Star Trek into Darkness — first impressions (spoilers!)

This post has taken a lot longer to write than I expected. I saw Star Trek into Darkness on Wednesday night (the studio, in its wisdom, decided to hold this film back from most critics until the last possible second) and began writing this post on Thursday morning, but life got in the way and I couldn’t finish it all in one sitting — and then, whenever I came back to this post, I found that I had more things to say, or different ways of saying what I had already said, and so on, and so on. But here we are now, on Monday, and the film has finished its first weekend in North America (where it slightly underperformed at the box office), and I am finally going to force myself to finish this thing.

So. Here’s the thing about the J.J. Abrams Star Trek movies: He throws so many things at you, so quickly, that you cannot help but miss some details that are actually fairly important, at least on first viewing.

For example, it wasn’t until the second time that I saw his 2009 “reboot” of Star Trek that I realized virtually all of Kirk’s fellow Starfleet cadets had been killed by Nero, except for the ones who were on Kirk’s ship. As you may recall, Starfleet gets a distress call from Vulcan while Kirk is in the middle of being reprimanded by Starfleet authorities — and the disciplinary hearing is put on hold so that all of the recent graduates can board their ships and fly to Vulcan. When all of the ships go to warp speed, the Enterprise accidentally stays behind, because of an error on Sulu’s part — and when the Enterprise finally gets to Vulcan, it finds nothing but a debris field orbiting the planet. Which, when you think about it, means that everyone on all those other ships — including the green alien roommate of Uhura’s that Kirk slept with — is dead, dead, dead. But by that point, the film has forgotten them and moved on to other things; and then, at the film’s conclusion, everyone at Starfleet Academy cheers when Kirk is promoted to captain. Do they make at least a token nod to the fact that they just lost dozens, if not hundreds, of their classmates? Nope.

So, take anything I say in this post with a grain of salt. I have only seen the new film once, and I may have missed all sorts of stuff that won’t register until a second viewing. (One e-pal has already informed me that the movie refers to an incident from the comic-book prequel Countdown to Darkness, but I completely missed that reference as I was watching the film. And I’ve actually read that comic!)

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Two more TV-movies — one now, one later — for Holy Week

I promise to have a post on last Sunday’s episode of The Bible soon. In the meantime, I just want to note two things that popped up in my news feed today.

First, it turns out there is another brand-new Bible-themed movie on TV this week, as the Reelz network is hosting the American premiere of Barabbas, a two-part mini-series about the Jewish rebel or criminal who was freed by Pilate in Jesus’ place.

Starring Billy Zane and directed by Roger Young (who previously directed some of the better-known films in the ‘Bible Collection’ series), it is based on the same Par Lagerkvist novel that inspired the 1961 film starring Anthony Quinn (as well as a 1953 film made in Sweden and, apparently, a 2001 film made in Armenia).

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Prometheus — the article’s up!

Incidentally, speaking of Books & Culture articles about 30-plus-year-old franchises whose slide towards mediocrity was capped recently by a film that owed a little too much to Chariots of the Gods, I recently wrote another article for B&C — my first since stay-at-home daddyhood took over my life three years ago! — on Prometheus, Ridley Scott’s prequel to the Alien movies. Most of the article is behind a paywall right now, but if you don’t already subscribe to B&C, you can read the first three paragraphs (and half a sentence) here. And if you can read the article, and you’re curious about the bit where I talk about Alien‘s expert use of close-ups, you can click here for a blog post of mine from a couple months ago, where I posted screen captures of those close-ups. Enjoy.

Peter O’Toole announces his “retirement” from acting

Peter O’Toole announced his retirement from acting yesterday, and I must admit I’ve been dwelling on Bible movies enough these past few days that my first thought was, “Well, I guess that’s another part that the makers of Mary Mother of Christ will have to re-cast!” O’Toole had been attached to play Symeon, the old man who was informed by the Holy Spirit that he would not die until he had seen the Messiah (as per Luke 2).

It wasn’t the first time O’Toole had agreed to play a small part in a Bible movie. In the early days of his movie stardom, he played the angels who bring condemnation to Sodom and Gomorrah in The Bible: In the Beginning… (1966), which I’ve always been inclined to see as sort of a meta-sequel in which O’Toole gets revenge for the rape his character endured in a similar Middle Eastern town in Lawrence of Arabia (1962). More recently, he played the prophet Samuel in the prologue to the Book of Esther adaptation One Night with the King (2006).

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Beings, beasts and machines ready for their close-ups

Like a lot of people, I made a point of watching Ridley Scott’s Alien (1979) again before his prequel Prometheus came out last month. One thing that struck me on this viewing was how frequently Scott uses close-ups of non-human faces, indeed of mere things. I had certainly noticed individual shots on previous viewings, but it was only during my latest encounter with the film that all these images began to jostle together in my mind, and that I began to realize how Scott was using them to further one of the film’s key elements, which is the recurrent blurring of the lines between human, animal and machine.

Consider these images, captured from the film:

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