The earth is shaken by a series of terrorist attacks carried out by a mysterious man linked to the star fleet. Institutions waver and war is ever closer. To hunt him down, Captain James T. Kirk and his entire crew are called.
Excuses accepted, let's move on.
The risk of making mistakes or losing parts of the audience is very high when attempting to touch the universe of Star Trek, the first film by J.J. Abrams was too bold, the race to reinvent took over the director who gave life to an apocryphal film, too far from that feeling that permeates the Trekker universe. Then the explosion of Vulcan, Spock's home planet, too gratuitous and unjustified to go unnoticed. Time corrects the bad starts and perhaps the "genius" Abrams has understood that a film is not beautiful just because there are many spectacular sequences,
besides "Star Trek" is not like the cousin of the "galaxy far, far away". Star Trek is content, narration, and action, subtracting one of these variables would make the concept that is at the base of the vision of its creator Gene Roddenberry explode. Therefore, you need to know how to calibrate everything, dose the components with alchemical wisdom, subtract and add elements in coherence with those that preceded them. In this second film, there is much of that original formula, J.J. Abrams has done a good job, continuing the saga of the alternative universe of "Star Trek" and returning very close to the original spirit. Introspective scenes, special effects functional to the story, and well-characterized characters, long monologues, and the much-loved high-level meetings that make "Star Trek" what it is and not something else. Everything updated with wisdom and moderation.
Zachary Quinto as Spock is much more convincing than he was in the previous film,
he clowns around much less and almost correctly interprets the role that in the past was Leonard Nimoy's.
The strong point of "Star Trek – Into Darkness" is the presence of two very convincing villains who directly link to the classic series and the numerous television incarnations of "Star Trek". Khan was a bold choice, it takes a good dose of audacity to retake the exploits of a character who is beloved by fans and who gave life to the most beautiful film of the entire original series, "Star Trek 2: The Wrath of Khan". The sortie succeeds, also because the story is rewritten within the story, keeping the human and emotional coordinates fixed while varying the events. Khan directly connects to the second villain, a member traceable to Section 31, a deviated organization within the star fleet, who turns out to be even more enigmatic than the historic enemy and interpreted by a Peter Weller in a state of grace. The story proceeds with deliberation, a visit to the world of the Klingons,
a dark and post-apocalyptic planet, where entire areas are uninhabited and the skies crossed by hawks that seem to come from the universe of Terminator. The Klingon Empire, even if only hinted at, is present throughout the film, the cold war dictates its agenda, and the political-military choices revolve around this central and indispensable fact to understand the entire saga invented by Gene Roddenberry.
This time it went well, we can breathe a sigh of relief, the film is successful.
For those who wanted to write the epitaph of Star Trek, because it's too old, too exploited, too out of time, or simply because nothing lasts forever so it's better to end it, with this film they can reconsider and put their soul at peace.
Long live and prosperity to Star Trek.
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