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- Wed, Apr 1, 2015, 8:06pm (USA Central)
I actually didn't really mind the Bomar. Maybe there's a reason for them being so strict and unyielding it borders on paranoia. Maybe there isn't. It's not really important. What is important is that they are aware of the Borg and that Seven loses control and becomes Borg at the worst possible time. She effortlessly makes her way off the ship, thus giving the already suspicious aliens every right to refuse Voyager passage.
It even makes sense that they pursue Seven so fiercely. They are already established as extremely territorial and they are aware of the Borg and what they do. Two very good reasons to hunt her down.
The only thing that bothered me a bit was the woefully outmatched security systems. Seven just casually walks out, completely unharmed, unfazed by any security measure put in her place. I guess Starfleet security is about as ridiculous as mall security when the script needs it to be.
- Wed, Apr 1, 2015, 7:26pm (USA Central)
A very good episode. The idea of having one's own double appear is intriguing, and it's executed brilliantly here. The episode has a lot of depth to it in exploring the character of Riker and his relationship with Troi. The plot device that sets it up is unavoidable and nobody dwells on the silly techno-babble because the plot is, correctly, seen as more important.
A totally underrated episode. And, do you know what's even more satisfying? NO RESET SWITCH. All the way through this episode, on first viewing, I was expecting to see Tom Riker die at some point, but thank god the writer of the episode had a brain to realize why that would be a cheat way out. Tom makes another appearance in DS9, which I also enjoyed (at least SOME writers out there give a shit about canon and continuity).
A shame that his character wasn't utilized more with Troi... It would have been nice to see the arc get completed at some point. But nothing takes away from the fact that this is a well written tale that asks questions, doesn't brow beat you with answers, and respects the characters and viewers.
- Wed, Apr 1, 2015, 6:11am (USA Central)
I second the premise that the remote drone will be viewed as a liability, as we can already see this one has broken down in enemy territory with the bridge in the hands of enemy humans.
That aside, the execution of this episode is well done.
- Wed, Apr 1, 2015, 4:17am (USA Central)
Requiem for Methuselah
After viewing this episode for only the second time in 20 years, I can only assume that Kirk's judgement was impaired by early symptoms of the onslaught of Rigelian fever. That's the only way to explain his totally out of character actions in this episode, since it had already been well established on multiple occasions that his first love is his ship. Perhaps Flint was even aware of this early symptom of the disease and decided to exploit it in his effort to unlock his android's emotions.
If that was, indeed, the rationale driving this story, I sure would have appreciated a few lines of exposition by McCoy or Spock confirming it.
- Tue, Mar 31, 2015, 11:29pm (USA Central)
MsV, what you are doing (unsuccessfully) is portraying people who have genuine grievances with the acting (bad acting) of Brooks as being intolerant and prejudiced. It really doesn't wash. You provide no rebuttal whatsoever except "He is good and I can appreciate differences"
Bad acting is bad acting. If you can't see it, that's your fault, but please don't start with the moral high ground crap in order to justify your opinion. Brooks is a bad actor. I say that based on his delivery, over acting and inability to make the character believable. There is no smoke without fire, and the fact so many people are irked by Brooks should tell you something.
- Tue, Mar 31, 2015, 11:13pm (USA Central)
Star Trek V: The Final Frontier
Sorry about typos, in tablet. Mostly clear except redtrained = restrained.
- Tue, Mar 31, 2015, 11:11pm (USA Central)
Star Trek V: The Final Frontier
I think it is time to rescue this film's reputation. Mot only is it not the terrible film it is made out to be, it is by far the best of the Trek features and the crown jewel of the franchise. In fact, while I understand that reasonable people can disagree, I think this sublime meditation on man's place in the universe runs circles around so-called classic cinema; the visuals and thematic force so far outshine 2001, the theistic intelligence is as far above something like Ingmar Bergman as humans are above dead cockroaches. There is the beautolly constructed plot, the subtle, satirical and incisive bits of humour, beautiful musical numbers -- how the musically gorgeous "Row, row, row your boat" didn't become a breakaway pop hit is surely criminal -- and held together by William Shatner's assured direction and redtrained performance. A true masterpiece! I feel like I can say without hyperbole that if the Earth were to be destroyed tomorrow, this film would be the single document most worth preserving.
P.S. I don't know what time it is elsewhere, but it just turned midnight here. So, you know. Also, I actually did watch this recently and maybe will do a real review comment later.
- Tue, Mar 31, 2015, 10:08pm (USA Central)
Requiem for Methuselah
I found this episode interesting because in retrospect it functions very much as a precursor to themes that TNG would explore with Data. The most directly related TNG episode is "The Offspring", but there are also links to "The Measure of a Man" (Kirk showing that Rayna can be human and should be allowed to make her own decisions), as well as "The Most Toys" (an android dealing with being considered property).
Having watched most of TOS now, I can say it's surprising how much material was borrowed from it for later use in the feature films and episodes of TNG.
- Tue, Mar 31, 2015, 8:06pm (USA Central)
No mention of Kes when Doc goes looking for her replacement. Her name isn't dropped at any point. This is disappointing to me. I've complained about this before, but the fact that Doc has apparently accepted the fact that Kes is gone and he's moving on without missing a beat annoys me.
- Tue, Mar 31, 2015, 12:32pm (USA Central)
The colonists do have a point - intentionally or not, humans caused the devastation of their planet. Even unintentional near-genocide is a pretty horrifying prospect. Verin is badly written, making it hard to sympathize with his point of view. But the other guest characters are turned around too easily, considering what they’ve been through.
- Tue, Mar 31, 2015, 10:20am (USA Central)
Outstanding episode, Alaimo's performance is Shakespearean and reminiscent of the mad villain Richard III. Descent into madness through grief and loss is psychologically realistic and provides a sound dramatic premise for the episode. Dukat is a tragic hero right up there with the best of them, ambiguous and complex. It's silly that so many in this thread talk about "sympathy" for his character. What a childish and misplaced reaction. Dukat is way larger than life and beyond such pedestrian responses. I feel sympathy for Sisko who comes across as a typical federation sanctimonious prick and for Brooks because Alaimo runs acting rings round him big time.
- Tue, Mar 31, 2015, 12:37am (USA Central)
At the end, the arkonian mentions he was glad he didn't destroy the vessel. My immediate thought was "makes one of us".
- Mon, Mar 30, 2015, 11:41pm (USA Central)
Star Trek III: The Search For Spock
Here's my review. The full experience (including pictures) can be found at my review blog "captainjonreviews.blogspot.com"
The U.S.S. Enterprise heads home, damaged from its battle with Khan, and still mourning the death of Spock. When Ambassador Sarek informs Kirk that Spock's soul is being carried by Dr. McCoy and can be restored to his body, Kirk and his crew steal the Enterprise to return to Genesis to save their friend. But when a Klingon bird-of-prey learns of the Genesis planet, its commander sets out to capture the secret of Genesis for the Klingon Empire.
Following the critical and commercial success of The Wrath of Khan, Paramount Pictures was eager to quickly release a sequel and turned to producer Harvey Bennett to make it happen. Though he'd wanted his character to be killed off, Leonard Nimoy's experience making Star Trek II had been extremely positive prompting him to ask to not only return for Star Trek III but to direct as well. Paramount head Michael Eisner agreed, making Nimoy the first Star Trek cast member to serve as director.
Harvey Bennett began work on the script with the intent of bringing Spock back to life using a little opening that had been slipped in at the end of The Wrath of Khan. Bennett started with the end of the movie and worked his way forward. The smartest thing that Bennett did was to not write off Spock's death with a first act resurrection, but instead center the film's entire plot around bringing him back. More importantly, the film's story centers not just on the actions of the Enterprise crew (Kirk especially) but also the price that must be paid to bring back Spock. It grounds The Search for Spock on an emotional level and delivers some of the movie franchise's best performances.
From its opening moments, Nimoy successfully establishes the somber tone that would hold throughout the rest of the movie. Spock may not be there physically but his presence is always felt. It's this tone that sets The Search for Spock apart from the rest of the franchise and adds to the emotional drama that takes place.
The strongest element is the work that's done with Kirk and McCoy and the performances subsequently brought forth by William Shatner and DeForest Kelley. Kirk is not only agonizing over the loss of his best friend but at the early revelation that he is about to lose his "greatest love", the Enterprise, which is set to be decommissioned. McCoy, meanwhile, is not himself. He's behaving strangely and going to bars in an effort to book illegal passage to the Genesis planet. In one of the movie's most amusing scenes, McCoy angrily spouts logic to a Federation security officer before attempting a Vulcan neck pinch. It turns out that Spock's mind-meld at the end of The Wrath of Khan transferred his katra, or soul, to McCoy. This "Vulcan mystism" is a departure for Star Trek from Science-Fiction based storytelling into a borderline straddling of Fantasy elements, yet it's a necessary component of the story in order to bring back Spock that mostly succeeds. Kelley is fantastic in his depiction of a tormented McCoy but his best scene comes at the end as he opens up to an unconscious Spock and admits how much he's missed his friend. It's a touching standout scene.
Once Spock's father, Sarek (a nearly emotional Mark Lenard in his best performance) reveals what's going on, all bets are off for Kirk as he sets out to return Spock and McCoy to Vulcan in order for the katra to be returned. To do so, Kirk tries to get a starship to take him to Genesis to retrieve Spock's body. His request is denied as Genesis is a galactic controversy which with the Federation is grappling. Despite warnings from Starfleet, Kirk jeopardizes his career by both breaking McCoy out of jail, stealing the Enterprise and sabotaging the state-of-the-art Excelsior with the help of his crew in a sequence that mixes humor and suspense. Each character gets a great moment in the sequence, especially George Takei as Sulu and Nichelle Nichols as Uhura, who both relish their rare moment in the spotlight and make the most of it. Mixed with a great cue from James Horner, the sequence is a highlight for the entire franchise.
Offsetting the crew's actions at Earth are the less-successful scenes on Genesis where Saavik (a rather dull and uninteresting Robin Curtis) and David Marcus are exploring the new planet with the Starship Grissom. They discover that the planet is unstable because a David "cheated" in designing the Genesis Device by using an unstable element known as protomatter. Thus, the planet is on it's way to it's own destruction. They also discover a Vulcan child on the planet, a young Spock who has been resurrected by the Genesis Wave and is aging rapidly with the planet. In addition to Curtis's stiff and unconvincing performance, the crew of the Grissom are rather lame. The captain goes purely by the book and can't make his own decision without consulting Starfleet first. Thus, when the Grissom falls at the hands of a Klingon bird-of-prey, it's a rather welcome moment. Saavik, David and Spock must flee the Klingons, led by Kruge who want the secret of Genesis so that they can manipulate it into a weapon. This storyline is not as engrossing and drags down the pace as it frequently cuts back and forth with the superior story involving the Enterprise crew.
These scenes play out in a rather pedestrian and businesslike manner without much inspiration. They're also diminished by a Genesis planet that looks a lot like a soundstage at Paramount Studios. The scenes set in a snowy climate are especially unconvincing. Genesis fails to provide a sense of wonder because it seems to be anything more than indoor sets. It's rather disappointing.
Christopher Lloyd is great a Kruge, bringing a sense of theatricality to a role that's not very well-written and a step back from Khan. Still, Lloyd gives it his all and is a worthy adversary for Kirk as the plot has the two parallel storylines come together in a head on collision. The Enterprise is only manned by a crew of five and is no match for the Klingons, leading to a short exchange of fire between the two ships which leaves the Enterprise crippled and helpless. The standoff between Kirk and Kruge is good, but Kruge has the upper-hand as he holds Saavik, David and Spock hostage. In the first of two of The Search for Spock's big surprises, David is killed by the Klingons in an attempt to prevent them from executing Saavik. In a bit of wonderful acting by William Shatner, Kirk breaks down.
This leads to the next big surprise of the movie; in order to save Saavik and Spock from execution, Kirk surrenders the Enterprise. But, in true Kirk fashion, he sets the auto-destruct. While he and his crew beam down to Genesis, the Klingons beam to the Enterprise and are killed as the starship, in the film's best example of special effects, blows up. The conflict with the Klingons then culminates in a hand-to-hand battle between Kirk and Kruge as the Genesis planet goes up in flames around them. The old-fashioned fist fight is a nice throwback to Kirk's regular brawls on the 60's series and is enhanced by good pyrotechnic work on the collapsing set.
The film's emotional climax comes with the return to Vulcan where Spock's katra is returned to him as Leonard Nimoy reprises his iconic role for the film's final scene. The closing conversation between Kirk and Spock is simple yet powerful and the perfect way to cap Star Trek's most emotional entry.
All of this wouldn't work, however, if not for the pitch perfect performance of William Shatner. The Search for Spock belongs to him from beginning to end and he delivers the goods. He's never over-the-top or too sentimental, giving a very somber and tortured turn as Kirk. His portrayal of Kirk's sacrifice is touching. In order to regain his friend, he must sacrifice everything. Not only does he sacrifice his career but ultimately the Enterprise and his son. When the price paid is questioned by Sarek who just regained his own son, Kirk replies that if he hadn't done what he did, the price would've been his own soul. The writing successfully tackles the emotional consequences and Shatner doesn't miss a beat. It's definitely his best performance as Kirk.
The visuals are mixed. Though the look of the Klingon ship is great and the space shots are all well executed, especially those involving the space dock at Earth, the planet sets are far less convincing. The exception to this is the scenes taking place on Vulcan. If the Genesis sets were as vast and open as the Vulcan scenes, perhaps The Search for Spock would've felt a little more epic in scope.
James Horner's score is a strong entry, using many of his themes from The Wrath of Khan with the melodic "Spock theme" taking the forefront here. His Klingon theme doesn't match that of Jerry Goldsmith and is a little obnoxious at points but still entertaining.
Star Trek III: The Search for Spock doesn't try to outdo The Wrath of Khan, nor does it succeed at doing so, but instead proves itself as a strong companion. Though there are some flaws, particularly with the Genesis storyline, the emotional side of the story delivers and makes The Search for Spock an admirable space opera journey.
Writing: 1.25 / 2.0
Characters: 1.5 / 2.0
Acting: 1.75 / 2.0
Entertainment: 1.25 / 2.0
Music: .75 / 1.0
Visuals: .75 / 1.0
TOTAL: 7.25 / 10
- Mon, Mar 30, 2015, 11:40pm (USA Central)
It is explicitly stated that one can have an Orb experience months or even years after the initial encounter. What were they called... orb flashes? In any case, it is possible the accident triggered and/or enhanced one of these flashes; starting the visions.
- Mon, Mar 30, 2015, 8:26pm (USA Central)
Face of the Enemy
Agree on the language thing.
That is part of the suspension of disbelief that we have to accept for the sake of storytelling.
That and her black eyes
- Mon, Mar 30, 2015, 8:12pm (USA Central)
I was slightly bothered by the many Predator esque look alikes. The Kradin, the jungle setting, the weaponry. I don't know if they did so on purpose (although I have a hard time imagining it was all just by accident), but I found it harder to get into because of this.
The twist was nice though. Not only did it come unexpectedly, but it was believable and very well portrayed. I particularly liked the ending when Chakotay attempts to clarify what happened to him and Janeway replies that she doesn't know whether or not the Kradin subject the Vori to the atrocities Chakotay was brainwashed to believe or that it was the other way around.
No clear cut bad guys to be found. No black and white morality issues.
A few nitpick moments I had:
-Another shuttle lost. I'm starting to suspect they can replicate those things as easily as they can replicate a meal.
-Why did Janeway turn to Neelix for an explanation of their war? How would he know? Not only is their war taking place beyond the Nekrid expanse, it's taking place beyond Borg space and there's no way in hell Neelix ever passed through Borg space. Wouldn't she be better off hearing about it from the very people that are involved in the war? Neelix's role as their guide ended a while ago, didn't it?
-Why are the Vori so quick to conscript Chakotay, an alien, to their cause? If they crashed his shuttle, shouldn't they be wondering who he is and if his people are going to look for him? Shouldn't they wonder about his technology (which may or may not be more advanced then theirs) and try to use their brainwashing abilities to extract that information from him? Seems to me like knowledge abour more advanced tech is far more usefull then just another soldier in the fray.
- Mon, Mar 30, 2015, 4:58pm (USA Central)
Hey Promo Guy: You're Fired
Add to the hate list SyFy, which runs promos for upcoming shows EVERY SINGLE FREAKING COMMERCIAL BREAK. And chopping up the show currently being being aired to make more time for the upcoming promos. I love the original Twilight Zone, but can't watch any of the SyFy marathons because I know how badly huge chunks of the show are being cut out to make room for more commercials. KNOCK IT OFF!!
- Mon, Mar 30, 2015, 3:51pm (USA Central)
Hmm-well the punch up reminded me of Kirk and Finnegan from Shore Leave-except that fight was part of a very smart story and this fight wasn't smart at all.
T'Pol snogging Trip's face off was rather gratuitous but excusable and I guess the alien in the pod turns out to be a fair way to introduce the unimaginatively named sphere builders who, as Jammer observes, looked like some sort of Suliban.
- Mon, Mar 30, 2015, 11:42am (USA Central)
Second Season Recap
@Niall, I just wanted to follow up on your comment about David E Sluss and say that the obit you posted was for another person with the same name and similar age. I emailed the Cynic this weekend and he assured me he is alive and well!
- Mon, Mar 30, 2015, 3:45am (USA Central)
The Enterprise Incident
A fabulous episode showing the best of ST and among the best TV episodes of any series ever. A kickass female Romulan commander, played pitch perfect by Joanne, provides a splendid counterbalance to one of Leonard's best renderings of Spock ever. Kirk comes off as second best despite an awesome performance too by William. That's what an episode should be, so much excellence all round you don't know where to focus as a viewer. The complexity and dramatic and sexual tension in the Spock-Romulan commander relationship sizzles all round and is electric till the end, especially at the end, episode endings being so often rushed and problematic in ST. My single favourite episode of all time of any series.I watch and rewatch it forever. BRAVO!
- Mon, Mar 30, 2015, 3:29am (USA Central)
The City on the Edge of Forever
Who makes up these totally cockeyed episode reputations? The single most overrated episode, other than DS9 The Visitor, in ST history. A loopy time loop episode. What a waste of the gorgeous Joan Collins! Why couldn't they write a companion piece to Space Seed with Joan a female super human giving Khan Noonien Singh a run for his money, instead of having the ineffectual Madlyn Rue as the quivering weakling female melting at his male chauvinist charms? ST not full of stereotypes? Look again closely!
- Mon, Mar 30, 2015, 12:07am (USA Central)
Take Me Out to the Holosuite
During the play where Vulcan #11 is at bat, when he hits the ball, the music during this play suddenly made me think of ST Voyager episode Dark Frontier, when the crew boarded the Borg ship to steal a transwarp coil.
It turns out both episodes were scored by David Bell. Nice little piece of music trivia there.
- Sun, Mar 29, 2015, 11:00pm (USA Central)
That Which Survives
Watching the TOS episodes for the first time, I immediately picked up on Spock's uncharacteristic incessant antagonism in this episode. As a heavy Spock watcher and fan, I found myself defensive at his portrayal in this episode!
I felt that Spock had often, up until this episode, been mostly unwittingly brash when he simply found a character's actions illogical; but in this episode, he seemed to go out of his way to attack the logic of other crew members of the Enterprise.
If only for the misportrayal of Spock, I was terribly annoyed at this episode! It comforts me to know that other fans of the series were similarly upset!
- Sun, Mar 29, 2015, 8:15pm (USA Central)
Day of Honor
I feel like the Cataati acted a little too extreme, the second time they came around blackmailing Voyager into giving them more then the crew could spare. I realize that they are desperate and that their very survival is at stake, but I'm surprised no one on the crew pointed out that if the Cataati took this much from Voyager, they'd basically be doing to them what the Borg did to the Cataati. Chakotay or Tuvok could have (and should have) pointed out that if the Cataati stole that much from Voyager, they'd be setting them on a path of damnation.
For that matter, why did no one point out that the Cataati are thinking too small? Stealing Voyager's supplies and thorium (or whatever it was they needed) would have bought them a few more months. But as the Cataati themselves point out, Voyager is a more advanced ship with many forms of superior technology. Why not ask them how to make their replicators more effective? How to maximize the potential of their engine systems? You know, stuff that helps your survival in the long run. Seems to me like they could have just asked Voyager for help with long term solutions from the get go.
Instead, Seven has to come up with that idea, out of nowhere. Just didn't sit quite right with me. But I suppose if they did that, there wouldn't have been any cause for drama and the episode would have been dreadfully boring, so then they'd have to find another way to make it interesting, so what do I know?
- Sun, Mar 29, 2015, 7:52pm (USA Central)
The season 4 finale we got was not the real finale. How season 5 ended was the season 4 closer. Once they found out they got another season, they just didn't show it until the end.
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