Trek fans and people in general often debate which of the Old or New generation is the best. On film the old guard have an edge, the stronger focus of the classic series - 3 main characters rather than 7 - being a huge asset in the confines of a stand-alone feature film.
Classic Trek gave us both the best film adaptation - II, Wrath of Khan - as well as the worst by far - V, Final Frontier - but theirs were always more cinematic, even their visual contrast more infused with character than the squeaky clean and bland Next Gen films. So what to make of this, the old guard's last hurrah?
Khan director Meyer returns, solid, focused script in hand, and the emphasis is again where it should be, on the characters, and what to make of them in a postwar universe, echoing the imminent fall of the USSR at the time the film was made (with recurring villains the Klingons standing in as they often had for the red Russians). The parallel works wonders here, with harsh grudges on both sides, most interestingly within Kirk himself. This is never at the expense of telling a fun and compelling story, with an intriguing murder-mystery, framing, and wonderfully detestable Shakespeare-quoting villain played by Christopher Plummer having the time of his life. In this age of tortured, emo antagonists, it is very refreshing to see a villain truly enjoying being a total bastard.
The last ride into the sunset is as perfect as you could hope for, balancing optimism, maturity and nostalgia. It is as fitting a conclusion as anyone could have dreamed up, and well worth experiencing.
Classic Trek gave us both the best film adaptation - II, Wrath of Khan - as well as the worst by far - V, Final Frontier - but theirs were always more cinematic, even their visual contrast more infused with character than the squeaky clean and bland Next Gen films. So what to make of this, the old guard's last hurrah?
Khan director Meyer returns, solid, focused script in hand, and the emphasis is again where it should be, on the characters, and what to make of them in a postwar universe, echoing the imminent fall of the USSR at the time the film was made (with recurring villains the Klingons standing in as they often had for the red Russians). The parallel works wonders here, with harsh grudges on both sides, most interestingly within Kirk himself. This is never at the expense of telling a fun and compelling story, with an intriguing murder-mystery, framing, and wonderfully detestable Shakespeare-quoting villain played by Christopher Plummer having the time of his life. In this age of tortured, emo antagonists, it is very refreshing to see a villain truly enjoying being a total bastard.
The last ride into the sunset is as perfect as you could hope for, balancing optimism, maturity and nostalgia. It is as fitting a conclusion as anyone could have dreamed up, and well worth experiencing.