Jammer's Review

"Star Trek: The Motion Picture"

***

Theatrical release: 12/7/1979
DVD special edition release: November 2001
PG; 2 hrs. 16 min.
Screenplay by Harold Livingston
Story by Alan Dean Foster
Produced by Gene Roddenberry
Directed by Robert Wise

Review by Jamahl Epsicokhan

December 27, 2001

The recent DVD release of Star Trek: The Motion Picture — The Director's Edition represents a revisit to a piece of the Trek canon that these days seems known more for its place in Trek turning-point history than for its value as a feature film. Among fans and critics, ST:TMP is not often highly respected in the ranks of the Trek films. In terms of tone, it certainly stands out as the odd child of the film series. It can be argued that the film was remembered more for being a big event in the franchise's direction than for being a story that people remembered as part of the canon.

And for good reason. When Star Trek: The Motion Picture first came out in 1979, it landed amid years of anticipation for a project that went through a string of changing would-be destinations. First it was going to be Phase II, the new Trek TV series. (Even then, Paramount wanted to launch a TV network with Trek as its flagship, something that wouldn't happen until 1995.) At one point it was considered as a TV movie. Part of the decision for the destination was affected by the huge success of sci-fi classics Star Wars and Close Encounters of the Third Kind. If Star Trek was going back into production, it would be foolish not to aim for the big screen.

When it finally came out, some were disappointed, especially after the thunderous excitement of Star Wars two years earlier. ST:TMP was a slow-paced, cerebral, talky film with little in terms of action. For its creators, it was a miracle of effective coordination in the face of impossible, rapidly approaching deadlines. The product itself was barely finished — production and then post-production went to absolutely the last possible moments, with reels of the film being distributed to theaters practically within hours of their first show times. When the time came around for the sequel, The Wrath of Khan, it would be a return to sharper character interaction and faster-paced storytelling — what the audiences really wanted from Kirk and his crew.

Now, 22 years after the original theatrical release, we have the new ST:TMP Director's Edition DVD, a project that was given Paramount's blessing and which director Robert Wise finally felt comfortable in revisiting. I recently sat down to watch the film for the first time in several years. I honestly wasn't sure whether I'd notice the enhancements or not, since it had been some time since I'd seen the movie from beginning to end. But like all things that trap themselves in the corners of our memories and imagination, I remembered ST:TMP better than I had expected, even the specifics of certain shots.

ST:TMP is not a great film and never will be. It's flawed as science fiction and flawed as Trek. But it is a good film. It's particularly good in that it withstands the test of time. After 22 years and all sorts of progress in the arena of visual effects, the film has aged well. Both the production and the storyline bear scrutiny today.

Up front, the following should be noted:

1) The Director's Edition is a better film than either the original 1979 cut or the 1983 cut for TV that restored footage unused in 1979. (The 1983 cut is what landed on many previous video releases.)

2) The Director's Edition is not different from previous cuts of the film in ways that significantly impact the storyline (not like the director's cut of The Abyss, for example).

3) The film benefits from DVD quality, which is the best way to see the restored film today, with a superior audio mix and the excellent picture quality we've come to expect.

As a film, ST:TMP is not so much about its characters and personalities as the later films are. Most of the supporting characters like Scotty, Sulu, Uhura, and Chekov are pushed to the sidelines as they have often been and are rarely seen as individuals. McCoy lends his personality to the proceedings but doesn't hugely figure into the plot. The primary character arcs are for Kirk (regaining command of the Enterprise, which he lost in being kicked upstairs), Spock (whose failed attempts to purge his emotions in the Vulcan ritual of the Kolinahr reveal both his need for and torment by human emotions), and Decker (who finds himself relieved of command because Kirk pulled some Starfleet strings in his goal to regain his captaincy, and also realizing his feelings for Lt. Ilia are resurfacing).

The story revolves around an approaching, all-powerful alien spacecraft that calls itself V'Ger, shrouded in a huge expanse of clouds, which is on a direct course for Earth. The Enterprise must intercept it and solve its mystery.

More than anything else, ST:TMP has some awesome sights to see. As Trek films go, the tone of ST:TMP is much more in the vein of epic science fiction. There's a grandness and a greatness to the scope of the film, something beyond anything probably any of the other Trek films have strived for or reached. Yes, the film is slow-moving at times and maybe too preoccupied with its reverence for the launch of the redesigned Enterprise, but those are important aspects that make the film memorable. I've always considered ST:TMP to be somewhat underrated by fans and critics who write it off as a bore, because there is a real sci-fi story at its center.

The launch of the Enterprise, even if depicted with a healthy dose of sentimentality, is one of the highlights of the film and one of the most memorable sequences in the Trek canon. Even by today's standards, the special-effects shots of the Enterprise in drydock have rarely been matched in their pure scale, simplicity, and beauty. These days the focus is so much on diving straight into the story that admiring something as truly awesome as a nearly 1,000-foot-long starship is no longer something that can be given any sort of consideration; we simply take it for granted.

Similarly, the venture into V'Ger's cloud — an extended series of sequences that take the better part of the film's second half and go for long stretches with minimal dialog — make for marvelous, great-looking eye candy. The scale is simply awesome, as the Enterprise ventures deeper and deeper into the cloud. The interiors of V'Ger have a truly alien look to them, though they serve no apparent function. What this elaborate environment is supposed to be used for is beyond me, but it certainly looks good on film.

For the Director's Edition, certain special-effects scenes have been enhanced. Most noteworthy include the destruction of the asteroid inside the wormhole, some digital-matte exterior shots on Vulcan, and exterior CG shots of V'Ger's vessel orbiting and firing on Earth. All are good examples of enhancements that go far enough to be considered improvements over the original but without becoming the least bit obtrusive or distracting. (The exterior shots of the V'Ger ship, in fact, make what's happening clearer — and it's said that all the changes are based on original storyboard concepts that were not produced because of time or money.) The old and new shots match well, and only those familiar with the original scenes will notice the changes. (New CG work was done by Foundation Imaging.) If there's one net-result difference between special effects in the late 1970s versus the effects of today, it's one of clarity and crispness. The effects themselves hold up well; where you notice the difference is the clarity of CG shots over some (but not all) of the fuzzier old shots.

On the soundtrack, the most notable change — other than general clean-up work for a Dolby Digital 5.1 mix — is the removal of the incredibly annoying red alert alarm and replacing it with something less grating.

From a story perspective, ST:TMP — in any cut — is certainly flawed. It takes a long time for the story to get under way, with the first hour of the film establishing setup material that would be established in half the time if done today (or even in 5-10 minutes in First Contact). That's not a criticism so much as an observation. What is a criticism is how several of the scenes don't really seem all that necessary, like the tragic accident with the transporter or the too-many iterations of Kirk stepping on Decker's toes and Kirk's perception of vice versa.

The storyline itself relies less on plot and more on a few grand gestures that arise from a few basic underlying elements of the story. There's not much in terms of plotting or character analysis; it's more like a big secret being held until the revelation at the end. The one truly interesting character analysis is of Spock, as his plight to find personal meaning mirrors that of V'Ger's; neither can find meaning in pure logic and knowledge without an underlying emotional satisfaction in their pursuit of discovery. V'Ger is a wealth of knowledge but seeks out its creator to answer the one question that it cannot answer through all the information logged in its journey — the ages-old question, "Why am I here?"

The film's closing revelations are in the true spirit of real ideas, with that emphasis on seeking out new life and discovering amazing new things. The ending aspires to be a true, cerebral science-fiction conclusion — something that supposed "sci-fi" films rarely seem to attempt anymore. (Clearly, this is a film that owes far more to 2001: A Space Odyssey than to Star Wars.) It's unfortunate that the closing reflection dialog can't manage to say more about what has just transpired. The dialog seems too interested instead in saying, in an almost flippant tone, "the adventures of the Enterprise will continue." It's frustrating to arrive at revelation and have the characters brush it off so trivially. Also somewhat underwritten is the impetus for Decker's choice to merge with V'Ger — something that's okay but might've worked better if it had been earlier telegraphed by the screenplay through a better understanding of Decker.

What's remarkable about ST:TMP is that it's ultimately more about the journey than the destination. It creates this journey with big, bold images that are beautiful and memorable, and with a legendary score by Jerry Goldsmith that cues our emotions in all the right places, from the bold grandness of the first sight of the Enterprise to the haunting mysteriousness of V'Ger that stands in front of us.

The film is not always fully engaging and is not intended to be exciting. It features some ho-hum plot elements and some crises that seem tacked on. But through its slowly building mystery, it's certainly a worthwhile Trek film on its merits, totally apart from the fact that its existence paved the way for the franchise as it has progressed for the 22 years since. Now on DVD, re-edited to play at a slightly better pace, removing scenes that were distracting or unnecessary in the 1983 version, this film deserves to live a new life as a vital piece of the Star Trek canon. For those who follow the Trek franchise, I recommend it.

DVD notes: Star Trek: The Motion Picture — The Director's Edition is a two-disc set that includes three brief documentaries about ST:TMP and the new Director's Edition; commentary track featuring director Robert Wise, composer Jerry Goldsmith, and others; original theatrical trailers and TV spots; deleted scenes from the 1979 and 1983 versions; and storyboards.

Next: Star Trek II: The Wrath of Khan

Section Index

107 comments on this review

Adam - Wed, Nov 21, 2007 - 5:59pm (USA Central)
One word: BORING!
I usually agree with most of your reviews but i think you got it dead wrong with this one. TMP is 136 minutes of pretty special effects, that uncomfortable actors stare at and nothing much else happening in between. Its such a dull and lifeless film that it actually depresses me to watch it. I don't think there's anything bad or cheesy about it (apart those pyjama uniforms) nor is it the worst ST film but there is NOTHING of any interest in this film, NOTHING!
John - Sun, Jan 13, 2008 - 8:16pm (USA Central)
I've always loved this movie, but the DE is a vast improvement over the original cuts of the film. I genuinely don't understand how anyone could find this fascinating story "boring," unless they just don't possess the intellect to understand what is taking place on screen. I suppose some will always need big explosions and space battles to keep their little brains entertained. To me this movie has always been the most purely Trek film ever made.
Johnny - Sat, Feb 16, 2008 - 3:17pm (USA Central)
I´ve always liked TMP thou it wasn't my favorite, until i became more wiser and mature you began to understand the beauty of this film. After i saw the DE it has become my favorite Trek film and in my opinion most accurate Trek film that depicts, Roddenberry vision of the future.
p.s. good review
Jake - Sun, Feb 17, 2008 - 11:05am (USA Central)
I, overall, preferred the DE to the original cut. I especially liked how the moment where Decker & Ilia exchange smiles on the bridge was moved to another part of the film. The only complaint I have was that they changed the emergency alert sirens. They just sounded more goosebump-inducing to me in their original track.
Jason - Sat, May 31, 2008 - 9:54pm (USA Central)
Better than Star Trek V: The Final Frontier, and better than all TNG movies except First Contact. Not a particularly good movie, not a great representation of Star Trek as a whole. Lacks the feelings of camaraderie and humor that made the series so special, and that were recaptured in Star Treks II, III, and IV. Still, TMP is a beautiful film to watch on screen in many ways, and has a great soundtrack. The 1983 version with the 12 extra minutes of footage that premiered on television is my personal favorite version of this film.
Levi - Thu, Jun 5, 2008 - 9:33am (USA Central)
I used to rank this as the 2nd worst film, but having re-watched it and ST V back to back, I'm sorry to say it's the worst. It's just so damn boring, and what is with the verbatim recycling of the the Nomad story?! IT'S THE EXACT SAME STORY, right down to the carbon unit talk. Seriously, who greenlighted this? It's the nomad story stretched out for 2+ hours, with absolutely nothing interesting added. The opening scene is great, the next 20 minutes or so has points of interest, but once the enterprise launches it's a huge bore that adds nothing to the Star Trek canon. The chemistry and charm of TOS is completely absent here. If ever there was a sign that Rodenberry had become more of a detriment than an asset to Star Trek, this is it.
C.Davis - Thu, Jul 10, 2008 - 8:47am (USA Central)
Star trek is nothing but a politically correct series presenting a view of the future that people think may come true, but wont.
Star trek is 40 years old, this is the past and not the future,it is selling rece mixing to gullible people for special iinterests.
robgnow - Sun, Aug 3, 2008 - 6:13pm (USA Central)
I have to agree this is some pretty boring stuff to watch. I like the ideas, I like the participants, but....
In addition to the stretched-out-to-ridiculous introduction of the new Enterprise, we have too many scenes of actors just staring 'awed' at the viewscreen and count how many times Dr. McCoy enters from a turbo lift, looks around (sometimes with dialog, sometimes not) and then leaves the bridge again... the point of that?
The movie is good, I guess, in its themes, but it could have used a bit of pruning along the way.
Finally, it seems far more interested in the mechanics of ST (worship of the Enterprise, long shots of V'ger's interiors) rather than giving the needed time to the characters to 'show' how this experience is impacting them. Perhaps of countless shots of the bridge crew looking silently, there could have been some quiet dialog scenes expressing the wonderment and puzzlement over what the probe's intent may be.
The only emotionally satisfying scenes in the movie are between Spock and Kirk, especially in sickbay... for the length of the movie, this just isn't enough character-drama.
Decker and Ilia never captured my emotional interest nor did Decker/Kirk's after Decker countermands Kirk's orders to fire phasers at the asteroid and the immediate fallout of that.
And, of course, there's the old TOS problem of short-shrifting Uhura, Sulu and Chekov but I think even Bones gets shorted this time out.
Magnum Serpentine - Sat, Mar 14, 2009 - 12:53am (USA Central)
First of all, the directors cut is the worse cut I have ever seen. It is a Cut all right. They cut out the scene where we hear the name of the Klingon Ship. (This effects the story in my opinion) they leave all the ABC version out which thus makes this the 1979 film that 100% of the Trek Fans back then hated. Quite a lot of the film is left out which surprised me. As for the Abyss, I thought that was a very very good film. When I purchased Star Trek The Motion Picture, Directors cut, I had thought that they had left the 1983 version alone except to improve the graphics. I was dead wrong, they abandoned the better version ( 1983 ABC Television special edition) and rehashed a film that fans hated (1979 hack job version).

Star Trek: The Motion Picture, The Directors Cut rates a 1/2 star. The 1983 Star Trek ABC Television Version rates 5 stars out of 5. I hope that Paramount wakes up and decides to re-release the 1983 ABC Television version.
Nate - Tue, Mar 31, 2009 - 2:18pm (USA Central)
Hey man,
I know you posted these reviews a few years ago, but, as a lifelong Trekkie, I spent this past weekend watching some of these films again (I grew up on the TOS ones), in anticipation of the new film next month. I came across your site today and, I have to say, FINALLY someone gets these movies! I've been sitting here reading over all your reviews of the Trek films, and, damn, this is the exact stuff I've been saying for years! No, TMP, while ponderous and a bit self-important, was not bad at all! Finally, someone gives SFS the credit it deserves as the perfectly solid and respectable entry that it was, rather than writing it off as bad just because it's "one of the odd-numbered ones" or because it looks a little bland next to WOK! Finally, someone else asks why Picard, in Generations, didn't just go farther back in time after leaving that energy ribbon and nip McDowall in the bud-- while still accurately maintaining that, for all it's myriad faults and contrivances, Generations was still enjoyable in a lot of ways. Pointing out that Shatner, at the end of the day, is actually a pretty talented, charismatic actor who has a tendency to overshoot at times, rather than simply writing him off as hammy ego-on-legs; pointing out that the last two TNG films, while relatively uninspired, were far from the atrocities people made them out to be (your analysis of them was especially acute, and, again, it's stuff I remember thinking almost verbatim when I first saw them!). Anyway, I could go on and on, but keep up the great work and I hope you'll write something on Star Trek XI.
Nate - Tue, Mar 31, 2009 - 3:52pm (USA Central)
Dude, okay, you even manage to accurately single out the decent moments in Star Trek V! As dissappointed as I was in that film--I rented it on VHS after missing it in the theaters when I was 11 and was almost reduced to tears by how bad and just...weird it was; it didn't feel like Trek--there were, nevertheless, I've always been embarrassed to admit, a few decent moments and you nailed them! McCoy's euthansia scene, for example. Kelley actually got a Worst Supporting Actor Razzie Nomination for that performance. I always thought that was so unfair and mean-spirited, especially since that was the only watchable scene in the film! Just getting lumped in, I guess...
Jakob M. Mokoru - Wed, May 6, 2009 - 12:47am (USA Central)
I just rewatched this film (for the first time in the directors cut) and I was quite surprised, how beautiful it was. Until now, all that I had seen was the 1979 version on a bad videotape, so all the special effects were just endless series of blue stuff to me.

But now, in DVD quality, I really, really enjoyed the film. Those scenes where the Enterprise enters the Cloud: What a fantastic moment! The visuals, the grandious musical score!

It is true, that some of the later films were more directly thrilling and had more humour in them, but ST-TMP showed space as a really AWE-some place to be. And I found it quite good, seeing the Crew often just stare in wonder at the screen. One fault of the later films and series was that everything was commented and technobabbled on.

Great review!!!
Robert J. Sawyer - Fri, May 22, 2009 - 9:38pm (USA Central)
For those who remember that film as being simply bad and tedious — Star Trek: The Motionless Picture is what a lot of people called it at the time — I suggest you rent the new "Director's Edition" on DVD. ST:TMP is one of the most ambitious and interesting films about AI ever made, much more so than Steven Spielberg's more-recent film called AI, and it shines beautifully in this new cut.
whitepe - Fri, May 22, 2009 - 9:41pm (USA Central)
Star Trek: The Motion Picture is the first film in the Star Trek series, the most successful series in movie history. After all, the fact that a movie series can hold the public's interest for 21 years (and nine films) and that the whole Star Trek concept is alive and well after over 30 years says something about the genius of Gene Roddenberry, Star Trek's creator.

People seem to cricitize this film heavily. Some of the criticisms of the film that I have heard in my discussions with people include phrases such as "frightfully boring," "way too long," and "chronically lacking in action." However, if that is all you saw in the film, then you clearly missed out on the film's beauty. This film is not about guns, explosions, blood, or machismo. It is about the philosophical relationship between logic and emotion.

The film is masterfully directed by Robert Wise, the academy award winning director of "The Sound of Music." The film reunites the original cast of the Star Trek series with a few new faces ... Stephen Collins as "Capt. Decker" and Persis Khambata as "Lt. Ilia". It also recaps the events that have transpired in each original series character since the television series in the late 60's with a sensitivity to newcomers to the Star Trek universe. It effectively introduces newcomers to Star Trek without insulting the intelligence of those of us who are thoroughly familiar with Star Trek.

The plot features an intelligent, logical entity that calls itself VGER. VGER is an innocent entity with one mission ... "learn all that is learnable... transmit that information to the creator." VGER in its incredible journey has in essence gained knowledge that spans the very essence of the universe. VGER now has set a course for Earth in an attempt to share its knowledge with its creator. VGER believes that its creator is on Earth.

VGER becomes a threat to life on Earth when its destroys three Klignon vessels and a Federation space station with incredible destructive power. To counter this threat, Admiral Kirk takes command of the Enterprise and leads the Enterprise in an intriguing battle with this alien entity.

While battling this alien entity, Admiral Kirk, Spock, and the rest of the crew learn about the relationship between human logic and emotion. They explore philosophical issues such as "Is this all that I am?" and "Is there nothing more?". I believe Spock summarizes the quest for answers to these questions by his statement about two-thirds of the way into the film that indicates that "logic alone is not enough". They eventually learn to appreciate the unique attributes that make us human ... "our weaknesses ... and the drive that compels us to overcome them."

In conclusion, this film has a great plot, great special effects, and excellent music and cinematography. Definitely see it if you are truly interested in taking a philosophical journey into the essence of what makes us human.
Scott Fraser "A Likely Lad" - Fri, May 22, 2009 - 9:51pm (USA Central)
Star Trek The Motion Picture (TMP)is my favourite film in the entire series. It is interesting that this is the only visualisation of a lost period in Star Trek's fictional timeline. Consider, we have the original 5 year mission which was followed by this movie (not counting the animated series)there is then a 14 year gap, fictionally as it were in time from the end of TMP and The Wrath of Khan (TWOK). All the remaining films are set after each other leading up to the final mission of the original crew and Kirk's death. The period of time from the end of the 5 year mission to the beginning of TWOK is an immense source of speculation and interest for fans and scores of unofficial books have been set in this period.
TMP is divorced from the rest of Kirk's time in Trek through being set in this gap and provides just a small peek at this unknown period. The script was the original pilot proposal for a new series on TV called Star Trek Phase 2 and it's interesting to speculate which way Trek would have gone had this been the start of a new series rather than the first film.

The script itself was titled "In Thy Image" for the TV pilot project but was dropped when it was decided to adapt it to movie form, I do think the title The Motion Picture is boring and I wish they had kept the original title, it gives a better indication of things than TMP which could mean anything.
The film has been remastered and looks brilliant, but it has also been re-edited to quicken the pace and make the film seem a bit busier and faster, the selling point however is that some scenes and effects have been completely replaced, one of them is a breathtaking shot of the planet Vulcan with giant statues and ancient temples and blood red skies and mountains, it is worth the purchase of this disc for this alone. Sensational.
The soundtrack of TMP is something that has always stuck in my head from the day that I first saw this in 1979, it is possibly the best music ever used on Trek, but then what do you expect being composed by the genius that gave us the Jaws theme, Jerry Goldsmith. I will never forget his Ilia's overture, the Klingon theme that became so famous and of course the Enterprise music score. World class.

TMP is more in line with the way Gene Roddenberry originally envisaged the series, by being more thoughtful, intellegent and character-led than the more grand shoot-em-ups and big battles going off in space. Stories like The City on the Edge of Forver and The Inner Light are of much more interest to me than stories like The Best of Both Worlds and Scorpion.

The special features are to die for including such gems as a documentary on the aborted Phase 2 series with some super rare test footage of various elements, documentaries are also used to cover the film itself and the reimagining of thing. Theatrical and teaser trailers are included as are 16 quite substantial deleted scenes, and storyboard archives. Great stuff.

This film is not only my favourite Trek movie but rates very highly in my all-time list of all films, but I do have one gripe however. as much as I love this version of the movie I would have like to have been given the choice to watch the original theatrical version if I so choose, and it should have been an option on this disc. You can see all the original material that was changed in one of the extras, but this is not the same as having it integrated into the movie itself.

So there we are, not only the best Trek film but for the sheer quality of the special features the best DVD release of a Trek Film. Unmissable.
M. Evans - Fri, May 22, 2009 - 9:52pm (USA Central)
The first big screen Trek film often gets unfairly slated for being'dull, slow and ponderous', but there is actually a great deal to recommend about this film. Unlike any of the other Trek movies, or indeed the vast majority of science fiction films, The Motion Picture really does capture that sense of epic grandeur that I've only seen done in 2001 A Space Odyssey and has the most thought-provoking storyline and a feeling of awe-inspiring 'alienness' that is sadly lacking in any of the other entries in the series. For a film that is 30 years old, the special effects have dated remarkably well and most still look very impressive today. The realisation of the V'Ger craft is still awesome, and the sheer size of it, especially when you see the pin-head sized Enterprise flying through it really creates a sense of spectacle. The eerie sound effects and sweepingly majestic music score also add greatly to the overall impact. Where the film falls down is in it's pacing, it seems to take forever for the Enterprise to leave space dock and reach the alien craft, and the scene where Kirk and Scotty inspect the Enterprise just seems interminable. Then there's the characters themselves - there's very little engaging characterisation here, there seems to be none of the old magic between the main characters that was a highlight of the old series, Kirk seems dour and grumpy, and Spock is unnaturally cold and aloof. There is almost no humour or light moments in the fim and the whole film does come across as rather grim. The costumes for the crew are also very unattractive, with everyone sporting hideous beige or grey jumpsuits, and Kirk in a too-tight white T-shirt that he looks like he's about to burst out of. And Uhura has a horrible 70's afro that thankfully was never seen again after this. The sets for the enterprise don't look too good either, with everything being a depressing shade of beige and grey and too darkly lit. I think the best way to approach The Motion Picture is as an epic, thought-provoking Science fiction film in the 2001 tradition, and in this regard it is certainly very good, but it just feels like it hasn't really captured the feel or style of 'Star Trek' - that would be achieved with the following film.
This DVD is the 'Director's Edition' which basically adds a few improved special effects which integrate seemlessly with the original film and tightens up the slow pacing a bit, making this the definitive version.
Ben Gourlay - Fri, May 22, 2009 - 10:01pm (USA Central)
Many fans deride the slow pace of the film (it has been harshly dubbed The Motionless Picture), but I appreciate the slightly slower pace and over time it has become appreciated as somewhat of a ‘thinking mans’ sci-fi film, in the ilk of 2001: A Space Odyssey.
Mark Bourne - Fri, May 22, 2009 - 10:07pm (USA Central)
A Wise Trek.

To some it is the best cinematic Trek of the bunch if only because it sets out to be something more than noisy Space Opera.
John Kenneth Muir - Fri, May 22, 2009 - 10:28pm (USA Central)
It is likely you've heard all the derogatory titles for the film too, from The Motionless Picture, to Spockalypse Now, to Where Nomad Has Gone Before (a reference to the episode "The Changeling.")

Conventional wisdom, however, isn't always right. Among its many fine and enduring qualities, Star Trek: The Motion Picture is undeniably the most cinematic of the Trek movie series in scope and visualization.

And, on closer examination, the films features two very important elements that many critics insist it lacks: a deliberate, symbolic character arc (particularly in the case of Mr. Spock) and a valuable commentary on the co-existence/symbiosis of man with his technology.

Star Trek: The Motion Picture also re-invents the visual texture of the franchise, fully and authoritatively, transforming what Roddenberry himself once derided as "the Des Moines Holiday Inn" look of the sixties TV series for a post-Space:1999, post-Star Wars world.

The central narrative of Star Trek: The Motion Picture is clever and fascinating.

Star Trek II: The Wrath of Khan is often termed the film that saved Star Trek, and there may indeed be truth to that argument. Certainly, I love and admire that Nicholas Meyer film. However, consider just how much material present in later Star Trek originates directly from the re-invention of the franchise in Star Trek: The Motion Picture.
James Berardinelli - Sat, May 23, 2009 - 7:28am (USA Central)
The "idea" aspect of Star Trek - The Motion Picture is enhanced in Director's Edition. The film spends more time exploring those unique qualities that make human beings special, and the importance of tempering logic and knowledge with emotion. Spock's breakthrough comes when he embraces his human half instead of rejecting it. For V'ger to grow, it must find a way to move beyond the cold machine logic of its programming. To do that, V'ger wants to "join" with its creator, and, in this, the film illuminates our need to strive for new goals and seek to attain the previously unattainable. And, while Star Trek - The Motion Picture doesn't answer the questions of "Who am I? Why am I here?", it isn't afraid to ask them.
Gary Westfahl - Sat, May 23, 2009 - 9:18am (USA Central)
Wise creates one memorable sequence, a homage to David Bowman's journey through the Star Gate in 2001: A Space Odyssey, featuring Mr. Spock in a spacesuit venturing alone into the bowels of the enigmatic V'Ger and observing its bizarre phenomena. The scene briefly offers the disturbing message that Star Trek adventures otherwise labor to suppress: namely, that humans venturing into outer space are going to be lonely, vulnerable, and puzzled creatures. And these are all feelings that Robert Wise knows, and projects, extremely well.
Steve Crum - Sat, May 23, 2009 - 9:36am (USA Central)
Ponderously long, yes; but it was and still is a true movie event.
Luke Y. Thompson - Sat, May 23, 2009 - 9:37am (USA Central)
Often unfairly maligned because it's slow and contemplative, but has some real ideas behind it.
Moonwatcher - Sat, May 23, 2009 - 9:49am (USA Central)
Sorry about the possible confusion, but Robert Wise was the master and Nicholas Meyer the also-ran!
James O'Ehley - Sat, May 23, 2009 - 10:11am (USA Central)
It’s time to reclaim Star Trek - The Motion Picture as one of the best films in the series . . .

Here’s why:

The movie is good to simply look at. After all, the first special-effects team on Star Trek - The Motion Picture was fired, and the movie’s release was delayed a year while new effects were devised and photographed. The effects are brilliant. Eye-candy as critics pointed out, sure. However, in the process the Enterprise was updated to look like other spaceships we’ve already seen in 2001, Silent Running, Star Wars and Alien. Especially the alien spaceship which seems to stretch out into infinity is excellent.

The plot is only predictable in so far as it is prime Star Trek stuff: the crew of the starship Enterprise confronts some kind of alien entity. At the end basic human values are affirmed. But the basic idea behind the picture - of the alien entity asking very much the same questions we humans are - is actually interesting stuff. When I first saw the film, it reminded me of Arthur Clarke’s Rendezvous with Rama novel.

There are enough in-jokes and references to keep any self-confessed trekkie happy.

I, for one, was just glad back in 1979 to see the faces of the familiar Enterprise crew again. Little did I know that the film’s commercial success would ensure nine big screen outings, several spin-off television shows, you name it. Enough to keep any Star Trek fan happy . . .

Star Trek - The Motion Picture turns 20 next year. So how about it, Paramount? Bring this unacknowledged sci-fi classic back to the big screen - where it belongs!
Dale J. Nauertz - Sat, May 23, 2009 - 10:50am (USA Central)
The plot behind “ST: TMP” is very solid. A threatening cloud of energy is approaching Earth, destroying virtually every ship in its path. Kirk and the others have to stop it. But, of course, it’s not quite that easy. There’s something at the center of this energy cloud, you see, and it’s coming to Earth to find its creator. The plot moves steadily forward, throwing just enough twists at the audience to keep things interesting without getting convoluted. The threat has an urgency that actually works with the film’s pace (even when things ARE going slow, Kirk is the first one to get frustrated with by it) and takes away the “who cares?” element that hindered more than a couple episodes of the original series (at least for me). Also, Spock has a nice emotional payoff or two in this film which adds some frosting to this particular cake.

It’s a damn fine sci-fi film, FAR better than its mediocre reputation would suggest.
Ecks - Sat, May 23, 2009 - 10:54am (USA Central)
I do enjoy this film. I have to agree with hossrex on the conflict of the narrative, though; the film struggles between being deliberate and being plodding. That said, to me, “The Motion Picture” is everything that comprises the best of “Star Trek”. Perhaps it’s because my first major experience with “Star Trek” was “The Next Generation,” I feel that the true soul of Star Trek is in plots like these: labyrinthine ones that are comprised of futuristic dilemmas like sentient A. I., alien technologies and alien beings, and the resolution of conflict through the finding of peace (as opposed to Kahn’s “blow him up or be blown up”).
Q - Sun, May 24, 2009 - 6:10pm (USA Central)
Simple (Box Office) Statistics:

• "Star Trek: First Contact"-- $146 million.
• "Star Trek: The Motion Picture"--$139 million.
• "Star Trek IV: The Voyage Home"--$133 million.
• "Star Trek Generations"--$120 million.
• "Star Trek: Insurrection"--$118 million.
• "Star Trek II: The Wrath of Khan"--$97 million.
• "Star Trek VI: The Undiscovered Country"--$96.9 million.
• "Star Trek III: The Search for Spock"--$87 million.
• "Star Trek Nemesis"--$67 million.
• "Star Trek V: The Final Frontier"--$63 million.

After adjusting their takings for inflation, we have:

• "Star Trek: The Motion Picture"-- $398 million US dollars.
• "Star Trek IV: The Voyage Home"-- $257 million.
• "Star Trek: First Contact"-- $244 million.
• "Star Trek II: The Wrath of Khan"-- $237 million.
• "Star Trek: Generations"-- $206 million.
• "Star Trek III: The Search for Spock"-- $186 million.
• "Star Trek: Insurrection"-- $180 million.
• "Star Trek VI: The Undiscovered Country"-- $165 million.
• "Star Trek V: The Final Frontier"-- $127 million.
• "Star Trek: Nemesis"--$83 million.

Numbers Don't Lie: ST: TMP is simply the best.
411314 - Wed, Jun 17, 2009 - 8:36am (USA Central)
John said (in the second comment down from the top):

"I genuinely don't understand how anyone could find this fascinating story 'boring,' unless they just don't possess the intellect to understand what is taking place on screen. I suppose some will always need big explosions and space battles to keep their little brains entertained."

John, you know what I genuinely don't understand? Why people writing reviews on the net often feel the need to insult people who disagree with them. It's quite childish. Just because Adam criticized the film as boring doesn't mean he's an idiot. It simply means his tates are different from yours.
Levi - Wed, Jun 17, 2009 - 8:46am (USA Central)
Jesus enough with the fake reviews. That one idiot posted like 15 positive reviews of this shitty movie in one day.

STMP sucks ass. It's slow, ponderous, and boring, and it's a 100% recycle of the Changeling, yet it manages to be about 5% as fun.

No amount of alternym reviews changes that. Read Nimoy's book - he agrees with me and 90% of the other people who wasted 2.5 hours on this turkey.
Jakob M. Mokoru - Wed, Jun 17, 2009 - 10:34am (USA Central)
Well, I mine was wether a fake nor an alternym review: I was REALLY quite thrilled by the Director's Cut! Yes, it's slow, yes, there are flaws, but it is a good movie!
karatasiospa - Wed, Jul 1, 2009 - 4:27am (USA Central)
Jammer your review is the first that does justice to this film (also R.Ebert's review). As for the disagremments about this movie i have to say only this:
if you like "2001" (that means idea driven, thought provoking science fiction) then you will like this one also.
If you like "Star Wars" (that means a movie to raise your adrenaline levels) then you will not like it. Personally i loved 2001 and i loved this one also.
Levi - Wed, Jul 1, 2009 - 8:52am (USA Central)
Seriously, will you idiots STOP comparing St1 to 2001!?
You are insane. 2001 is a masterpiece and it's enthralling. ST1 is empty garbage that makes a nice sleep aid if you are out of ambien. You people are completely delusional on this one.
karatasiospa - Tue, Jul 7, 2009 - 6:19am (USA Central)
To levi:
watch your tongue man. You have no right to call people idiots and insane becouse the like this movie. Noone said that it was as good as 2001 has been. We just said that it was good and real science fiction not the "star wars" kind of science fiction.If you want to tell us your arguments fine. Otherwise leave us alone.
PM - Wed, Aug 19, 2009 - 10:18am (USA Central)
"if you like "2001" (that means idea driven, thought provoking science fiction) then you will like this one also.
If you like "Star Wars" (that means a movie to raise your adrenaline levels) then you will not like it."

There's a problem with this statement in that it implies that you can't be idea-driven and adrenaline-raising. Though TMP is a gorgeous movie, even 30 years later, it is not a very good one. The Wrath of Khan is far more exciting but still manages to raise excellent questions on life & death and deliver solid character insights.
levi - Wed, Aug 19, 2009 - 10:29am (USA Central)
Exactly - comments like that imply that if you don't enjoy TMP, you are somehow not on the intellectual level of films like it and 2001. It's hogwash - the only thing TMP has in common with 2001 is that it's long.
Zarm - Thu, Dec 3, 2009 - 10:57am (USA Central)
I have to agree with the masses on this one; TMP is boring, long, and poorly paced. On plot, it will never be a winner.

However, I have to agree with the majority of these comment reviews as well; the film is gorgeous. The model work offers a reality that CGI has yet to attain. The music is ethereal, majestic, triumphant; in a word, fantastic. And above all, this film instills the sense of awe that Star Trek rarely achieves; in this film, space feels like the Final Frontier and the business of exploring it feels like a great adventure; in other movies and series, space tends to be that incidental where the show happens to be set; there is no fanfare in the Enterprise gliding about it unless it has just bested an enemy. Here, everything is an event, a wonder- from the silent ballet of a Vulcan cruiser docking to the awesome, vast vistas of V'ger's interior. Things are not just encountered and swept aside to service the action- they are examined, explored- being in space, (the Enterprise's launch, a potent symbol of the Boldly going of which we often speak) encountering the very epitome of 'new life and new civilizations'- these thinks are treated as a big deal, and this movie gives the audience just a small sense of the wonder they might feel were they really there, in space, soaring through the stars- an experience they might well linger on, as well.

This film CELEBRATES the exploration of space, the Enterprise, the adventure- the long, lingering moments are a treasure, a rare sequence to stop and savor the majesty of what is happening, a pause to simply stop and wonder that you would never find in modern, fast-paced, impatient cinema. For me, at least, the long, lingering looks at the Enterprise in spacedock never bore because the music speaks of majesty and glory and, in concert with Kirk's expressions, a homecoming.

Star Trek: TMP is not a flawless picture. It is slow. But it is also a wonderful celebration of truly trekking across the stars that isn't afraid to stop and savor the moment, and for that, I love it.
Christopher Null and David Bezanson - Thu, Jan 28, 2010 - 1:23am (USA Central)
Star Trek: The Motion Picture was released at a time when sci-fi movies were expected to be long, sluggish, arty epics like Close Encounters of the Third Kind and Dune. To achieve the desired length and artiness, the producers of Star Trek: TMP hired director Robert Wise -- best known for overlong, dull classics like The Sound of Music -- and chose a script which was long on dialogue but short on action or character development.

All told, the movie is one of the few imitators of 2001: A Space Odyssey that achieves the same feeling of mystery and danger. Partly this is due to Goldsmith's excellent score; partly it is because the slow pacing and dark, gloomy sets succeed in conveying the slowness and suspense of space travel, as well as its emptiness.

So is Star Trek: The Motion Picture worth renting? Yes.
Will - Tue, Feb 23, 2010 - 3:08pm (USA Central)
Ugh. What an awful film. Seriously, I don't go in for sci-fi films with huge special effects and no plot easily, but this film was mind numbing. It was like staring at a rock for two hours. It was as bad as 2001: A Space Odyssey. Yes, that film is bad. Just because it's influential doesn't make it good. It can't make up for having no plot and no good characters and just being so boring and trite and ridiculous, it's a wonder it's taken seriously today. The Motion Picture isn't quite as bad, but still pretty bad. A very poor entry to the franchise.
David - Tue, Mar 9, 2010 - 8:03am (USA Central)
It was always been my opinion that what was wrong with ST: TMP were the characters of Decker and that bald woman -- I forget her name. They detracted from the original characters. No one cared about them. If this movie had been about only the original characters everything would have changed, even if the plot did not. In addition, the reunion on screen of the original characters was, to say the least, underwhelming. The audience was waiting for this wonderful reunion, and Spock didn't even want to be there, and Kirk was grim and all business. Poorly conceived.
Nic - Thu, Apr 8, 2010 - 12:11pm (USA Central)
I have to agree with John - this is the most 'Star Trek' of all the films, and also the "most ambitious of all the Trek films" (to quote Robert Wise). Perhaps my opinion was better simply because I had barely seen the original series at that time, but for many years this was my favorite film of the franchise. Recently, I have come to see that it does have a few flaws (mostly in terms of characterization) which has lowered its raking a little, but it has cerebral elements that no other Trek film ever dared use, which I think is very sad. Is it as great a masterpiece as 2001? No, but it is a great film.

However, in response to Q's post, I would disagree that box office success equals film quality. TMP grossed more than the other films, not because it was the best but because of the anticipation of it being the first film, and the first live-action Star Trek story in 10 years. Not to mention this was 2 years after Star Wars renewed fan interest in epic sci-fi. The new film has the highest gross, even after inflation adjustments, but I have not heard a single Star Trek fan say it is the best in the series, either.
dp4m - Thu, Jun 3, 2010 - 8:48pm (USA Central)
I think that STTMP is easily the best of the Trek films from a sheer PLOT perspective. The magic of space exploration and the best elements of the future of humanity pictured for all to see. Plus, new bad-ass Klingons.

But the pacing just killed it.

If you cut out 45 minutes of exterior shots, you'd probably have a movie to rival TWOK.
Cryogenic - Thu, Jun 3, 2010 - 9:00pm (USA Central)
A visionary Science Fiction spectacle. Flawed in parts, perhaps, but all in all, a stirring journey into outer and inner space. The art direction is excellent, the photography bright and hopeful (though the split diopter shots are jarring), the effects work magnificent (for the time) and the score is spell-binding (by far, the best and most operatic treatment Star Trek ever got). The scripting and acting, while relatively spare, fit the aesthetic and aims of the picture. Although a chief criticism of this film is that the characters get lost, I'd argue that the film is deliberately using them to expand and reflect its grand themes - and what interactions that do occur are intelligent and absorbing. You can sense Robert Wise, a true cinematic master, at work throughout this film. The sheer audacity of this project - the concept, the budget and Robert bloomin' Wise! - astounds me. It's particularly impressive considering the catalyst for it was Star Wars. Therefore, next time someone says that Star Wars is to blame for ushering in one mindless blockbuster after another, bring this film into the conversation and remind them that it wasn't always so. ST:TMP really is a superb and lovingly crafted picture with things to say and inspire.
Mark A. Altman - Thu, Jun 3, 2010 - 9:22pm (USA Central)
It’s easy to see why people don’t love Star Trek: The Motion Picture, it’s a virtual remake of the episode “The Changeling” with the NOMAD probe that confuses Kirk as its creator, and has a glacial pace that today’s movie viewers are not accustomed to, especially watching it on television, and in the aftermath of The Wrath of Khan. But the fact is, in many ways, ST:TMP is a magnificent film. Spock faces his own humanity in a much more organic and real way than in a more recent Star Trek movie, Kirk has to come to terms with losing his ship and doing anything to reclaim his first best destiny and McCoy is just a hoot throughout. The redesign of all the ships, not just the Enterprise, have never been topped and the visual effects are quite simply awe-inspiring (take that, CGI). Although greenlit in the aftermath of Star Wars, ST: TMP owes far more of a thematic debt to 2001: A Space Odyssey and its sense of awe of the cosmos than Star Wars. And maybe that’s the key analogy. If you look at this year’s enjoyable re-invention and relaunch of the franchise, it’s a fast-paced, popcorn movie which bears the imprimatur of Star Wars far more than the Star Trek TV series, which makes sense, of course, if you’re trying to engage a new and younger audience for the franchise.

ST: TMP on the other hand, the last film in which Gene Roddenberry was allowed to be actively involved, has other things on its mind; combining its brand of pop humanism with the awe, majesty and danger of the unknown. But for the kid sitting in the theater in 1979, none of that mattered. Much like 1978s Superman, which is completely entrancing until after the helicopter rescue and then sort of falls off a cliff, ST: TMP is a rapturous tribute to Trekdom through Mr. Spock’s arrival…and then sort of falls of a cliff too. It’s easy to lose sight of what it was like the in the wake of the subsequent films and TV series, but seeing Starfleet Academy and Earth for the first time in the 23rd century was a giddy experience. The magnificent opening in which three Klingon ships are consumed by V’ger to the strains of Goldsmith’s brilliant Klingon Battle Theme stuck with you for weeks and, of course, the long, slow, lingering orgasmic glee on Kirk’s face as he, and the audience, admired the Enterprise in drydock for what seemed like forever. What seems interminable today on home video for was at the time the encapsulation of everything we felt about Star Trek and the amazement we had at seeing it back on the big screen and Andy Probert and Mike Minor’s redesign of the ship has never come close to being equaled. And in case of supreme irony, ST: TMP actually has the same ending as a James Bond movie. WTF? The same time, Moonraker, was released in which Roger Moore’s 007 goes into space and has destroy earth-imperiling globes that are going to annihilate all life on Earth, much like V’ger’s. Who woulda thunk it? (And if Trek was too heady for you at the time, you could ease on down the road to a nearby theater where The Black Hole was unspooling and watch Disney’s attempt to do Star Wars by sending Maximilian Schell to hell through a black hole. Or at least that’s what it appeared to be. I was too upset over the death of Slim
Pickens’ Old Bob to care at that point. And, yes, I’m kidding…sorta).
Jake - Tue, Jun 8, 2010 - 7:58pm (USA Central)
This from the guy who thinks that the ONLY problem with Star Trek V is the SFX.
Mark A. Altman - Wed, Jun 9, 2010 - 11:11am (USA Central)
I just want to say that I've learned the error of my ways & am now a big Janeway fan. Kate Mulgrew is such a hottie; she sets my phaser to stun every time I see her.
Latex Zebra - Mon, Jun 21, 2010 - 4:59am (USA Central)
Watched this for the first time in years again last night. Must have been the Directors Cut as there where a few scenes I didn't remember.
In a line - Long film is long!
Way too many exterior shots that drag the length out.
Too many unanswered questions regarding the probe itself. It's huge, how would you even build such a thing and in such a time scale for it [Voyager] to be found by the machine planet, build it a ship and then send it back!
One thing I would love to see, if it exists, is an exterior shot of the probe/ship as a whole.
Overall, I give it a 2 out of 4.
Jeff - Wed, Nov 30, 2011 - 10:50am (USA Central)
I feel TMP is underrated. Yes, it's slow moving and not action oriented, but there is so much here to enjoy.

First, I think this is the one TREK film out of all 11 which truly lives up to the "seek out new life, etc." mantra. The exploration of V'Ger's vessel, the encounter with the Ilia probe, Spock's spacewalk sequence all contribute to the crew of the Enterprise seeing something definitely new and alien.

And while the characterizations aren't as strong as in later films, for this story I feel it makes sense. Spock is attempting to purge emotion so he is going to come across as more cold and distant than he ever has before. Kirk's focus is on regaining the Enterprise and then learning along the way that he does have a lot to learn regarding how the refit Enterprise works. McCoy seems pretty much the same in his characterization.

Spock's story is the focal point, I feel, because this is where he finally learns the balance between logic and emotion. His open admittance of friendship with Kirk in ST II and his conversation with Valeris in ST VI state this lesson more clearly, but he learned the lesson in TMP and I'm glad that even though no specific mention is ever made to the events of this film in subsequent films/episodes his characterization carried through to the rest of his appearances.

My favorite color is blue so I don't mind the uniforms in this film. I do like the updated style from TOS although some of the uniform shirts look more like pajama tops and I've always thought the rank stripes were the best rank insignia design so it's good to see them one last time.

It's not perfect as a movie, but it feels like a true movie production with a sense of living up to the credo of the TV show opening.
RG - Wed, Feb 8, 2012 - 3:38am (USA Central)
I adore TMP. Yes it's slow-moving and pondering, but it's also fascinating. This is Star Trek as it was meant to be, and by far the purest representation of Gene Roddenberry's original vision. How many films conclude with the protagonists not only making peace with the villain, but with one of them even merging with him to travel the stars? I'd also like to point out that TMP is without a doubt Shatner's finest performance as James Kirk, and I was impressed how well he plays the unfulfilled admiral who yearns to captain a starship again, a character thread which is fleshed out in the subsequent films. I give this movie four stars easy.
Matthew - Fri, Apr 13, 2012 - 1:37pm (USA Central)
Oh my God Jammer. Thank you for cementing my opinion that you are one of the worst critics who has achieved success, and thank you to everyone who commented on this for proving what bad attitudes you have.

I have no problem that you liked the movie. If you did, great. What I do have a problem with is that you portray it as some kind of misunderstood masterpiece. WHAT BULLCRAP!

I hate 2001: A Space Odyssey with a passion that's hard to put into words, but Kubrick at least spouted some rubbish about how his film was supposed to be unintelligible, which at least makes the fact it's about something arguable. NOBODY SAID THAT ABOUT THIS MOVIE!!!!!

There are first hand reports from the cast and crew at all levels that this films was the RUSHED, SLOPPY, PRODUCTION DISASTER THAT MADE IT'S WAY ONTO THE SCREEN! DID YOU BOTHER READING BEHIND THE SCENES MATERIAL?!

There is EVIDENCE that this movie is about nothing. So to all you snotty nosed superior fans who tell me that this movie being a masterpiece is inarguable, I can definitively say you're complete jerks and are completely wrong. THIS. IS. CRAAAAAAAAAAAAAAAAAAAAAAAPPPPPPPP!!!!!!!!!!!
Rhyan W - Tue, May 22, 2012 - 9:10pm (USA Central)
The film is only boring to Luddites who lack the capacity to pay attention to anything without CGI and big explosions for more than a few seconds at a time. TMP is a film for people that enjoy story, and there is quite a sci-fi space yarn in the film for those without the previously mentioned mental handicap. I'll wager the majority of those replying in the negative are of the "Justin Bieber" generation.
Matthew - Tue, Jul 24, 2012 - 6:31am (USA Central)
@Rhyan W thank you for proving me right.

What you've just said is exactly what I was talking about in my comment. My problem isn't that people like this movie it's that fans have this terrible attitude that anyone who doesn't like the movie is being anti-intellectual.

There is nothing intellectual about this movie and that's not just me saying that. There is actual PROOF given by people involved in the production that there was no story and that the film was the rushed production disaster you saw on screen.

If you like this movie, that's fine, but when you're ARGUING that it's a great, philosophical work you have to contend with FACTS. There's no great masteriece here, no work of genius. It's a sloppy production disaster.

You like the film, great. But seriously, I don't like your attitude, with all due respect. It's extremely obnoxious and won't endear you to anyone. Just because people worked out this film has no story, no characters and is quite possibly one of the biggest insults to Star Trek fans doesn't mean they're drooling idiots who only like 300 (which is a great movie, by the way, nothing wrong with that, it's just an example of what you're probably thinking).

Additionally, Leonard Nimoy said he hated this movie. Are you saying he suffers ADHD and loves Justin Bieber?
Rosario - Sat, Nov 10, 2012 - 10:45pm (USA Central)
Q gave the box office receipts higher up and while your conclusion that TMP was the best film of them is quite debatable I think you missed that your hard data also makes it look like Wrath of Khan did NOT save the franchise but Voyage Home did. A sci-fi comedy. Now isn't that something you don't want to consider? haha

This movie is ponderous but I like the idea it was built on. Just like I liked it in Changling. Could definitely have trimmed the "majesty" down by about 10 minutes and then cut out all the silly chest-beating between Kirk and Decker. That cuts off about 30 minutes right there.

I had just finished watching the entire original series and jumped right into this movie so, while this movie may be the most trekkian in it's ideals and message it was also extremely jarring to have all the characterization and interplay I was accustomed to, to suddenly be absent. This crew didn't act like old friends that have been through thick and thin together. Instead, they acted as if they hadn't talked in the 10 years since the end of their mission.

Jarring. Oh and Chekov screams. aaaaAAIIIEEE!
Q - Thu, Jan 3, 2013 - 4:33am (USA Central)
Ok... Maybe TMP's plot was improvisation but this movie is most artistic ST film, equall only to TWoK (TMP is visual masterpiece, when TWoK is rather narrative brilant). First is like a eccentric picture of modern painter, second - like postmodern book full of interstructural allusions.

TMP is also first (at lasc second to "Doomsday Machine" and - maybe - "Balance of Terror") quality Trek, a worthy precedensor of TWoK, TNG "Yesterday's Enterprise" or "The Inner Ligt", DS9 "The Visitor" etc., and maybe closer to hard SF of them all, almost realistic. (TWoK, altough brilliant too, realistic isn't. And have these Santa Claus', ellegant, but stupid, uniforms.)

Next, TMP is one of really few Trek movies that's look cinematic (followed only by FC and Abrams' films).

ps. Maybe it will be kind of blaspemy for some of you, but I think that only two ST films really worth watching (and I saw all of them, many times) are TMP and TWoK. The rest of them have too much brain's hurting elements, even, partially very brillant TUC and visually impresive FC...
(And... I love 2OO1, but I love The Empire Strikes Back too. And I think, that one of Trek strenghts is that he may be siiliar to both of them, and dfferent of both of them, because Trek is really universal franchise: hard SF, social fiction, philosophic parable, mind blowing space opera, etc., etc.)
Q - Thu, Jan 3, 2013 - 4:55am (USA Central)
And one more thing... TMP and TWoK are compatibile oppositives. First seen in TMP Kirk's middle age crisis continues in TWoK. Also Spock's noble death in TWoK is logical ;) consequence of his V'Ger lesson. And godlike Genesis technology is best prove that "human adventure is just begins...".
Also great is matter of colors - TMP's blue vs. TWoK's red-and-orange. Water and fire. Yin and Yang. Brillant.

No other Trek movie is so artistic-and-clever. The're never try.

(But TVH, FC and '09 are enjoyable at last. And TUC is better of them and almost good - I love the final scene.)
Jack - Fri, Mar 8, 2013 - 7:03am (USA Central)
So, Kirk comes aboard, goes to the captain, says he is taking command and that the captain is degraded to the rank of commander. Right after that he tells him to go to his station. LOL.
T'Paul - Tue, Sep 10, 2013 - 9:34am (USA Central)
No one can deny that this is not the most zippy movie in town, but it definitely has its "ups".

Spock on Vulcan at the beginning, the relaunch of the Enterprise, to name just two.

There was also some real character interaction here, and I would argue it felt much more "futuristic" than some of the newer series and movies.

And like it or not, it was a "true" sci-fi story.

Relaunching Star Trek from a slightly bizarre series into a movie franchise was never going to be easy, and should never have been too action based or hurried...

I haven't seen the new director's cut, and I will, but I think that TMP really holds up to scrutiny, even after nearly 40 years.
Paul - Tue, Sep 10, 2013 - 10:27am (USA Central)
@T'Paul: TMP is too slow, but that's not really the biggest issue. The characterization in this movie feels off.
T'Paul - Wed, Sep 11, 2013 - 4:33pm (USA Central)
Perhaps so, but I feel more that they were simply getting back into the swing of things, remembering their old characters, establishing their new take on them in a movie and not TV environment - if we look at it from the actor's point of view.

If we look at the characters, I think the motivations are there... Spock and his personal searches, Kirk's being uncomfortable with his promotion, etc., etc.

Plus it seems that perhaps some parts of the story were chopped, that could have explained any such "anomalies".
K'Elvis - Thu, Jan 16, 2014 - 1:42pm (USA Central)
It's been years since I watched this movie. I'll always have a soft spot for it, because Star Trek coming back was a dream come true. I used to rush home from school to watch Star Trek reruns. The animated series certainly had its faults, but we were happy to have it because it was Star Trek. But getting the real thing back, that was something special.

It's a good movie, despite being very similar to Nomad, and being a little long. But sitting in that theater in 1979, people wanted every minute of Star Trek they could get. My father bought a VHS copy back around a 1980 or so, and paid $80 for it. I admit I'd rather rewatch The Wrath of Khan, but maybe it's time to give TMP another watch.
Dwane - Tue, Feb 11, 2014 - 2:17pm (USA Central)
I saw this film recently as it was the only TOS film I hadn't seen.

I wish I still hadn't, I HATE this film.

The characterization is way off (Everyone except Kirk is boring, and Kirk himself is a right prick), the effects aren't anything that great, the story wasn't interesting to me in the slightest, the music (aside from the theme) just blends together, the costumes are ridiculously bad (the Federation wearing pajamas) and worst of all, it's dull, boring and has nothing fun about it whatsoever.

I'd rather watch Star Trek 5 than watch this film again.
FutureDude - Mon, Mar 10, 2014 - 2:49pm (USA Central)
Clearly, producer Gene Roddenberry and director Robert Wise were creating their own vision of the future. With a story focused on amazing visuals and intellectual exploration, it’s more 2001 than Star Wars. Perhaps that’s why it’s one of the least-liked movies in the Star Trek canon.
FutureDude - Wed, Mar 12, 2014 - 3:02am (USA Central)
I finally felt immersed in the 23rd Century when I watched the first Star Trek film. While I liked the design of the original Trek, it clearly was built on a shoestring budget. The Motion Picture was the most expensive movie ever made at the time — and it showed.

Huge sets. Amazing visual effects. The future imagined. I loved the dark corridors with lighting near the floor. The immense new engineering set with glass catwalks and open elevators. The sleek cool bridge and sickbay were clean and efficient looking.

I also liked the way that the outside and inside of the ship matched up. Seeing ships dock, and then understanding where the ports were in relation to everything else was so cool.

While most people like the other films in the Trek canon because of the acting and sense of camaraderie (and I agree on that), Star Trek: the Motion Picture is the only one with truly visionary design. It’s worth another look if only from that standpoint!
dgalvan - Thu, Mar 20, 2014 - 5:40pm (USA Central)
I grew up on TNG, and am just now watching TOS on Netflix.

I had seen TMP before, but it must have been over 20 years ago when I was a pre-teen, and I didn't really "get it" at the time.

Now watching TMP, having seen all of TNG and the first season of TOS, the first thing that struck me about this film was: the music! It's (what I thought was) the TNG theme song. But apparently, it never was the TNG theme song. It was the score from the first TMP, later re-applied to TNG!

Also, the interior design of the new enterprise (especially the engineering deck and the corridors) seems to me to be almost directly re-used for TNG!
Retrospeculative - Thu, Apr 17, 2014 - 10:30pm (USA Central)
I have to disagree with the prevailing opinion; as science fiction, this is a much better film than The Wrath of Khan, which has some embarrassingly bad ham acting (in particular, from William Shatner and Ricardo Montalban).
ohx - Thu, May 15, 2014 - 4:12am (USA Central)
God Awful. I just watched this first time ever on Netflix. So the first 1 hour and 30 minutes is sappy "oh we are all back together now" and "oh Spock" to which he does not give a sh*t of course. ONE HOUR AND 30 MINUTES. The enterprise has been redesigned with 70's pontiac air intakes everywhere. Oh and there is some pretty boy captain who is butt hurt when kirk takes command and some dead eyed dumb model chick with her hair cut off that he loves. She is not even attratctive kind of looks like a 10 year old boy suffering from cancer. So then the next 30 minutes they fly over this "alien" ship SLOWLY (which is the key word for this film). They are stretching like 2 minutes of content into an over 2 hour movie. Eventually they get to the center of the ship I suppose you could call it where there is a mechanized pulsating butthole (I kid you not). Of course spock is the first to fly into the butthole, you would think it would be Sulu, but whatever. And then the enterprise gets sucked in blah blah, to the butthole, this whole film is a butthole. So they find out inside is voyager 6 which looks like it was made out of duct tape and tinfoil and it wants to contact its "creator" but it will not take any radio contact so the pretty boy sacrifices himself to "merge" with it because it has now become the creepy no hair model chick. Oh yeah she was abducted and turned into a "probe"/robot at some point during the 30 minutes of "oh spock youre back" crap. It is all special effects and no story much like todays movies and the nostalgia factor just seems forced. GIANT BUTTHOLE SPOCK. Blast on in.
dgalvan - Fri, Jun 27, 2014 - 11:01am (USA Central)
TMP is closer to classic, cerebral Trek, and in line with the themes of TOS.

I like it, and 3 out of 4 stars is deserved..

-I get why they spent so much time on the introduction to the new Enterprise, but it is still WAY too long. The entrance into the V'ger cloud is also way too long. Show a shot of the cloud, a shot of Sulu's face. A shot of the cloud, a shot of Kirk's face. A shot of the cloud, a shot of Decker's face. Yeesh.

-Was surprised to find that this was the origin of the Star Trek: TNG musical score. I always thought that started with TNG. Nope. TMP.

-Listening to the audio commentary was most interesting, especially with regard to how the ideas from "Star Trek: Phase II" were incorporated into the movie, and how those ideas later morphed into TNG. (ex: Will Decker's character turned into Will Riker. Illia turned into Deanna Troi. Zahn (a full-blood vulcan who didn't appear in TMP) turned into Data. etc.)
JemHadar359 - Sat, Jul 5, 2014 - 5:12pm (USA Central)
Many, MANY people have expressed their displeasure with this franchise-igniting movie. Trekkies were dying for some new Star Trek, and though many of them walked away disillusioned, I was not one of them. This film is a science-fiction revelation. It is a science-fiction masterpiece. It is in many ways a perfect movie-the story, the effects, the music-and it is an utter joy to behold its scope and venerable sanctity. While not the best Star Trek movie, it is an incredibly well-made masterstroke.
The movie's opening scenes are among the most interesting in Trek canon; the closing scenes some of the most thought-provoking. I suppose that all I can say is that not every one will like this movie, but it it my opinion that it stands proudly among the Star Trek movies as a pinnacle of science fiction mastery.
Darren Carver-Balsiger - Sat, Jul 5, 2014 - 5:15pm (USA Central)
TMP. It's slow. So slow. Yet one of the best films by far.
Okay, so let's go straight to the plot. It's different and the first time Star Trek had really involved Earth in the 23rd century. It worked well and despite the slow start, the Klingon investigation was well thought out and relatively pacey before Kirk joined the show. Oh dear. The whole "I've got the Enterprise, fuck off Decker" part of the plot was played down far too much. I found that despite his continual insistence that he's not after the Enterprise utter bullshit. As McCoy explained. He's been a total dick. Okay, so Decker was boring and the baldie was interesting but never expanded but this film is about characters which was the films weakest point. The next hour of film was the lowpoint. The entire section of exploring V'Ger was pointless. It never went anyway and was totally boring. The warp drive malfunction was filth. It wasn't needed and added hardly anything to an already boring film. The idea of the weapons being connected to the warp drive was crap.
The characters worked well. Kirk was crap and I hated his new personality. Spock was his usual logical self but he became more of an arse in this film. McCoy did nothing except a few good lines. Uhura, Chekov and Sulu did nothing except look good. Scotty had a few nice lines and scenes but a fattening James Doohan did not stand out. Decker appeared interesting but I couldn't stand the way he reacted to Kirk or how he acted. He was abysmal. V'ger was exemplary and had some great scenes and I liked the metal lifeforms. My only criticism is that we didn't say the lifeforms and I find it hard to believe such a being could exist.
The special effects was great for the time but there was too many and it never made sense as to why there was that many. The uniforms were crap and it didn't distinguish ranks very well.
This film failed on a character level and lacked the necessary direction and looks to secure it as the best. But it'll always be remembered as the slow motion picture. Although I would prefer it to be called "the slow motion picture until the last 40 minutes". If you can get through the slowness you will find it one of the best films and the closest to Roddenberry's vision despite the fact that its always been overshadowed by great films like "First Contact" & TWOK (both of which I aren't too keen on). So, from a 14 years old perspective - 5/10 but from my Trekkie perspective - 8 / 10
GreatEmerald - Sat, Jul 5, 2014 - 5:17pm (USA Central)
I've watched the Director's Edition of the motion picture and soon after the 2009 Star Trek film. It was very much refreshing!
Most people say it's slow. And that's right, it's not fast-paced. But that's not at all a bad thing! In my opinion, TMP shows that a very good sci-fi film can be made without action packed into every single second of it. It's also very much Star Trek, showing the whole idea that conflicts can be resolved peacefully and that we fear only what we aren't familiar with. The scene with Klingons being evaporated is a nice touch to show how war is a bad option.
The graphics in the Director's Edition are stunning. The flyby to the centre of the cloud was very eye-pleasing, mysterious and calm. The Enterprise refit was also very nicely made. I especially like the bridge of the new ship - everything looks very modern and functional. And just look at those comfy chairs!.. The only thing I didn't really like was the funny-looking old shuttle that brought Kirk to Enterprise.
The characters are very realistic as well. I'd say McCoy had the best reaction to everything there. I kept laughing during the scene when he came aboard! And his "It's like working in a damned computer center!" line is priceless! Kirk was also very realistic - knowing how he loved the command of the Enterprise in TOS, I wasn't surprised by the conflict between him and Decker. Spock was a little let-down for me, though, he just wasn't the same somehow. Other characters didn't have many lines like in the original, and although it was a missed opportunity to show more of those characters, it was very credible. Oh, and Rand, where has she been the last few TOS seasons? :)
The music there is simply amazing. It always stood out and was always perfectly fitting! It was also interesting to hear the new versions of the original sounds, such as the intercom tone.
There were no major logic flaws in the whole story, too, and the slowness of the episode gave enough time to think things through. There were no irritating and unnecessary things in here, unlike in any films I've recently seen. Since there are only a few minor mistakes separating it from being perfect, I give the motion picture a 9/10.
Chris S - Sat, Jul 5, 2014 - 5:20pm (USA Central)
Despite the resentment by many trekkies, it is fact that the arrival of Star Wars made Paramount summon Gene and the cast to re-launch the famed series to cash in on the success of the genre. To quote a phrase from Leonard Nimoy after seeing said film "Soon Paramount will be calling me".
The studio set into motion with ‘The Great Bird of the Galaxy’ to create a film about the famed series; after all there was an audience begging for its return, and there was a chance to replicate the success of Lucas’s film but with a greater scope of victory due to the cult status build up over the years and around the world via the numerous repeats on TV.
The prospects were staggering.
Alas what Paramount wanted and what Gene dreamt of were two different things. Think chalk and cheese, small businessman and bank manager and you get the idea; Gene was given unlimited access to finances and technology to make Star Trek more that a film; here was a chance to see the Enterprise and his vision not seem possible but real. It was light-years away from the TV series and its cardboard cut-out sets, dodgy scenery, and naff props. In the film, the bridge seemed workable, the technology believable, and everything looking sensible. The Enterprise was no longer a simple model but appeared to be a real spaceship. To Gene, and many sci-fi fans this was like all our Christmases coming at once.
To Paramount it was the reverse - they wanted (at best) a $15 million film that was their Star Wars, but instead got something that became Gene’s fantasy going into overdrive.
For a start there are numerous pointless scenes, like the transporter disaster, the warp drive failure, Spock on Vulcan with mullet, said character pontificating over V’ger, laughing, crying, sympathetic etc, the courier shuttle rendezvous with tumbling module, the travelling through the cloud only through the view screen and not seen with the Enterprise flying though it, and poor editing and re-editing to name but a few.
Then there are the characters; the usual suspects are muted, and aside of their names, could be anybody playing the roles. The so-called romance of the new characters Ilia and Decker (embryonic Riker and Deanna) is a waste of space, and even when its purpose is made clear at the end, it still feels that they have made no impact to the entire story.
The story itself is a joke too, having traces of the TOS story "The Changeling" in it, but was plagued by re-writes and re-writes, right up to the end. Despite having Robert Wise ("The Day The Earth Stood Still") directing it, the film is badly edited and acted.
Combine this with erratic writing, and over bold ambitions, and SFX that were testing the limits of what existed and often failing to be delivered on time, the budget spiralled to a whopping $45 Million.
On seeing it, I agree with what many said - it is "The Slow Motion Picture", and not much happens. Its obvious influence being that of "2001: A Space Odyssey". That is no way a detriment, but Star Trek had aliens, warp drive, shields and weaponry, and people expected something done with those elements.
Even the re-edited 2001 version improves a lot but not to great heights. The CGI scenes do not improve the movie, just makes one wish that they started from scratch, and the fact its at certain points of the film rather than the entire movie itself makes it more disappointing.
However, I always watch this when it's on. Why when I have just pointed out its flaws? Well flawed it may be, but there are a lot of amazing elements that make this film rise above almost all the others.
First off, it feels like the future - a plausible one too. The cleanliness, the style of most of the uniforms, and the technology looks plausible. Its the most futuristic film I have ever seen.
Then there are the visuals; maybe delivered late, badly edited, and even unnecessary but they are staggering. The inside of V’ger, the cloud, and the overall visual has an immense cinematic quality. I love the immensity of V’ger, the alien giant nature of it, the way its clouds are formed, and the inside is breathtaking. The sequence with Spock flying through the giant holograms is a spectacle in itself.
The orbital office is a treat, the air-trams a joy, Star Fleet HQ looked modern, the inspection pod a technical possibility, work bee modules looked excellent, the space dock appears feasible, and so much proper technology on display, internally and external, its bliss. It feels like the people who did this CARED.
Of course perhaps the greatest joy of all is the re-designed Enterprise - all true technology, no silly toys or concepts. When Kirk and Scotty flew pass to see the new ship, many have condemned the move, but I LOVE IT! Its like seeing a new concept sports car, the latest super aircraft, or the finest luxury ship. People who appreciate good design will want to look and look intensely. More, she looked like a STARSHIP, a futuristic vessel that CAN take man beyond the system. When the floodlights come on, you feel it powering up and that this thing can actually work. Plus the fact that the Enterprise is just as important a character as Kirk, Scotty, and Spock.
Unlike Star Wars, Star Trek was not about blasting things, but exploring the stars, encountering the alien, and asking deep questions. The scene with the Klingon cruisers emphasise the point - they wanted to destroy but got destroyed whereas the Enterprise rather talked, and they made it, showing the power of words over actions.
Then there is the score; its brilliant, alien, unusual and matches the scenes with perfection; you felt the mood of Kirk when he saw his ship, the heroic nature of the Federation, the entry of the cloud, the discovery of V’ger and the finale. Jerry Goldsmith was on fire here.
Finally it feels like a big adventurous film. It feels like space, it feels massive and futuristic, encountering the alien, the unknown and the amazing, and the ending maybe last moment but is true Sci-Fi in nature - that we can go further, that we can evolve, and that there is more beyond.
It felt like Science Fiction - sensible, intelligent, clever, and believable. At the time it came out I was nine, I loved this film, and I loved it more than Star Wars because it just came across as plausible. Had they not made it so long, without Ilia and Decker and all them irrelevant scenes it would be a 10/10, but that means supporting all the un-necessaries in the film. So its a nine.
David B. - Sat, Jul 5, 2014 - 5:22pm (USA Central)
I have often criticised trekkies for being too close minded in their analysis and/or acceptance of anything Trek related that is not TOS. Obviously, this is not true for all trekkies, but it is a concern. We saw it with TNG and, most recently, we saw it with the Star Trek reboot, which I loved.
Well, I see this film as one of the very best of the entire Trek film series. When I watch a movie, a pay attention to the visuals, including directing and cinematography, and ST:TMP is a masterpiece in those fields. Robert Wise, who is a brilliant director to begin with, did an expert job in adapting Trek for the screen, and I still pull a facepalm when I remember Sheldon Cooper from the Big Bang Theory say that this movie was poorly filmed.
As for the story, I know it could have been a 45-minute TV episode, and was supposed to be, but it nevertheless is a high-concept, intellectual plot that makes Star Trek great.
In conclusion, this is simply a wonderful film.
Lars - Sat, Jul 5, 2014 - 5:24pm (USA Central)
This movie has to be the most resonating of the bunch. You either love or hate this film, as there is no one that I ever asked that stated that he had a neutral opinion on it.
You know what? I very much like it, despite the fact that its very long. The opening scene with the Klingon ships (first appearance of the famous ridged fore-heads and Klingon language) and the battle are amazing to this day. The awesome soundtrack and the sound design in general just made it perfect. The scene with the Enterprise in drydock is too long for most people, which I understand. But again, with that soundtrack its pure eye and ear candy to me as we gaze at every inch of the beautiful studio model. Fans haven't seen that ship in ages back then, so it's cool that they allowed us a good look at the "new" Enterprise.
The plot is straightforward and feels more like it would have rather fit a TV episode (or maybe a two-parter). No surprise, considering that the story was initially meant to be a pilot for Star Trek Phase II which never happened. The journey into the innards of V'Ger is even more eye-candy but even I gotta say it takes forever. For many sections of the movie, you have no dialogue or even sound effects. You just stare at the bridge crew as they in turn stare at the inside of the cloud and V'Ger itself as they travel through it.
The story of Voyager 6 and how it came back I thought was very creative and original. Its just too bad we never found out what happened to Decker/V'Ger after the fusion. Also I would have liked to know more about the living machines that sent V'Ger back. Other than non-canon media, we have no clue who they were.
Bernd Schneider - Sat, Jul 5, 2014 - 5:27pm (USA Central)
"Star Trek: The Motion Picture" was shot in 1978 and released in late 1979, some ten years after the end of The Original Series. The success of "Star Wars" in 1977 was clearly the incentive for the studio bosses to make Star Trek into a movie, rather than the already planned new TV series. Yet, for all we can tell the production of ST:TMP was rather influenced by "2001: A Space Odyssey", especially as the slow pace of the story with its incredibly long visual effects sequences is concerned. Although ST:TMP turned out a commercial success, it has been criticized by both fans and professional reviewers as "The Slow-Motion Picture" or something along these lines. Well, I have to agree that the plot of "Star Trek: The Motion Picture" is quite thin and could as well have been covered in a usual TV episode, especially considering the undeniable similarities to TOS: "The Changeling". Yet, I think that most reviewers were spoiled by the haste of the old TOS episodes as well as of the first Star Wars movie, so they focused on this lack of action as an alleged deficiency in the first Trek movie and failed to recognize its cineastic qualities.
I don't think that taking its time is a drawback because a movie should make use of all the advantages the cinema offers over the small TV screen, and ST:TMP definitely does. I'm still deeply impressed with the stunning realism, in particular of the scene with the Enterprise in the drydock. ST:TMP thrives on long VFX scenes and excellent pointed dialogues, although neither necessarily advances the plot. Most importantly it gives us a sense of the excitement to go out into space and encounter the unknown like perhaps no other science fiction film ever made. The alien cultures of the Klingons and the Vulcans are worked out quite well, and they don't just wind up as humans with make-up. Of course, this applies even more to V'ger, an entity that remains mysterious until the end and that does not know and does not even want to communicate with the primitive "carbon units". All this is supported by an almost ingenious score by Jerry Goldsmith, with memorable special themes for the Federation, the Klingons, Ilia and V'ger.
The actors are still "fresh", and they continue much in the same fashion as they did in TOS. This gives the ST:TMP a familiar and overall bright and optimistic atmosphere, unlike almost all Trek movies to follow. Unfortunately, Ilia and Decker, who had both a lot of potential (also for the possible second TV series), were sacrificed and never seen again.
I think it was a wise decision to conceive ST:TMP as a sequel to TOS with some visual updates, rather than a reboot or remake, because this resulted in a continuity that would remain uninterrupted for 40 years. Although still a bit more could have been done to preserve some TOS style elements exactly as they were, I like the set, prop and costume design of this movie very much. Only the uniforms would never again be as colorless as here. ST:TMP established a visual standard for what is known as the "second generation of Star Trek" today, a long run of movies and series that lasted until 2005.
Nitpicking: "Vulcan has no moon." This is what Spock told Uhura in TOS: "The Man Trap". Yet, in the movie's kolinahr scene two enormous celestial bodies are visible in Vulcan's sky. Obviously someone noticed this apparent error, and for the Director's Cut DVD a completely new Vulcan landscape with huge statues and without celestial bodies was created, one that is also closer to the original sketches for the movie. -- Why do the Klingons suddenly have ridges on their foreheads in TMP? This question troubled generations of fans. But it was never even supposed to be asked, for it was commonly retroactively explained as a make-up shortcoming of TOS. The real Klingons were said by Gene Roddenberry to have always looked as in TMP. -- Kirk tells Scott that the alien machine is three days away from Earth, and that "the only starship in interception range is the Enterprise". In other words, Starfleet has nothing within three days of Earth, the center of the Federation, or within three days of that machine if you will, than a barely operational ship that needs to be launched prematurely, with untested warp engines! -- The diameter of the cloud is stated to be as much as 82 AUs, and as such it would envelop the whole solar system and possibly push planets out of orbit (although the solid machine inside is still small enough to orbit Earth). The diameter was later revised to more realistic 2 AUs in the Director's Cut. -- Where does V'ger/Decker vanish in the end, without destroying Earth's surface? It must have been something like a parallel dimension. -- More inconsistencies on a separate page.
Remarkable dialogues: "Jim, V'ger expects an answer." - "An answer? I don't know the question." (Decker and Kirk), "V'ger is a child. I suggest you treat it as such." - "Spock! This child is about to wipe out every living thing on Earth! Now, what do you suggest we do? Spank it?" (Spock and McCoy), "Decker." - "Fascinating. Not 'Decker unit'." (Ilia probe and Spock)
Remarkable quotes: "Enterprise. What we got back didn't live long. Fortunately." (comm voice, after the fatal transporter failure), "And they probably redesigned the whole sickbay too. I know engineers. They love to change things!" (McCoy), "Jim, I want this. As much as you wanted the Enterprise, I want this." (Decker)
Remarkable lifeform: "carbon units"
Remarkable ship: the Enterprise, the best one they ever had, redesigned by Andrew Probert
Rating: 8 (of 10).
Kethinov - Sat, Jul 5, 2014 - 5:30pm (USA Central)
Star Trek: The Slow Motion Picture... Many insults are thrown at this film for having too slow a plot. Perhaps well deserved. The story seems stretched out. The actual development is probably only enough to cover a single episode. The film also bears a close resemblance to episode TOS: The Changeling, though much improved. Finally, Lt. Ilia happens to belong to an alien species that looks exactly like humans! Okay, so the women of their species don't grow hair; my complaint is still valid. Despite all this, it is still a fine film. Most remarkable are the visual effects which are superb, especially for the time. Many people complain about there being too many visual effects, or that they take too long. This is a valid complaint, but I still like them nonetheless. Additionally, there are complaints about the uniforms being too drab. Again, I liked them. Gene Roddenberry has made claims that many elements of TMP were in fact Star Trek as it was meant to be. One particularly noticeable detail is the uniforms for women are no longer sexist. Another fine detail is the redesigned set of the Enterprise. Incredible, she was absolutely stunning, especially the engineering section and the sight of the absolutely beautiful warpcore. Remarkably, decades later the warpcore of the USS Voyager will quite strikingly resemble this one. Another good detail about the ship is the new deflector dish. The silly looking outward protruding dish is replaced by a futuristic, blue, glowing, cool looking dish. Another nice detail in this film is the multiple points of contention between Kirk and Decker, all of which are intelligently done. The resolution of the plot in this film is something of an anticlimax, but the intent of the movie was that it be viewed as a whole. A work of art, not a Star Trek episode in the traditional sense. In that respect, the film is highly successful. Notably, it was a commercial success as well. It is fitting that Decker and Ilia should be reunited in the end by both joining with V'Ger. It creates something of a happy ending out of their brief but decidedly tragic loss of one another. Indeed, the human adventure is just beginning. A fantastic film true to the spirit of Star Trek.
Billie Doux - Sat, Jul 5, 2014 - 5:42pm (USA Central)
Kirk: "Bones, there's a thing out there."
McCoy: "Why is any object we don't understand always called a thing?"

There's a reason fans refer to this movie as "The slow motion picture". You can hear a comedian saying, "Really? How slow was it?"

Well, the action skidded to a halt when Kirk and Scott took a pod around the Enterprise in space dock. It dragged and meandered when we got a long wormhole sequence. And again with the excruciatingly slow approach to V'ger. It probably looked gorgeous and somewhat like 2001: A Space Odyssey back in 1979, but I think it was a huge mistake to spend so much time on visuals. They also spent way too much time establishing characters that the audience already knew, at the expense of more interesting character development and a better story.

Maybe I'm being a bit unfair because of how this movie suffers in comparison to the superlative Star Trek II: The Wrath of Khan. But unfortunately, at its core, The Slow Motion Picture is a really long, Roddenberry-esque searching-for-God outwitting-a-computer episode of the original series with a lot of updated visual effects, and costumes that reminded me of Tupperware. But it did do a very good thing. When it first came out in 1979, fans of the original series had been waiting ten very long years for more Star Trek, and The Motion Picture got them excited about the franchise again. And what didn't work for this movie made the Star Trek powers that be think long and hard about what they were going to do in the second movie, which was a very good thing.


At any rate, I wish they hadn't given us Spock the crabby Vulcan. I rather liked the costume he arrived in, but Spock's grouchiness at failing Kolinahr practically negated all the progress he'd made toward relating to his crewmates during the original series. I did like that Kirk had been promoted to Admiral, and that after over two years in Star Fleet Operations, he'd had second thoughts about accepting that promotion. And DeForest Kelley's McCoy was a breath of grumpy fresh air.

And hey, good for them, bringing back all of the original cast and even acknowledging that women had made some social progress in the 1970s. No more miniskirts! Janice Rand as transporter chief, and Nurse Chapel as a doctor! And Uhura had an Afro. You've come a long way, baby.

I thought Will Decker, son of Matt Decker from my favorite original series episode The Doomsday Machine, pretty much worked, too. Stephen Collins did a good job as the displaced and bummed out captain, although his motivation for giving up his humanity in order to bond with an electronic version of his former girlfriend didn't really work for me. And that was probably because Persis Khambatta as Ilia, the Deltan, didn't work for me, either. We barely got to know her in the first place, and her death and replacement by an automaton in a bathrobe didn't affect me at all. As I already said, maybe they should have used some of the time spent on the lengthy special effects shots and explaining who the original crew were for more effective character development. (Apparently, they rethought Decker and Ilia a bit before giving us Riker and Troi in Next Gen. Especially the lack of hair.)
Samuel Walters - Sat, Jul 5, 2014 - 5:50pm (USA Central)
Star Trek: The Motion Picture is Star Trek’s version of 2001: A Space Odyssey. From start to finish you can see the influence of Stanley Kubrick and Arthur C. Clarke – from the design, to the pacing, to the visuals, to the final transcendent scenes. And with this film being the highly anticipated reunion of one of the most beloved casts in television history, it would seem to be a good formula for success. Unfortunately, the surface level story is almost entirely ripped from a previous Trek episode – the glacially paced “The Changeling.” What really proves to be a drag on this particular movie is not only its equally monotonous pace, but its inability to morph Star Trek into a kind of science fiction that is, tonally, quite different. The result is a film which is beautiful from a visual and thematic standpoint, but so plodding and obscure from a narrative standpoint that it ends up being, overall, a below average movie.

The story is about how one of the Voyager probes, launched from Earth, found a machine planet, was upgraded, became conscious, and returned to Earth to meet its maker – and in the process devalued all forms of biological life. Similarities to “The Changeling” aside (it too followed a “changed” Earth probe, called Nomad, which had no regard for human life), the story becomes a metaphor for how technology can threaten our basic humanity. This is certainly a worthy concept to explore, particularly for Star Trek. But the decision to follow 2001’s formula proved to be prohibitive to an ensemble cast which is more used to adventurous derring-do than to a deeply cerebral, abstract, and obscure story.

It’s not that the story is “above” the crew of the Enterprise, but rather that the juxtaposition just doesn’t work. I certainly appreciate the decision to try a different approach to Star Trek, but with the film spending an inordinate amount of time depicting people floating around in space suits (seriously, you could make a drinking game out of it), the immediacy and intimacy which made Star Trek so strong a series is lost.

Furthermore, the “guest” characters of Decker (Stephen Collins) and Ilia (Persis Khambatta) feel wholly out of place within this reunion of familiar faces and comrades. And because their characters never truly integrate into the main cast, the impact of their ultimate fates is very much lessened. And that’s a shame because their characters become central to the film’s plot. Additionally, the tacked on melodrama between Decker, Ilia and even Kirk proves to be too much of a distraction. As a result, Decker and Ilia end up being little more than glorified redshirts in an overblown episode.

Is Star Trek: The Motion Picture really that bad? No. In fact, there is quite a bit about it to enjoy, such as Spock’s realization that logic alone is not enough to understand the grand mysteries of the universe. But the whole production is awkwardly presented — as evidenced by the sudden burst of emotion from Spock that is jarringly presented in the film. In the end, much will depend on how viewers choose to view the film. If you want to get something out of it, you can ignore (most of) the inconsistencies and mistakes. If you want to criticize it, there’s plenty of fodder to do so.

Personally, I find its leaden pace and inconsistencies just a bit too distracting for my tastes.
Jammer - Sat, Jul 5, 2014 - 11:09pm (USA Central)
Okay, if you want to make your case and be long-winded about it, by all means go ahead. But do everyone the courtesy of doing it without using 10 different names to repeat your same points in posts that are minutes apart. It just comes across as disingenuous. You probably aren't fooling anyone -- but you certainly aren't fooling me, because (hint) as site administrator I can see that all these posts were made from the same IP address.

Elliott - Sat, Jul 5, 2014 - 11:56pm (USA Central)
I thought that was weird--I figured the only non-shady explanation was that a group of Jammer fans had got together, watched the film, discussed and posted as a group
Paul M. - Sun, Jul 6, 2014 - 5:39am (USA Central)
Yeah, that was weird. Especially as many of those "names" belong to people who reviewed Trek or are otherwise known in the fandom.
Sarah M - Fri, Jul 18, 2014 - 12:14am (USA Central)
I'm going back through the Star Trek movies now (not a task for the faint of heart, when it comes to some of them, but I find myself liking TMP a little more every time I come back to it. Liking, not loving, but it's a decent sci-fi story that benefits from having the high expectations that must've rested on it at the time stripped away.

And as the review notes, it LOOKS great. It's hard not to think of 2001 and Star Wars when watching it and, while it's not a marvel like those were, it's clearly of a piece with the better space movies of that era. I also liked Decker and Ilia more than I suspect many do, even if their screen time does come at the expense of the series characters.
Dave - Sat, Nov 22, 2014 - 5:53pm (USA Central)
The One with the Giant Cloud

And so, 10 years after the last time anyone had seen a new episode of Star Trek, comes The Motion Picture. I'm sure if you're reading this, you know the basic back story, but in a nut shell, Trek had become popular again through syndication and a 2nd Trek series was mooted. However, with the success of Star Wars and 2001, it was decided to take Star Trek to the big screen and give it a budget worthy of it's name.

And...it wasn't brilliantly received, by critics or most fans. The tone floored most people and their expectations were not met for what a Star Trek Feature film should look like and more importantly, FEEL like. To be honest, that was my view of it until when I watched the Directors Cut for this blog. Maybe it's because I'm older, but I was really impressed by this film. Let's explain why:

In what was a brave (if possibly foolish move), the writers decided to not have the cast as they were a decade ago. Normal time has passed for them and us. Kirk is an Admiral in what is essentially a desk job, McCoy has retired and Spock is on Vulcan, about to undergo a ritual to purge human emotion. None of them are in a good place and the theme of belonging and going home again carries through the whole film.

Kirk essentially bullies his way back onto the Enterprise and ousts Decker (who I believe is meant to be the son of Commodore Decker from "Doomsday Machine"), a Captain who is not a bad guy or weak, just someone who happens to be in Kirks way. Kirk is lost on this newly refitted Enterprise (more on that later) and Decker has too continually guide him through the new systems, not maliciously, but he does seem to take a grim satisfaction in correcting Kirks flawed commands.

Kirk recalls McCoy (in a lovely scene in the transporter room with Rand as well, though her cameo kind of throws you as her relationship with Kirk is so different, but it's good to see her back), who isn't happy and isn't sure of Kirks command of the Enterprise.

Spock comes back next, his ritual abandoned by the voice he hears from V'ger, a being of extraordinary scale and power, heading for earth to destroy it. He is cold and logical, nothing like the Spock we knew and loved from the show. Kirk is not happy, neither are his friends, and the whole mission seems in jeopardy.

Then things start to click, as he uses his instincts to get past the first defence of the cloud and Spock starts to tune into V'ger. At this point, when they start to go deeper into the cloud, the film does drag and even in the slightly edited directs cut version, it is still too long. But having said that, the sheer size and scale of V'ger does come across and I think the potential patience breaking scene is worth it.

The rest of the crew don't really have large parts to play. Scotty has a lovely scene with Kirk at the start as they fly round the newly refitted Enterprise. This is also a very long scene, but my God, it still holds up. Out of all the films, this give's the ship character and treats it with the love it deserves. Especially as up to now, all anyone had seen of her was stock footage in TOS. Here we see her from every angle, larger than life. Kirk and Scotty have always shared a special bond to the ship. Scotty looks after her and patches her up whilst Kirk commands her, but she has touched both their hearts.

Chekov, Sulu and Uhura have their standard roles and even Chapel has a nice walk on part. it's disappointing there wasn't more for them to do though. Of course, we have 2 new characters, Will Decker and LLia, who are basically a template for Riker and Troi. I found their relationship arc rather boring and because you know they're never seen again, it's hard to invest.

This film has brought so much to the Star Trek universe; The Klingons are the one's we know and love today, with a different language and of course, the bumpy foreheads. The opening scene with the 3 Klingon cruisers is brilliant as well. The music is also superb and it's no surprise TNG nicked it for their theme tune.

Of course, it is a flawed fim. The first hour works fine for me, but once they enter the cloud it does drag slightly, especially with the LLia robot learning to love. The uniforms are also awful, though thankfully Kirk changes his half way through. The main problem I have is Spock, and to a certain degree the relationship with the Trio. They continue the antagonism between them for far too long, Spock especially as his sudden personality switch after melding with V'ger come's very near the end. Bones is also sidelined after an impressive debut.

I haven't really discussed the end, mainly because the twist is the whole part of the last hour. Once you know it, it's really just a lovely, slightly psychedelic journey you're on. V'ger is of course Voyager 6 , a probe sent years ago into deep space and came back as an all powerful being. This is very similar to "The Changeling", but at least I believe this ship could destroy solar systems. And there's no harm in dipping into your back history.

There has never been another Star Trek film that has has the epic scale, the vast special effects and the patience and indulgence to tell the story it wants to tell. It's probably the closest Star Trek has ever came to Art which is perhaps why it divides people into Love or Hate. Me, I loved it, for this is a flawed masterpiece.

4/5
Robert - Sat, Nov 22, 2014 - 6:00pm (USA Central)
A great cloud is heading for Earth. It has already destroyed three Klingon vessels that investigated it, and a Federation Space Station that happened to be in the way. The only ship in range is the Enterprise, nearing the completion of a refit but not quite ready…

I think it’s fair ro say that this film is either a love it or hate it kind of film. The people tht criticise it claim that it just doesn’t feel like Star Trek as we knew it, but I have to say that I disagree. Although made ten years after the series was cancelled in 1969, I get the impression that it is meant to be set 2 and a half years after the five year mission ended, so about four to five years after the show. The Enterprise has been gutted and rebuilt, and now hardly resembles the original, certainly internally, and the outside looks a lot more streamlined. In fact, our first look at the scrubbed up Enterprise is that magnificent sequence where Scotty takes Kirk over to it via shuttle, as the transporters are not working. You are teased with shots through the side of the space dock, but that first full head on shot is very emotional – no doubt partly due to Jerry Goldsmith’s amazing score. This sequence alone tells you it’s Trek, but not quite as you know it.

Captain Decker is the new boss, but most of the rest of the crew (apart from McCoy and Spock) are doing their old jobs. It was nice to see Janice Rand again, after she vanished half way through season one. And I loved the fact that Kirk used the crises as an excuse to get out of his stuffy Admirals office at StarFleet and take command of a ship again. You get the impression that he has been bored out of his mind these last two years or so.

The sets are okay – some of them are too recognisable as the sets that get reused for The Next Generation. In particular, the Engineering set is very similar indeed, as is the basic look of the corridors.

The new characters – Decker and Ilia – work well, but their relationship is rather similar to that of RIker and Troi on The Next Generationbut there’s a good reason for that: when this film was being put together, it was actually the pilot episode of the new TV series, and as Nimoy didn’t want to appear, Decker was the new first officer and Ilia a navigator (Checkov seeming to havce moved to security). There would have been a Vulcan science officer, Xon.

This is Star Trek done on a grand scale – for it to work it had to feel big, and it did. Never has planet Earth felt like it was going to be destroyed in the series – in fact, we never visited 23rd Century Earth on the show, though we did visit the past on numerous occasions. Some of the effects look excellent – for example the detail on Vulcan, and also the Golden Gate Bridge by StarFleet HQ. All good stuff, and the sequences inside the cloud – everything looked enormous. Some argue that this all went on for too long, that the sequences inside the cloud were boring. I can see that point of view, but I don’t agree – they helped build the tension very well.

This is a very adult Trek – I don’t mean language and violence, I just mean in the seriousness of it. There is very little humour in it – unlike the TV show and most of the other movies. Again, this put a lot of people off, but I really like it. Had all the films been this heavy, then it would have become boring, but this was pitched just right, for me anyway.

I also liked the ending, the revelation that is was an old Voyager probe that has been picked up by a race of computer beings, souped up, and helped on it’s way. Some fans suggest that the sequence at the end is the start of the Borg, and whilst I would love to think that it true, it cannot be – the Borg did not know about us until much later, and has they been formed from a StarFleet commander and a drone with the memories of a navigator, they would have got here a lot quicker!

A couple of minor nigges: why did Kirk draft a retired McCoy back into the service? He didn’t really need him as a Doctor (Chapel is now fully qualified) it just felt like he wanted to bring him along for tha sake of it! And how come Spock was able to fix the Enterprise engines just like that when StarFleets finest couldn’t?

So, all in all, a really confident start to the series with great effects and a real sense of scale. And, incidentally, the introduction of Jerry Goldsmith’s excellent theme that went on to be used in another three films and every episode of Star Trek: The Next Generation.

Crew Deaths: 4
Total Crew Deaths So Far: 56
Score: 8/10
Michelle Erica Green - Sat, Nov 22, 2014 - 7:41pm (USA Central)
A note: I own the Director’s Edition, so that’s what you’re getting summarized here. And a word of warning: this review is even more personal than most of my reviews. If you want an objective analysis of Star Trek: The Motion Picture, I can give it to you in a sentence: “Overlong, poorly edited, stiffly acted, with too much focus on the guest actors and special effects, too little of the elements that made most people appreciate Star Trek as a television series.” That’s the review pretty much everyone expects, because pretty much everyone with whom I’ve discussed it was disappointed by Star Trek: The Motion Picture. After years of fan anticipation, Paramount gave us barely-recognizable characters, boring sequences showing off the new Enterprise, minimal action, visual effects that couldn’t rival Star Wars, colorless new costumes and sets, and a silly ending that tossed out the scientific progress for which Star Trek had always stood. Plus, it was increasingly obvious that the entire cast was aging and Shatner wore a toupee. The soundtrack and sound mixing were generally praised, but the rest of the film was written off as a bad relaunch, overshadowed by the rest of the original series movies.

Those aren’t the things I usually remember about The Motion Picture, however. For me, this is the movie in which Spock tells Kirk that he loves him. Everyone who reads my reviews regularly knows that I have a sordid history with fan fiction, which was, at the time of this film’s release, being passed around under the name from which the slash genre adopted its label. But I was only 12 years old then, and though K/S already existed, I was unaware of it until Gene Roddenberry wrote in the novelization of this movie the most famous footnote in fannish history. First Roddenberry defined the Vulcan expression t’hy’la, which, as Roddenberry explained, can mean “friend,” “brother,” and “lover,” and which was the word Spock used to describe his relationship with Kirk. It’s worth quoting the rest of Roddenberry’s footnote in full, because it had such a profound impact not just on the way I watch Star Trek and all other forms of entertainment, but on how I thought about gay people, gay rights, even how I define my own sexual identity:

[Spock] did indeed consider Kirk to have become his brother. However, because “t’hy’la” can be used to mean “lover” and since Kirk’s and Spock’s friendship was unusually close, this has led to some speculation over whether or not they had actually indeed become lovers. At our request, Admiral Kirk supplied the following comments on this subject: “I was never aware of this ‘lovers’ rumor, although I have been told that Spock encountered it several times. Apparently, he had always dismissed it with his characteristic lifting of his right eyebrow, which usually connoted some combination of surprise, disbelief, and/or annoyance. As for myself… I have always found my best gratification in that creature called woman. Also, I would not like to be thought of as being so foolish that I would select a love partner who came into sexual heat only once every seven years.”

Over the course of several misogynistic rants about fan fiction, “Trouble With Tribbles” writer David Gerrold has announced that this footnote was Roddenberry’s attempt to stop the slash. I find this amusing, because for me, this footnote started slash as a matter for serious inquiry. Even now, it puts a huge smile on my face, for there’s no denial in here at all – quite the opposite. It confirms that there are good reasons people might have thought Kirk and Spock were in love, demonstrates the pervasiveness of that belief, and suggests that if Kirk can say where he finds his “best” gratification, he’s probably done some experimenting…quite a bit of experimenting, if his behavior during the original five year mission is any indication. What struck me as a twelve year old, both watching this film and reading this footnote, was that the creator of Star Trek thought love between two men – not necessarily sexual, but the primary source of intimacy in both their lives – was normal and acceptable. It’s hard to explain now how completely this perspective differed from anything I’d encountered elsewhere in my life. Of all the things I took away from Star Trek as a child – a reverence for science, a love of exploration, a hatred for prejudice, a belief in the inherent goodness of humanity – this may be the one that had the biggest impact on me at a personal, emotional level.

So it doesn’t bother me that, at the core, Star Trek: The Motion Picture is a cheesy romance in which Persis Khambatta’s exotic beauty is exploited and humankind’s greatest vehicle of exploration only wants to prove that God exists by finding and merging with its creator-father. It all contributes to a view of the universe in which every form of love is a cause for celebration, even the ones that are technically taboo (which means, hilariously, that the heterosexual couple of Decker and Ilia aren’t supposed to consummate their feelings because her species is so hypersexed, not that Kirk and Spock aren’t supposed to hold hands and snuggle in sickbay).

Even the worst aspects of this film are all about nostalgia, the most sentimental form of love, like the endless sequence in which Scotty takes Kirk around the exterior of the new Enterprise to show off the ship to him and to the audience. We get glimpses of Christine Chapel and Janice Rand, the latter finally with a substantive job; we get McCoy making precisely the same jokes at Spock’s expense that he’d have made on the TV series (“Spock, you haven’t changed a bit, you’re just as warm and sociable as ever”). Sulu gets to count the ascending warp speeds; Chekov gets to scream. Uhura gets lots to do compared to, oh, the entire third season of the show, but of course there are hailing frequencies to open, too. Since I watched the extended edition, I got to see Spock crying on the bridge over V’Ger’s (and his own) loneliness, but even without that crazy un-Vulcan ’70s pop psych moment, the plot of ST:TMP, such as it is, is all about feelings over logic. And I can’t even dislike it for that.

Though the movie comes down on the side of insight being greater than science, it also suggests that great knowledge must be amassed before spiritual wisdom can be attained, something with which Kabbalists and Sufis would agree. Somewhere along my travels in Trekdom, I read an analysis of Spock’s journey through V’Ger, speculating that the concentric circles and lights and chambers represent everything from womb/childbirth/emergence to the levels of Paradise a la Dante, but I have no deep analysis of that sort. My pleasures are more personal, perhaps more superficial, but I think it takes an awful stretch to read that level of spiritual significance into a design that I suspect had far more to do with wanting an Academy Award for visual effects. I adore the scene in which Kirk figures out that V’Ger is Voyager 6 – something we made, something we therefore know how to touch/console/satisfy – and everything I dislike about poor Decker’s tantrum-y character is instantly erased when he decides to take the leap to merge with V’Ger, to transcend what his father did in ramming himself and a starship down the Doomsday Machine’s maw. Disappointment perhaps, but the happy ending left things set up for The Wrath of Khan – one of Star Trek’s finest hours (well, two hours) – and a Spock who would ever after call Kirk “Jim” in public. So what’s not for me to love?
Disinvited - Sun, Nov 23, 2014 - 2:24pm (USA Central)
There are those that say that Kubrick’s 2001 with its minimal dialogue is such a movie and if that be the case, I have to give TMP in its 70mm presentations due consideration in that regard as it clearly was influenced by his prior work, right down to their own spin on an alternate creation for a “starchild”.

I recall exiting both films with a “WOW!” and a deep sense of wonder.

I recall pondering whether V’yger’s translation of Ilea was really much removed from how the transporter was said to work? And whether the created merging with its creator would be the ultimate destiny for any AI that mankind might develop?

I think it is safe to say that TMP was the deepest G-rated picture that I’ve ever seen.
Niall - Sun, Nov 23, 2014 - 2:25pm (USA Central)
How come 3 people have posted long reviews of this film within 3 hours of each other, after no comments since July?
NCC-1701-Z - Sun, Nov 23, 2014 - 5:56pm (USA Central)
@Niall - That, and Michelle Erica Green's TMP review was copy and pasted word for word. I fail to see what anyone could possibly gain from that...?
Paul M. - Mon, Nov 24, 2014 - 3:22am (USA Central)
"How come 3 people have posted long reviews of this film within 3 hours of each other, after no comments since July?"


Return of the Jedi! ... Or is it Revenge of the Sith?
MidshipmanNorris - Sat, Dec 13, 2014 - 7:31am (USA Central)
I can't read this many comments, so here's my unabashed take on this thing.

If the movie didn't have Decker it would be alright. He slows the plot waaaay down, and it's more or less his only function, other than to merge with Ilia at the end and leave the Enterprise conspicuously un-Captained.

Without Decker, or by making him less of a central character, this movie would move along a lot faster.
lizzzi - Sun, Mar 1, 2015 - 1:15pm (USA Central)
I just watched this on Netflix for the first time since watching it at the movies when it first came out. I am going to watch all the movies in sequence as my personal homage to Leonard Nimoy. It surprises me how affected I am by his death. Anyway, I remember disliking this movie for all the same negative reasons stated on the many posts above. Watching it yesterday, I could not believe how much I loved it.The one thing I truly disliked were the sleazy, stretch pajama-like uniforms. So drab and ugly. But setting that aside, i was awed and surprised by how good this movie is. The wonder of the universe, the profound visuals, the uplifting, evocative score. I had truly forgotten the plot, and it was like seeing it for the first time, only through much more mature eyes. Decker and Ilia were not particularly engaging characters through the bulk of the film, but they redeemed themselves in the ending. There is room in the Star Trek universe for different kinds of films and TV shows. This movie will go down in history as a classic, I think. Slow? Yes. But so what? It redeems itself in other ways.
William B - Mon, Mar 9, 2015 - 8:56am (USA Central)
On tablet so forgive typos please.

While there is gap in tone between TMP and the pictures of the Harve Bennet area starting with WOK, right down to the uniforms, the character material is very consistent: the two biggest stories for the main cast are Kirk's ambivalence about his admiralty (read: age) and inappropriate behaviour resulting, and Spock's coming to understand more fully the linits of logic. These complementary arcs have to do with weighing the pros and cons of Kirk's ambitious, self-interested adventuring and Spock's self-abnegating pursuit of logic. Spock's attempt to purge all feeling seems to me at least partly a response to the time on the Enterprise, where he got so used to humans he started getting perhaps too comfortable with his own imperfect humanity; if we take the main series as canon, I wonder if what pushed him over the edge was actually All Our Yesterdays and finding love and murderous intent were linked in him, and if we take the animated series on board Yesteryear may have rekindled his childhood shame about his humanity, especially with his SPOILER pet's death hitting him hard. Either way, Spock has become an ascetic, an image which continues through the movies (see his monklike calm and attire in STIV), and wants to deny even the few instances of humanity he picked up in the series. In effect he wants to "return" to a, possibly imagined, state in which he is uninfected and unencumbered by feeling. Kirk wants to return, too, but to his command, i.e. his youth, and his denials that he just wants the best for Earth are punctured quickly and easily by McCoy. It is not that Kirk doesn't want to save Earth, but he also wastes a way a little without feeling important and actively contributing; he is afraid of change, wants the ship and crew to be frozen in time as of TOS, mostly wants Decker to disappear so that Kirk remains a hero. His desire pretty much throughout the films is to resist or undo change, culminating in the original series films in his reluctantly having to approve of the possibility of peace with the Klingons, and in Generations with accepting and embracing death.

I sort of take Decker and Ilia as being mirrors of Kirk and Spock, respectively; Decker is like TOS era Kirk (or s1-era Riker, who was obviously based on Decker) without the authority that Kirk readily enjoyed, believing he is competent and qualified but without the trust of others to build himself up; he and Kirk envy each other throughout until the end. Ilia has Spock’s alienness, telepathy, and asceticism, having taken a cow of celibacy and seeming to be in control of her emotions and on the surface no longer swallowed up by them. What happens to Decker and Ilia tells us about Kirk and Spock; first Ilia dies and her form is hollowed out into an emotionless shell, rather akin to what Spock was trying to do to himself through the Kholinar and what will happen in STII-IV, and she/V’Ger now experiences a tremendous longing and emptiness. It is through V’Ger, whose humanoid face in the film is Ilia’s, that Spock realizes that logic is not enough. And while this seems like an obvious lesson, it makes sense to me that Spock needs a real jolt to wake him up to this; pure logic is such a difficult goal that it has never been within his sights enough to fully evaluate the meaninglessness that logic without love, feeling, belief, purpose would be, especially when his perspective has always been skewed by his somewhat irrational frustration and even self-hatred over his unexcisable human half. In the series, Spock sometimes accepted his humanity, but I generally took it more as him broadening his definition of what was logical (ala the end of The Galileo Seven) or him accepting that his humanity existed, albeit reluctantly.

Decker’s arc mirrors Kirk, to the extent that (as in STII with Spock, and STIII with David, and probably other examples) Decker essentially plays the heroic-sacrificial role mostly reserved for the protagonist; it is Decker, NOT Kirk, who joins with V’Ger, loses his personal self for something greater, and saves the world. Kirk is not irrelevant and I think it is clear that Kirk partly originated the idea, but Decker is the one who does the deed, which basically involves giving up his command and identity as adventurer for love and joining with the ST-metaphor divine. The (re)joining of Decker and Ilia in V’Ger represents the reunifying of logic and passion, machine and spirit, which has Kirk’s desire for heroism and meaning without selfishness, and Spock’s desire for purity and rejection of the baser aspects of reality without losing love and meaning. It also means that Kirk really does have to take a backseat to Decker, hence his restoring Decker’s proper rank at the very end. Kirk and Spock are not “there” yet; TMP by giving the huge transformative experience to secondary characters allows for Kirk and Spock to lose some of the restrictions holding them back without moving beyond human limitations altogether, and allows room for growth and change in the forthcoming films.

The slow pace and focus on tech is both a product of Wise probably being a 2001 fan, and also fulfills a narrative purpose: we are reminded early on of McCoy’s skepticism about the transporter, and Kirk is unfamiliar with his new ship. Technology, which provides the support for humans (now and in the future) is perfectly rational and even has a type of beauty to it, but without being populated by humans (or animated by human motivations) is cold, austere. The icy beauty of V’Ger is meant to be the ultimate extension of Kirk’s (and the camera’s) love for the Enterprise, objects rather than people...but not wholly without meaning. V’Ger is the world we might be building, but if we infuse a technological, rationalistic world and worldview with meaning and love we maybe can, like Decker and Ilia, reach real transcendence.

I liked it very much but I still find parts a bit too slow. 3.5 stars; this and WOK are the best of the films.
Captain Jon - Wed, Mar 18, 2015 - 11:51pm (USA Central)
Here's my review. The full experience (including pictures) can be found at my review blog "captainjonreviews.blogspot.com"

Synopsis
When Earth is threatened by a mysterious cloud that destroys everything in its way, Admiral James T. Kirk retakes command of the newly-refitted U.S.S. Enterprise. His mission is to explore what's in the heart of the cloud and, if possible, attempt to reason with any intelligence that's inside before Earth is destroyed.


Review
When Star Trek went off the air in 1969, one newspaper columnist addressed disappointed fans who had waged a letter-writing campaign to keep the show alive with an article that read:

"You Star Trek fans have fought the 'good fight,' but the show has been cancelled and there's nothing to be done now."
Thanks to a little thing called syndication, Star Trek gained second life and developed a cult following. What originally was intended as an attempt by Paramount executives to recoup loses from the show led to the studio giving serious consideration to bring life to a Star Trek feature film. In 1975, Paramount hired Roddenberry to begin development on the feature.

Getting the production off the ground proved to be quite challenging and the studio would decide to return the Star Trek to television with Star Trek: Phase II. But thanks to the one-two punch of Star Wars and Close Encounters of the Third Kind in 1977, Paramount exec Michael Eisner decided to make the project a feature film.

Instead of trying to emulate the formula that had worked for Star Wars, Roddenberry and director Robert Wise decided to make Star Trek first venture onto the big screen more along the lines of 2001: A Space Odyssey. With a troubled production that began filming with an incomplete script and post-production woes in the visual effects department, Star Trek: The Motion Picture barely made it on schedule to its December 1979 premiere. Much like 2001, The Motion Picture debuted to mixed reviews that criticized its slow pace and lack of characterization. Unlike 2001, however, which has gone on to become a Science-Fiction classic, The Motion Picture would be overshadowed by its eventual sequel only three years later. One can't help but wonder how The Motion Picture would be regarded if not for the franchise that had been born due to its financial success. In recent a recent viewing I was amazed at how much more I enjoyed the film than I had in the past. In an age where movies move at breakneck speed, TMP is actually a somewhat refreshing change. That's not to say that it should now be considered a classic like 2001. After all, The Motion Picture is still flawed and lacks adequate characterizations or even the heart that was found even in the original 60's TV series. But it was nice to watch a movie that took its time to tell a story, even if that story was rather thin.

One can't help but wonder if there were better ideas floating about during development that could've been used since the story is largely a rehash of a couple of episodes of the 60's TV show, a frustrating decision as something more original should've been told. The thin plot feels as though it's meant to service the visual spectacle instead of being the other way around. On a visual level, The Motion Picture is quite impressive with effects that still hold up today. But much of the film's running time is spent indulging in lengthy establishing shots of space stations and starships. Time that was spent on lengthy establishing shots could've been more effectively used for characterization. Instead we get long stretches of cutting back and forth between visual effects and the characters reacting rather unconvincingly and sometimes comically to things they're supposed to be witnessing on the viewscreen. Most guilty of this is George Takei with his wide-eyed attempt at awe.

One such character seed that's planted but never adequately developed is that which follows Kirk, portrayed in a fairly somber and serious performance by William Shatner that is a striking departure from the show. Kirk is now an admiral at Starfleet Command who hasn't been on a starship in over two years. As the mysterious intruder threatens Earth, Kirk coerces his way back into command of the Enterprise, bumping Will Decker (Stephen Collins in one of the film's better performances) out of the captain's chair. Collins brings confidence and passion to the role and plays well against Shatner's Kirk making the tension between the two of them believable. Though Decker has enough reason to be upset with Kirk, he fears that his new captain's actions are not only against the best interests of the ship but the mission as well. The Enterprise has been completely redesign and it's a design with which Kirk is not familiar and he doesn't hide those concerns from Kirk. To Kirk'a surprise, not only does McCoy side with Decker but goes one step further by saying that Kirk is obsessed with the Enterprise and that he intends to keep the starship. This has the beginnings of interesting character work that dates back to the original series but goes nowhere after McCoy calls Kirk out on his actions. Unfortunately, the film's ultimate resolution leaves the pieces in a place where Kirk doesn't need to be held accountable nor be put in the position of having to return the Enterprise.

Also planted early on but not developed nearly enough is the love story between Decker and Ilia (Persis Khambatta), a precursor for the Riker/Troi dynamic in Star Trek: The Next Generation. Most frustrating about this character arc is that it's the most important one in the movie and yet very little is done to develop it. Outside of one conversation between Decker and Ilia, nothing is done to establish the connection between these two characters and make us feel for their relationship. Thus there's no impact when Ilia is taken by the V'Ger probe. Nor do Decker's attempts to rekindle any feelings buried within the Ilia probe carry any resonance because there was nothing there for us to believe in anyway. While Collins works well as a foil for Shatner, he's less effective with Khambatta as the two of them have no chemistry. Khambatta, especially, is stiff and rather uninteresting. Had more time been spent developing the relationship, perhaps Decker's actions in the film's climax would've carried more emotional weight. Instead it's a visual marvel that emotionally feels hollow and falls flat.

The third character thread is that of Spock. At the film's outset, Spock is on Vulcan having left Starfleet in order to go through a Vulcan ritual to purge all emotion. Midway through the ritual, Spock feels a powerful presence from space that stirs his human blood. Spock (in a stiff and uninvolved performance by Leonard Nimoy) returns to the Enterprise to explore the V'Ger spaceship for his own personal interests, perhaps the most intriguing of all the setup character threads. Just like he did with Kirk, McCoy questions Spock's motives and whether the Vulcan officer will sacrifice the safety of the ship for his own personal needs. Unlike with Kirk, more time and development is put into Spock's arc but mainly because it helps us to learn more about V'Ger. However, it's never really clear for what Spock is searching nor do we get a clear understanding what he supposedly finds that helps him to find resolution. Perhaps the finale would've carried more power and meaning had it been Spock who had merged with V'Ger instead of Decker. Of course, that would've removed any hope of bringing the character back for the subsequent sequels but it certainly would've been an interesting conclusion here.

The rest of the cast and characters are sadly nothing more than cardboard cutouts left to provide lines of exposition here and there while having no life or personality of their own. This sadly includes DeForest Kelley's Dr. McCoy, who wanders on and off the bridge at random as though he's walking about trying to have any reason to be there. Though he provides a few lines here and there that question the motives of both Kirk and Spock in a half-baked attempt to keep them accountable for their actions, McCoy has little else to do in the rest of the movie.

That's not to say The Motion Picture is all bad. There's plenty to admire. Robert Wise is an excellent director with an impressive filmography (The Sound of Music and The Day the Earth Stood Still) and he manages to craft a visually magnificent film. Before 2009's reboot, Star Trek: The Motion Picture was easily the most epic film in the movie franchise. While the first half manages to capture the romance and beauty of space and starships, Wise brings a sense of mystery and intrigue in the second half as the crew explores the secrets of V'Ger. The ultimate revelation that V'Ger is the lost NASA probe "Voyager 6" is interesting and the resolution also had promise. As mentioned before, however, the resolution would've been better had more depth existed in the characters of Decker and Ilia as well as their relationship.

The Enterprise gets a new but familiar makeover that works well and Wise fills the sets with plenty of extras to give the ship life. The uniforms are a bit on the drab, colorless side which is a big departure from the series but they're serviceable.

Easily the most noteworthy piece of The Motion Picture's production, however, is Jerry Goldsmith's Academy Award-nominated score. From its opening notes all the way to the final seconds of the closing reel, Goldsmith's score is rich and romantic filled with themes and motifs that carry the movie. The long sequences of visual effects work as well as they do because of Goldsmith's score which is not only probably the finest music in the franchise but also some of the best movie music ever written.

The most frustrating aspect is that there is plenty of potential to be found in Star Trek: The Motion Picture. It's performances are stiff and characterizations are lacking despite magnificent visuals and a story that has mystery and wonder. Perhaps if more time had been spent fleshing out more of the ideas that are found here, The Motion Picture could have been brilliant. Instead we get a movie that's somewhat enjoyable as its flaws drag down its strengths.


Writing: 1.0 / 2
Characters: 1.0 / 2
Acting: 1.0 / 2
Entertainment: 1.0 / 2
Music: 1 / 1
Visuals: 1 / 1


TOTAL: 6.0 / 10
FutureDude - Fri, Apr 24, 2015 - 6:40am (USA Central)
Often maligned as “slow and boring”, in my opinion, this is actually the best Trek film.

The human adventure is just beginning

I’ve had the argument for years. Most people think Star Trek: The Motion Picture is plain boring. I recently saw it described as “the motionless picture” in a writer’s blog. It’s considered slow. Ponderous. Monochromatic. Humorless.

The conventional wisdom holds that the second movie, The Wrath of Khan, is not only the best Star Trek film, it is also one of the greatest sci-fi films of all time. But I have to admit that — while I really enjoyed Khan — ST: TMP is, by far, my favorite of the eleven Trek movies.

Before you roll your eyes, please let me explain. For me it all boils down to one unifying idea — Star Trek: The Motion Picture is on a very small list of modern films that depict a powerful, beautiful, and original view of the future. I may not change your mind, but I hope you can experience the film through my eyes.

December, 1979

Think about the time when it was made.

It was 1979. Star Wars and Close Encounters graced the screen two years earlier. Superman: The Movie made us believe that a man could fly in 1978 and The Empire Strikes Back was just around the corner in 1980. For anyone with an imagination, it was a tremendous time to be alive and the golden age for blockbuster sci-fi cinema. But none of the aforementioned films mattered to me as much as Star Trek.

As a wide-eyed, twelve-year-old seventh grader, I probably had built up more excitement and anticipation for The Motion Picture than any other event in my entire life. My childhood heroes — Kirk, Spock, and McCoy — were about to grace the big screen! What would the Enterprise look like? Would they change it? How would it look flying through space with modern visual effects? I was so excited to see what they would do with a big budget.

Once I started seeing the commercials, I went nuts. I remember the voice of Orson Wells: “It will alter your perception of the future by taking you there.” That was what I wanted to hear. The FUTURE. Finally, a film about the future!

Star Wars took place “a long time ago, in a galaxy far, far away.” What did that have to do with me? I felt like I was finally going to get what I wanted from a film: a real depiction of human potential hundreds of years in the future.

I had seen 2001: A Space Odyssey a few years earlier. It was the first honest tour of tomorrow that I had ever seen. It seemed very possible and right around the corner based upon what had been happening with NASA’s space program. Krypton in Superman was really, really cool. But again, that was an alien planet with magical technology. I wanted to see something that connected to Earth and, ultimately, to me.

Star Trek: The Motion Picture delivered exactly what I was looking for. While 2001 showed me the world that I expected to live in as an adult, Star Trek promised to reveal a future of my dreams.

Finally, It Arrives in Theatres

When I saw the film with my cousin James, we were mesmerized from the first moment. Seeing the camera do a 180-degree pan of the updated Klingon cruisers as they approached a huge blue luminescent cloud blew my mind. Once we were inside the ships, I was sucked in by the production design. Clear screens with data projected on them. Actual Klingon language graphics on screen — not English! Then we moved on to the Epsilon 9 space station with astronauts jetting around outside. I was blown away, and this was just the beginning.

After a quick and epic stop at Vulcan to visit a hippie version of Spock, I finally got to see what I had been waiting for: Earth in the future. You see, when I watched the original Star Trek as a child, I always wanted to see what Earth looked like in the 23rd Century.

Yes, it was cool to travel around the galaxy seeking out new life, but I wanted to know what it was like at home. It always felt like they avoided it due to budget or something. And, no; visits to Earth in the 1960’s didn’t count.

Earth in the 23rd Century

Now, here was Starfleet Headquarters in San Francisco. The Golden Gate Bridge covered by pneumatic travel tubes. Shuttles flitting across the sky as routinely as a buses travel the streets. We then move to an orbiting office complex bustling with traffic; followed by an extended drydock sequence that reveals the Enterprise in all of its futuristic glory.

Speaking of the Enterprise, Andrew Probert took Matt Jeffries’ original design and blew it out of the water. The clean lines and details make this still the best ship to ever grace a Star Trek film or TV series.

For the first time, we’re able to ascertain the actual size of the ship. As Admiral Kirk and Scotty circle in a travel pod, the front window is large enough to see them inside. This — when mixed with the floating astronauts and traffic — gives us a real sense of scale. It was like going to the airport, and watching the airplanes and ground crews. There is something magical about it.

The ultimate sequence was the launch of the Enterprise. A tiny astronaut waving goodbye. The sun rising as the ship cruises away. Seeing Earth dwindle in the viewscreen as Sulu takes them to impulse. Shooting past Jupiter and its moons was awe inspiring. All of these aspects felt like a love letter to us from the future. I felt like I was finally there.

The sets and costumes were amazing. Every aspect felt rich and fully realized. The visual effects were spectacular. Each time the Enterprise went into warp speed, I was left speechless. It was even more amazing than watching the Millenium Falcon jump into hyperspace.

The icing on the cake was the final reveal of who/what V’ger really was — an evolved NASA space probe that had returned home after a galaxy-spanning adventure. The fact that the core concept was about exploration and connected to Voyager — a real planetary mission at the time — was validating and inspiring.

The only complaint I had about the film was that the plot reminded me of the Original Series episode called “The Changeling” where the Nomad probe went through a similar conversion. But I could forgive this.

A Futuristic Work of Art

All in all, seeing Star Trek: The Motion Picture was the greatest experience I had ever had at the time. My cousin James and I were blown away when it was over. As this was not the time of instant mp3 downloads, we drove back from the theater singing the theme over and over in an attempt to remember it. We must have driven my Aunt Cecelia crazy.

The soundtrack by Jerry Goldsmith remains legendary to this day. Few sci-fi films have ever topped it. In fact, I was ecstatic when Gene Roddenberry chose to use the theme for The Next Generation in 1987. I still listen to it often.

Roddenberry wanted to tell this story. He was inspired by the future and wanted to share that vision with the world. He finally had the budget, and the team to do it right.

Director Robert Wise, the actors, and the production staff — which included effects wizards Douglas Trumball of 2001 and John Dykstra of Star Wars — crafted a beautiful journey to tomorrow. It moved at a thoughtful pace so that the audience could take everything in. There was art transpiring on the screen; it like a classic painting — you don’t just scan it for two seconds and walk away.

All I ask is that you revisit the film and give it another chance. This time, look around. Take it in. You might find that you like it a little more than you expect.
TG - Thu, May 7, 2015 - 4:49pm (USA Central)
History remembers, rightly so, that The Wrath of Khan is the great Star Trek movie. But the Enterprise's maiden voyage on the big screen has much to recommend it. Though not as totemic as its sequel, Star Trek: The Motion Picture positions itself as a more thoughtful, measured interstellar drama in response to Star Wars' whiz-bang pow-pow. Later Kirk, Spock et al. adventures would pump up the action and shtick, but The Motion Picture emphasized brains and awe: It's the one Kirk film that feels like a worthy tonal predecessor to The Next Generation series that would give the franchise a creative second wind.
ronski11780 - Fri, May 8, 2015 - 8:44am (USA Central)
Star Trek Done Right!

It's amazing how many Trekkies I meet describe Star Trek the Motion Picture as "A good sci-fi film, but an awful Star Trek movie."....And that's when they're feeling generous!

This statement can't be farther from the truth. The story is well written and director Robert Wise makes the characters believable. The movie is not filled with the goofy jokes and ridiculous Shatner back-flip fight scenes that some Trekkies seem to enjoy. Instead, the battle with the mysterious alien entity reveals the dynamics and inner conflicts of the crew. Spock realizes that pure logic alone cannot answer all, but must be coupled with emotion in order to tap into our creative imagination and see the possibilities of our universe. Kirk is portrayed as a daring and brilliant captain, who learns that as a leader he needs to rely on the expertise of those around him. He is a more believable figure who is fallible and struggles to learn from his mistakes.

The Enterprise is not envisioned as an easy to fly wonder ship that requires no more than the main Trek cast to run, but as a complex machine that needs precise tuning of components balanced by a crew of hundreds. The scene where Spock and the engineering crew struggle with balancing the mathematical models needed to program the warp engines convey the real dangers of space flight.

Additionally, both the visual and audio effects add to the impact of this movie. For a film made in '79, before the advent of believable CGI, the special effects are superb. Believe it or not, I've noticed special effects scenes in Independence Day taken directly from Star Trek:TMP footage (scan the shots of the inside of the mother ship (ID4)when Will Smith is making his escape run).

All in all, the ingredients of good character development, believable conflict, and hard science make this movie the true precursor to Star Trek: The Next Generation. Unfortunately, Star Treks III, IV, and V avoid the hard work this movie required and depend on the silly antics of its maturing crew.
Adán Castillo - Fri, May 8, 2015 - 8:53am (USA Central)
The Most Beautiful Science Fiction Movie Period....

**No Spoilers**

I think Orson Welles said it best in the trailers for this film.

"It will startle your senses. Challenge your intellect. And change your perception of the future....by taking you there."

Indeed it will and does.

Let me start off by saying, by all means: You don't have to be a fan of Star Trek to get into this movie. I'm not. Just watch it, and the motion picture will do the rest. I've been told countless times that Star Wars is the greatest Sci-fi film of all time. I'd like to correct those people. Star Wars is the greatest "action and special effects sci-fi film" of all time. Nothing more....and nothing less. I'm a big fan of Star Wars. It was my favorite sci-fi movie--even beating out Alien, 2001, and Starship Troopers.

That was until I saw this film. I remember right after watching Star Wars that I felt good inside because it was a rush that one can only get--from eye candy. Star Trek: The Motion Picture gave me a different rush--a more profound touch that made me realize movies can have a deeper meaning. Much like 2001, this deals with life....actually more about the "meaning" of life. The purpose of existence. Some of the best quotes in cinema history can be traced to this film. My favorite line is from Spock. It pretty much sums up the theme of Star Trek: The Motion Picture

"Each of us, at some point in our lives, turns to someone - a father, a brother, a God - and asks, "Why am I here? What was I meant to be?"

One thing that really stands out in Star Trek: The Motion Picture is the musical score by Jerry Goldsmith that makes me wonder if it was blessed by God. Star Wars could never get me to buy the soundtrack on CD. This movie has. I wonder why this didn't win an Oscar for best score.

Now to the plot:

When three Klingon (Alien) Starships are attacked and erased from existence by a vast giant omnipotent cloud, drifting in space; a close by Star Base finds out that not only is the cloud headed directly towards them, but is also on a direct path for Earth. The Star Base in question (The Epslion 9) sends a message to Star Fleet for a Starship to be sent and prevent it from reaching Earth.

The only Starship in enough range to stop the cloud in time is none other than the famous Enterprise from the infamous 1960s television series. The Starfleet legend and hero Captain Kirk and the rest of his crew from the also famous five year mission of the show, make a comeback for one last mission (and many more later, but those are other movie reviews).

Before the crew can start on their mission, they patch up old wounds put aside their anger for each other to face the menacing unknown that awaits them, realizing this may be the last time they speak to one another...alive.

Not much is known about the cloud or why it is erasing everything in it's path from existence; other than what Spock, the science officer of The Enterprise, has sensed from it....

"It only knows that it needs, Commander. But, like so many of us, it does not know what."

Suspense eats away at you when the final showdown between The Enterprise and the intelligent vast cloud finally comes. And the movie doesn't stop their. Like I said, the movie talks about the meaning of life.

If you can, buy the director's cut on DVD or VHS. This IS the most beautiful science fiction movie you will ever see.
mr Marble - Fri, May 8, 2015 - 8:57am (USA Central)
This is what science fiction is all about

Watched this one after few years, didn't remember what it was all about. Oh yes, it was the one with "V'ger"...aka amazingly beautiful Persis Khambatta...with her head shaved. Most beautiful bald woman I can think of right now...

The film is about huge unbeatable "cloud" approaching and threatening Earth, only thing standing in between is Enterprise with it's legendary crew. It appears I enjoy the film more and more each decade I see it again.

I thought there was slightly too much time used on introduction and drafting of old crew, but once the "action" began it kept me on edge of my seat all the way through. Don't think that "action" I mention was fighting and shooting, it wasn't. Perhaps lack of silly fighting makes (all too) many people to say that this film was too long and slow paced. Well, I disagree - this is exactly the kind of science fiction I love, you are given chance to use your own imagination. Some say pacing and the film is similar to Kubrik's 2001...I won't argue against it.

The film had amazing special effects for it's time. No, not amazing, incredible. But don't watch it for special effects only, the real interest of this film lies in the nature of the alien "cloud" and Enterprise crew trying to figure it out and trying to cope with it. Special effects were used as a tool to launch YOUR imagination, as they should be.

This film is probably closest to spirit of original series, without much campiness though. A thinking man's Star Trek film. What a wonderful treat. They don't make films like this any more.

9/10
whitepe - Fri, May 8, 2015 - 9:01am (USA Central)
Who is 'VGER'?

Star Trek: The Motion Picture is the first film in the Star Trek series, the most successful series in movie history. After all, the fact that a movie series can hold the public's interest for 21 years (and nine films) and that the whole Star Trek concept is alive and well after over 30 years says something about the genius of Gene Roddenberry, Star Trek's creator.

People seem to cricitize this film heavily. Some of the criticisms of the film that I have heard in my discussions with people include phrases such as "frightfully boring," "way too long," and "chronically lacking in action." However, if that is all you saw in the film, then you clearly missed out on the film's beauty. This film is not about guns, explosions, blood, or machismo. It is about the philosophical relationship between logic and emotion.

The film is masterfully directed by Robert Wise, the academy award winning director of "The Sound of Music." The film reunites the original cast of the Star Trek series with a few new faces ... Stephen Collins as "Capt. Decker" and Persis Khambata as "Lt. Ilia". It also recaps the events that have transpired in each original series character since the television series in the late 60's with a sensitivity to newcomers to the Star Trek universe. It effectively introduces newcomers to Star Trek without insulting the intelligence of those of us who are thoroughly familiar with Star Trek.

The plot features an intelligent, logical entity that calls itself VGER. VGER is an innocent entity with one mission ... "learn all that is learnable... transmit that information to the creator." VGER in its incredible journey has in essence gained knowledge that spans the very essence of the universe. VGER now has set a course for Earth in an attempt to share its knowledge with its creator. VGER believes that its creator is on Earth.

VGER becomes a threat to life on Earth when its destroys three Klignon vessels and a Federation space station with incredible destructive power. To counter this threat, Admiral Kirk takes command of the Enterprise and leads the Enterprise in an intriguing battle with this alien entity.

While battling this alien entity, Admiral Kirk, Spock, and the rest of the crew learn about the relationship between human logic and emotion. They explore philosophical issues such as "Is this all that I am?" and "Is there nothing more?". I believe Spock summarizes the quest for answers to these questions by his statement about two-thirds of the way into the film that indicates that "logic alone is not enough". They eventually learn to appreciate the unique attributes that make us human ... "our weaknesses ... and the drive that compels us to overcome them."

In conclusion, this film has a great plot, great special effects, and excellent music and cinematography. Definitely see it if you are truly interested in taking a philosophical journey into the essence of what makes us human.
Robert - Fri, May 8, 2015 - 10:05am (USA Central)
You're totally just the same person trolling this board, right?
b c - Fri, May 8, 2015 - 10:24am (USA Central)
an under-rated film

This was an under-rated film in the first version, and it is improved a great deal with the changes that Robert Wise made just a few years before he passed away. There has been a backlash against this picture, mostly for two reasons; it was not Star Wars, and it was not what people expected of Star Trek.

If you put these expectations aside, and if you also have some attention span and willingness to relax into a picture this is a remarkable experience. I often here people use words like boring, too long etc. Well yes, if we are expecting a quick-hit, film that can be digested in 90 minutes like a TV show, this is not that type of film. If we apply these standards to Lawrence of Arabia, 2001, Blade Runner, Bridge on the River Kwai, or Citzen Kane (which Robert Wise edited, none of these films would have ever been made.

If you put Star Trek The Motion Picture in context of it's scale and the craftsman involved you start to appreciate it's quality and elegance. Robert Wise does not need qualification. He brings an elegance and texture to work and life in space that StarWars has not put to screen to this day.

Star Wars even now seems like nothing more than an impressive exercise in effects and sound. It is always reminding us that it is a movie. ST-TMP on other hand departed into an "immersive experience" developed by Robert Wise, with the amazing talents of Doug Trumbull and John Dykstra, and the enormous contibutions of Jerry Goldsmith. Likewise, the photography, the scale of the sets and the editing of the film all contribute to a immersive world that saturates the viewer into the film.

You gain a lot of knowledge and appreciation of this film and the experience that they achieved by watching the Director's Edition DVD and listening to Wise, Trumbull, Dykstra, Goldsmith and others discuss the production. This was a uniquely creative and enormous effort, and considering the technological limitations, the demands of the studio, and the many demands of the Star Trek Bible that qualified the creation of the movie. I am pleased to see that other reviewers here have come to appreicate this movie many years later. I encourage the skeptics to find the time to relax and watch it on the biggest screen you can find.
Shawn Watson - Fri, May 8, 2015 - 11:41am (USA Central)
As far from the restrictions of TV as it could possibly be.

*** This review may contain spoilers ***

Oooh, a difficult one this. Very difficult indeed. Unless you are particularly patient, or are a hardcore Star Trek fan this is going to take some effort to stick with. It doesn't seem like a Trekkie movie. Nowhere near as much fun as Wrath Of Khan, or First Contact. Not as much humour as The Voyage Home. In fact, there is no humour at all. Something that cripples the film badly. Everything is very straight-faced and sincere. To introduce someone to Star Trek with this film would be a bad idea.

Being the first Trek product since the original series one might expect the familiar campy story lines and beaming down to "M-class" planets - a bit of desert 10-minutes drive from LA - but there's none to be had. Veteran director Robert Wise has crafted a film very much in the style of his original version of The Haunting. His w-i-d-e-s-c-r-e-e-n compositions are beautiful and he really manages to lift Trek from the small screen to the cinema screen. It was a hard undertaking, but he set the standard for nine sequels to date.

The plot has a giant alien force destroying three Klingon ships on its direct course with earth. If the Federation doesn't stop this thing, it will blow up the planet. Admiral Kirk leaves his sunny San Francisco home to assume command of the Enterprise from Captain Decker and stop the alien menace. But Decker has a chip on his shoulder. The new Enterprise is not finished yet and he doesn't appreciate Kirk moving in on his territory.

Very slowly the original crew return and are in command of their posts again and there is a weird new navigator, a bald-headed, celibate alien woman named Ilia. Decker seems to have a thing for her. For some reason.

Once they reach the mysterious alien mass, the crew learns its name is Vger. Ilia is kidnapped and replaced with an android. Spock is driven to tears as he finds TOTAL logic in Vger actions and motivations. This is all sub-subtext and the actual explanation behind Vger might not come as a surprise to most. Once they fly inside Vger's mass of clouds and orifices it takes a healthy hour for the damn thing to be fully revealed.

To criticise a film for its length may be an ignorant thing to do. Audiences today are too satisfied with any plot lasting less than 100 minutes. This is not a good sign. Films with the scope and, dare I say it, class of Star Trek: The Motion Picture need their full and proper running time. Coherent story lines can be sacrificed for fast paced, exhilarating storytelling, or a dull, seemingly endless narrative can be the result of a big story being fully fleshed out. It's difficult to achieve both length and pace. Sadly, this film doesn't. But it looks very good, is well directed and has the balls to bite off more than it can chew.
HolographicAndrew - Sat, May 9, 2015 - 2:31pm (USA Central)
As much as I like the visuals and exploration feeling in this movie, I find parts of the writing really strange. Like how a woman gets vaporized/replaced and there's hardly any emotional reaction to it, as well as the earlier transporter accident which also has a lack of reaction. Weirds me out, man.
Ian Dawe - Sat, May 16, 2015 - 9:25am (USA Central)
A Defence of Star Trek The Motion Picture

I don’t like to rank art, instinctively. This isn’t a sport, and it’s not about ringing all the bells and checking off all the boxes. So, when people ask me to rank the Star Trek movies I always decline. There are ones I like more than others, for sure, and there are some that I think are of particularly low cinematic quality, but they’re all interesting in different ways. (Save for the Next Generation films, which all seem to come from a different show than the one I remember.)

In any case, they’re all of a piece, particularly the core films made during the 1980s and early 1990s (II through VI). They defined the look, feel and mythology of Trek for the late 20th century and provided both a path forward to the Next Generation and backward to the earlier series. But the first Trek film was different, and many fans would rather it were forgotten.

I’m going to be making an argument here for Star Trek: The Motion Picture, but I’m fully aware of its flaws. That should be mentioned right away. Its pacing is glacial at times, it lingers where it should proceed forward, everyone seems to be taking it way too seriously, there’s a smug self-importance about it (Shatner picks up on it and lets it infect his performance as a distant, arrogant Kirk) and its compressed production schedule led it to make technical mistakes and necessitate multiple cuts. The best version is Robert Wise’s “Director’s Edition”, which he produced in 2002 with the help of a young digital special effects team, but even the best version of this movie will have those flaws.

But if you can see beyond that, within the film itself is the most Trek-like story of all the original films, except possibly The Undiscovered Country. Star Trek puts its mission statement right on front street: “To explore strange new worlds, to seek out new life and new civilizations; to boldly go where no one has gone before.” Well, Star Trek The Motion Picture is the closest they come in the film series to actually doing that. Although at times it comes close to plagiarizing scripts from the 1960s, but in an interesting way The Motion Picture is the closest to the spirit of the original series, or at least what the original series stood for.

Even The Original Series (TOS for those not in the know) strayed from its original tone, with greater or lesser success, through its three seasons. The first few episodes, such as “The Cage”, “Where No Man Has Gone Before”, “Charlie X”, “Mudd’s Women”, and “The Omega Glory” (written early but not filmed until later) all had a great deal of involvement from Gene Roddenberry himself. They all reflect Roddenberry’s peculiar interests: social utopia, sexuality, humans coping with power and political allegory. You can argue about whether later incarnations that focused more on characters and traditional good guy-bad guy conflicts were better or worse, but there’s no debate that these early episodes most closely reflect Roddenberry’s vision.

One perennial issue in the world of Trek is that Roddenberry wasn’t exactly the only, or even the best, voice in creating the show. The recent These Are The Voyages books, now in two volumes, go a long way to clarifying some of the historical myths that grew up around the show, many of which were created by Roddenberry himself. (For example, the myth that NBC objected to a woman in a command position in “The Cage”. In fact, the network encouraged this sort of thing and simply objected to Majel Barrett being in the role because she was having an affair with the then-married Roddenberry, not out of sexism. This is typical Roddenberry: create a politically-charged myth to cover up his own character flaws.) Better, worse or indifferent: the public spoke loudly, finally, and Roddenberry’s version of Star Trek is emphatically NOT the one that succeeded.

Roddenberry’s journey from sole auteur to crazy old Uncle, locked away in a “Consulting Producer” position with little power over his creation was repeated at least twice in the franchise history. First, during the run of the original series (he had little to do with Season 3) and second during the run of the movies, where the perceived failure of The Motion Picture (I say “perceived” because it was a huge box office smash, usually a golden ticket in Hollywood) led to his being promoted “upstairs” for the remainder of the run. By 1990, he was reduced to sending strongly worded memos to Nicholas Meyer, where they were politely ignored. In fact, one could say he was living that story out a third time during the run of The Next Generation also, but passed away before he could be completely censured.

Of all those “pure Roddenberry” Star Trek products, and I think there are a rather limited number that can honestly claim that title, The Motion Picture is the best. That sounds like equivocation because it is. No one would argue that it’s a “great” movie. But it is significant in Star Trek history and represents the last time the original creator got to engage with his creation in its original form.

One of the reasons for its middling quality comes from its tortured and long production history. To make a very long story somewhat short, the film grew out of a TV show that was planned as the flagship of a new “Paramount TV Network” that was being bandied about as a “fourth network” for American TV in the late 1970s. Star Trek, one of their popular cancelled franchises, seemed like a safe bet to bring back. Significantly, much of this planning was done before the release of Star Wars in the summer of 1977, an event that forever changed the way popular science fiction would be made and marketed. Star Trek Phase II would essentially continue the mission of the original ship, but without Leonard Nimoy, still smarting over likeness rights and marketing points from the original series. In his place would be a new character, Xon, a Vulcan who wanted to understand human emotion, and Roddenberry also brought in new characters Decker, the young Buck of a first officer, and Ilia, who came from a race of psychically sensitive people. (The parallels between the Next Generation characters of Data, Riker and Troi are too obvious to miss.) Scripts were written, sets were built, and everything seemed to be going along when Paramount decided to drop plans for a network and instead take the proposed pilot episode of Star Trek Phase II, a two-parter called “In Thy Image”, originally conceived by sci fi novelist Alan Dean Foster, and turn it into the first Star Trek movie. Once the project became a film, Nimoy was convinced to return, with a substantial cash settlement. (Nimoy recalls the check arriving 15 minutes before the script.) Robert Wise, the Hollywood veteran, was hired as a capable and professional Director, and they were off.

The movie they finally made eliminated Xon, of course, and since in their minds a continuing series was not in the offing, they were able to take bigger risks with Decker and Ilia. But other than that, they stuck pretty much to the plan for Phase II’s “In Thy Image”, using the new sets and the new uniforms, which resembled pyjamas. (Yet another of the many ways this film anticipates The Next Generation.)

Picking up a few years after the end of the “five year mission,” Kirk is now an Admiral at Starfleet, Spock has moved back to Vulcan to become a monk and McCoy is retired and sporting a seventies beard that would make a modern hipster weep. Just as in the proposed pilot episode, an alien entity of unimaginable power is heading towards earth and no one understands it. The Enterprise, fresh from a refit, is “The only ship in the quadrant”. Kirk is called back into action, recruits his fellow shipmates (the other four major characters, Chekov, Uhura, Sulu and Scotty, never left) and goes off to save the world.

Notice that just from that plot outline, there isn’t much in terms of character-motivated drama and conflict there. There’s no “big bad” villain licking his chops and giving great speeches. There’s no opportunity for Shatner to get his shirt off and fist fight with an alien, not to mention getting in the tights of some feisty alien (or human) lady. Oh, there’s some muted tension about how Kirk pushes the ship past its limits, or how Decker struggles with his role as first officer, rather than the Captain’s chair he had been promised, but really this isn’t that kind of movie. The human tension works least well, and seems the most forced. The movie works best when focused on the huge alien, which appears like a gigantic cloud, threatening the earth with destruction. The step-by-step, professional way the Enterprise crew tries to understand and address the threat, working together, is what gives the film its drama. At one point, relatively late into the movie, Kirk says, frustrated, “We know nothing about it as of yet!” He’s frustrated by a lack of understanding, not by a lack of firepower and strength.

This is what Star Trek is supposed to be about. The crew is on a journey of understanding, not conflict. The phasers are never fired in the entire movie, and even a torpedo is used only to clear an asteroid from their path. Instead, the crew uses their minds, their collective power to assimilate and analyze data. It’s what they went to Starfleet Academy for. It’s what these people do. The remarkable thing is that in the history of Trek we so rarely actually see them doing that! Some episodes of the original series of course have this pattern. “The Corbomite Maneuver” is probably the closest in terms of plot and tone, and of course many have pointed out that “The Changeling” is also very close to this plot (although not the mood). I find it interesting that these similarities, when applied to The Motion Picture, are used at criticisms of the film for lack of originality. And yet the very next movie, The Wrath of Khan, literally is a sequel to an original series episode and is structurally identical to many other series instalments, and yet is hailed as a masterpiece.

I mentioned before that after its December 1979 release, the film was a huge box office success, more than covering its then-enormous $40 million budget. (Most of that budget was money that was spent developing the TV series and never made it to the screen.) But mentioning the budget became one of the many ways people attacked this film in subsequent years.

Star Trek: The Motion Picture was always the red-headed stepchild of the Trek movies. (Star Trek V was, of course, much worse, but that one was at least consistent with the other later instalments in look, feel and tone.) Lampooned as the “slow-motion” picture, with its stuffy tone and high-minded ideals, everything I just mentioned as a positive was used as a negative. And, importantly, many of these arguments were applied to the next film as a positive. “It’s just like the series!” “It’s not like the series!” (I know… you can’t win.) “They don’t even use the phasers!” “Kirk doesn’t get into a fight!” Etc. etc. There was something about this movie the fans really hated, once they were given something to compare it to, of course. Remember that Khan didn’t appear until the summer of 1982, two long years in which there was only The Motion Picture, playing in various cuts on TV, re-edited. That made sense: the studio spent so much on it that getting back even part of the revenue from the then-new market of home video was worth it.

Despite being rated “G”, and thus interpreted by everyone as meaning that it was “for kids”, this is actually the least child-friendly of any Star Trek film. It really is Star Trek for thoughtful adults, not those who yearn for fisticuffs and explosions and spaceships flying around. Maybe that’s why the fans turned on it so quickly? It did seem to be a disproportionately bitter response. Perhaps, in their heart of hearts, some fans are ashamed that while they speak in lofty terms about “IDIC” and Trek’s great socially moral program, what they really want are some bloody spaceships and lasers.

Taken out of its Star Trek context and compared to its contemporaries, such as Buck Rogers, Battlestar Galactica, Star Wars and Alien, it really ranks up there with Alien for being fully-realized, well thought-out science fiction, rather than fantasy adventure. (Not that there’s anything wrong with that, either! Apples and oranges.) It represents a much more adult, intelligent and mature engagement with science fiction themes than its contemporaries, and probably grapples with its themes just as capably as The Undiscovered Country. Compared to the rest of Robert Wise’s films, it once again makes a great deal of sense, being very similar in tone and style to his 1975 film The Hindenberg. Wise was no lightweight: he directed West Side Story, The Sound of Music and The Day The Earth Stood Still, in addition to having a history that stretched back to Citizen Kane. He made a film in his style, not necessarily the Star Trek “house” style, which may have alienated some longtime fans.

I mentioned right off the top that The Motion Picture has flaws, but many of those flaws recede if you think of this film as not really a Star Trek film but as a Robert Wise film from the late seventies. Skilled, a bit old-fashioned, but with an unmistakable grace.

For his part, Wise himself was never satisfied with the editing, effects, music and pacing, the picture having been rushed into theatres for Christmas 1979. Subsequent versions added and trimmed but it wasn’t until the aged Wise came back in 2002 to do what he called his final “check cut” (to use his old-fashioned Hollywood term), improving effects with CGI, creating a real 5.1 soundtrack and, probably most importantly, doing dozens of small, subtle edits, sometimes cutting a single line at a time. It’s the work of a master technician, who by that point had worked in the business for 60 years and knew what he was doing. (Nick Meyer, on the other hand, who directed and wrote everyone’s “favourite” Trek films wasn’t even really primarily a filmmaker, but a novelist and script doctor.) In some ways, this was the only Trek film made by a truly professional director until JJ Abrams took over in 2009. (JJ’s films, by the way, can be defended or attacked on the same basis: forget Trek, how do they compare to other sci-fi in 2009, or 2013? How do they compare to his other films?)

The problem with enjoying Star Trek: The Motion Picture today is that we can’t take ourselves back to 1979, when all the Trek we had was the original series, and the die-hard fans may or may not have seen some of the animated series. There were the Gold Key comics, of course, but in the public imagination, this was a startling, engrossing and thoroughly adult take on Star Trek. I doubt we’ll ever see another Star Trek film like it again, which I think is a real shame.
Brent Holmes - Sat, May 16, 2015 - 10:15am (USA Central)
Ian, I must disagree with one point in your cohesive, factual and revealing analysis of ST:TMP.

I would argue it’s a great movie. I think all the points you make in its defense elevate the film over much contemporary product. (The Thing and Blade Runner, released on the same day! in 1982 while competing against Khan and E.T. are the only other big budget ‘hard’ sci-fi films I recall experiencing from the late 70′s/early 80′s; except maybe for the first, Hoth third of Star Wars: The Empire Strikes Back).

Aside from Decker, Ilea and ‘The Big Three’ the crew exist to advance the plot and reflect the broad, high level competence and indeed great advancement of humanity Rodenberry used as a guidepost for what we the human race might achieve by the time this film is set in. The main 5 characters reflected Rodenberry’s hopes for humanity on the emotional, creative and human rights spectrums. Examples include Spock’s tears and Kirk’s suprised, grateful acknowledgement of them in a story where Spock’s rigid adherence to the cold logic of Vulcan was very much in contrast to the rest of crew’s feelings; particularily wonder at what they were encountering. Rodenberry always wanted to explore humanity and their reaction to the unknown and fantastic, as opposed to merely showcasing those elements for a thrill ride. (I’m looking at you; Star Trek: Into Darkness)

Your point about Rodenberry being shunted aside multiple times in the history of the Trek franchise for more conventional producers NBC and Paramount hoped would generate greater commercial success is well made. I recently rewatched Season One of TNG and the clumsiness and growing pains trump most messages the show may have been trying to send. (Tasha Yar’s death was a notable exception; even as this came from Denise Crosby’s desire to leave the show rather than an organic production idea).
The pacing in ST:TMP is slow; requiring more commitment from the viewer.

But the Great Bird achieved much with this film. His novelization of it is a particularly insightful blueprint of his goals. The opening pages reveal a cybernetic implant in Kirk (for rapid, long-distance alerts) and subsequent discussion of cybernetics and defining human. They also posit a theory that Starfleet has rejected always selecting the best candidates on paper to crew starships because people who perceive themselves as perfect fall into stasis when confronted with situations suggesting they are not. I also recall Kirk addressing rumours he and Spock were lovers; clearly Rodenberry’s desire to at least discuss the notion that people of different sexual orientation are equal. Kirk’s reply was classic: he had no problem being seen as or perhaps being bisexual; but wished people would credit him with the good sense to choose a lover who became aroused sexually more than once every 7 years!) Film novelizations today are much more about brand awareness and perhaps a ‘special bonus chapter’ or two.

To sum up; I think Rodenberry’s significant involvement with ST:TMP made it a better film and continues to enrich the Star Trek experience. Thank you for your post.
Paul M. - Mon, May 18, 2015 - 12:48pm (USA Central)
So, I have to ask... Is the guy who pretends he's different people and then debates with himself back?

This whole thread is becoming kinda creepy.
Spacerguy - Tue, May 26, 2015 - 4:16pm (USA Central)
STAR TREK THE MOTION PICTURE: was directed by Robert Earl Wise who received a Saturn Award as Best Director for this film. "The Motion Picture" had a record breaking premiere at theaters during 1979. The movie reunites the classic crew of the USS Enterprise NCC 1701 once again, a decade after successfully completing their legendary five-year mission of deep space exploration going boldly where no man has gone before...

In 2270 Mr Spock lives on planet Vulcan. At the Gol temple, he attempts to complete the disciplines of Kolinahr by purging the last of his human emotions. However, the Vulcan is clearly distracted by something far away in the distant depts of space. A Vulcan Elder is about to place the ancient Kolinahr pendant of logic around his neck but a disturbed Mr Spock stops her. A mind meld later reveals Spock is still conflicted about human emotions which an alien entity has somehow awakened. Spock fails to complete his Kolinahr vulchie training and instead is drawn to a powerful object named V'Ger making direct contact with it.

Meanwhile in close proximity to the Federation's Neutral zone, three Klingon battle cruisers are violently engaged with a vast, mysterious object on a direct collision course with Earth.

The Klingon K'tinga class fleet attempt to investigate a celestial cloud, scanning it and firing torpedoes at will, except the Klingons have underestimated the power hidden deep within this unknown. The cloud assimilates everything sent its way. Frightened, the lead captain orders a retreat but its too late. A bolt of plasma energy is fired out from within the dark expanse of the mystery unknown and strikes the Klingon ships, one by one.... The cloud systematically eradicates them along with their fierce warriors who vanish into thin air.

James T. Kirk has now become a cranky desk-bound Admiral promoted to Chief of Starfleet Operations on earth. The former starship captain shuttles over to Starfeet Headquarters with every intention of regaining command of the USS Enterprise NCC 1701. Once on board the ship, Kirk meets Captain Decker in Engineering who is hesitant about relinquishing command of his beloved starship. Angered, Decker sandbags Kirk about being "out of touch" with the new Enterprise systems.

Kirk realises Decker's expertise is crucial to the success of the mission and with the Enterprise, her crew and earth hanging in the balance, Decker stays onboard as Executive Officer, temporary grade reduction in rank..

Kirk suffers an early blow when his new vulcan Science Officer, Commander Sonak is captured in a horrific transporter accident along with another crewman. Yeoman Rand is struggling with the transporter controls when the Alarm sounds.

Chief Engineer Scotty yells into the intercom: "Transporter room, do not engage! Do not...."

Kirk exits on a run, followed by Scotty.

Strange flashing sounds and a defective transporter beam up is in progress. Its obvious something has gone badly amiss with the transporter. At the console Chief Rand is trying to overcome the problem with the beam up of Commander Sonak's lifeform degrading before them. The human energy patterns flicker into fuller materialization but they're "Forming". Rand vainly attempts to save Sonak and the woman but her grief, panic stricken face says it all. Its a desperate no-win scenario..... We hear a scream of pain and a moan from Vulcan. Kirk takes over but its too late. The death cries reverberate around the Enterprise transporter room, a strange phenomenon in itself.

"Starfleet, do you have them?" demands Kirk anxiously
"Enterprise, what we got back didn't live long.. fortunately."

On the Recreation Deck, the admiral informs the assembled Enterprise crew about the effect V'Ger's destructive powers have had on Earth's defenses. Its unlike anything Starfleet has ever been faced with before. Kirk tells his crew that V'Ger is two and a half days from earth. The Epsilon Nine Station interrupts the briefing with an emergency call from Commander Branch.

"Enterprise... the Cloud is definitely a power field of some kind... Measures... My God! Over 82 A.U.'s in diameter..."

Branch reveals repeated friendship messages have yielded no response. Neither do tactical scans which are reflected back by something within the cloud. Maybe its a vessel of some sort...

Branch orders their shields to maximum power as the Epsilon station is attacked and obliterated before the Enterprise crew's very eyes. Cadets and Officers alike are shocked and stunned into silence. Somebody eventually lets out a scream. Admiral Kirk has to compose himself.

"Our orders are to intercept,investigate; and take whatever action is necessary... and possible. We can only hope that the life form aboard that vessel reasons as we do."

The Enterprise has to Intercept V'Ger and prevent it from reaching Earth at all costs. The crew is given 40 minutes to gather their wits prior to the prelaunch countdown.

Dr Leonard "Bones" McCoy retirement on Earth is rudely cut short along with Lieutenant llia, the navigation officer who beams aboard the USS Enterprise NCC 1701 at Kirk's request. "Bones" is not a happy man. In fact he's extremely peeved about being drafted into service without a moments notice.

James T. Kirk: "Well, for a man who swore he'd never return to Starfleet.."

Leonard McCoy: "Just a moment, Captain, sir. I'll explain what happened. Your revered Admiral Nogura invoked a little-known, seldom-used reserve activation clause. In simpler language, Captain, they drafted me!"

James T. Kirk: "They didn't!"

Leonard McCoy: "This was your idea. This was your idea, wasn't it?" yells McCoy pointing the finger of blame right at Kirk.

James T. Kirk: "Bones, there's a thing out there."

Leonard McCoy: "Why is any object we don't understand always called a thing?"

James T. Kirk:

"Its Headed this way. I need you. Damn it, Bones, I need you. Badly!" pleads the admiral extending a hand.

Leonard McCoy: "Well, Jim, I hear Chapel's an M.D. now. Well I'm going to need a top nurse... not a doctor who will argue every little diagnosis with me. And they probably redesigned the whole sick bay too! I know engineers, they love to change things."

James T. Kirk: "Well, Bones, do the new medical facilities meet with your approval?"

Leonard McCoy: "They do not. It's like working in a damn computer center."

The original crew are called into action on a deadly mission with one exception. The safety net, Spock is missing. This is gonna be one heck of a rough ride. Starfleet Officers have sworn a solemn oath to serve and protect. Theres little hope about reaching a truce with the killer energy cloud exterminating Federation ships and planets completely from existence.

The Enterprise leaves earth's orbit except an anti-matter imbalance with the warp drive engines causes a terrible malfunction creating a wormhole distortion. A sudden spiraling of stars and light appear hurtling the USS Enterprise NCC 1701-A into a Vortex.

Kirk shouts "Wormhole!.... Get Us back on impulse power! Full reverse!"

The Enterprise has been drawn into a matter-time distortion, with stars, people and voices becoming strange, distorted shapes and sounds the further the ship ventures deeper into the vortex. It stays what seems like a really long time with Sulu reporting negative helm control and Uhura confirming that subspace frequencies have been jammed.

Suddenly the computer alerts the crew to a collision alert! The vortex has pulled in a pitted asteroid which is obstructing the Enterprise's flightpath threatening to destroy the entire ship. The Deflector Shields are over loaded, so too are the main power systems. Kirk orders Chekov to standby on phasers but Decker steps in and belays the admiral's order. The asteroid is getting larger on the viewscreen. With Chekov's help, Decker diverts power in time for him to arm the photon torpedoes and save the ship.

Decker: "Fire Torpedoes...!"

Chekov: "Torpedoes away...!"

The photon torpedoes float towards the asteroid and explode disintegrating the asteroid into several thousand pieces. The Enterprise's forward shields smash the rock fragments into smithereens as they crash against the ship. Bridge Officers brace themselves as the debris field collides and reverberates throughout the ship, making the Enterprise shudder until a feeling of smooth motion reveals their out of it.

Decker explains to Admiral Kirk in the Admiral's quarters why he countermanded his phaser order. Bones tags along and is listening intently.

"Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off."

An embarrassed Kirk swallows his pride and acknowledges Commander Decker for acting properly and saving the ship. Decker is aware of this and asks to speak freely.

"Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliar with the ship's design, in my opinion, sir, seriously jeopardizes our mission."

Kirk has to grovel: "I trust you will... nursemaid me through these difficulties, Mister?"

Decker: "Yes, sir, I'll do that."

Decker is excused."Then I won't keep you from you're duties any longer."

Bones sandbags Kirk over the way he got command of the Enterprise.

"You pulled every string in the book short of blackmail to get the Enterprise, maybe even that. And when this mission is over, you have no intention of giving her back."

Kirk turns to McCoy for advice: ..."and I intend to keep her?"

McCoy: "It's an obsession that can blind you so far more immediate and critical responsibilities."

Kirk tells the doctor he has noted his opinion and asks if there's anything else.

The Chief Medical Officer gets to the point. "that depends on you."

A Vulcan shuttle withdraws from the Enterprise bringing Science Officer Spock on board. All is not what it seems with Mr Spock who takes refuge within the safety of the USS Enterprise starship after his humiliating Kolinahr experience on Vulcania. The Vulcan reports for bridge duty much to everyones delight. Spock is clearly not himself and attempts to implement his mathematical computations without even greeting his old Enterprise friends whom he regards rather coldly. The old bridge crew are puzzled by his reaction to them. Uhura is upset.

The vulcan explains he's knows about the Enterprise design difficulties because he's been monitoring Kirk's transmissions with Starfleet Command. Isn't this illegal? why I do believe, Mr Spock has been a very naughty little pointy eared, green blooded vulchie indeed!!!

Spock offers his services as Science Officer with all due respect to Decker. The exec gladly steps aside and allows Spock to take over and assess the defective engineering readings.

Spock turns to Kirk: With your permission, I will now discuss these fuel equations with the Engineer."

Kirk manages a nod but is puzzled by the Vulcan's strange manner.

Kirk: "Mister Spock, welcome aboard!" Mr Spock departs via the turbo elevator.

McCoy: "Never look a gift Vulcan in the ears, Jim."

Engineering to Bridge... New intermix balance holding steady. She's not even straining! Scottys been dying to give the Enterprise a proper shakedown cruise.

The USS Enterprise soon arrives at the V'Ger intercept coordinates. The ship is on Red Alert! Kirk recommends against defensive action as it may be interpreted as hostile. Sulu pushes a button revealing a beautiful, yet menacing cloud on the Enterprise viewer. Uhura continues with friendship messages on all hailing frequencies. Kirk orders the ship to move into the heart of the clouds center.

Spock confirms the Enterprise has been scanned but senses puzzlement. "They have... they have been communicating with us. I sense ... puzzlement. Why have we not replied?"

Computer: Incoming fire. Ahead. Zero,
... mark, zero.
Incoming fire. Ahead. Zero,
mark, zero.

The Ship is under attack from an energy bolt which drains the deflector shields by 70%. V'Ger is puzzled because the Enterprise has ignored its message which Spock isolates from the computer records. V'Ger message lasted for only a millisecond!!! In the blink of an eye Spock re-sends the standard Federation message matching the clouds signal speed which instantly calls off the whiplash energy splattering over the entire ship. It was a close call.


An alarm klaxon sounds. A terrifying column of mysterious plasma energy bursts onto the bridge. Its a plasma probe. The plasma wave approaches Spock's Science station and attacks chekov who is petrified and screams out in agony. The probe attempts to gain control of the main computer.

Mr Spock leaps into action. The "Intruder" learns about the Federations defences. Spock is between the probe and Ilia which moves closer to her freezing her into immobility. In a flash of blinding white, the energy plasma vanishes with Lieutenant Ilia ditching her tricorder behind. It rattles to the deck plates with a metallic clatter marking the very spot where lovely Ilia was standing.

Decker is furious "This is how I define unwarranted!"

And almost at the same moment a new Bridge Alarm Signal goes off. The Enterprise has been seized by tractor beam. V'Ger beams an android "Ilia" aboard the ship to communicate and learn about the humans "infesting" the USS Enterprise 1701 and planet earth.

Ilia speaks for V'Ger now: "I have been programmed by V'ger to observe and record normal functioning of the carbon-based units infesting USS ENTERPRISE."

Kirk: Who is...'V'ger'...?

Ilia: "V'ger is that which programmed me."

Kirk: "Is V'ger the Captain of the alien vessel?"

Bones: "Jim, what the blazes...."

Ilia: "V'ger is that which seeks the Creator."

Bones: "Jim, this is a mechanism...!"

Kirk: "Where is Lt. Ilia?"

Ilia: "That unit no longer functions. I have been given its form to more readily communicate with the carbon-based units infesting Enterprise."

Security Guard: "Carbon-based units"...?

McCoy: "Humans, Ensign Lang: us."

Kirk: "Why does V'ger travel to the third planet of the solar system directly ahead?"

Ilia: "V'ger travels to the third planet to find the Creator."

Decker is assigned to get to get "friendly" with the facsimile of Ilia and find out what she knows about V'Ger.

Spock leaves the ship without authorisation in order to attempt a mind meld with V'Ger. He gets more than he bargained for and is thrown into a coma but rescued by Kirk. Spock explains that he wanted to make contact with a being of pure logic.

V'Ger wants to talk to its creator who it believes is on Earth except theres a complication. The cloud, a machine enhanced by machines calls itself V'Ger! This machine is sentient and is actually what remains of the Voyager One spacecraft launched from Earth in the late twentieth century. Despite its vast knowledge incorporated into its memory banks by the machine world, it cannot comprehend human beings or their simple feelings. V'Ger "feels" lonely and barren!

"This simple feeling..."(Spock looks at Kirk)
... is so far beyond V'ger's comprehension. I saw V'ger's planet: a planet populated by living machines. Unbelievable technology. V'ger has knowledge that spans this universe. And... in all this order... all this magnificence, V'ger feels no awe...no delight... no beauty... I should have known..."

Kirk wakes Mr Spock up: "Known what, Spock? What?.....

What should you have known?"

Spock: "No meaning... No hope... summoning strength)And, Jim, no answers...!Jim, it's looking for answers itself!"

Kirk: "What answers?"

Spock: "Is this all I am? Is there nothing more?"

V'Ger's experiences have exceeded it complex programming and it wants more.


The craft apparently entered a machine-dominated universe, and encountered an intelligence that reprogrammed it and sent it back on a new mission to seek out and destroy inferior, non-machine infestations. The Enterprise crew rushes to stop it. It reaches Earth and easily deactivates the entire planetary defence system. V'Ger intends to deactivate Earths 'carbon based units' lifeforms unless they bring forth the creator, "The Kirk Unit." who built Voyager One. Kirk is mistaken for the creator and explains to the Ilia probe that he won't reveal who the creator is to V'Ger's mechanism. The bluff works and Kirk, Spock, Dr McCoy, Decker and the replicated`llia'mechanism make their way to a central structure towards the very heart of V'Ger.

There's an ancient human space probe there, and Kirk discovers what is in fact Voyager VI scarred by years of deep space exploration..... It is essentially V'Ger, an old earth probe enhanced by an ancient machine race. It wants to complete its programming by telling its creator all it has learnt except V'ger refuses to accept that it was created by a human. Spock suggests that V'Ger has done all it can with logic which is amazing even for him.

Kirk: "Capture God! In order to retrieve V'ger's data, the Creator has to physically come here!..."

Commander Decker decides to join with the Ilia mechanism.

Spock: "Jim... he wants it."

Decker: "You got the Enterprise, it's what you wanted. This is what I want." And then Decker shoves the tricorder into the access hatch.

Ilia and Decker merge as one, and transcend our universe. Self preservation kicks in and our heroes decide to hightail it back to the ship. Planet Earth is saved from the wrath of V'Ger. Back in the captain's chair, Kirk orders a shakedown cruise for the new USS Enterprise NCC 1701.

Guest stars include: Stephen Collins and Persis Khambatta, as well as brief appearances by previous Trek stars Grace Lee Whitney (reprising her role as Rand) and Mark Lenard (playing the Klingon captain). Of note: Marcy Lafferty, William Shatner's wife, also appears. Gene Roddenberry returns as producer, and science-fiction author Alan Dean Foster created the story, which was in turn scripted by Harold Livingston. The special effects team of Douglas Trumbull and John Dykstra, along with the musical score by Jerry Goldsmith, made the movie a landmark epic in the industry. The movie broke both production cost records (with a budget of over $40 million spent) and box office totals. Though described as the "motionless picture" by many fans this film has a classic, with a fascinating storyline. You have to visualise being there on the USS Enterprise NCC 1701 for your thoughts to run wild with excitement.

Live Long and Prosper.
kyle - Thu, Jul 9, 2015 - 1:59pm (USA Central)
i really like STar Trek The Motion Picture. I think it's very underrated. It looks awesome, the whole feel of the film is kind of spaced out and creepy, it has a sexy bald woman.

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