![]() big emotion and empathy - and their differences are starkly defined here, albeit with some welcome humor (Urban is once again eerily good at invoking the spirit of the late, great DeForest Kelley).īut everyone else also gets their turn. The two officers have always represented two sides of Kirk’s personality - logic and cool rationalism vs. McCoy (Karl Urban), who spend most of the movie together and cut off from everyone else. They also understand what causes them to tick in a way that makes sense when they are separated and broken down into smaller groups. ![]() Pegg and Jung - and Lin, who proves here that he can handle small character moments as well as he handles tons of crashing vehicles - have a genuine fondness for these iconic characters that seemed absent from Star Trek Into Darkness. The Enterprise launches into action, probing the nebula and coming upon a hidden planet, where the crew and ship fall into a trap sprung by the baleful, malevolent Krall (Idris Elba), an almost classic Trek villain who gradually reveals layers of both his scheme and himself as our heroes struggle to survive and fight back. The original series touched on this in small ways - what it would be like to live with hundreds of others in space for years at a time - but never as succinctly and ambivalently as this.Īfter docking at the Yorktown, a combination space station/interplanetary hub that arches and twists around itself on a giant gravity wheel like something out of Escher - and where both Kirk and Spock (Zachary Quinto) are making some decisions about their respective futures - a ship appears out of a nearby nebula calling for a rescue mission. From that amusing opening we get a somewhat more sober look at the state of the Enterprise crew, including its captain, after nearly three years in space: like life anywhere, it’s a mix of the marvelous and the mundane, the lonely and the loving, with a sly remark from Kirk about the “episodic” nature of their everyday existence. Star Trek Beyond evokes the spirit of the original series better than the previous two films in the so-called Kelvin timeline, getting past the flaws it does have with humor, great character moments, and some nicely placed nostalgia that doesn’t hit you over the head.Īs the film opens, the Enterprise is 966 (Trekkers will grasp the meaning of that number) days into this crew’s five-year mission of exploration - yes, the damn ship finally got away from Earth for this entry - and we catch up with Captain Kirk (Chris Pine) just as he’s getting out of a scrape involving relations with a new alien race. Abrams staying as producer but installing Justin Lin ( Fast & Furious) as the new director, and cast member Simon Pegg and co-writer Doug Jung taking over screenwriting duties from the odious Roberto Orci and Alex Kurtzman, Trek has pivoted back to a simpler, more traditional approach. Following the cynical, ludicrous fan service and paranoid truther politics of the abysmal Star Trek Into Darkness, the franchise has gone through an overhaul and come out the better for it. We had the synthetic stones cut three times to get the striations right and make sure the stone was the perfect width, because, well, you never know how close a close-up is going to be.Aside from everything else, Star Trek Beyond immediately provokes a massive sigh of relief. We wanted the entire piece to look cool and real. “We went crazy into the details of this thing. “One for Zoe, one for her double and one in case something happened to one of the other two.” The resolution to the situation was to find someone who could make a synthetic opal. “We found a beautiful opal but it was too expensive plus we needed to make three,” said Andy. Meanwhile Andy went on the hunt for the right blue gem to set in the jewel. A box chain necklace was sourced and added to the amulet. Next wax models were made for the pendant by a jeweler and transformed into metal that was aged. The concepts were 3d printed in various sizes, shown to the director Justin Lin for approval and tried on Saldana for the fit. In the script written by Simon Pegg and Doug Jung, the necklace had belonged to Spock’s mother so Eaves generated a few designs with a retro Star Trek vibe. The first thing Andy did was enlist illustrator John Eaves, a Trek veteran with experience dating back to the 1989 film Star Trek V: The Final Frontier. “John understands the importance of the Trek visual language,” said Andy. “I can make a space gun almost without thinking about it, but if you want to do jewelry you have to pay attention,” explained Andy Siegal, the prop master on the production, who was reached by phone in Los Angeles.
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