Eleventh feature film, J. J. Abrams’s film goes back to the origins of adventure, the meeting of Captain Kirk and Spock aboard the U.S.S.. “Enterprise”.
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Send a little dusty myth, shake it in all directions, recover what goes back to the surface to recompose a modern, sexy, in-tone story. This is J. J. Abrams, producer and director of this new Star Trek, and it is successful. Eleventh feature film of the franchise, its film goes back to the origins of the adventure, the meeting of Captain Kirk and Spock aboard the USS Enterprise vessel.
From this founding pillar, JJ Abrams and his screenwriters have built a narrative in phase with the spirit of the series, where we move from planet to the planet at the speed of light, where one Telesporting as we make a phone call, where one explores the space carried by progressive ideals, where one rubs with extraterrestrials and humanoids of all hair. Staged with Brio, the film is toned, full of surprises and visually dazzling.
Star Trek opens under the darkest auspices, in the middle of a furious intergalactic fight. The admiral vessel of the “Starfleet” mission is engaged in an unequal struggle against a cruel enemy. On board, the captain’s wife is about to give birth. We evacuate on another ship where her husband must join her … but – first daring, because the thing is hardly in cinema – the positive hero leaves his wife child alone. The captain will die in heroes and the child will become offender, a cross between the James Dean of the fury to live and the young John Connor of Terminator. It is James Tiberius Kirk, the future Captain Kirk, interpreted here by the very cute Chris Pine, that an ex-collaborator of his father convinces to join the crew of “Starfleet”.
two heroes. Everything opposes
During this time, on the Vulcan planet, the young spock grew up, torn between his two origins: Vulcanian by his father, he is human by his mother. Rational, Vulcanians are ready to integrate it into their elite body. But, despite his great ambition, Spock refuses to deny his humanity to melt in the upper breed.
These two characters that everything opposes are aboard the U.S.s. Enterprise, engaged in a fight against Nero, a real wicked, shaved and tattooed to the head (Eric Bana), last survivor of a planet destroyed. Assassin of Kirk’s father, he also dedicated to Spock an eternal hatred. The film tells the learning and climbing of the two young heroes. The stake is here the birth of their complicity.
We navigate between the 1960s op art, the 2001 universe: the odyssey of the space or the aesthetics of Pierre Cardin, serving a subtly distilled tolerance message. Difficult to do more effective, in terms of multiracial advocacy, a scene that reveals bare Kirk in a bed with a green woman. Without concepting a conceptual, philosophical, or extravagant artistic power, the Star Trek, J. J. Abrams, brings a note of fresh and elegance to space adventure film.