9/11/2023 0 Comments Alice eve star trek beyondYet, as you might expect from an actor who can comfortably portray Sherlock Holmes and Stephen Hawking, Harrison is as cerebral as he is muscular. There will soon be students getting 2:2s for dissertations with titles like “7 of 9/11: Bin Laden, Star Trek And America Into Darkness”.Ĭumberbatch’s Harrison may be dressed for a GQ cover but he is, in essence, a one-man army - watch him waste a garrison of helmeted marauders or take a vicious beating from Kirk with barely a flinch, or brutally batter some Federation flunkies. Just weeks after the events in Boston, this keys into a hunt for a bomber, with Kirk given orders to forgo a fair trial (“I’m gonna run this bastard down”) and terminate Harrison with Star Trek’s version of extreme prejudice - undetectable photon torpedoes. Into Darkness couldn’t be more prescient. Abrams’ first Trek movie was criticised for not following the Roddenberry tenet of holding up a mirror to real-world issues. A bomb goes off in a Starfleet archive in London - 23rd century England will boast a skyline of Gherkin buildings apparently - and the race is on to track down the terrorist, well-coutured renegade John Harrison (Benedict Cumberbatch). Yet rather than pausing for breath, Star Trek Into Darkness punches it and immediately turns into a manhunt movie. We’ll be lucky to see a more exciting, breathless set-piece all summer. It’s a ludicrously enjoyable piece of action cinema with a gloriously cheeky ending. If that’s not enough, Spock (Zachary Quinto) is being parachuted into a volcano to calcify the lava and save an entire planet. Looking down on a planet rich in garish scarlet fauna, a shaky camera picks out Kirk (Chris Pine) and Bones (Karl Urban) legging it for their lives, away from an angry pack of white-faced, yellow-hooded natives but towards a sheer drop that spells certain death. Tearing a page out of the Raiders Of The Lost Ark Blockbuster Playbook, we start at the shattering climax of a Trek adventure we’ll never fully see. Into Darkness follows exactly the same principles. Star Trek 2.0 (or XI) eschewed the speechifying, arthritic cast and bad hair of the previous flicks, upped the energy, vibrancy and spectacle, but still managed to respect Roddenberry’s dramatis personae, if not his spirit. Rebooting Gene Roddenberry’s seminal ’60s TV show following years of variable movies, Abrams’ first voyage on the USS Enterprise rescued the franchise from its increasingly niche fan base, the kind of people who endlessly debate Sisko versus Janeway (answer: Picard), and made it cool for everyone. Few understand the meaning behind this Star Trek (or more accurately, Charles Dickens) sentiment better than J. The needs of the many outweigh the needs of the few.
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