The Borg go back in time intent on preventing Earth's first contact with an alien species. Captain Picard and his crew pursue them to ensure that Zefram Cochrane makes his maiden flight reaching warp speed.
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.
A century before Captain Kirk's five-year mission, Jonathan Archer captains Earth ship Enterprise NX-01 during the early years of Starfleet leading up to the formation of the Federation and the Earth-Romulan War.
On their way to William Riker and Deanna Troi's honeymoon, the Enterprise is sent near the Neutral Zone to Romulan space, and picks up a prototype twin of the android Data. Immediately, they are further sent to Romulus, where the new Praetor, Shinzon, a human cloned from Captain Picard who lives on the slave planet Remus, appears to want peace with the Federation. But then the crew detects a break-in on their computer systems, and Picard is captured by the Remans because Shinzon needs him as his only matching supplier of genetic material. Picard and the Enterprise can escape, only to find themselves battling Shinzon's completely cloaked Warbird, who is after the complete destruction of Earth. Written by
During his confrontation with the hologram of Shinzon, Captain Picard states "Your heart, your hands, your eyes are the same as mine." While Shinzon is a clone of Picard and most of this is true because they share the same DNA, Picard actually has an artificial heart. It was established on Star Trek The Next Generation that he lost his biological heart as a cadet when he was stabbed through the heard by a Nausicaan. See more »
Senators, consider the opportunities for the Empire. At last, the destinies of the planets Romulus and Remus will be united. Shinzon of Remus is offering us a chance to make ourselves stronger than ever before. It would be madness to reject it. I beg you not to let prejudice or politics interfere with this Alliance. By joining Shinzon's forces with ours, not even the Federation will be able to stand in our way.
That's enough! The decision has been made. The military does not ...
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There are no opening credits save the title. See more »
It has always been easy to level criticism at Star Trek films, for either being too slow, to action-packed, too Trekkie, not Trekkie enough, or whatever. The fact of the matter is, is that none of them are classics, except for the people who know and love the characters in them: namely, Trekkies.
It has been said that Stuart Baird was brought on board to try and open up Trek to a wider audience, but that simply insults the viewers Trek already has. Voyager tried, and failed, and Enterprise is rapidly going the same route.
The better Trek films are those that revolve around the character-dynamics, and seeing those people work as a team. In those films, such as Wrath of Khan, The Undiscovered Country, or First Contact, the comradeship of the protagonists is evident.
Not so in Nemesis, which is ironic, especially considering the entire film is purportedly about such relationships. None of the characters have been drastically altered, as many might suggest, but there is very little interaction between them, there's no moment where the viewer would think "only Picard/Data/whoever" would get them out of this situation. It's all a bit [for lack of a better word] bleh. There's no adventure, something that has been missing from Trek since First Contact.
Shinzon is a powerful character, a wonderful character, but sorely underused. It's almost as if he's never really serious about what he's doing, and as such, never seems to pose much of a threat. This is emphasized through the cliched dramatic countdown timer sequence (used excessively in Trek, but here lacks substance, especially since it is entirely and utterly pointless).
Nemesis starts off well, full of hope and joy, and the prospect of Troi and Riker's wedding, and the viewer too, is led into a false sense of hope at the prospect of the film. But Stuart Baird lets us down harshly. He was the wrong director for the job: the script (if you listen to the dialogue, watch the cut scenes, etc) is not an action script, but a character-driven one, with a few action elements.
Baird has turned that on its head, and produced an action film, with very little character involvement.
As a plus point, it must be noted that Goldsmith has outdone himself - the music (although in parts evidently synthesized rather than orchestrated) is a delight. Buy the CD, and forget the film.
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