Captain Picard and his crew pursue the Borg back in time to stop them from preventing Earth's first contact with an alien species. They also make sure that Zefram Cochrane makes his famous maiden flight at warp speed.
5 years after Pitch Black, the wanted criminal Riddick arrives on a planet called Helion Prime, and finds himself up against an invading empire called the Necromongers, an army that plans to convert or kill all humans in the universe.
Following Kirk's encounter with Khan that left the Enterprise severely damaged and Spock dead, they return to Starfleet so that Enterprise could be repaired. Kirk's hoping to go back to the newly-created Genesis planet where he laid Spock to rest. But upon arriving, he is told that the Enterprise will not be repaired and that Genesis has become a delicate matter and until it is resolved, no one is allowed to go there or talk about it. McCoy is also acting strangely and is later detained when he starts talking about Genesis. Kirk is visited by Spock's father Sarek, who tells him that he betrayed Spock because being placed on Genesis was not what he would have wanted. He tells Kirk he is supposed to bring Spock's body along with his soul or katra as the Vulcans call it which he passes onto someone, and bring it to Vulcan for the final rites. Sarek assumes Kirk would have it but he does not. Kirk then thinks that Spock may have passed it someone else and realizes McCoy is the one who has... Written by
The USS Enterprise had more damage markings on the hull at the start of this film then it did at the end of Star Trek II: The Wrath of Khan.
Considering that this film was set immediately after the events of The Wrath of Khan, there is no explanation as to why these mysterious markings appear on the Enterprise. There were three markings on the hull at the end of the previous film, one to the star drive section, one to the neck section, and one to the underside of the saucer section. In this film the star drive section and warp engines are most notable for the mysterious damage. See more »
[Spock's dying words, repeated from the previous film]
Don't grieve, Admiral. It is logical. The needs of the many outweigh...
...the needs of the few.
Or the one. I have been and always shall be your friend. Live long and prosper.
See more »
Leonard Nimoy is credited as director in the opening credits, but is not included in the cast list. There is a long gap between the name of William Shatner and DeForest Kelley, which lasts for the length of time Nimoy's name would have been displayed. See more »
Perhaps it is the inevitable comparison to the previous episode, but Star Trek III very much has a feel of being low-rent or second-rate. An excellent example of this can be seen whenever Saavik is on the screen. Kirstie Alley may not be the greatest actor in the world, but Robin Curtis succeeds in making her look like Anna Paquin or Sigourney Weaver by comparison. The strange thing is that Merritt Butrick seems to suffer a decline in performance whenever he is in the same frame with her.
Let's face it, any dialogue heavy film was going to be a letdown after the epic battles in Star Trek II. A very personal battle between two enemies that have been festering in one another's minds for years is always going to make a brief fight with a crew of Klingons seem pretty restrained by comparison. A lot of the film's plot elements also come second-hand from the previous film, so it isn't as if much is done to separate it.
The spaceship sequences also look far less realistic in this film than is the case in the past two films. It seems that Paramount hired another effects house to simulate these moments, and the result is that the ships look as if they are under a constant invisible spotlight, rather than the realistic tones that were evident in the previous two films. The combat doesn't seem nearly as realistic, either. After the massive tradings of torpedoes and phaser energy in the previous film, expecting us to believe the Enterprise can be disabled by a single torpedo is a bit much.
The dynamic between Kirk, Spock, and McCoy was always a big part of what made the original series work, so it's not surprising that an entire film be dedicated to restoring this dynamic. To the credit of the screenwriters, it works. The fights on the surface of Genesis, and some of the dialogues, give the whole film a connection with the audience that later films in the franchise particularly lack. Everyone certainly has a friend that they'd do things like this for if they had to, so it's hard not to get behind the Enterprise crew as they battle for one of their most prominent members.
I would have appreciated more footage to show how Uhura arrives on Vulcan, and what the Federation does when they learn that the crew is on Vulcan. Still, the film is much more tightly paced than some give it credit for, so we can let that one slide. It is, however, interesting to note how little internal security the Starfleet orbital station has. I would have thought that the Starfleet version of the drunk tank would have more than just two security guards, given the wide variation in alien races that make up the organisation.
In all, I gave Star Trek III a six out of ten. Most sequels try to be bigger and bolder than the previous episode. Star Trek III is an exception, but it certainly is a worthwhile viewing if you like a bit of science fiction.
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