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Star Trek VI: The Undiscovered Country (1991)

Star Trek VI The Undiscovered CountryI have heard a few extensive reviews of Star Trek VI in recent times, all of which praising it glowingly with nary a blemish.  This is definitely one of the better films of the franchise, and the first Star Trek movie I ever saw, on cable no less.  It used to be my favorite, but over time I’ve come to feel as if this film lacks a certain something to get it all the way to greatness.  I certainly know what that is, but let’s give you a plot first before I share that with you.

On their way home from their first assignment, the U.S.S. Excelsior, now at the command of Captain Hikaru Sulu (George Takei), monitors a massive explosion on the Klingon moon Praxis, the Empire’s key energy production facility.  This incident signals an eventual crippling of the Klingon Empire within fifty years, and thus, motivates a push towards peace between the Federation and the Klingons, championed by Captain Spock (Leonard Nimoy) and Chancellor Gorkon (David Warner).  Starfleet orders the U.S.S. Enterprise to escort the Klingon Chancellor to a peace conference on Earth.  This does not sit well for Captain Kirk (William Shatner) who is vocally opposed to the idea of peace for many personal reasons, not the least of which being the murder of his son by the Klingons.  However, despite his efforts to support the peace initiative, the hope for it is soon crushed when the Chancellor’s ship is fired upon and Gorkon himself is assassinated.  A malicious conspiracy becomes evident as all evidence supports that the photon torpedoes and assassins originated from the Enterprise.  Meanwhile, Captain Kirk and Dr. McCoy are arrested and convicted for the crime, and banished to the frozen penal asteroid of Rura Penthe.  Now, the crew of the Enterprise must expose this plot, and rescue their comrades before all hope for peace in the galaxy is destroyed.

Before I actually point out the shortcomings of the film, I think it’s fair to detail a few behind-the-scenes points first.  Mainly, this film was rushed, to an extent.  Paramount Pictures wanted this out to celebrate the 25th anniversary of Star Trek, and it just made it with a late December, 1991 release.  So, the filmmakers didn’t have an abundant freedom of time to really develop this film fully, but this is not some train wreck where you can tell things were slap dashed together.  This is quite a well-made and conceived movie.  I merely say that if they had the luxury of no forced deadline, perhaps a few of my concerns with the script could have been resolved.  They are not glaring issues, but ones that I feel take away from the potential of the movie which require some in-depth analysis.

Let me also say that there is plenty of greatness in this film.  The ideas of prejudice and the struggles of overcoming those feelings for the cause of peace are very relevant.  This film was made at the time of the fall of Soviet Russia and the tearing down of the Berlin Wall.  So, our world was going through a change of perspective and socio-political ideals.  The Klingons here were essentially Soviet Russia, and Praxis was an obvious allegory for Chernobyl.  This was a necessary story to be told considering that the Federation and the Klingon Empire became allies by the time of Star Trek: The Next Generation, and I feel this story was handled very well, in general.  For both sides, who had gotten used to hating one another, to finally have to reach an accord of peace and allegiance would not be easy at all.  Kirk is portrayed excellently in this story with him having to overcome his prejudice from the murder of his son David by Klingon hands and a life full of distrust towards them.  He truly goes through an arc that re-instills the outlook of hope and humanity that Star Trek has always strived for.

This film also rebounds amazingly well from the poorly executed and conceived Star Trek V: The Final Frontier.  The serious tone is brought back with very solid and respectable performances by the entire cast.  Every regular cast member is given some forefront time, and I love the exchanges between Spock and McCoy in the climax.  Spock asks if McCoy would assist him with surgery on a torpedo, and McCoy responds with, “Fascinating.”  It’s a nice sly piece of dialogue that shows the respect and camaraderie between two characters that have not always seen eye-to-eye.  It’s also a treat to have seen Sulu be promoted to Captain, and given command of the U.S.S. Excelsior.  I like that Scotty gives praise to the ship now because of its captain when he was ragging on it back in The Search For Spock.  It’s another subtle show of growth for these characters, and the cast embodies those moments beautifully.

Now, there have been extended cuts of the film released on home video, and each cut of the film has their advantages.  The original theatrical version is quickly paced punctuating some dramatic beats a little better, but the extended versions make the film feel a little fuller.  The extra scenes don’t amount to too much with characters or plot, but sometimes, it helps to draw sections of a film out for more prolonged build up, such as going into Kirk & McCoy’s trial.  The pacing of the film in any incarnation is quite consistent, even if it is rather gradual.  What the film really lacks is a sustained sense of urgency.  I believe this stems from the fact that no one knows who the villains are until the final thirty minutes or so of the movie.  If the villains either don’t have a sustained presence in the film to maintain a threat level, or you don’t have them actually doing anything in opposition to the protagonists, you lose urgency in the plot.  The mystery plot isn’t enough without the dramatic pressure of active villainy going on around it.

Since Nicholas Meyer also directed Star Trek II: The Wrath of Khan, I feel it’s appropriate to draw a comparison to that film.  In Star Trek II, the film was able to establish its villain in Khan and build him up as a substantial threat, and continually cut back to him to keep tension and suspense present throughout most of the movie.  As long as Khan was out there plotting his next move, there was a near constant sense of unease and immediacy throughout the film.  In Star Trek VI, the villains are completely hidden from us during the vast majority of the runtime.  There is surely an adversarial quality to General Chang, but all the way up to and through the trial, he’s never seen acting outside the bounds and expectations of his military position.  He’s not an overt villain until he’s revealed to be one until the end of the second act.  And while this film has the same general runtime as Wrath of Khan, it feels much slower and thinner.  There’s not all that much developing in the plot to build up momentum or create dramatic tension.

Since there is no urgency, there’s also an extreme lack of action and excitement in the film.  It would’ve helped to put more dramatic pressure on the crew of the Enterprise to uncover the evidence in their investigation either by way of a time constraint or consequence.  While Starfleet keeps demanding they return to Space Dock, it’s really a hollow plot device since there are no consequences or conflict involved with them constantly making up excuses to not return home.  It would’ve added a sense of urgency if there was more risk put upon them for disobeying orders, such as in The Search For Spock.  Even when the Enterprise infiltrates Klingon space to rescue Kirk and McCoy, there’s no real threat to contend with.  Throughout Star Trek, we’ve always seen Klingon ships patrolling the Neutral Zone border, protecting their Empire, but the Enterprise whisks in and only needs to fool some lowly Klingon at a patrol station with clearly the most primitive sensors around since they cannot even identify what ship it is detecting.  It doesn’t help that the entire scene is done humorously.  If it was handled as a tense and serious situation where they had to evade and strategically slip passed Klingon ships during their rescue mission, it would have, again, created urgency.

Tying into this is the lack of impact with the conspiracy and mystery.  Aside from one character who was briefly featured in The Voyage Home, none of the conspirators are anyone of note or poignancy to an audience.  They are just one-off characters that either don’t matter or are of no surprise that they are villainous.  The mystery of discovering who the assassins are has a strong setup, but eventually falls flat due a lack of tension.  The crew knows that treasonous murderers are on board, but no one ever feels a sense of unease aboard the Enterprise.  No one worries that two assassins are lurking on their ship capable of further ill-doings.  The assassins themselves are also throwaway, nobody characters.  Aside from Chang, there’s no real time spent with most of these characters to build them up one way or another to give their role in this conspiracy any weight.  In most part, they could have been just about anyone and it wouldn’t have made any difference.  It’s surely an aspect of this script that could’ve used a lot more work to integrate some character development and substance into this revelation.  I could’ve seen a plot like this working nicely during a season long arc on Star Trek: Deep Space Nine where the writers could take their time to build up numerous characters in twisting arcs, and have a startling reveal later on.  In a 110 minute movie where relatively very little time is spent with anyone but the regular cast, it’s not likely to work out very well.

My other main bother with the film is the portrayal of the Klingons.  While the very honorable Next Generation Klingons could get tiresome and stereotypical after several years of overly treaded concepts, this film was made right at the strong suit of that portrayal.  While it had room for flexibility and expansion, these Klingons, in general, appear to have little substance or texture to invest any interest in.  Firstly, their uniforms had long been set in place as very hard and metallic, but here, most of the Klingons are wearing very soft, padded outfits which take away a lot of their visual edge.  It’s the only appearance of these outfits that I know of, and it doesn’t suit this aggressive alien race that has always been very vocally opposed to softness and comfort.  They are a harsh race never indulging in luxuries, but that ideal is not supported by this costume design.  Their attitudes are also watered down somewhat.  We already had the cunning and verbose Commander Kruge, the outspoken and aggressive Klingon Ambassador from The Voyage Home, and the rather brash and hard-headed Captain Klaa generally establishing the attitude and personalities of Klingons in this time period.  However, The Undiscovered Country simply tones them down far too much for my taste.  The bold and intimidating qualities which have made them such a great fan favorite are generally evaporated.  The fierce, proud warrior isn’t there.  While they are mostly political officers, I would expect more conviction and assertiveness in these portrayals.  Furthermore, the Klingon make-up is scaled back severely.  At this time, the great Michael Westmore was heading up all of the special make-up effects work and designs on The Next Generation, and the special make-up results here would’ve been far better if the filmmakers had employed his talents.  The vast majority of the alien prosthetics lack a sense of fine detail or organic feel to give them a sense of life and texture.  The Klingon forehead ridges are all too smooth and toned down.  They mostly appear rather obviously fake and rubbery.  It further adds to the out of place feel of these Klingons.  They simply do not fit into what had come before or after in the chronology of the franchise.  At times, they seem like a cheap imitation of a Klingon.  Gene Roddenberry himself was displeased that the Klingons came off as generic villains with no exploration of their society or cultural viewpoints, and Leonard Nimoy later agreed with him after the film’s release.  I agree with him as well.  Time has shown the vast potential of exploration for the Klingon culture, and I think not caring to acknowledge that here results in a very flat and uninteresting presentation of the Klingons, in general.

Now, I do very much like what Christopher Plummer did as General Chang, who is a distinct exception to my Klingon gripes in this film.  Right from his first moments, you can tell that he is someone to contend with.  He’s a definite skilled warrior with an intimidating quality.  He doesn’t give into hostility, instead he projects a patient and cunning demeanor.  Plummer works excellently in the trial sequence prosecuting Kirk and McCoy with great zeal.  He brings a fine theatrical sensibility to the character which allows him to command many scenes, and truly is the one that makes that trial compelling.  However, at no fault of his, but of the screenwriters, is Chang’s painfully excessive quoting of Shakespeare.  The bit was good for a little while, but it wears thin very quickly.  Eventually, the vast majority of his dialogue is directly quoting lines from Shakespeare plays.  I agree with Ira Steven Behr, who recorded a commentary track for the theatrical cut, that it’s simply lazy screenwriting.  The screenwriters couldn’t come up with anything original or freshly poignant for the character to say, and so, they just flippantly copy lines verbatim from another literary work.  When Khan was quoting literary works in Star Trek II, it did have a thematic purpose.  His obsession for vengeance or pain of exile were parallels to Ahab in Moby Dick or Lucifer in Paradise Lost, respectively, and these quotes were used at generally the most purposeful moments.  They had weight and meaning behind them for Khan.  With Chang, he just spouts these lines out randomly.  They hold no thematic weight or meaning at all because he has no thematic purpose in the film.  He might as well be quoting anything, or saying nothing at all, because it really makes no difference what he’s saying.  This lazy screenwriting becomes very irritating during the film’s climax.  Even Dr. McCoy says, “I’d give real money if he’d shut up.”

The film also makes blatant references to 20,000 Leagues Under The Sea, The Bridge on the River Kwai, Guess Who’s Coming To Dinner, Sherlock Holmes, and the only one I really thought was worthwhile, Peter Pan.  It eventually feels like too much referencing of other material instead of the screenwriters strengthening their own original material.  Whether they are appropriate references or not, it just feels as if almost every poignant piece of dialogue is lifted from another source, and that reflects a major weakness in the dialogue of the script.  Nicholas Meyer can be a great screenwriter and filmmaker, but at times, I feel he doesn’t view Star Trek to be good enough to stand on its own.  He has to prop it up by injecting ideas from other sources to make it great.  It worked brilliantly in The Wrath of Khan, but it simply does feel like lazy, uninspired writing in The Undiscovered Country.

The great and always respectable David Warner does a fine job as Chancellor Gorkon.  Nick Meyer envisioned the character as a meshing of Abraham Lincoln and Mikhail Gorbachev.  The Lincoln aspects definitely show through with both the make-up design, and Warner’s regal, wise performance.  However, I do believe Gorkon was grossly underused in the film.  His goal of peace is the crux of this story, and we are barely given any substantive time with him to grasp his ideals and values.  Essentially, all we know is that he wants peace, period.  This feels like another mark of an underdeveloped script.  Surely, the script had a good, solid foundation, but given some more time to refine and flesh it out, it could’ve had so much more dramatic impact, exciting tension, and a far wider scope.  This film feels like it needed a tighter pace and an extra half hour of runtime to fully flesh out and setup all of its ideas, characters, and conflicts for maximum effectiveness.

I certainly don’t want to be misunderstood with my critiques.  This is a mostly well-conceived and nicely executed film.  Production values are great as is the cinematography.  This truly looks and feels like a high grade film with a very polished cinematic style.  The acting overall is exceptionally good across the board with the entire regular cast giving it their all.  Even Kim Cattrall is very impressive as Valeris utilizing subtly in her performance, and striking a fine chemistry with Nimoy especially.  Not to mention, there’s plenty of fun dialogue and moments throughout.  The film lightly pokes fun at Kirk with the scenes opposite the shape-shifting Martia on Rura Penthe who continually seduces Kirk’s trust, and the brute of an alien that Kirk fights in the prison.  Even Kirk fighting Martia after she takes Kirk’s form harkens back to the original series episode The Enemy Within.  There, Kirk was split in two by a transporter accident, and he does battle with himself.  These bits pay tribute to classic Trek moments and Kirk traits for this, the twenty-fifth anniversary, without betraying the film’s tone in anyway. Star Trek VI has plenty of character building moments for James T. Kirk as he comes to terms with his prejudice and resistance to peace.  Spock gets a few moments of depth and growth, primarily with Valeris and Kirk.  The Undiscovered Country has a wealth of great qualities which both vastly succeeded in their potential, but also some that didn’t quite get developed as deeply as they could have been.

The visual effects from Industrial Light & Magic are some of the best of the film franchise.  Granted, the floating CGI blood in the zero gravity sequence leaves a little to be desired, but it’s certainly up to the standards of 1991’s other big special effects in Terminator 2.  Of course, I believe phaser fire should cauterize a wound, and not allow blood to go gushing out like this is a slasher film.  All other effects are superb.  The model work on all the ships is amazingly detailed holding up to great scrutiny, and being photographed beautifully.  The Praxis shockwave is a stunning feast for the eyes that starts the film off on a powerful note.  All the way through, you can see the remarkable quality that ILM was worth, and what Star Trek V was lacking without their talents.

With previous franchise composers James Horner and Jerry Goldsmith both turning down this project for their own vehement reasons, Meyer had to seek out someone new to provide a musical landscape for this darker toned film.  Cliff Eidelman delivered something right on the money.  It’s certainly not the rousing fanfares of old, but surely appropriate for the heavier subject matter and dangerous implications of the story.  He nicely throws in the right lighter cues at the perfect moments.  When Kirk and Spock have a discussion just before the third act, Eidelman brings out a poignant, warm feeling in his score.  His work complements the film’s various dramatic facets beautifully, and the film concludes with a gorgeous composition that sends the original crew out with class and style.

I find it difficult to express a counter-balance to my criticisms to support my opinion in that this is still a good movie.  I will never deny that is, but I think it succeeds only well enough instead of exceeding where it could have.  Simply put, what I’m saying about Star Trek VI is that it is a good film that still had plenty of room for improvement.  It’s themes are smart and topical for the time, and still have some resonance today.  Peace is a difficult thing to strive for, and some people are more comfortable with continuing to be at war with a lifelong enemy than try to learn to co-exist with them in peace.  These are ideals that primarily Kirk has to deal with and overcome, and that is the best handled thing about this entire movie.  While there has been a lot of criticism in this review, it’s simply to point out that many of the good aspects of this movie could have been great, if given more time to fully develop them at the script level.  As I said, I have felt as if there was something lacking in this movie, and in short, that something was a lack of tension and urgency in the plot as well as a need for more substance added into many of the newly introduced characters.  It has great, strong subject matter which felt like a necessary story to be told in the annals of Star Trek, but for as much as you can read into them, there’s just as much that didn’t end up on the page or the screen to flesh out those details.  This is a movie I still like very much, and I think it is a respectable send-off for the original cast of Star Trek.  I give it a very strong recommendation.  Again, being that it was the first Trek film I ever saw, I think this is one that could draw you into the franchise, and show you it does have substance and relevance to offer.


Star Trek III: The Search For Spock (1984)

There is a myth in Star Trek lore that the even numbered movies are good and the odds numbered ones are bad.  That’s fairly simplistic, and not entirely a fair statement.  Yes, the franchise has had poorly conceived and problematic films in its lineup, but that hardly means that all the lesser entries are terrible.  Star Trek: The Motion Picture has a lot going against it, but as evidence by it, the talents of Shatner, Nimoy, and Kelley have always been able to add redeeming qualities to all the original cast films.  Their chemistry, charm, heart, charisma, and depth have always shone through.  While there is a potential future review from me for Star Trek V: The Final Frontier, I wanted to delve into the follow-up to the franchise’s most critically successful film.  I wanted to address Star Trek III: The Search For Spock.  While the first and fifth films have very obvious problems that have been well vocalized, I feel Trek 3 gets too much of a bad wrap.  I can pinpoint and agree with the reasons why, but I believe it’s been overly beat up because of it being in the shadow of The Wrath of Khan.  Time for someone to give it a more fair viewpoint.

The starship Enterprise is heavily wounded in the aftermath of her battle against Khan, but her crew survives by way of the sacrifice of Captain Spock (Leonard Nimoy).  His body is launched from the ship in a memorial ceremony, and crash lands on the Genesis planet.  As the Enterprise and her crew arrive home to Earth, Admiral James T. Kirk (William Shatner) finds his close friend and confidant Dr. Leonard “Bones” McCoy (DeForest Kelly) in Spock’s sealed quarters talking crazy, and eventually finds himself in lock-up after trying to charter passage to Genesis.  The hits keeping coming as Kirk learns that the Enterprise is to be decommissioned as the Starfleet brass believe her day has passed.  This is ever more apparent with the experimental new U.S.S. Excelsior ready to begin trial runs, ushering in a new era of Starfleet engineering.  However, Kirk is soon paid a visit by Spock’s father, Ambassador Sarek (Mark Lenard), who tells him that Spock’s katra (i.e. everything that is not of the body) still lives, and they determine that Spock mind-melded with McCoy before his death.  This commits Jim Kirk to a course of action that could cost him his career by stealing the Enterprise to rescue Spock’s body from the newly formed Genesis planet, and reunite it what’s in Leonard McCoy’s mind.  Meanwhile, a ship of rogue Klingons, headed up by the cunning and merciless Commander Kruge (Christopher Lloyd), seek to learn the secrets of the Genesis Device for the protection of the Empire with the science team on U.S.S. Grissom, including Kirk’s son David (Merritt Butrick) and Lieutenant Saavik (Robin Curtis), caught in the crossfire.  The sacrifices of the crew of the starship Enterprise will be dire as they endeavor on their search for Spock.

I believe why this film is not as highly regarded as others is the lack of a strong theme.  In The Wrath of Khan, there was a prominent exploration of age, life, and death.  What they all mean in context to one another, and how someone like Jim Kirk dealt with them.  Here, there was enough room left open for strong themes to be explored, such as sacrifice and rebirth, but the opportunities are not taken with much ambition.  Considering all Kirk has battled through from Khan to the death of his friend, ship, and son, the story was ripe for deep resonance.  Of course, The Voyage Home doesn’t have such dramatic elements to it, and it has been widely beloved.  The Search For Spock is a segue between the tones of the films its sandwiched between.  It has its strong, dramatic elements, but also a lot of fun and light-hearted charisma.  One would think it would be praised for that fine blend, but it does lack the ambition that those other two films had.  They took some chances, pushing themselves for higher standards, and they succeeded.  While this second sequel doesn’t have much scope, I do gain enjoyment from it.  There are many aspects that I find are worth commending.

I love how the film is able to show the loyalty of the Enterprise crew.  Admiral Kirk gives them the opportunity to walk away before getting too deep into this rogue mission, but they have no hesitations in voicing their loyalties.  They are willing to stand by Kirk, regardless of the repercussions, because of  what they owe him, and ultimately, what they owe Spock for his sacrifice.  That strong, indestructible bond is not something that all Star Trek casts have been able to achieve, and that history amongst the crew of the original U.S.S. Enterprise NCC-1701 sells so much of Kirk’s motivations here.  Even if the film doesn’t dig deep enough to show how it penetrates to his soul, a seasoned viewer already knows it.  Tying into that is the always solid chemistry amongst the regular cast members.  They work as an ensemble that is very cohesive, and always on the mark.  Regardless of the quality of the film they are making, or how troubled the production may have been, the actors never get lazy or sloppy.  They respect their characters and the legacy they leave behind.  No pun intended, but Shatner puts in an admirable performance giving the film its constant pace through his wit and charisma.  He adds in the right touches of humor, as do his co-stars, but focuses the drama of the screenplay when it’s needed.

This film was really the dawn of the revamped Klingons.  The makeup redesign happened in the first film, but here, they finally explore the revised culture of the warrior race.  The concepts of honor, guile, and glorious death are well explored through Christopher Lloyd’s excellent Commander Kruge.  While the character himself is not explored with as much depth as he could have, Lloyd plays a surprisingly solid villain.  He’s cunning, deceitful, intelligent, and treacherous.  Lloyd has been known for a wide range of eclectic characters, but here, he delivers an excellent, calculated performance with a fine operatic screen presence.  Essentially, all Klingon actors followed in his footsteps as he laid the foundation and template for them right here.  I also enjoyed Kruge motives, which could have been the basis for fleshing the character out.  Like with Khan, Kruge sees the potential for Genesis as a weapon, but instead of using it as an instrument of revenge or tyranny, the Klingon Commander seeks it to protect his people.  He will not let the Federation have sole claim to something that could be used to commit genocide on his people, and he will stop at nothing to learn its secrets.  It could almost be an allegory to the nuclear arms race if Genesis was created as a weapon instead of as a terraforming device.  Kruge is calculating, and accepts nothing but the absolute best from his crew, lest they be met with fatal punishment.  Lloyd as Kruge was also the first to use the fully realized Klingon language.  It was great having the alien race’s culture more fleshed out and developed for this film to give the actors something solid and powerful to work off of.  The always impressive John Larroquette is here as one of Kruge’s subordinates, Maltz.  It’s a minor role, but he embraces it with his usual full commitment and high quality.  This film also introduced one of my favorite Star Trek starships – the Klingon Bird of Prey.  It’s an amazing design that is fierce and dangerous.  The green paint job was a smart departure from all the dull grey ships we had seen until then.  It gives the Klingons more personality from the moment the ship de-cloaks.  It is given an imposing, threatening introduction that serves the Klingons thoroughly.

I have always held Mark Lenard as Sarek in high regard.  You never get to meet the parents of the other Enterprise crew members, but for Spock, it has always been important to his character to see his family.  Lenard has always been able to portray Sarek’s wisdom and logic with a touch of heart.  While it’s hard to link emotional terms with the performance of a Vulcan, I would say that Sarek shows his soul in this film.  Losing his son is like losing a part of himself, as is the same with Kirk.  So, they share a rare moment which only Spock’s death could compel from them.  While Sarek & Spock’s father-son relationship has had its conflicts, Sarek is still a fine father that cares for his son more than he can ever allow himself to express.  No parent should see their child’s life end before their own, and Sarek sees a chance to reverse that tragedy.  Any parent would take that chance, no matter the odds.  Mark Lenard gave Sarek his wisdom, grace, conviction, and noble depth of character.  He was an incredible, inspiring actor that forged a legacy in this franchise that will stand for all time.

A possible issue of contention with this movie is the recasting of Saavik.  The role was originated by Kirstie Alley in The Wrath of Khan, but financial demands from her agent prevented her reprisal.  Instead, it went to Robin Curtis.  Both actresses play the role differently, but it was necessary to keep Saavik to maintain the character and story threads from the previous movie.  Both Alley and Curtis offer unique and admirable performances.  Alley’s Saavik was decently Vulcan with a subtle emotive quality.  She was a very untested Starfleet cadet with promise.  She came to grow over the course of the adventure, earning her keep.  Curtis’ Saavik is more confident and capable with a stronger Vulcan characterization and a sensitive nature that proves to be a strength.  She has a stronger will and sharper intellect to create a more complex character.  With the guidance of director Leonard Nimoy, she was given the freedom to make the character her own without the baggage of Kirstie Alley’s portrayal.  In the Vulcan legacy of Spock and Sarek, she adds great depth to Saavik beneath the surface.  Alley’s version entirely served the needs of The Wrath of Khan while Curtis’ portrayal suits the demands of The Search For Spock just as perfectly.

The visual effects are solidly up to the levels of the first two Star Trek films, as handled by Industrial Light & Magic.  They are definite proud achievements that hold up excellently today.  Model work and optical effects, when done by the master craftsman of the era, entirely stood the test of time, and should always remain available as milestones in cinematic history.  What doesn’t quite stand up over time are the scenes on planet Genesis.  The limitations of the budget are painfully evident with the obvious soundstage sets and painted backdrops.  Because of the limited budget, the filmmakers obviously couldn’t fly their actors to exotic locales around the world to feature all the diverse climates of this manufactured planet.  I can’t say that there was a feasible way to do this better at the time this movie was made, but even if it was the best solution, it’s still a detractor to the film’s production quality.  This is not a constant for every scene on Genesis, but the evidence is frequently apparent, regularly reminding you of this fact.

Another thing that I don’t care for here is James Horner’s score.  I’ve always been underwhelmed by his music for Star Trek.  For me, Jerry Goldsmith will always be the one and only master when it comes to cinematic Trek.  What John Williams is to Star Wars, Jerry Goldsmith was to Star Trek, in my view.  He ultimately defined the vast, sprawling, epic musical landscape of the franchise for me on the big screen.  Horner’s themes and cues are fine work, but they never became signature, identifiable themes for Star Trek.  Evidence of this is that Goldsmith’s theme for Star Trek: The Motion Picture became the theme music for Star Trek: The Next Generation, and Jerry was brought in to score five total films in the series over thirty-four years.  Horner was kept around for a total of three films, but I never cared all that much for the music he produced.  It was never outright bad, but it just never lived up to the musical potential of what Star Trek demanded.  It’s nicely arranged and gives the film some character, but it simply never does enough for me.  In this film, I seriously miss one of my favorite Goldsmith themes – the Klingon theme.  I can only imagine how awesome it would’ve been to see that Bird of Prey swooping around for the kill with that glorious fanfare in full orchestral breadth.  Kruge surely deserved a verbose and powerful theme to accompany his commanding presence, but James Horner makes no attempt to give the Klingons any presence in the film’s score.

The screenplay was written by producer Harve Bennett who was more akin to writing for television (such as The Mod Squad and The Bionic Woman) which, at the time, didn’t explore big thematic storylines with strong emotional resonance.  So, the scope of the film feels small for that reason.  As I said before, the limits were not pushed here to be ambitious and reach for something bigger or deeper.  That doesn’t mean the script is bad.  It certainly has its moments.  I truly like the part where the Excelsior’s Captain Styles tells Kirk that if he goes ahead with stealing the Enterprise, “You’ll never sit in the Captain’s seat again.”  Kirk doesn’t even flinch as he  just orders, “Warp speed.”  The first two films made a definite point that Kirk’s worth in life is directly tied to being a starship captain, but there’s something far more important at stake here.  He’d rather lose everything in his career if there’s a chance to bring Spock back to life, and restore McCoy’s mind to peace.  The dialogue is good and entertaining while encapsulating the characters perfectly.  The action scenes are nicely conceived, especially with the fight between the Enterprise and the Klingon Bird of Prey.  Seeing how the old NCC-1701 is overmatched because it is wounded and undermanned being run on automation was a fine touch.  It is entirely realistic that she can’t take the pounding.  While it would have been a glorious moment to see Admiral Morrow proven wrong with his statements of how old and outdated the ship is by seeing it triumph against such steep odds, I think it better fuels how much Kirk has to sacrifice to get his friend back.

While, clearly, I’ve said much about what is sacrificed on Spock’s behalf, but McCoy is at risk as well.  Jim Kirk has one friend dead and another in turmoil.  These two men – Leonard McCoy & Spock – are pieces to the whole that is James T. Kirk.  I always enjoyed the moment in Star Trek: The Motion Picture where Kirk drafts Bones back into service because he can’t do what he has to do alone.  “Dammit, Bones!  I need you!” says Kirk to McCoy.  Only after he has the wisdom, perspective, heart, and soul of these two men at his side can he succeed.  They bring balance to his ego, passion, guile, and intellect.  They re-enforce and focus his confidence.  They help him reflect upon himself.  Leonard McCoy is a vital piece of that formula bringing passion and humanity to the table.  Kirk can’t allow to see his friend’s mental state deteriorate, and lose him as well.

Regardless of anything else, ultimately, I have to praise Leonard Nimoy on his feature film directorial debut.  It was both a tough and enviable position for him to be in.  On one hand, he was unproven as a movie director, and had scrutinous limitations and supervision put on him in the shadow of a critically and commercially successful film.  However, he was working largely with a cast he had known for over fifteen years who knew their characters thoroughly, and that could allow Nimoy to direct with a built-in sense of respect.  I’m sure he had his difficulties, but his talent is clear to me.  He surely was allowed to soar with Star Trek IV: The Voyage Home based on his success here.  It is a serious cinematic disservice that his career as a feature film director ended before it had a chance to soar.  He started out with solid hits including Three Men and a Baby.  However, he faced a crushing defeat, both critically and commercially, in 1994 with the comedy film Holy Matrimony which grossed less than $800,000 (less than 20% of its production budget).  Leonard really appeared to be a wonderful filmmaker with a great handle on action, drama, and humor.  I believe he would’ve had a lot to offer in a lengthy career had he gotten the right projects to his credit as a director.  Here, he delivered a very consistently paced and well balanced film that keeps is story elements in focus.  While there are likely plot holes in the reasoning of some characters here and there, they are minor bits and pieces that are relatively inconsequential.

At the end of this, I feel Star Trek III: The Search For Spock should not be viewed as a “bad movie.”  It doesn’t live up to the thoroughly solid thematic work of the previous film or the fun adventurous spirit of its follow-up, but it’s a nicely enjoyable film that had potential to be more than it was.  It has plenty of action, drama, and humorous moments to make it a consistent, satisfying and entertaining film.  The screenplay could’ve benefited from getting in deeper to the soul of the story.  It certainly touches upon it several times, but doesn’t stay there long enough to really develop the underlying themes in the story.  As it is, there is no reason to rank it poorly in the franchise.  It was commercially successful, and remains a fine classic Trek adventure for the original cast.  It merely in contrast to the exceptional and vastly superior films it is sandwiched between that give it a perceived smaller stature, and that I can understand.  But sometimes, you need to take things a little out of context to give them their proper due respect.