Star Trek often has a bad reputation amongst mainstream
audiences for being too complex and nerdy.
With J.J. Abrams’s 2009 reimagining of the series he brought Star Trek to
the masses, but its sequel, Star Trek Into Darkness, doesn’t quite hit the same balance.
Abrams’s interpretation of the Trek universe is filled with
humour, much of which is welcome. The
large use of extreme close-up brings us, literally, closer to the colourful
cast of characters, whose constant banter is a source of much amusement. The emotionless Spock (Zachary Quinto) grates against his Captain, the womanising Kirk (Chris Pine), whilst one scene
is comically interrupted by a relationship argument between Spock and the smart, sassy
Uhura (Zoe Saldana). The cast bring a
likeable warmth to the screen, the script ensuring that the film never takes
itself too seriously.
On the other hand, Into
Darkness somewhat waters down the series, with a fairly basic plot that
sees Kirk meeting his toughest adversary yet – Benedict Cumberbatch’s ambiguous John
Harrison. It has little of the
complexity Abrams is known for – with Lost
in particular – instead including plenty of cheesy cuts and overly stating obvious
and easily predicted plot points. The
ending, meanwhile, feels rushed and could easily have incorporated a longer
denouement.
The main reason for this?
More Cumberbatch. His performance
brings a sense of Shakespearean grandeur, commanding the screen with a richly
ominous bass voice and stillness. When
he does spring into action, the effect is frightening. The result is the best nemesis in any
blockbuster in recent memory – a character so absorbing and awe-inspiring,
audiences may find themselves siding with the enemy. The plot may be simple, but the emphasis on
character is a welcome one.
Into Darkness is a
rarity in modern cinema - a film that finally makes good use of 3D. In that respect, it rivals Avatar.
We are truly drawn into each planet of the Trek universe and space
scenes literally stretch into infinity.
The opening sequence erupts from the screen in dazzling colour and impressive
layers for immediate impact. Later, ships rotate with gravity-defying force, whilst the warp speed effect is
gut-wrenching. This would mean nothing
if it weren’t for the stunning art direction that combines futuristic and contemporary
architecture for a world that’s almost believable. The action sequences are explosive and
intense, with dizzying camerawork that sucks the audience into the film, all
aided by Michael Giachinno’s sweeping score.
Into Darkness isn’t
quite the complex science-fiction masterpiece some may be expecting, but it’s
epic nonetheless and one of the best
blockbusters of the summer with a tone that wavers between
whimsical and operatic. If Abrams can do
for Star Wars what he’s done for Star Trek, he will truly be the current
master of science fiction.
4/5
