do an Iron Giant moment, like when the Giant loses himself and turns into a killing machine.  We don’t see Spock struggling to control his emotions except for getting into whiny high school banter with his girlfriend Uhura.  The fight presumably being that Spock showed no feeling towards Uhura about how she would feel if the Enterprise would have left him to die in the volcano.  Umm…Uhura…that’s part of service in a military operation when it comes to giving your life for service.  If she’s that emotionally impaired, what is she doing in a military operation like Starfleet?  It just tells me even more that this crew is not ready to be piloting starships around the galaxy.

STID2And about Carol Marcus, another layover from Wrath of Khan…she serves absolutely no purpose to the film.  She could be taken out of the film and have almost no effect on the outcome of the story.  She’s that forgettable.  Also, why is her father piloting a starship bigger than the Enterprise?  The Enterprise is supposed to be the most advanced ship in Starfleet.  Why is there a ship out there that looks like a Star Destroyer?

Once again we have another summer film that builds on everything that was familiar and had come before.  This film gives more power to The Wrath of Khan than it does to itself.  I think this is by far the worst Star Trek film ever made, because it never allows itself to be it’s own thing.  It goes against the promise of the first Star Trek that we would see the crew go on new adventures, and I thought the very idea of separating itself by having the characters in a separate timeline was done so it would NOT INSULT the fans of the original series or Star Trek in general.  For people who say they still prefer this film over Star Trek V: The Final Frontier, I say this…as bad as that film was, at least it was an original story and at least it had the guts to be its own thing.  This film never follows through on any of it’s consequences.  Unlike Wrath of Khan, we know Kirk isn’t going to die, and that by the end of the film he’ll be back.  And also, what the hell was that moment where we hear Khan crushing Scotty’s head…and then a few minutes later when they transport back Scotty is fine?  I thought they were implying Khan had killed Scotty.  The rest of the crew as well just doesn’t have any solid, memorable moments like they did in the first film.  There are absolutely no serious stakes or consequences that are followed through.  Khan is nowhere near the murderer he was in Wrath of Khan.  In that film, he killed and slaughtered everyone in the orbiting science station.  Also, the fact that Kirk has a brief alliance with Khan doesn’t do anything to build up the hero/villain relationship.  They are not mortal enemies yet.  They don’t know what either person is capable of.  Everything about this film gives more power to The Wrath of Khan than it does to itself, and it denies us any chance of getting invested in this new crew and their mission.  I don’t think I have any reason to continue watching the next Star Trek.  J.J. Abrams and his team of writers have no understanding or willingness to make their own mark on the Star Trek universe, or allow themselves to take chances and mark their own course in the series.  If he can’t let himself go there with Star Trek, what makes anyone think he’s going to make a difference with Star Wars?

A Good Story Well Told

0HollywoodI thought I’d take some time to talk about what I look for when writing about movies, and where my thinking goes as a result.  I have always been a fan of great movies, but more importantly I am more attracted to good storytelling in cinema.  Looking back on the films I liked and disliked as a kid, I’ve found it rare that I would revisit a film I liked growing up only to find that the movie wasn’t in fact good at all.  A lot of times there are movies that do end up being absolute crap, but our nostalgic love for the film is what allows us to enjoy it even as adults.  To be honest, there’s nothing wrong with enjoying crap.  The movie may be terrible, but there are elements to the main characters journey, or sometimes there are particular elements to the film that draw us in, even if it was a terribly executed idea.

As a kid I was pretty lucky when it came to seeing movies.  I saw everything, and my parents were pretty liberal about the movies they took me to see.  I saw everything from G to R rated features.  The only movies my parents didn’t take me to were hard R rated films that featured an over abundance of language or we’re overly violent and scary.  I was never really big into slasher horror flicks or anything like that.  But other than that, I was exposed to a wide variety of storytelling.  This is where my own emotional intuition would kick in about whether I thought a movie was good or not.  It depended on how much a movie would captivate me and I would be along for the adventure.  Even if I didn’t fully understand the story, there would be some part of the film that would captivate me, like a problem the main character was having that I could identify with and the problem leads them on a personal quest.  I remember seeing a movie like Field of Dreams for instance and being drawn in by the haunting voice coming from the cornfields.  At the same time that child-like wonder and curiosity the main character would feel took hold of me.  I wanted to see where building this baseball field would take him and discover along the way the problems that would get in the way (for instance, the danger of losing all his money and his farm to find out where the voice was leading him).

My point being that great storytelling can captivate us on all levels.  You don’t need to be an adult to understand all aspects of a story.  But as a kid, even if I didn’t understand all the stuff that was over my head, I could tell whether a story was working or not simply by how much I engaged with the main character.  For all of us who knew movies that were great when we were young, such as the films of Steven Spielberg, these were films that never catered to children.  But as kids we were drawn in by the powerful, emotional journey of its main characters.  The kids that were in these movies acted like real kids and were believable.  A story in my opinion doesn’t have to be perfect plot wise.  I don’t always pay attention to the structure of the film.  But my main concern is if the main character has a problem I can identify with, and if the film challenges the character enough so they can find balance again by the end of the story.  Often times, I will watch a movie and see a character presented with a problem, but then the problem gets put on hold several times during the film while the action takes over.  In essence, if the conflict is not in support of the main characters problem, my feeling is that the story gets put on hold while the main character fights a bunch of bad guys.  Sometimes the story doesn’t take itself seriously enough for us to believe in what the characters are trying to accomplish.  I was terribly annoyed after seeing Iron Man 3, because the story kept reducing Tony’s problems into a joke, never giving us a chance to take seriously his panic attacks and PTSD.  None of these crippling problems ever plays a part when Tony is off fighting bad guys.  It never seems to stop him from getting the job done.  If we’re not going to see his personal problems affecting him on the job, how are we expected to care about what he’s going through?  Even the main villain that was advertised for the film as a serious threat is reduced to a comic buffoon.  It’s not the movie it was promised to be.

GQ When a film sets itself up for one thing and then takes us off course in a completely different direction, it looses me.  It’s not that I don’t appreciate spoilers or surprises that take the story in a new direction, but the surprise should be in support of the arc of the main character.  I find that spoiler “surprise” moments in big summer movies now are actually red herrings just to make the story appear more compelling than it actually is.  It has nothing to do with what the audience is going through, it’s a formulaic throwing a wrench in the machine, giving the film a bunch of twists and turns that just distract us from the fact that the story has nothing to say to begin with.  I can tell on an instinctive level whether or not a story is drawing me in, or if the main character has a compelling problem that I will want to see resolved (or even fails) in achieving their internal goals.

The other thing that is really important to me is that I like to see stories that end.  I’m not a fan of franchises because they are not written with the goal in mind to resolve the characters issues, but to keep the story going and going like a soap opera, where one aspect of the adventure might get resolved, and suddenly a new problem takes its place.  In this manner, the character loses his or her ability to find balance when their lives are written to always be out of balance.  I’m not speaking of the format of a TV series, where we are accustomed to this sort of writing, but even in a series, by the end of the show we hope the characters will find some sort of peace within themselves.  The same goes for movies.  A characters life can fall even more out of balance by the end of the story, or reach a dead end, but if we are not compelled by the journey they are taking, then we are simply watching characters go through the motions without an engaging driving force that makes us want to see them succeed.

When I am riding this emotional wave, it lets me know when a movie is going strong.  There is an honest sincerity to the character’s journey that enables me to connect with them.  In other words, it’s just good storytelling.  It’s also what keeps us coming back for more when we feel we can learn new things from re-experiencing the characters journey.  As a storyteller, these are not just the things I look for when watching a movie, it’s what I strive to accomplish in my own work.  A good story is one that’s well told.  Not one that is hampered by distractions.

Star Trek: First Contact (1996) Dir. Jonathan Frakes

STFC1At last we come to my favorite of all the Star Trek films, Star Trek: First Contact.  I think this is an extraordinary movie.  It’s got a great story, great character development (every cast member from the series is given their due), a memorable villain, and something I never expected from a Star Trek movie, moments of tension and horror.  I remember my experience seeing this movie in the theater.  The Borg in this film are truly scary…the stuff of nightmares.  The elements are all interwoven and blended together to create a unique and believable storytelling experience.  From comedy, to drama, suspense, action, and adventure, this movie works on all levels.

STFC3The best element of any movie is when the protagonist has an issue he/she is dealing with and the rest of the movie is there to help support it.  In this case, it’s Jean Luc Picard having to fight with his trauma of being assimilated to the Borg six years prior to the events in the film.  Here, Picard’s trauma reflects the majority of his decisions, including telling his crew men to wipe out any other crew members that have been assimilated by the Borg, saying they will be doing them a favor.  Of course this reflects his true desire, which is to see all of the Borg wiped out, erasing them from his existence like the terminator.  Picard has often been in denial over many things based on his code of Starfleet ethics.  He believes that his sense of humanity has grown past the desire for revenge, but he’s very wrong as pointed out by Lily (Alfre Woodard).  In comparison to Ahab and Moby Dick, his fighting desire to stay and fight off the Borg leads to one of my favorite scenes in the movie, where Picard has the brass to call Worf a coward, and Worf’s retaliation, “If you were any other man I would kill you where you stand!”  You know something is wrong when even Worf knows a mission is suicide, and the Klingon whose blood lives for battle understands when it’s time to walk away.  It’s a great scene.  I even love Picard’s apology scene later.  Picard: “Mr. Worf, I regret some of the things I said to you earlier.”  Worf: (annoyed) SOME.

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Picard’s story about getting through and surviving his trauma is successful for the same reasons that Kirk’s story about his fear of death in Wrath of Khan resonate with us to the day.  We are able to witness in First Contact how the adventure brings out the best (and worst) in Picard and helps him find balance again in his life.  The story never forgets that, and all the other plots of the film come together to support the main arc of Picard’s journey.  This is the first Next Generation film where the cast is finally allowed to come into their own.  Each of them has a memorable moment.  Crusher calling the EMH Doctor to block the door from the Borg.  Troi doing Tequila shots.  Riker and LaForge helping Zephram Cochrine carry out his warp flight.  And my personal favorite is Worf who just kicks ass in this movie.  Data is also much more tolerable in this film, as is his story regarding his emotion chip.  I suppose the only thing I was left wondering by the end is whether or not Data really learned anything about the worthiness of his quest to be more human.  The Borg Queen (while using a manipulation tactic) tries to get him to embrace his machine side by doing the exact opposite…giving him what he wants and making him more human, grafting skin on his body.  While it’s tolorable, it’s still probably the only aspect of the movie I don’t care for because I don’t find anything really interesting about Data’s desire to be human.  I have several problems in this which I talked about in my Star Trek: Generations Review.  The Borg Queen’s tactic is clever, but we know in the end Data isn’t going to force himself to really think about what happened to him, and as a result, nothing really changes about his character by the end of the film.  The android is just too stubborn to really think about what he could be capable of in his machine side.

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One of the lighter comical highlights of the film is James Cromwell’s portrayal of Zephrem Cochrine, the man who invents warp drive.  He’s given a wonderful arc in the story, as a man who doesn’t care about the future or making history, and just wants to find a peaceful place where he can be left alone.  That all changes when the Enterprise crew comes in to convince him to carry out his mission so they can go back to their own future.  One of the sequences that makes me laugh is when Lt. Barclay (Dwight Schultz) can’t contain his fandom at getting to work with their history’s greatest legend.  It’s funny because it makes Cochrine even more resistant to his destiny, when he just wants everyone to leave him alone.

Also shining in this film is Alfre Woodard’s Lilly, who develops a great relationship with Picard.  She is not just the lone outsider, but the one keeping both her men (Picard and Cochrine) grounded.  I have two favorite scenes with her.  The first is when Picard opens the bay door with the view of Earth, showing her that she’s “not in Kansas anymore”.  The second is when she fights with Picard to blow up the ship, telling him he’s become Captain Ahab on a quest to destroy the whale.  The most endearing part of the scene is near the end when Picard quotes Moby Dick.  “Actually”, she says, “I never read it.”

I do have to say that out of all the Star Trek films, Wrath of Khan is the best story.  But this film will always be my personal favorite.  It’s just a wonderful, exciting, and action packed adventure.  I’ve always been more partial to TNG because it’s what I grew up with.  But this is the only feature they made where everyone really gets to shine.  It’s a good, well told story, and it’s too bad that we never got another film like it after this.  STFC4

Star Trek: Generations (1994) Dr. David Carson

STG1So begins the feature film debut of the Star Trek: The Next Generation crew.  Much like Star Trek: The Motion Picture, things are already off to a wobbly start.  I find this movie to be frustrating because it has a lot of good things going for it, some of it is just mediocre, and some things about it are down right awful.  One of the problems I have with Generations is that it seems to have some trouble transitioning from television to feature film.  There are aspects of it that feel like a TV subplot, especially the storyline concerning Data, which doesn’t contribute in any way to the rest of the film.  As far as villains go, while I’m a fan of the two Klingons of the Duras family, Lursa and B’etor, I never found them to be particularly memorable in this film.  In fact, after watching it just now, I completely forgot they were in the movie, which goes to show how much their contribution to the story meant.  The film starts out promising enough as we transition from the disaster of the Enterprise B to the TNG crew.  Captain Kirk’s interactions with Chekov and Scotty are fun with some well written banter.  I would even argue that the opening sequence is probably the best part of the film because we are already accustomed to the TOS crew, and there is still great chemistry between the old Star Trek leads.  It also does a good job as a compelling set up.  The rest of the movie however disappoints, and never quite manages to establish all the TNG characters as feature film players to really make this movie their own.

STG4The first thing I need to get out of the way is what I consider the worst part of Generations:  Data.  I’ve always liked Data in the series, but he is seriously annoying in this film and not in the way he was intended to be.  His story in this film really opens a hole for me in the idea of why Data desires to be human and doesn’t embrace his machine side.  People are always arguing to Data why he would chose to be less than what his machine parts make him capable of…such as intense concentration, his super-intelligence, willingness to learn, not to mention super strength.  He is the anti-Spock, where Spock chose to embrace his Vulcan side over his human half which he constantly struggled to deal with.  Why does Data want to be human?  Why does he assume that human emotion has all the desired answers to the universe?  Speaking as a human, I have always embraced my passionate, emotional side, but it is not the end all be all answer to what lies beyond it.  Sometimes I think Data’s problem is that he doesn’t appreciate his own diversity.  He is alone, being the only android of his kind.  But he is also unique in that he can establish for himself how he wants to conduct himself as a single life form.  He is capable of so much more, and yet as everyone says, he desire is to be less than what he is fully functionally capable of.  It may be more of a curse than an asset that his creator embedded his programming with the desire to be human.  His desire to be human limits him to an extent.  If Data chose to ignore his humanity program, that doesn’t entirely mean he would suddenly go to the dark side and be cold and calculating.  He has much he can learn from humanity, but he shouldn’t need to embrace it.  I have noticed a few times in the series when Datas machine side has taken over, he doesn’t know how to control it, and he winds up doing frightening things.  His attention has been so focused his “humanity”…on being something he’s not, that he loses focus on his own instincts as a machine.

So I couldn’t help but watch in Generations that somehow, when Data puts the emotion chip in, he’s unintentionally taking a step backwards.  He feels the need for it because he thinks he’s exceeded his capacity as a machine.  But has he?  The emotion chip seems to constantly distract him and makes him function inadequately as a machine.  As for all the attempts to show Data as being not funny to the rest of the crew, it succeeds all to well on the audience too, because Data is not funny.  He’s annoying and quite frankly embarrassing to watch.  From a storytelling perspective alone, if they couldn’t succeed to make Data a compelling character in his struggle to understand humanity, that means there’s something wrong with the story.  Like a bad episode of the TV series, this tells me that this was a path Data was not meant to go, because the audience reaction is generally resistant to all of his actions.  It is in my opinion a step backwards for the character, and it’s the one thing that really brings this movie down and keeps me from wanting to revisit it.

Less annoying, but never that engaging is Picard dealing with the death of his brother Robert and his nephew Rene in a fire, only to discover he has no heir to his family.  I found Picard’s story to be somewhat frustrating in that there’s nothing he really learns from the adventure to help him deal, except what he moralizes about Time at the end of the film.  Picard’s personal problems never impact his judgement as captain, and don’t contribute anything to the rest of the story.  It’s only in the Nexxus where he’s simply given the opportunity to let it go.  But the problem here is that the resolution happens too soon and leaves nothing for the death of Kirk, which doesn’t have any impact on Picard.  Unlike the Wrath of Khan, Spock’s death tied into Kirks own fear of aging, and the scene was powerful because it meant something to both Spock and Kirk.  Picard and Kirk in this film never develop much of a relationship.  Picard doesn’t really know him apart from what he’s read in history books, and the film struggles to generate some meaning of Kirk’s death.  But really, since Kirk is out of his time away from everything he knows, he gets the one thing he’s always known he’s had coming:  he dies alone.  I know the creators probably want to forget Star Trek V, but this is the one thing Kirk acknowledged about himself, and if he were to die alone, this could have been brought back in some way to make the scene more powerful.  As it stands, his death scene is more disappointing than anything, and it would have been nicer if he could have been proven wrong in some way.

Apart from the two main story lines, the rest of the Enterprise crew just isn’t given enough to do.  The villains are also particularly weak.  While Malcolm McDowell is a great actor, his character Dr. Soren just isn’t that menacing.  I remember Soren’s particular species made an appearence on DS9 (played by Chris Sarandon) in that they were “listeners”, but that ability is never put to any use, and his emotional side is never really explored.  There’s some interesting backstory about the Borg destroying Soren’s homeworld, and Picard tries to tie that in with the fact that his plan to enter bliss (i.e. The Nexxus) means the genocide of millions on a planet.  We never understand enough about Soren’s pain to be frightened of him or make him a compelling threat.  And like I said about the Klingon women, Lursa and B’etor, they are completely forgettable as villains in this movie.  The other thing I noticed is that the opening sequence with Kirk, Chekov, and Scotty seems to last much longer than it should have, just to get the film started and then to send the TNG crew on their way.  The actual adventures the TNG crew seem shorter in this movie since so much time is taken up with the opening and the lengthy time we spend in the Nexuss.

Star Trek: Generations is a troubling film.  It’s mediocre at best, and often times I’ve found mediocre films to be worse than some movies that are just downright bad.  The concept to bring the two captains together just isn’t well executed.  There’s probably a better movie in there, but it just doesn’t compliment well with the rest of the series mythology.

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Moviecappa One Year Anniversary!!

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Hot damn!  Moviecappa is One year old!  I missed it by two days, it was actually on May 10th, 2012 that I first started this site.  I for one am very grateful that I have kept this site going for that long.  I started this site because I have always had running commentary in my head when I go to the movies as well as when I see what goes on in the industry.  It’s a place for me to talk about why I think the movies are important, and what we can do to see them get better.  It’s also been my vision that this could be a place for filmmakers to come and talk about movies, and discuss the thing we want most out of them:  good storytelling.  This site was created out of passion, and I hope to see more discussion and bigger things to come for this site in the future.  If you have been an ongoing reader of the site, thank you so much for coming back and for your support!  Greater things are yet to come!  So stay tuned!

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Star Trek VI: The Undiscovered Country (1991) Dir. Nicholas Meyer

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So now the Captain Kirk era of Star Trek comes to a close with Star Trek VI: The Undiscovered Country.  And for the crews swan song, I will say it’s an enjoyable outing.  I take back my remarks in my Star Trek V review where I said the cast members stopped giving a shit.  This film holds some of the better performances from crew members Chekov, Uhura, Scotty, and Sulu.  Sulu especially is given a meatier role as the captain of the Excelsior and probably for the first time ever in Star Trek, George Takei actually gets to display his acting chops!  Too bad it happens in the final Star Trek outing, but I was glad to see him given his due.

This Star Trek plays more as a political thriller than a space adventure, but one of the reasons I like this film is that for the first time it shows the seedier underbelly of the Federation…it’s dark side if you will.  This is something that would eventually be explored further in Star Trek: Deep Space Nine.  But a few characters who were upstanding officers in Star Trek IV, such as Admiral Cartwright (Brock Peters) become corrupted here by refusing to allow peace with the Klingons and bring them into the Federation.  The real villain here isn’t just one man, but several individuals on both sides in a corrupt scandal between the Klingons and the Federation.  I also enjoyed the presence of Rene Auberjonous as Col. West, and later revealing him as an assassin disguised as a Klingon to assassinate the Federation president.  Auberjonous as most of you Trekkies know would later go on the play security officer Odo in DS9.  I also enjoyed the presence of General Chang (Christopher Plummer), and no, his obsession with Shakespeare never bothered me.  Here he is an effective villain, although I would have liked a little more explanation as to why he disagrees with the two sides uniting.  It would have given him a little more grey area than just making him outright villainous.

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Occasionally some of the humor is a little forced, such as the somewhat unnecessary scene where the crew is frantic to translate Klingon to an unsuspecting ship in the area, claiming that the universal translator would be detected if they spoke English.  That was never a problem when characters on other shows had to fake being a freighter ship of the same species.   The other thing that surprised me with this film is that the frame up attack on the Klingon ship was the result of a prototype Klingon ship that could fire torpedoes while it was still cloaked.  Why was this technology not developed in later series like Star Trek TNG or DS9?  Being able to fire while cloaked seems like important technology to have not developed after all this time.  My argument is that it’s a bit of a stretch here, because this sort of technology has not been worked into the mythology of Star Trek.

The visual effects in this film however are a definite step up over the last few Star Trek films.  I still find the morphing CG effects used in this film to be impressive.  This is during the age when morphing effects were developed more at ILM, as two years prior we had the water creature from The Abyss, and the same year as this film we had the T-1000 from Terminator 2: Judgement Day.  The plasma explosion from the Klingon moon in the opening of the film is also a pretty impressive effect.  The production design and sets are a step up from previous Star Trek films as well.

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This isn’t one of my favorite Trek films, but I still like it quite a bit.  I admire the political aspect more in that it makes it a different kind of story from all the previous Trek films.  This one actually stands on its own and does so pretty well.  It’s a fairly decent story, and it’s got a few fun surprise cameos in it, including Christian Slater, who appears briefly waking up Sulu for a communication report.  Michael Dorn also makes an appearance as an ancestor of Worf, defending Kirk and McCoy during the trial scene.  Kirk, Spock, and McCoy, sadly don’t have as much of a dynamic in this film, but it’s not too big of a deal.  I didn’t find McCoy to be terribly useful during the scenes where he and Kirk were exiled on the planet, apart from giving Kirk somebody to talk to.  I think it would have been a little more interesting if Kirk were alone, which coincides more with his fear of dying alone, and especially his worst nightmare, being killed at the hands of the Klingons.  The same fate he would receive as his son.

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This concludes my reviews of the films featuring the original series crew.  Coming up are the films of Star Trek: The Next Generation. To conclude the TOS section of my reviews, I’d like to know what you think is the most Underrated of all the Star Trek Features (Not your favorite!) Give it some thought and check below!