StarTrek Into Darkness gets off to a running start, literally, and seldom pauseslong enough for anyone to catch their breath. The plot manages to be bothconvoluted and unsurprising—a soap opera of poor writing. Some of the specialeffects are impressive and the set design is imaginative. Twenty-third centuryLondon is visualized as a city of soaring metal and glass spires (thinkpresent-day Shanghai with St. Paul’s Cathedral at the center); likewise SanFrancisco, resembling Singapore with Fisherman’s Wharf and streetcars.
Myproblems with J.J. Abrams’ reboot start with Chris Pine, who lacks the gravitasof the original James T. Kirk, William Shatner, and continue with the notion ofMr. Spock with a girlfriend. It might have been better to suggest the lovebetween Kirk and Spock, but perhaps this will occur in some future sequel,after a warp in time produces a parallel universe—or something.
Thesupporting cast is just fine, but there is no giant among them to lift thisblockbuster above its by-numbers screenplay—no Robert Downey, Jr. as in IronMan 3. Well, wait, there is a giant, Benedict Cumberbatch, buthe’s given a midget’s script to read from as a one-dimensional villain withpenetrating eyes and implacable mien.
Curiously, Iron Man 3 and Into Darkness share severalthings, including an attack on headquarters by hovering flying machines (plusthe expected over-the-top smash up climax) and a concern with terrorism and thegenetic modification of humans into a “master race.” The new Star Trek couldhave made its points more compelling. Here’s hoping Cumberbatch is unthawed foranother round and given something interesting to do.
