On the eve of retirement, Kirk and McCoy are charged with assassinating the Klingon High Chancellor and imprisoned. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace.
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
A robotic warrior from a post-apocalyptic future travels back in time to protect a 20-year old drifter and his future wife from an most advanced robotic assassin and to ensure they both survive a nuclear attack.
In the late 23rd century, the gala maiden voyage of the third Starship Enterprise (NCC-1701-B) boasts such luminaries as Pavel Chekov, Montgomery Scott and the legendary Captain James T. Kirk as guests. But the maiden voyage turns to disaster as the unprepared ship is forced to rescue two transport ships from a mysterious energy ribbon. The Enterprise manages to save a handful of the ships' passengers and barely makes it out intact... but at the cost of Captain Kirk's life. Seventy-eight years later, Captain Jean-Luc Picard and the crew of the Enterprise-D find themselves at odds with the renegade scientist Tolian Soran... who is destroying entire star systems. Only one man can help Picard stop Soran's scheme... and he's been dead for seventy-eight years. Written by
Gregory A. Sheets <firstname.lastname@example.org>
[the journalists are all talking at the same time, trying to get their questions in]
How does it feel to be back on the Enterprise bridge?
Captain Chekov, what are the most significant changes...
Captain Kirk, can I ask you a few questions?
Did you participate in the redesign?
We'd like to know how you feel about being...
I appreciate the...
Excuse me. Excuse me. Excuse me. There will be plenty of time for questions later. I'm Captain John Harriman and I'd like to welcome you all ...
[...] See more »
The end of the original Star Trek was probably a very hard thing for Paramount to deal with. Fans go on about how hard it was on them, but consider Paramount and Viacom for a moment. Suddenly, their sacred cash cow was gone, and the Next Generation series, which was in its fourth season by the time the original crew were put out to pasture, was not living up to the enormous international sensation it followed.
When the first Star Trek feature film was released, it dared to do something different by offering a very scientific and researched future. Sound effects in space were kept to a minimum, gadgets were barely used, leave alone acknowledged, and the focus was almost entirely upon human drama. It might have presented one of the most unbelievable scenarios a science fiction film has ever been based on, but it grounded that scenario in just enough reality to make it work. Which is where Generations ultimately loses the plot.
The whole opening of Generations just cheapens the end of The Undiscovered Country. The original cast got a beautiful send-off with a major Roddenberrian goal accomplished, their signatures recorded on film, and their model spacecraft riding off into the sunset. It was a high note that could never be equalled. But some moron at Paramount thought "let's bring back some of the old cast and do a crossover, it will make a fortune". Given that Scotty seems to have adopted the mode of speech associated with Spock, it is quite apparent Leonard Nimoy told Paramount he'd rather do something that qualifies as creative. As one critic said, let them go people, it's only a TV show.
Like Insurrection, Generations shoots itself in the foot by basing itself on a classically uninteresting premise. A wave of cosmic energy sweeps through the universe, and those who come into contact with it are trapped within their own unreal fantasy land until they can get out of it. Putting aside the premise of locational heroin for a moment, it doesn't bode well that this is pretty much all I can remember about this dull, uninteresting film. Given the adventures that Kirk has had in previous outings, to rewrite his history so that he goes out on a note like this is insulting to those who paid good money to see the previous six films.
I'll admit it, I've never found the Next Generation cast a tenth as interesting as the Original Series cast. But that is hardly a fault of the cast. Patrick Stewart has floored me before as Charles Xavier in both of the recent X-Men films, so it isn't like he is incapable of making a well-written role work. Marina Sirtis almost screams that she could do so much more with a better-written part. As for Malcolm McDowell, well, this is the guy who made a name for himself in one of the most controversial adaptations of all time. He certainly can't have too many agents left to fire.
In the end, Generations suffers from exactly the same problem as the TNG series. Too much gloss, not enough cerebral activity. Again, scientific credibility is stretched to its limits. When Kirk is sucked into the Nexus, the idea that he is the only one to go is laughable at best. What makes the rest of the film fail is that the writer and director don't seem to realize that a feature film is not a two-hour television episode. One cannot rely on endless scenes of people sitting down and conversing to carry the film, but this is exactly what they try to do.
It is for that reason that this load of swill, which would have been much better as a three-episode arc in the television series, gets a one out of ten from me. It isn't the worst in the series by a long shot, but it comes off that way when all the penalties are tallied up.
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