Star Trek Into Darkness

12, 2013, Directed by JJ Abrams
Starring: Chris Pine, Zachary Qunito, Zoe Saldana, Benedict Cumberbatch

 

Whereas JJ Abrams’ reboot of Gene Rodenberry’s mammoth classic sci-fi took its time in introducing just which actor had been tasked with playing which famous character, whilst carefully explaining potentially complex elements (with success, it should be added,) the sequel Star Trek Into Darkness begins mid-mission, with the engine revved as far as it can go; Captain Kirk (Chris Pine) and Doc ‘Bones’ McCoy (Karl Urban) are legging it away from a pursuing alien race, as Zachary Quinto’s Spock is being lowered into a volcano to prevent eruption - as it is erupting. It's as if the crew have been enacting missions every day since we left them back in '09.

It is this noble, yet under-assuming way of storytelling that JJ Abrams can nail. Together with his writing team of Roberto Orci, Alex Kurtzman and LOST alumni Damon Lindelof, characters interact during different strands of simultaneous action so fluently that it's a wonder confusion is not induced. And let’s not forget, this can be mind-bending material. 

Into Darkness’ plot aptly revolves around Benedict Cumberbatch’s John Harrison, a terrorist who declares war on Starfleet, which forces James T. Kirk on a mission to apprehend him. It is Abrams’ casting of Britain’s man-of-the-moment Cumberbatch that best encapsulates the hugely talented filmmaker’s style; glorifying the oddball and making it cool. In John Harrison, we have a malevolent villain whose strange motives don’t make for confused questions, but chilling illogic.

The real film-winner though comes in Zachary Quinto's Spock. The lack of emotion running through his half human-half Vulcan character provides fellow crew members with many an issue, whether it be the anger Zoe Saldana’s love interest Uhura feels over his apparent willingness to die (touchingly, in order to prevent a planet’s devestation) or Kirk’s confusion at Spock’s unthankful reaction to having his life saved when it meant breaching protocol. It is these character moments that provide the film’s highlights; namely a hilarious bickering match during a life-threatening exploration that turns into a throat-choker within 30 seconds. It is Quinto’s precisely-played performance, and his core relationship with Kirk – thankfully at the forefront of these films - that ironically injects the film with the emotional investment necessary to make something of this stature work.

Time to give Chris Pine his credit; this time around, Kirk is an immensely likeable and reliable leader, despite his many confessions he has no clue what is the right thing to do… a very human trait. Simon Pegg returns in a brilliantly larger role as engineer Scotty, and although John Cho and Anton Yelchin are massively sidelined (as Sulu and Chekhov, respectively,) it is Karl Urban’s Doc Leonard ‘Bones’ McCoy who manages to steal scenes with his one metaphor too many. And yep, all Alice Eve’s addition as Dr. Carol Marcus generically adds to the fore is red herring status, promise not quite grasped and flesh.

It’s safe to say that this is one film you won’t find yourself checking your watch in. With ambitiously crafted action set-pieces, more than one attempt to blind side the audience with narrative rug-pulls and simply enjoyable fun interaction between all members of the cast, if this is Abrams' trek into darkness then sign up now for future treks to come.

Not before he visits a galaxy far far away, mind.

4/5

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Taken 2

12, 2012, Directed by Olivier Megaton
Starring: Liam Neeson, Maggie Grace, Famke Janssen, Rade Serbedzija  

Kudos to whoever thought that Liam Neeson could play Bryan Mills, an ex-bodyguard with a particular set of skills; skills that have launched him in to something of a later-in-life action hero.  2008’s Taken was by no means a boundary-pusher, but an unexpected sleeper hit whose popularity grew with its violence (originally handed a 15-certificate, the film was amped up to an 18 for the Extended DVD cut.) An oft-quoted, undeniably epic mantra for Neeson later, which has arguably opened up the actor’s recognition to a generation who were unaware of Oskar Schindler or didn’t take to Love Actually, and has led to a slew of similar roles in Unknown (Taken with amnesia) and Battleship (the less said the better,) Pierre Morel’s out-and-out action flick has spawned the unlikeliest of highly-anticipated sequels.

There is no pretence that Taken 2 is going to deliver something different from before in the sense of genre, but a savvy spin on the original’s plot sees, not the antagonised, innocent and strangely likeable daughter Kim (LOST’s Maggie Grace) er, taken…but rather mummy and daddy, leaving the honour to Kim of equipping herself with a gun and nonchalantly throwing grenades around Istanbul. More intriguingly, the fact that the captor is the father to one of the hundreds of casually dispatched Albanians from the original adds, dare it be said, a sense of realism to proceedings. Not to mention that Neeson is on legendary form, clearly having the most fun he's possibly ever had on celluloid. But that’s where the credit runs dry. Because Taken 2, quite unfortunately, becomes the mess Taken just about managed to evade. 

Less than halfway into the face-punching and arse-kicking, and just after you wonder whether you've wandered into some kind of Mills-family sitcom, it's plain to see there is nothing new to add here. Potential standout scenes fall grossly short of the mark with brilliantly-named director Olivier Megaton solely relying on Neeson's delivery of Luc Besson and Robert Mark Kamen's downright dodgy script. Even the action misfires with the frenetic fights and chaotic car chases edited in such a way that to concentrate could be guilty of inducing a headache... Shameful for an action film. For a sequel to such a guilty pleasure? Disappointing.

 If taken more seriously and treated like less of a mock-up of itself, Taken 2 could have caught on as a belter. One can’t help but wonder if Megaton refused the almost bloodless 12A route, and instead embraced the opportunity to whet fans' appetites at the thought of a third film whether this could have been the unlikeliest of highly-anticipated sequels... superior to its predecessor. 

Instead, he's found it...and he has killed it.

2/5

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Super 8

2011, 12, Directed by JJ Abrams
Starring: Joel Courtney, Kyle Chandler, Elle Fanning, Noah Emmerich

JJ Abrams is not like the others.

Mystery shrouds everything the director involves himself with. From phenomenal cult television hit LOST to monster-hit Cloverfield, he evidently prides himself in immersing the paying crowds into a pure cinematic experience before they even step foot into the local multiplex. Here we have a man desperate for blockbusters to be made like they used to be; to contain not only quality bang-for-buck action, but distinguished heart through the established characters - in short, films cut from the same cloth as those crafted back in the late 70s and early 80s. Abrams' latest follows a group of teens who are making their own Super 8 zombie film - but after witnessing the derailing of an airforce train, the horror becomes very real as an unknown creature is unleashed into their miniscule unsuspecting town. So far, so very Spielberg; and that's how it remains.

Super 8 is a homage at heart. Reading the plot alone is a reminiscent mixbag of esteemed classics. E.T. meets The Goonies. Stand by Me meets Gremlins. A group of disassociated children. Check. A small town rocked by an other-worldly presence. Check. You would be mistaken for thinking that Abrams was channeling the bearded wonder (especially considering his presence on the producing credit). Regardless, new material is offered here. For instance, unlike E.T's friendly nature, the creature roaming the fictional town of Lilian has no interest in playing nice. On top of this, the central teens' performances are fuelled by pure daddy issues (something spliced throughout Abrams' projects), as opposed to the absence of these figures in the influential films spoken of. The young talent on display is undeniable. Joel Courtney, who seriously deserves lead credit here over Kyle Chandler who plays his weighed down cop father, guides us through events in a convincingly grounded way amidst the ensuing chaos that surrounds him and his friends.

Playing his cards too close to his chest resulted in the Matt Reeves helmed Cloverfield to be bettered by the cryptic promotional trailer, the film dumbed down by the ever-present expectation of glimpsing the creature roaming New York City (a staple of creature features). The cards are dealt out here, albeit with a few jokers in the pack. More time is given to characterisation and intriguing, if a little forced sub-plots (two words: doggy disappearance). It would be plain wrong not to mention Elle Fanning's assured performance also - combined with the spectacular set-piece near the opening, these functions indicate that sighting Super 8's antagonist is not pivotal to the films enjoyability. What Abrams has done for network television he has now done for the summer blockbuster, however not to as large a scale as he could have. Instead of evolving his extreme influence of fellow peers into something overtly original, he veers down schmaltz avenue. Some will lap this up, the mystifying John Williams-esque score (composed by the uber-talented Oscar winning Michael Giacchino) adding to the aesthetic; others will undoubtedly scoff. Whichever it is, respect what Abrams has attempted to achieve. After all, for a man who has officially carved out a successful career, this could just be the tip of the (ice)berg.

4/5

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