Abrams always gets to the emotion of characters before his projects take off into the action arena. It is why audiences care about Sydney Bristow on Alias or the women of Lost. He creates a compelling and charismatic bond with the female audience. Star Trek's opening sequence proves that fact.
There's the obligatory action sequence that lures the viewer effectively into the world. But where Abrams triumphs in his Star Trek is when the sound of the action fades away and the swelling strings bring deeper emotion to an already emotional scene. The film is barely 6-minutes old and its heart is beating at full force.
Abrams is the creative mastermind behind Felicity and that attachment the audience felt for Felicity and her world is the same on any Abrams' project. Star Trek is no different. In fact, amongst the explosive-fast action sequence, one cannot help but pull for the characters onscreen.
Sure, they may be named Captain Kirk and Spock, Uhura and Sulu, but in the mind of Abrams, their resonances burns beyond the screen. As each character is introduced there is an instant back-story of history that gets no where in the way of the new millennium Star Trek.
Two pillars anchor the action — personality-wise and through Abrams' patented jaw-dropping action. There is the Captain in Kirk and his cross-universe cohort in the alien Vulcan named Spock. In Kirk, Star Trek 2009 gets a brooding star in Chris Pine. His steely blue eyes are indicative of his power to grab the reins of the Enterprise and serve as the captain of an entire film franchise.
Stealing the entire film in a manner that he cannot help is Zachary Quinto as Spock. The Heroes villain was born to portray Spock's younger self. Star Trek may not have William Shatner for any cameos or storyline reference, but they have a new Kirk in Pines that is fit to carry on the William T. Kirk legacy. But, the unbelievably of lightning striking twice has occurred in the discovery of Quinto and his Star Trek 2009 Spock.
From his eyebrow curls to resilient control of emotions that is inherently required of his character. Simmering just below the surface of Quinto's performance is a Spock that keenly feels the power of emotion while possessing the restraint of a higher intelligence that 99-percent of the time allows Spock to control the power that drives every human.
Whether the character incarnation of Sulu or Uhura, there is history in tackling these two iconic television roles.
Zoe Saldana was perfect casting for Abrams in his demanding search for Star Trek's next communications expert. Watching her tete-a-tete with Pine's Kirk is a study in romantic rejection. John Cho perfects his Sulu as the film professes in its first act. When asked his fighting specialty, he quips, "fencing." After the audiences finishes laughing and adding a few thousand frames, Cho is wielding a sword in an individual battle that is integral to the entire film's By the time he rips his sword for battle with the fate of everyone in the film in the balance, Cho is a perfected warrior.
When Star Trek first debuted on the pop culture landscape in the mid-sixties, creator Gene Roddenberry had crafted a rarity in television — a racially and gender balanced cast for its day. Sure, William Shatner's Captain Kirk was a white male. Kirk's Star Trek crew contained prevalent characters of all walks of life. An African-American woman shared the deck with the crew at the heart of the Enterprise's journeys. In the middle of the Cold War, there was a Soviet-era sounding Russian named Chekov and there was one of the first Asian characters of power on TV in George Takei's Sulu.
Reflecting the world that surrounds us in 2009 where America has elected its first African-American president, I can think of no better film to truly kick off the first Barack Obama post-election summer movie season than Star Trek.
Star Trek too says, â€˜working together -- yes we can!'
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