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I’ve learned that in the future (and in space, for that matter), it’s very much like on the Titanic: even as the ship sinks, the band never stops playing.

No really, someone please tell J.J. Abrams to let the string section take a rest once in a while, and I don’t mean just when the brass is blasting. The Star Trek universe has never been so sonorous! Okay, okay, jokes aside: the soundtrack in this film is overbearing on the same level as in Inception, and if you know me, you know that’s a pretty harsh criticism. Please, anyone, send a note to filmmakers everywhere: silence is amazing too. And where would a bit of silence be more appropriate than in a SPACE movie? Honestly, I wish Abrams and his imitators would trust the audience to have spontaneous emotional reactions on their own, rather than soundtracking us into it. Even in blockbuster scifi reboots, we are capable of a little finesse on the level of pathos. Give us some credit as an audience, J.J., please?

Aside from sound, this film is just fun. I enjoyed the writers’ moves to really give every character in a conflict a position that was at least somewhat reasonable. The acting wasn’t worth sending my mother an email over, but it was on par for big budget blockbusting. The special effects were gloriously over the top. And the story was enjoyable, with or without the nods to the Star Trek films of yore. I even laughed a little.

I admit, I had hoped that, true to its title, this film would have taken the Enterprise into darker realms, similar to when Alfonso Cuarón helped steer the Harry Potter film series into more troubling waters with The Prisoner of Azkaban. Perhaps I can still hope for this in future Star Trek instalments.

Simon Pegg: corny Scottish accent, but I loved it. You’re still on my Christmas card list.

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