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.
The Borg travel 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.
The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. Captain Picard and his crew discover a serious threat to the Federation once Praetor Shinzon plans to attack Earth.
The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.
A massive alien spacecraft of enormous power destroys three powerful Klingon cruisers, entering Federation space. Admiral James T. Kirk is ordered to take command of the USS Enterprise for the first time since her historic five-year mission. The Epsilon IX space station alerts the Federation, but they are also destroyed by the alien spacecraft. The only starship in range is the Enterprise, after undergoing a major overhaul at Spacedock on Earth. Kirk rounds up the rest of his crew, and acquires some new members, and sets off to intercept the alien spacecraft. However, it has been three years since Kirk last commanded the Enterprise - is he up to the task of saving Earth?Written by
Colin Tinto <firstname.lastname@example.org>
When film was announced, many synthesizer artists submitted demo tapes to Paramount. Todd Ramsay and Robert Wise consulted and decided that the film should have a unique audio style; they were particularly concerned with avoiding sounds that had become pervasive and clichéd due to repetitious use in other science fiction movies. Events such as Enterprise bridge viewscreen activation were kept silent to provide a more comfortable atmosphere. In contrast, almost every action on the Klingon bridge made noise to reflect the aliens' harsh aesthetic. While much of the effects were created using digital synthesizers, acoustic recordings were used as well. The wormhole's sucking sounds were created by slowing down and reversing old Paramount stock footage of a cowboy fight, while the warp acceleration "stretch" sound was built on a slowed-down cymbal crash. The crew encountered difficulty in transferring the .25 inches (0.64 cm) tapes used for creating the sounds to the 35 mm film used for the final prints; while the film was to be released with Dolby sound, Frank Serafine found it was easier to mix the sounds without regard to format and add the specific format after, during the later transfer to 35 mm. See more »
Kirk's spacesuit when he makes the EVA to rescue Spock. See more »
End title: "The human adventure is just beginning." See more »
2001 Director's Edition rating was changed to PG, to reflect additional and changed footage. New or changed footage includes edited Epsilon 9 space station scene, new POV from aft-facing lounge, new footage of preparation to leave Enterprise to physically examine VGER, as well as changed sound effects and other items. See more »
This was an under-rated film in the first version, and it is improved a great deal with the changes that Robert Wise made just a few years before he passed away. There has been a backlash against this picture, mostly for two reasons; it was not Star Wars, and it was not what people expected of Star Trek.
If you put these expectations aside, and if you also have some attention span and willingness to relax into a picture this is a remarkable experience. I often here people use words like boring, too long etc. Well yes, if we are expecting a quick-hit, film that can be digested in 90 minutes like a TV show, this is not that type of film. If we apply these standards to Lawrence of Arabia, 2001, Blade Runner, Bridge on the River Kwai, or Citzen Kane (which Robert Wise edited, none of these films would have ever been made.
If you put Star Trek The Motion Picture in context of it's scale and the craftsman involved you start to appreciate it's quality and elegance. Robert Wise does not need qualification. He brings an elegance and texture to work and life in space that StarWars has not put to screen to this day.
Star Wars even now seems like nothing more than an impressive exercise in effects and sound. It is always reminding us that it is a movie. ST-TMP on other hand departed into an "immersive experience" developed by Robert Wise, with the amazing talents of Doug Trumbull and John Dykstra, and the enormous contibutions of Jerry Goldsmith. Likewise, the photography, the scale of the sets and the editing of the film all contribute to a immersive world that saturates the viewer into the film.
You gain a lot of knowledge and appreciation of this film and the experience that they achieved by watching the Director's Edition DVD and listening to Wise, Trumbull, Dykstra, Goldsmith and others discuss the production. This was a uniquely creative and enormous effort, and considering the technological limitations, the demands of the studio, and the many demands of the Star Trek Bible that qualified the creation of the movie. I am pleased to see that other reviewers here have come to appreicate this movie many years later. I encourage the skeptics to find the time to relax and watch it on the biggest screen you can find.
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