Set Phasers to Awesome: Star Trek Into Darkness Review

Set a course for the nearest movie theater. Maximum warp. Star Trek Into Darkness is the kind of movie for which the term 'summer blockbuster' seems tailor made. From its very first frame to its climatic final showdown(s), Into Darkness is a rip-roaring, frantically paced, non-stop roller coaster ride of a movie that still manages to pack quite a bit of heart and humor into its running length. Don't let the 'Darkness' in the title fool you; this is escapist moviegoing at its best and it's an absolute blast.

Alright, so I'm going to forgo anything remotely resembling a plot description to avoid spoiling any of the major twists and turns that await you. (Believe me, there are plenty and you won't want them ruined and I shall not be the one to do so) Be warned, though, as very, very minor spoilers may await you here.

As many of you already know, I'm a big fan of what Abrams and co. did with the 2009 reboot of Star Trek. It felt like a breath of fresh air, reinjecting the franchise with new life and successfully ushering in a whole new legion of fans who couldn't have cared less about Star Trek previously. It was a superb reimagining of the Trek universe, upping the action while keeping its focus on what has always been Trek's finest staple: its characters. Sure, the long-winded philosophical discussions were all but extinguished, but this was in favor of an excitement level that previous Trek iterations could only dream of reaching.

Star Trek Into Darkness continues this trend, but ups the thrills to even greater heights. It's practically one set piece after the other, each as exhilirating as the last, if not more so. Abrams has a deft talent when it comes to crafting rousing action sequences and he directs these and his cast with unmistakable zeal, keeping things up and running at a breakneck speed that would make Spielberg proud. That's not to say Into Darkness isn't without its fair amount of flaws though. These are largely due to a slightly lazy screenplay coined by the pair who wrote the screenplay for the 2009 reboot: Roberto Orci and Alex Kurtzman, this time joined by Damon Lindelof of Lost fame. I call it slightly lazy because the screenwriting team borrows almost too slavishly from some of the best stories in the Star Trek archives. In fact, some of the movie's most affecting moments are stolen practically beat for beat and line for line from earlier films in the franchise, severely diminishing the emotional impact they seem to be aiming for. It comes across as more of a cheap imitation than a thoughtful homage and it robs Into Darkness of the sense of freshness that marked its predecessor.

But what Into Darkness lacks in storytelling prowess, it more than makes up for in pure spectacle and, most importantly, in developing its characters' relationships, providing the film with much needed heart and soul. As with the previous film, the primary focus relationship-wise is on the bromance between Kirk and Spock. Chris Pine's Kirk is still cocky and headstrong, but there are some new shades to the character as well and some powerful lessons left to be learned here before he can truly earn the title of  'Captain.' Zachary Quinto is, to put it bluntly, totally badass as Spock and I really love what he's doing with the character. He simultaneously honors Nimoy's iconic performance while adding his own unique spin. The chemistry between these two is unmistakable and makes all their scenes together a joy to watch.

Big Baddie John Harrison, played to perfection by Benedict "How 'bout that Baritone?" Cumberbatch, serves as a formidable foe for the Enterprise and her crew and Zoe Saldana continues to make the character of Uhura her own in all sorts of awesome ways. Even Scotty gets some geat moments here and, as far as I'm concerned, the more Simon Pegg you have in a movie, the better. With the exception of these main players, though, the rest of the supporting cast is painfully underdeveloped. Most disappointingly, Karl Urban's McCoy is criminally underutilized and doesn't get to do much more than spout quippy one-liners when the occasion calls for it. Considering how beloved this character is (And his larger role in both the television show and the earlier films), as well as Urban's superb talents, it's kind of a bummer to see 'Bones' reduced to this level. Sulu and Chekhov (John Cho and Anton Yelchin respectively) also struggle for screen time, but thankfully they each get nice moments to make up for it. (One of the best moments in the movie is Chekhov's reaction to Kirk ordering him to don the infamous red shirt) The same can't be said for Alice Eve's character Carol Markus, who serves practically no purpose other than to strip down to her bra and panties to satisfy drooling males the world over. Peter Weller as Carol's father fares a bit better, but still suffers from shallow characterization.

But despite these underdeveloped supporting roles and the screenplay's overreliance on milking previous Star Trek films for their iconic moments rather than paving its own way into a new frontier, Star Trek Into Darkness is pure entertainment from start to finish. Fans should be mostly pleased, depending on how willing they are to go along with Abrams' action-oriented vision for the long-running franchise. Even those who are still sour about this direction will probably have to begrudgingly admit that as far as big-budget, blockbusting entertainment goes, Into Darkness is a huge success.

FINAL RATING: 4/5

Iron Man 3: The First Good Third Superhero Movie

Okay, first and foremost, let's get one big thing out of the way: Iron Man 3 jumps the shark. Multiple Times. As if its life depended on it, really. There are so many moments in Shane Black's take on Tony Stark's universe that I quite simply didn't see coming because they are so outlandish, so utterly absurd, that half the time the movie seemed to be crumbling apart right before my eyes. Somehow, miraculously, it doesn't. In fact, Iron Man 3 is the first third superhero movie I've ever seen that wouldn't qualify as a complete disaster. It's actually pretty darn good and considering all the awful third superhero movies out there that's a pretty enormous accomplishment. It may not be the rousing success that one would hope for following the brilliance of its predecessor The Avengers, but it has enough high-flying entertainment value to distract from its flaws.

At the film's start, Tony Stark (Portrayed by the always magnetic and brilliant Robert Downey Jr.) is deeply unsettled, his slumber interrupted constantly by dreams of the alien attack on NYC that took place in The Avengers. He copes with his unstable psyche by building countless Iron Man suits, including a pretty spiffy new one that bombards him piece by piece until he's completely armored up - Though it doesn't always work as well as intended. His girlfriend Pepper Potts (Gwenyth Paltrow) doesn't take too kindly to these distractions or his refusal to address his psychological issues. Naturally, their relationship is starting to show signs of strain. Mr. Stark's life becomes more complicated when a mysterious terrorist known as The Mandarin (Ben Kingsley, awesome and bizarre in ways you won't quite see coming) begins setting off bombs in various locations, spreading chaos wherever he can. After one of his companions is seriously injured by one of the Mandarin's attacks, Stark takes it upon himself to take down The Mandarin personally. He also clashes with Aldrich Killian, a scientist who has quite the vendetta against Stark as a result of an encounter they'd had nearly a decade prior in which Stark completely blew him off. When The Mandarin retaliates against Stark by attacking his home, Stark embarks on a quest to find him and defeat him once and for all!

It seems pretty straightforward, right? I assure you it's not. Iron Man 3 wriggles its way out of every possible comic book movie convention and any other expectations you might have, sometimes to the point of utter ridiculousness and regularly at the expense of legitimate drama. I don't want to spoil anything for anyone, but there were numerous moments that caught me completely off guard. Some walk the very, very narrow line between funny and just pure camp. Despite this, the movie never falls apart completely, even when it comes dangerously close to doing so. In fact, I think it's best if one enters the movie with the expectation that it'll be a comedy with great action sequences. Does that sound a bit odd? Well, it shouldn't if you've seen Shane Black's other work in Lethal Weapon and Kiss Kiss Bang Bang.

And might I also add that I am thrilled to see that Black is back in action in such a big way. His screenplay for Iron Man 3 (coined with Drew Pearce) is full of zippy dialogue and frequent laugh-out-loud punchlines.
This is easily the funniest of the three Iron Man films and the movie's pace is brisk and upbeat, but the focus on zaniness comes at the expense of emotional depth or character development. Black's direction during the action sequences can also be a bit chaotic to the point where it's difficult to discern what's actually happening. It doesn't quite reach Quantum of Solace levels of awful action direction, but it comes a bit too close for comfort at times. Still, he gets it right more often than not. Especially during a daring airborne rescue in which Iron Man, only capable of carrying four passengers at one time, must rescue eleven or so after they've been sucked out of an airplane. It's edge of your seat excitement and easily the film's most thrilling moment. There's also a great subplot involving a young lad helping Stark repair his armor. It works because it never resorts to cloying, manipulative lameness that most scenes involving young kids seem to demand. In fact, some of the best moments come from Stark's interactions with this kid.

There are, however, plenty of subplots and supporting characters that don't work nearly as well. Guy Pearce gives it his all as Tony Stark's foe Aldrich Killian, but despite his Bond villian-esque charm, there's only so much he can do with such a two-dimensional character. Another pointless subplot involving a woman Tony had a one night fling with (Rebecca Hall in a rather forgettable supporting role) is superflous, muddled and, in one particular scene, threatens to bring the film's breakneck pace crashing down. Poor James Rhodes (Don Cheadle) is also shoved to the side for most of the proceedings until the epic finale. But, Cheadle is awesome when he gets his moments to shine.

Despite its flaws and mostly tongue-in-cheek nature, Iron Man 3 succeeds far more than it doesn't mainly due to the talents of Robert Downey Jr. and Shane Black's unique take on the superhero mythos. It never quite reaches the high bar set by the first Iron Man and doesn't come remotely close to touching The Avengers, but it's harmless summer action movie fun and gives me renewed hope for the future of the Marvel universe.

FINAL RATING: 3.5/5