Wookiee vs. Trekkie: The friendly competition between Star Wars and Star Trek aficionados has raged for decades. Star Trek was more scientific and cool, emphasizing the technology of "Beam me up" rather than the intuition of "Feel the force." Even their goals were different: the cast of Star Trek was on a mission merely to observe the universe, while the cast of Star Wars was out to save it. But Star Trek's "Prime Directive" demonstrates democracy at its worst: "The needs of the many outweigh the needs of the few." No wonder I've never been a Trekkie.
The latest episode of Star Trek — Star Trek: Into Darkness — is a bit of a muddle between these two fan-chises: some characters early in the film look and talk like Ewoks, a la Return of the Jedi; they meet in a jazzy bar populated by strange rubber-bodied creatures a la Star Wars: and the film begins with our heroes fleeing alien creatures on an alien world without our knowing why, a la The Empire Strikes Back. James Kirk (Chris Pine) even looks a lot like Luke Skywalker (Mark Hamill) in the second two Star Wars films, after Hamill's aquiline nose became pugged from a car accident he had between films.
The technique of beginning a film at the climax of a storyline that the audience hasn’t seen is recognized as Cubby Broccoli's trademark opening for the James Bond films, and it’s used in this movie too. It succeeds in giving the audience an early adrenaline rush. Just five minutes into the film we see Spock falling into a churning volcano. (Hmmm. Spock is a Vulcan. Vulcan is the god of volcanoes and the forge . . . shouldn't he have felt right at home there?) After his dramatic rescue (no spoiler alert here, since this happens ten minutes into the film), that storyline ends, and we settle into the central conflict for this film.
In this episode a former Starfleet commander (Benedict Cumberbatch) has turned rogue (a la Darth Vader . . . there they go again!), and the crew of the Enterprise is enlisted to go after him. That's about all you need to know. There's a lot of warp speed action, dodging of asteroids, climbing around on cool CGI-generated equipment, and fist-to-fist fighting — love how these Star Trek films come full circle and use brawn over brain or technology when people are fighting; Star Wars still goes in for those laser swords.
The Star Trek films were popular in the ’80s and ’90s, but they started to wear thin, as the original actors started to wax larger, both in age and in heft. The only way to continue the franchise was to turn from sequel to prequel. That worked extremely well in Star Trek (2009). It was fun to ooh and ahh over the excellent casting selections and see the back stories of the characters who have become a part of our cultural fabric for more than four decades. And director J.J. Abrams successfully repackaged Star Trek from a cerebral exercise in philosophy to an action-packed sci-fi adventure.
It was also cool in the 2009 movie to see the young Mr. Spock (Zachary Quinto) fall in love with the young Lieutenant Uhura (Zoe Saldana). For nearly 50 years the biggest challenge for the Star Trek crew has not been fighting Klingons but trying to get Mr. Spock to feel and express emotion. Spock is a Vulcan, and Vulcans don't have feelings (odd that the god of fire would be chosen as the name for the passionless planet, isn't it?). But Spock is also half human, and in every film there is the possibility that his human heart might kick in and overpower his logic. All of that has happened in previous episodes, however, so that too is starting to wear thin. We get it: with enough provocation, Mr. Spock can cry. He can kiss. He can bicker with his girlfriend. Enflamed by a desire for revenge, he can even beat an enemy to a pulp with his bare hands. He's becoming positively touchy-feely.
Star Trek fans love this movie. Reviewers seem to like it too. I thought it was pretty good, for what it is. But my patience for the whole Star Trek franchise is starting to wear thin. Or maybe I'm just waxing old. I'd rather just see a movie that boldly goes where no man has gone before.