a5c7b9f00b With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Devicethe ultimate weapon.
It is the 23rd century. Admiral James T. Kirk is an instructor at Starfleet Academy and feeling old; the prospect of attending his ship, the USS Enterprise–now a training ship–on a two-week cadet cruise does not make him feel any younger. But the training cruise becomes a deadly serious mission when his nemesis Khan Noonien Singh–infamous conqueror from late 20th century Earth–appears after years of exile. Khan later revealed that the planet Ceti Alpha VI exploded, and shifted the orbit of the fifth planeta Mars-like haven. He begins capturing Project Genesis, a top secret device holding the power of creation itself, and schemes the utter destruction of Kirk.
This film is a bit dated, but it still holds up dramatically. The effects are decent, the small CGI vignette still has a certain charm to it, but some of the other predictions of future technology don't quite hold up. Even so, it's a good film unto itself.<br/><br/>One of the amazing things about this movie is that it's formulaic, skimps on production values, is essentially a made for TV movie, but holds its own in a theatrical exhibition. It is, classic Trek at its best in a then contemporary setting.<br/><br/>Our favorites are back,wellsome long lost familiar names. We have a Herman Melville like theme undulating here, and some challenges of life itselfour characters face transitions.<br/><br/>Even though there's a kind of relativism operating here, Trek maintains a traditional white-hate/black-hat zeitgeist to keep our allegiances to the characters we know and love.<br/><br/>There's action, there's resurrection of old wounds, there's vendettas, there's anger, there's passion, and, of course, the U.S.S. Enterprise and her outstanding crew.<br/><br/>Kirk's character was rewritten for this particular production. His values and sense of worth are not translated from the TV series, but Shatner is in the role, so we buy into the bravado of a Captain Kirk that never was. Fortunately the triumvirate of his logical and emotional sides with himthe head of the pyramid, still resound with audiences. We again witness reason from Spock clash with feelings from Bones in this installment, and are reassured that the three are friends regardless of their differences. In fact, they have to be.<br/><br/>On that note there's a deeper lesson operating here. JustKirk must let go of his gamesmanship to embrace his inner adulthe lets go of his inner child, so it is that that one character who helped him and crew through so much turmoil and challenges in the past, and fought with logic and a good heart behind that reason, so it is that a human being is not a computer, and that the binary decision making process that characterizes Vulcans (or Vulcanians) is not normal for human beings. Kirk, in this installment of Trek, is still a little boy, albeit aged and feeling old, he is a gamer at heart, and used his superior intellect to meet and conquer all challenges with the help of his best friend. But even best friends, no matter how tough, strong, resilient and seemingly indestructible and powerful, are, after all, only mortal. And so it is with Spock.<br/><br/>All men eventually grab a mate and shed the trappings that entertained themboys. All men realize that they must live life. It is so with Kirk and the rest of the crew of the Enterprise,it is with all beings everywhere, from the depths of oceans, to frigid, arid, and plush elevations, to high altitudes and beyond. We only live once, and so we must live that lifebestpossible. It may be that Kirk read Marcus Aurelius, but needed his friends to help give him a kick forward to see his pathman, and not justa starship captain.<br/><br/>Again, so it is with Kirk and crew.<br/><br/>For me, this was the final "episode" of original Trek. All the stuff that came afterwards was essentially filler for a void that needed creating. You can only rely on old staples from your youth for so long. That's kind of the message hereKirk grapples with an old nemesis whose hatred blinds him so much that he misses a golden opportunity. Kirk, in a sense, puts down another man's anger by letting go that which has been with him for so long.<br/><br/>We lose something here, but then again, it is space; the final frontier.<br/><br/>Enjoy.
(Note: Based on the Director's Edition version.)<br/><br/>If Star Trek: The Motion Picture was the Star Trek film based more on the original TV series philosophical side, then the second would, perhaps, be considered the Star Trek film more in line with the action oriented side of the series. Yet while seeming to be action based, Star Trek II: The Wrath Of Khan would also have some of the series most dramatic momentswell. The result of this, in the hands of director Nicholas Meyer would be the best of the Star Trek films.<br/><br/>To begin with the acting is pretty solid. The performances from the original series cast members are all well done especially int he cases of William Shatner, Loenard Nimoy and DeForest Kelly. In particular Shatner and Nimor get some fantastic scenes together including one of the best staged and moving farewell death scenes in film history (even if it is only temporary). Also of special mention is the performance of James Doohan whose performance gets some additional (and excellent) material in the director's edition DVD version. Plus there are also good performances from other cast members including Kirstie Alley in her film debut and Bibi Besch amongst others. Then there is the villain…<br/><br/>Ricardo Montalban's performanceKhan, in my opinion anyway, is one of the all time great film villain performances. While Montalban had made quite an impact with the character int he original 1967 TV episode that performance was just the tip of what this film would reveal to the character. It's a layered performance with echoes, both in writing and in performance, to characters like King Lear and Capatin AhabKhan is revealed to be more then a genetically engineered superman in exile but a man driven to vengeance at any cost (hence the title). Khan's face-off's with Kirk are pieces of acting that focus your attention onto him which is even more incredible considering that the two characters (and presumably the actorswell) never come face to face int he film but spend the entire film facing off against each other via screens and communicators. It speaks to the power of a performance when despite that fact, the villain comes acrossa real and imposing threat to the film's other characters.<br/><br/>The film's special effects also remain top notch. This film remains a prime example of the power of pre-CGI visual effects not only with ships in flight but with the still visually striking battle sequences and things like the Mutara Nebula sequence and the formation of the Genesis Planet. The film also makes nice reuses of some of the effects footage from the first Star Trek filmwell which, for once in a case of footage reuse, doesn't make the film look cheap at all. All in all it's rather impressive material coming out of a film that is fast approaching its third decade of existence.<br/><br/>If the success of this film can really be credited to any single person it would be Nicholas Meyer. Despite Jack B. Sowards and executive producer Harve Bennett being creditedthe writers of Star Trek II it was Meyer who did the (uncredited) massive re-write that brought together the filmit is. Whiel the script is firm in placing the film into being a science fiction action film, the film also a philosophical sidewell. yet unlike its predecessor, the second Star Trek film is philosophical not about what's out there but about the human conditionit covers (without hopefully sounding cliché) the full range of the human condition including the emotional need for revenge, youth, knowledge vs experience, aging, morality, regrets and, most famously, death. Perhpaos the greatest example of this is the films use of the opening and closing liens from Dickens A Tale Of Two Citieseffective bookends to the film. Meyer also makes use of the film's rather limited budget to effectively create a vision of life in the 23rd century and the result is that this film, perhaps more then any other of the Star Trek film, seems to occupy a real world thanks to Meyer's direction of people ranging from cinematographer Gayne Rescher to costume designer Robert Fletcher and the set designs of Joseph R. Jennings. Meyer proves that it is story, not just good effects, that makes good science fiction work.<br/><br/>There is also the film's score. Then newcomer James Horner faced quite a challenge in trying to create a score that followed on from Jerry Goldsmith's masterpiece for Star Trek: The Motion Picture. Yet Horner proved up to the task with pieces suchhis main title music, the theme of the Enterprising leaving space dock (which reused the same footage that Goldsmith had scored to in Star Trek: The Motion Picture), the battle in the Mutara Nebula and the film's emotional finale. Whiel ti may lack the sound of the size of orchestra that Goldsmtih had Horner's score still has the power to add great emotional nd tension to any scene it accompany. Indoing so, Horner kicked off a career that continues to this very day.<br/><br/>Star Trek II: The Wrath Of Khan is the best of the Star Trek films. Why you may ask? Well with fine performances, a great villain, impressive special effects, a nice script, the direction of Nicholas Meyer and a score by James Horner it what every Trek film has had to live up to. It is a film that ismuch about the human conditionit is about action and is all the better for it. That's why it is.
While not significantly better or worse than the predecessor, a rather astounding object of devotion for a movie studio–an enormously expensive recreation of a moribund TV series–this sequel is perfectly presentable and harmless, a klunkercomfortableyour easy chair. [4 June 1982, p.D1]
The Director's Edition contains numerous additional sceneswellextended and alternative shots deepening the character's relationships. Violence was not extended. Surak was a Vulcan philosopher who largely invented Vulcan culture and is considered the greatest individual of their history. More info can be read here. The writers probably included Suraka nod to longtime Star Trek fans who would recognize the name, unlike the more non-Trekkie people who saw the film when it was first released. David meant that Kirk had never faced the death of someone truly close to him. It's a running theme throughout the movie that Kirk has never had to watch a friend like Spock die in his presence and so Kirk has never had to deal with the extreme sadness and depression that others around him have experienced.
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