Jammer's Review

"Star Trek VI: The Undiscovered Country"

***

Theatrical release: 12/6/1991
PG; 1 hr. 53 min.
Screenplay Nicholas Meyer & Denny Martin Flinn
Story by Leonard Nimoy and Lawrence Konner & Mark Rosenthal
Produced by Ralph Winter and Steven-Charles Jaffe
Directed by Nicholas Meyer

Review by Jamahl Epsicokhan

September 17, 2004

"There is an old Vulcan proverb: Only Nixon could go to China."

So quoth the sage Spock early in Star Trek VI: The Undiscovered Country. It's a sublime line of dialog, cleverly appropriate, because it gets to the heart of what this film is about while at the same time issuing a wink to the audience. The line gets a laugh — not just because it's funny, but also because it conveys a certain cagey poetry. By the time this film has come around, as the original cast prepares to retire, Star Trek is a piece of Americana that has earned its right to be self-referential: Spock isn't really the one telling the joke, because he exists in a fictional mythos where Nixon perhaps is the inspiration for a Vulcan proverb. Spock delivers it straight and means it.

The line is said to Kirk, who has just been informed, much to his dismay, that the Enterprise will be commencing a diplomatic mission to meet with the Klingons, who have extended their own controversial olive branch under the initiative of Chancellor Gorkon (David Warner), a man genuinely interested in a historic negotiated peace. Of course, there's also the more pragmatic impetus: the catastrophic destruction of the Klingon moon Praxis, their key energy-generating facility, which has exploded in the film's attention-getting-with-a-bang prologue. The explosion was witnessed by the captain of the USS Excelsior, Hikaru Sulu.

Starfleet's military hard-liners are not moved, and believe this would be a good time to force the Klingons "to their knees." In a particularly interesting choice by the filmmakers, Admiral Cartwright (Brock Peters) makes an argument that predicts how in peace the Klingons will become "the alien trash of the galaxy." With the line being said by a black actor, Cartwright's prejudice has a disturbing, ironic dimension — even though his race is irrelevant in the movie itself.

Already, in its first 15 minutes, Trek VI has shown more legitimate and literate content than the entire sum of its disastrous predecessor, Star Trek V. Where The Final Frontier was simultaneously ambitious, misguided, and incoherent, The Undiscovered Country is focused and confident about something concrete and in tune with the spirit of Star Trek. As was the goal of many original series episodes, this is a story that exists in the Trek universe while also reflecting upon contemporary world events.

On the original series, the Klingons were often seen as stand-ins for the Soviets, and that definitely is an allegorical point here. In 1991, of course, the Soviet Union collapsed. Yes, it was already well along in its wane, but the timing is still eerie. Star Trek VI was released on December 6. Amid the rapid disintegration around him, Gorbachev resigned as president of a dead union on December 25.

In the DVD commentary track, writer/director Nicholas Meyer explicitly admits that Gorkon was supposed to represent Gorbachev, hence the name. And the destruction of Praxis is a very obvious parallel to the 1986 Chernobyl disaster. What most characterizes Star Trek VI (other than being the original cast's swan song) is that it's the only historical allegory in the film series.

It's also one of the more demonstratively literate of Trek scripts — even if the film's use of Shakespeare is mostly to spice up the taunting dialog of General Chang (Christopher Plummer). Although, it's Gorkon who says, "You've not experienced Shakespeare until you've read him in the original Klingon."

For these and many other reasons, The Undiscovered Country ranks on my scale among the better of the 10 Trek films (at the high end of the three-star range, it ranks fourth behind Wrath of Khan, First Contact, and The Voyage Home). This is a good, solid film, although not powerful enough to rank as a standout.

The dinner scene provides a reasonable microcosm of the movie. It's a moment of good, classic Star Trek if I've ever seen one. Here we have Starfleet and the Klingons sitting down to a formal dinner on the Enterprise, which provides the opportunity for some expositional give and take — an arena for polemics. Good things are accomplished in this scene: There's Chang saying "to be or not to be" in Klingon; there's Gorkon's daughter (Rosanna DeSoto) criticizing Chekov on his use of the phrase "inalienable human rights"; and there's Kirk's humorously inappropriate blurting of "Earth, Hitler, 1938."

There's also a sense that the scene could've and should've said more. When McCoy, for example, refutes Kerla's (Paul Rossilli) allegation that peace means the annihilation of Klingon culture, the moment seems to be building toward an intriguing debate that never happens. What we end up with in the dinner scene is solid story texture, but a sequence that might've been even better with more arguments and specifics.

The subsequent siege on the Klingon ship is an intriguing new spin on standard Trek battle fare, showing what happens when a ship's artificial-gravity generators are disabled. Two unidentified assassins beam aboard the vulnerable ship and kill Gorkon in an attempt to derail the peace initiative. Gorkon's dying words to Kirk are those of an idealist with conviction: "Don't let it end this way, captain."

From here, with the plot well under way, we're supplied a lot of story elements — so many, in fact, that the movie at times resembles a pastiche. Not only is it the backstory for TNG's Federation/Klingon political landscape, it's also a Cold War allegory, a convoluted murder mystery involving forensic investigation (dried blood, magnetic boots, phantom ships, etc.), a courtroom drama, a prison movie, and finally a race against the clock to stop the plotted assassination of the Federation president (Kurtwood Smith).

Meyer combines these elements into an entertaining story that keeps on moving, even if some of the pieces feel a little conveniently manipulated or undercooked. The most obvious example would be the overall use of Valeris (Kim Cattrall), whose function in the plot comes across as a bit too obvious and at the same time not strongly enough motivated. This is clearly an example of the plot leading the character and not vice versa.

One problem might be the fact Valeris was rewritten from what was originally to be Saavik, reprised by Kirstie Alley, who was unavailable for the role. I'm not sure why the part wasn't simply recast, especially since the part had already been previously recast for Star Trek III. For whatever reason, we instead have this new Vulcan named Valeris, and the result is a character that shows all the indicators of having a legitimate history but nevertheless feels hastily inserted into the franchise. She has significant dialog with Spock, who is her mentor, but it might've had more natural impact coming from Saavik.

Since Valeris is the conspirator hidden in plain view, she also becomes one of those functional constructions whose actions must be maddeningly reevaluated after her true nature is revealed. It doesn't quite jell. Her motivation is sketchy, and her knowledge is sometimes too handily scripted. The way she has Kirk's personal logs used against him in court, for example, is a stretch (convenient that Kirk said what he said and she happened to be there to hear it).

Though the movie has its share of plot quirks, it covers a lot of ground relatively quickly, and most individual scenes work well. When Kirk and McCoy are arrested and put through a Klingon show trial, the results are darkly Kafkaesque, with great production design by Herman Zimmerman. (The scene is so effective as pure atmosphere that it became the basis for Enterprise's "Judgment" more than a decade later.) While the arguments over the case facts will not impress viewers of Law & Order, Meyer and his co-writer, Denny Martin Flinn, set a high bar for theatrics and charge the dialog with energy, as in one line shouted by Chang, repurposed from Adlai E. Stevenson: "Don't wait for the translation! Answer me now!" The use of Michael Dorn as Colonel Worf, the defense counsel, is a nice generational tie-in.

Next it's on to Rura Penthe, the brutal, icy penal colony, presided over by a one-eyed Klingon warden who breaks down the situation economically: "Work well, and you will be treated well. Work badly, and you will die." In prison, Kirk and McCoy meet Martia (Iman), a shapeshifter who is suspiciously prompt in her willingness to help them. She's actually a plant to lure them into a trap, which leads to a scene where Kirk fights the shapeshifter, which takes on Kirk's own appearance. Twenty-five years later, it's shades of "The Enemy Within."

Even the warden is in on the conspiracy, and here there's an amusing moment of self-parody. When the depth of the conspiracy becomes clear, Kirk asks the warden: Who set everything in motion? The warden responds, "Since you're all going to die anyway, why not tell you?"

While Kirk and McCoy face their prison ordeal, Spock works on a plan to try to get them out, and launches an investigation to prove the Enterprise was not responsible for firing on Gorkon's ship. The search for the truth involves clues that lead to more clues, which lead to two bodies, which lead to Valeris. This is handled reasonably adeptly, although it's worth noting that the technology on Star Trek is often a flexible device that allows or prohibits whatever a plot needs. You'd think the disposal of evidence in the 23rd century wouldn't be so hard, but no — even the use of phasers to vaporize boots or bodies is circumvented by plot cleverness.

A subsequent ruse uncovers Valeris, which has a good payoff when Spock gets angry enough to smack a phaser out of her hand. I was less thrilled, however, by Spock's forced mind-meld on Valeris — in public view on the bridge, no less. This makes for a potent scene, yes, but the concept itself is disturbing, and seems to throw ethics and decency out the window. Necessary under the circumstances? Perhaps. But no one seems to acknowledge that it's wrong.

Among the conspirators is General Chang — no surprise there — but also Admiral Cartwright, which shows a corruption in Starfleet that is rarely seen in Roddenberry's universe. Indeed, this film strays from the Roddenberry "rules" a bit more than some, but of course it must, because it is about overcoming the problems that exist today so we might grow tomorrow. "Klingons and Federation members conspiring together," muses McCoy. Interesting, how those on both sides with the same military self-interests are willing to put aside the fact they are enemies in order to continue being enemies.

The film's climax is skillfully executed as a Ticking Clock Crescendo, crosscutting between the speeches at the conference and the Enterprise's battle with Chang's invisible Bird of Prey. Chang, the best Trek villain after Khan and Dukat, has an engaging flamboyance, quoting lines of Shakespeare to Kirk in between torpedo volleys. His eventual destruction is one of the great Trek death scenes — staged larger than life in its moment of realization and yet still acted with the right amount of restraint. And so satisfying.

Reverberating here and all throughout the film is Cliff Eidelman's dark and atmospheric score, which for Trek qualifies as avant-garde. It's one of the best Trek scores, and the most memorable in terms of confidently staging the mood.

Of course the assassination is stopped at the last possible moment, with a perfectly timed stunt. Of course Kirk makes a closing speech that moves everyone. Of course there is a standing ovation that employs the Applause Crescendo Cliche. Of course it's all obligatory. But the moment has been earned; the plot has paid its dues and told its tale, and Kirk delivers the moral of the story — and not a bad one at that. This is a dignified exit for this crew.

"Once again, we've saved civilization as we know it," Kirk says. The writers, and the franchise, have earned that self-aware line. One message of Star Trek has always been that we can become better as people, and maybe change the world. Kirk begins Star Trek VI with his own deep prejudices; he couldn't see past the death of his son at the hands of Klingons. He ends it by helping to realize a Klingon's vision. The film is high on optimism and sentiment and messages of making a difference. If that sounds like a Trek cliche, then so be it.

We should be so lucky that our own sagas end this way.

Previous: Star Trek V: The Final Frontier
Next: Star Trek: Generations

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37 comments on this review

Thomas A. McDonald - Thu, Nov 29, 2007 - 12:49am (USA Central)
Hello! I have been a fan for 30 years, & I'm sorry about the passing of DeForrest Kelly, Mr.Roddenberry, & of course, James "Scotty" Doohan, who made me laugh when I was very down, I am Glad to hear about Star Trek 11, I enjoy everything I have on Star Trek, Including this one, Please! contact me soon!
Jake - Wed, Dec 5, 2007 - 1:40pm (USA Central)
In addition to being a great send off for the original Trek crew(how I wish we could say the same for Nemesis, but at least we still have "All Good Things..."), this films serves as an epilogue of sorts to the "Space Seed"-II-III-IV storyline.
After all, Kirk's initial racism for Klingons comes from the fact that Klingons took his son from him in number 3.
When Valeris tells him "Did you not wish Gorkon dead? 'Let them die' you said. Did I misinterpret you?" you can tell from Kirk's reaction that those words are hitting him like a sledgehammer.
Katie - Tue, Feb 26, 2008 - 10:43pm (USA Central)
This is actually my favorite of all the Trek films--although the parallels are obvious, it makes for an engaging story independent of the allegory. Many of the Shakespeare references are quite subtle--my favorite is the Chameloid's remark "I thought I would assume a pleasing shape"--reference Hamelet II.ii.
Alex - Tue, Apr 15, 2008 - 7:44pm (USA Central)
This is the movie that got me into Star Trek in the first place. Strange that I started with TOS end. But it still stands out, great movie awesome adventure ride!

Many of the Klingon actors were excellent.
Brian - Wed, May 7, 2008 - 8:03pm (USA Central)
While WOK is the best trek film, the Undiscovered Country is my favorite and deserves 3.5 stars imo. I thought it was advancing and changing the trek world (even if TNG was already around and established that Klingons are OK people) and that's not something you see often in Trek, let alone a movie. What I like most about it, however, is seeing how people react to this change. Some people embrace it, some people embrace it grudgingly, and some people try to stop progress. Great material and a good story to boot.

Of course, I find the GOOD inclusion of Klingons in anything star trek to invariably help the episode/movie. So... UC probably gets a little extra worth from me because it includes Klingons and does so in a very good way.
Dan Z - Mon, Jun 2, 2008 - 2:21am (USA Central)
When I was a kid, I owned two Trek books, and the novelization of this movie was one of them. In the novelization, it is made extremely clear how Spock's forced mind meld with Valeris is wildly inappropriate. Thus, I never noticed that the movie left this out until your review --- I've always just "known" that the mind meld was a deeply questionable act done because there were no other options. When I eventually rewatch the movie, I'll have to watch for the reactions and see how I think it's played.
levi - Thu, Jun 5, 2008 - 10:16am (USA Central)
Great sendoff for the original crew, and it's a shame some of them returned to sully it with Generations. The plot does have some generously labled "quirks" that don't really hold up to close scrutiny (the motivations of the Valeris character seem pretty thin), but in the end it's so well-executed and entertaining you just don't care. I left the theatre on opening night with a big grin, and so did everyone else that night. This is a well done movie with a great concept and great dialogue that for the last time exploits this cast's chemistry to the nth degree, and also features the best special effects of the original movies. This is a movie that knows how to give its audience what it wants.
robgnow - Sun, Aug 3, 2008 - 8:57pm (USA Central)
I have to mention a disagreement with your review on this point: Necessary under the circumstances? Perhaps. But no one seems to acknowledge that it's wrong.

I find the reaction shots of Scotty and Uhura entirely telling... it may be necessary to get this information, but clearly they are both bothered, especially when it's obvious that Valeris is being is suffering pain by the forced meld.
robgnow - Sun, Aug 3, 2008 - 9:08pm (USA Central)
Funny. There are several comments about Valeris' shaky motivation... I've never been bothered by it in the least. She's a gun-ho Starfleet Officer and 'everyone' knows that Klingons are untrustworthy... now the Federation is trying to cut the corp off at the knees instead of remaining strong... sounds a lot like current arguments of "soft on terrorism" diatribes to me.
My problem is how Valeris tells them that any ship to shore communications will be intercepted... from the ENTIRE Federation?! Kirk couldn't dispatch a signal to every planet, every colony with instructions to find a way to inform Starfleet Command and the civilian authorities in the Federation? Really?
Naturally I engage my 'suspension of disbelief' muscle and enjoy the ship-to-ship battle, instead. -grin-
Tim Carroll - Fri, Aug 29, 2008 - 6:04am (USA Central)
My favourite in the series, although it's a *very* close tie with TWOK. Reason being that although TWOK is the definitive Trek movie, TUC gave us that most rare of all gems in the Trek canon: a dignified end. Trek has historically had problems in delivering satisfying payoffs to its bigger stories, no matter which part of the franchise you look at. (Even DS9 - bless its dark little soul - couldn't deliver a satisfactory resolution to its longest-running tale. Namely, Sisko's "destiny". Which as it turned out, was to push a guy and a book off a cliff. Wow.)

TUC gave the TOS characters a beautiful sentimental send-off, wrapped up in an exciting, fast-past plot. Even though it doesn't hold up to close scrutiny quite as well as TWOK, it's forgiven by the fact that this is *it*. The last adventure. There's a pervasive sense of finality throughout the film, and the closing "goodbye photo" and log entry where Kirk hands off to TNG is note-perfect.

Final chapters as good as this are a rare thing. A four-star outing for me, easily.
William - Thu, Oct 9, 2008 - 9:07am (USA Central)
Did you actually watch this? It is by far the weakest of the films, with more holes in it than a net curtain. The whole Praxis explosion destroying an interstellar civilizations environment, the explosion hitting the Excelsior in deep space, the Enterprise being able to leave Earth and travel to the Klingon border in less than a day, anyone least of all the crew of the Enterprise being fooled into thinking the Enterprise fired at the Klingon Battle cruiser. No one noticing the huge tracking device Spock stuck in Kirk's shoulder, Uhura fooling Klingon Border security that a Federation Star Ship was a Klingon freighter by reading from a phrase book..........the stupidity of this film just goes on and on. Should have been given 0.5 stars.
Nick Illes - Sun, Dec 7, 2008 - 12:56pm (USA Central)
I just read this review, and I found it to be totally awesome! It was helpful, and really grabbed my attention the whole way through. You brought up some interesting points that I didn't consider. For example, when you mentioned the use of Valeris and why it would have been more logical to use someone as innocent as Saavik as a conspirator, I thought to myself, "yeah, that would have been interesting." However, I'm guessing the producers figured that since Saavik was such a well-liked character, it would be hard to see her betraying everything she fought for in the previous films. We've grown to like the character, and to have Valeris, a Vulcan we've never seen, nor will ever see agan, come in and drive the plot, that made things interesting.

Great review! I look forward to reading the rest of them!
Eric Dugdale - Sun, Apr 19, 2009 - 2:16pm (USA Central)
The "necessary under the circumstances" part of the forced Valeris mind-meld may hold up for getting the conspirators' names, but not for the later part of it in which she actually seems to suffer.

When Spock finds that she doesn't know the location of the peace conference, Kirk simply contacts Excelsior and gets Sulu to tell him where it is. So where's the "necessity" here?


Overall, though, I found this to be the deepest and best-done Trek film of all of them, for all the reasons others have put forward.
Gatton - Thu, Jul 23, 2009 - 3:46pm (USA Central)
I have to disagree with you Nick. I would have loved having the Saavik character be a conspirator. Maybe that would have seemed forced but it certainly would have made the scene where Spock confronts her in sick bay have all the more resonance.

One question. During the mind meld as Valeris names off the conspirators were there always flashbacks showing the faces of those she names with an accompanying gong sound? I watched this last night on the 2-disc special edition and I don't recall that being there. I was actually out of the room making dinner during that scene (hey I've seen it like 12 times anyway) and I heard this *GONG* sound and I thought what the heck was that? lol
Jammer - Thu, Jul 23, 2009 - 5:39pm (USA Central)
^ Those flashes were added for the special edition DVD. I find them kind of silly. It's as if they thought the audience was too dumb to remember who the names of the characters were and so they had to remind us.
Jay - Sun, Sep 6, 2009 - 12:40pm (USA Central)
I couldn't get past the notion that the Klingons were the sole reason for Starfleet existing, and that peace with the Klingons would somehow call for the end of Starfleet, as if it served no other purpose. I found it beyond ridiculous.
Eduardo - Thu, Mar 11, 2010 - 9:45am (USA Central)
Finally saw it on Blu-Ray. It's been years since I last saw it. It was the first time I saw it in the theatrical 2.35:1 aspect ratio. Stunning 7.1 Dolby TrueHD surround.

Loved the original DVD commentary with Nick Meyer and Denny Martin Flinn. Flinn, who died of cancer a few years back, is really one of Trek's unsung heroes. Great energy and enthusiasm for the script and the story on the commentary.

Also loved the new Blu-Ray commentary done by Larry Nemecek (who did the TNG companion), and DS9's Ira Steven Behr. Interesting perspective having Behr commenting on one of Kirk's films. Also quite entertaining. Evidently, they both enjoyed Trek VI as much as I have.
Jeff O'Connor - Sun, Aug 29, 2010 - 6:21pm (USA Central)
I need to get this movie on Blu-Ray. It's my favorite of the bunch to this day, and the review nailed all the reasons for it. It's also sort of the piece that got me into Trek; I grew up in a household that was always watching TNG, and while I learned to love that show, when I was four it was just too stuffy and I didn't understand it.

Then comes TUC with its epic battle at the end and that's all I needed then. I'd watch it on VHS all the time and as I grew old enough to grasp TNG, around the time DS9 was entering its fifth and sixth seasons, I was still there watching TUC a couple of times a year and really digging into all its powerful statements about humanity. Love it.
DJ - Wed, Jan 19, 2011 - 2:09am (USA Central)
One of the little things I like about the space battle is that the Enterprise and the Excelsior combine forces to take out Chang's ship. Always thought it was a nice way of coming back to the "rivalry" between the two that was presented in ST3. And of course, the scene at the end in which the two ships are flying together was perfectly done.

Also a nice touch to make Sulu captain of the Excelsior, given how much he seemed to admire it.

I do wish they'd found a way to bring back Robin Curtis as Saavik rather than create a new character.
dan - Fri, Feb 18, 2011 - 11:16pm (USA Central)
General Chang plays it perfect without the gruff voice. The guy who played Martok in DS9 would be a close second. But of course everyone loves Warf :)
Robert - Sat, Aug 20, 2011 - 9:54pm (USA Central)
A long time ago my father was on call in Stratford, Ontario. Stratford has the “Stratford Shakespeare Festival”. Christopher Plummer was performing. For some reason, my father had to go to the theatre and “stick a hypodermic needle in Christopher Plummer’s ass”!! The Kilingon cussing, according to my father, was unbearable!!
Jay - Sun, Oct 23, 2011 - 8:35pm (USA Central)
Odo, er, Colonel West's 23rd century presentation was printed on paper and he used a laser pointer. Really.
Ken - Thu, Mar 22, 2012 - 4:58pm (USA Central)
You mentioned that Brock Peters had to make a pretty racist comment in the film, and how ironic it was, since Peters is Black. Here's something else that's interesting. Peters also played the Black man in To Kill a Mockingbird who was wrongly convicted because of his race. It's little things like this that really elevate this film into something truly significant and special.
Patrick - Mon, Sep 3, 2012 - 4:02pm (USA Central)
Khan and Dukat? How could you leave out Q in that listing of Trek's greatest villains? (Admittedly, he's less "hands on" being a god-being)
Jammer - Mon, Sep 3, 2012 - 5:53pm (USA Central)
I don't really see Q as a "villain" per se. Certainly not in the same sense as these others.
Gatton - Mon, Sep 3, 2012 - 8:05pm (USA Central)
Misanthrope I think is the best word. Picard called him that in "Deja Q".
Mahoney - Mon, Jan 21, 2013 - 1:29pm (USA Central)
An OK flick....not the best. Here are some problems I have: Checkov looks like a total idiot and seems confused for the entire film. The shape-shifter keeps the same voice no matter who she morphs to look like...except when she looks like Kirk. Then she sounds like him. Kirk thinks shapre-shifters are legends? What about the Salt Vampire in "Man Trap"? The way Garth morphed his appearance in "Whom Gods Destroy"? Wasn't Excelsior doing research on gaseous anomolies? Why does the Uhura state the Enterprise has this equipment for researching gaseous anomolies?
Paul - Mon, Jan 21, 2013 - 1:59pm (USA Central)
@Mahoney: I think Marta was a type of shapeshifter considered legendary.

I've always liked TUC, but it's got a lot of little logical gaffes that put it below TWK or FC.

- Technology has somewhat regressed. The Enterprise has actual cooks and Colonel West's presentation was on paper. WTF?

- For all the dialog about Praxis's effect on Kronos -- that the planet would have to be evacuated -- Kronos is still the Klingon homeworld a century later.

- The line about mothballing Starfleet was particularly crazy. What about the Romulans?

- Why were there no other ships in orbit of Camp Khitomer at the end? How did all the dignitaries get there?

- Why couldn't the Enterprise scan the weapon signatures of the torpedoes that hit Kronos 1 and determine that they weren't from Starfleet? Archer and Co. were able to do that more than 100 years earlier. Did Cartwright and Valeris provide Chang with the torpedoes?

Last question, and it's more of a puzzlement than a criticism. What the heck have Kirk and Co. been doing since the end of Star Trek V?

The timeline indicates six years passed between STV and STVI. I can understand why they did this -- they needed to account for the cast members' aging, because it seems only about a year passed between STII (released in 1982) and STV (released in 1989).

It's too bad a line or two about the Enterprise A's mission between 2287 and 2293 wasn't mentioned.
mike - Tue, Apr 30, 2013 - 5:30am (USA Central)
Undiscovered Country is may favorite for a lot of little nuances. The scenes on the bridge of the Enterprise are well done. We get to observe conversations between the crew without the constant cutaway for a close up. There isn't an overabundance of chirps and flashing lights cluttering the scene. Although I did find the prescene of so many extras just standing around bridge like mannequins a bit bothersome. If these people aren't doing anything, why are they here?

The Klingon courtroom was very effective in filling me with a sense of dread and fear of Klingon "justice". I wouldn't risk getting so much as a traffic ticket on the Klingon home world.

I found the Rural Penthe scenes a bit too prison movie cliche but tolerable anyway. I found Kirk's escape just a little too easy. Klingons are obviously eager warriors but they are so terribly slow witted and stupid it's a wonder they have spaceships.

The reason the script introduces Valeris instead of bringing back Saavik is simply that Leonard Nimoy and the producers didn't want to turn Saavik into a traitor. Bringing in a new Vulcan was necessary. I thought Kim Catrall did a marvelous job. I don't have a problem with the forced mind-meld. These were dire circumstances.

JoshB - Mon, Jun 10, 2013 - 2:48am (USA Central)
Kirk's escape from Rura Penthe was supposed to be too easy. That's why Kirk himself gets suspicious and slugs Marta. Chang helped engineer their jail-break so that he could have them both "killed while attempting escape."
JoshB - Mon, Jun 10, 2013 - 2:49am (USA Central)
Totally agree on the courtroom stuff of course. Chilling show-trial stuff. I loved the nod to Adlai Stevenson ("Don't wait for the translation; answer me now!") from the Cuban Missile Crisis.
Jack - Thu, Jul 18, 2013 - 12:17am (USA Central)
Azetbur inherits her father's role as Chancellor here, but Redemption (which came out earlier the same year, but set a century later) had Gowron announcing that women can't even serve on the High Council...
Moonie - Sun, Nov 3, 2013 - 8:45am (USA Central)
This is my favorite of all the movies.

Though I've also asked myself the question, as @ Paul above, about what happened to the planned evacuation of Kronos?


Still. Brilliant, absolutely brilliant.
Latex Zebra - Tue, Mar 18, 2014 - 8:06am (USA Central)
There isn't a series of Star Trek that shows the evolved human sensibilities to be wanting somewhat.
We have members of the Federation/Starfleet conspiring for war, members of the Enterprise crew not suing for peace.
Captain Kirk wanting a race to die, die no less, out of revenge for his son. Jesus. Sisko gets grief for doing a few nasty things to get the Romulan’s involved in the Dominion War, a cause that was just in the fact it could help win a war that was killing millions. But people turn a blind eye to this!

Face it, aspects of the Federation are not as squeaky clean or evolved as it purports to be, it fails on numerous occasions to live up to its own expectations…
But the actions of a few do not detract from the ideal.

So, with that said can we finally put to bed the constant bickering over the values of evolved humans in Star Trek because throughout every series and in this case a movie, it is wishy washy at best.


Oh, this is a great movie though.
Latex Zebra - Tue, Mar 18, 2014 - 8:10am (USA Central)
That doesn't show... Jeez Dan, get it right mate!
NCC-1701-Z - Fri, Apr 11, 2014 - 5:50pm (USA Central)
The Khitomer battle sequence is probably one of the best battle scenes in the entire Trek franchise, purely due to the suspense/tension factor. I felt the battle was kept relatively simplified in terms of effects, which actually worked to its benefit, unlike many other movies being too overly dependent on elaborate CGI and stretching out battle scenes for way too long *cough Transformers franchise cough*

And Jammer hits the nail on the head - the moment when Chang gets blowed up is one of the most satisfying villain deaths in all of Trek - in fact one of the best villain deaths of all time. I cheered very loudly the first time I watched this movie.
NCC-1701-Z - Fri, Apr 11, 2014 - 5:58pm (USA Central)
Review: "With the line being said by a black actor, Cartwright's prejudice has a disturbing, ironic dimension — even though his race is irrelevant in the movie itself."

I read somewhere that the actor playing Cartwright had to shoot that in multiple takes because he was very uncomfortable saying those lines due to the racial undertones. Nichelle Nichols also refused to read some lines she considered racist so Chekhov ended up saying "Guess who's coming to dinner?"

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