Abrams' Trek reboots have had a giddy, manic tone from his first introduction of Kirk as a defiant kid driving his stepdad's classic car off a cliff for no clear reason, to the tune of Beastie Boys' "Sabotage." (That moment gets a major callback in Beyond, in a sequence that's a little bit triumphant payoff, a little bit cheesy fan service, and a big chunk of Mars Attacks rip-off.) They've found excuses to turn nearly every moment into a frantic race against the clock, driving the characters from one hair's-breadth escape to the next. Lin's take on Trek is just close enough to Abrams' to make Star Trek Beyond feel like a natural continuation of the series. That doesn't slow the film down at all, but does rein in Abrams' more hyperbolic tendencies, and it emphasizes the characters over the camera work. Abrams did in Into Darkness Lin tends to stick with a shot instead of lunging for the characters' faces, or twisting off in random directions. If anything, he makes more sedate camera choices than J.J. Lin's usual directorial dynamism seems like a natural fit for the revved-up new Star Trek films, but given how visually manic Star Trek Into Darkness was, there aren't many ways for him to speed things up here. The former tries to kill them and the latter tries to help them, and from that point on, the film is mostly one action scene after another, with enough constant, immediate threat to keep adrenaline-junkie Kirk keen to stay in the captain’s chair. Her story leads Kirk and crew to a planet where among other things, they encounter a life-draining despot named Krall (Idris Elba) and an angry refugee named Jaylah (Sofia Boutella). But then a distressed alien (Lydia Wilson) shows up at Starfleet’s biggest, newest, most advanced outpost asking for help. His first officer, Spock (Zachary Quinto) is angsty for different reasons: after the death of alternate-timeline Old Spock (the late Leonard Nimoy, who gets a quiet, touching tribute), New Spock is pondering his mortality and his duty to the Vulcan people. Beyond finds the ship three years into that mission, with Kirk bored, disillusioned, and (improbably as hell) planning to resign his beloved command in favor of a desk job. The previous Trek film, Star Trek Into Darkness, ended with the Enterprise and its crew headed out on an unprecedented, much-coveted five-year exploration mission, as Kirk’s latest reward for breaking every Starfleet rule he could think of. It’s a softer, more audience-inclusive kind of humor than Trek’s allowed before, and for these precious minutes, the film is self-aware and funny, instead of dripping with angst, anger, and panic.
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Things get meta, with Kirk (Chris Pine) complaining after an away mission that he’s torn his shirt again (a running theme on the original 1960s Trek), wearily contemplating a closet full of identical yellow command jackets, and worrying that his adventures have gotten - wink wink, TV fans - “a little episodic.” An early diplomatic errand even turns into a visual gag reminiscent of Galaxy Quest. But Beyond’s opening is a strong reminder that heroes are more fun when they have a chance to breathe outside of crisis, and drop their mean mugs for a while. Kirk’s belligerence or his bedroom habits. The new Trek movies have allowed humor through the door, but it’s mostly been a shoulder-punching bro humor, focused on James T.
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It’s hard to believe it’s been 30 years since Star Trek IV: The Voyage Home, the last Trek movie to let its characters be loopy, relaxed, and even silly for more than the space of a line or a scene.
For just a few delirious minutes at the opening of Star Trek Beyond, the third film in the latest Trek reboot cycle, director Justin Lin ( Fast And The Furious 3 through 6) and writers Simon Pegg and Doug Jung appear to be making a comedy.
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