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[CRITICAL] STAR TREK WITHOUT LIMITS

The first returns of the american press were still good. And it was hoped that STAR TREK WITHOUT LIMITS to put an end to a long series of blockbusters without any real success – animation movies aside, the last major success dates back to Captain America : Civil War, see our article. Yet on these two points (the quality film and the box office), the third installment of the reboot of the saga of Star Trek was not convinced. After ten days of operation on american soil, the numbers are not terrible, with a sharp decline in the second week (-59%) and barely 105M$ made for a budget of 185M$. And the space adventure long-awaited is clearly not at the rendezvous.

Not necessarily the fault of the change of director – J. J Abrams has left his place to Justin Lin for being “only” producer of the film – the latter offering a show is honest and entertaining, in spite even of a feeling of too full sometimes. The problem of STAR TREK WITHOUT LIMITS comes simply from its limits scriptwriting.

Yet to see the name of Simon Pegg (actor AND co-writer of Shaun of the Dead, Hot Fuzz, Paul, The Last pub before the end of the world) associated with the writing of the screenplay of STAR TREK had something to promise. But it is clear that the option Pegg, preferred to Alex Kurtzman and Roberto Orci , who were able to breathe new life into the saga on the two previous episodes, has not been successful. Simon Pegg (and Doug Jung) propose a scenario closer to an episode of a series feuilletonnante that movie. An episode that can completely replace another, noticeable by the evolution of minimal characters, and a plot reduced to the most simple. Certainly to offer to fans of the first time an episode that is potentially more faithful to the tv series, but in terms of film product has trouble functioning.

Roughly, the crew of the Enterprise falls on the terrible Krall (Idris Elba), and must stop him before he destroys the space station Yorktown. Why does he do this ? And because it is wicked, neither more nor less. Certainly a revelation about the character of Krall will offer a bit more depth to his act… But not going to sufficiently develop the questions it raises, yet very relevant (a military point of view, recalling distantly that could evoke Good Kill ofAndrew Niccol), the film settles for the minimum in this story.

“An episode that can completely replace another, noticeable by the evolution of minimal characters, and a plot reduced to the most simple. “

Also STAR TREK WITHOUT LIMITS continues to discuss the same issues for its main characters. Or rather to two of them, the film is still focused on Kirk (Chris Pine), and to a lesser extent on Spock (Zachary Quinto). The latter therefore had marriage problems with his girlfriend Uhura (reduced to a minimum of scenes), while Kirk considered leaving Starfleet. Not much else to be put in the tooth. Questions internal just raised, and protagonists, which evolve in a manner so furtive that one comes to wonder if the film contains a really of the main characters, and not a handful of extras, just good to let go of a few good jokes well felt (Scotty and McCoy are loading efficiently).

Remains then the action is expected. Although starting on a false pace (no introduction grandiose), Justin Lin offer, after a good half an hour when same, a succession of action scenes, car chases (by foot or ship) and shooting the laser to the less successful. Wielding his camera in all directions (sometimes too much) with the help of very good digital effects, the director plunges us into the heart of a great eight spectacular. A pity that, after mastering the technique, the final result appears after hit without flavor. Because it is difficult to feel a real empathy for the protagonists and thus to fully experience the intensity that the director is back to give STAR TREK WITHOUT LIMITS. An episode which, even if it remains honourable, and doing in the entertainment, is not a less anecdotal.

Stone Siclier

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