Star Trek VI: The Undiscovered Country
I'll say this up front: Undiscovered Country is my favorite Star Trek movie of all. I'm a sucker for continuity and closure, I like a good balance between action and introspection, and I love it when every character gets a chance to shine. This movie delivers on all counts.
Undiscovered Country starts with a literal bang: the Klingon moon of Praxis explodes in glorious fashion, and the USS Excelsior is swept along in the shockwave. It makes sense that one of the Enterprise crew would eventually be promoted to Captain, and it's delightfully fitting that Sulu commands the Excelsior, following through on a little bit of optimistic foreshadowing in Search for Spock and Voyage Home. We get a taste of Sulu's command style, and it's thrilling to see him go from completely off guard to completely in command in a matter of seconds. Sulu's incredulity at the end of the scene brings a touch more humanity to the situation; little moments like this keep the movie fun despite its seriousness. Overall, the opening scene does a terrific job of setting the tone for what's to come.
The next scene reunites the rest of our heroes, and it's clear that they've all started to move on from being the cohesive unit we remember from TOS. They're chairing seminars at Starfleet Academy and planning for retirement and being real people, people who are only really being brought together for one last hurrah because of a situation that ties in with their past together. The Enterprise crew has a history with the Klingons, most of all Kirk; if anybody's going to prove that a truce can work, it's them. The briefing they attend establishes one of the main themes of the movie: prejudice—or perhaps more accurately, fear of the unknown. Kirk and Cartwright are strongly against the idea of helping the Klingons, but their position is sympathetic. We know what the Klingons are like, and Kirk hasn't forgotten how his son was murdered by them. This would be a difficult assignment to begin with, but Kirk is already starting to feel like the galaxy owes him one ("We've done our bit for king and country"), and nobody wants to come out of near-retirement to risk dying on a fool's errand. At the same time, this catastrophe has shaken the Klingons to the point of virtually surrendering to the Federation. When an entire civilization pleads for help, what kind of monster must you be to refuse? This scene subtly provides a foundation for the notion that the true villain of the movie isn't any one individual, but rather an ideology that brings good people into conflict with each other. Great stuff.
Moments later, we are introduced to Lieutenant Valeris. I like the role she plays in the story—as an inexperienced outsider, she helps highlight the expertise and strong rapport of the established TOS characters; as Spock's protégé, she represents the hope as well as the danger of passing the reins to someone else. My only disappointment with Valeris is that she's not secretly a Romulan, or at least heavily influenced by Romulan philosophy. I can accept that a Vulcan might reach a logical conclusion about preserving peace with an assassination plot, but there's not quite enough explanation to fully persuade me that this was an entirely Vulcan thing to do. Romulan would be a better fit for the evidence (and would also add some delightful irony to McCoy's "She's a Vulcan, alright" line at the beginning). I mean, she even knows about a stash of Romulan Ale on board the Enterprise...
After a brief interlude of character development (which, for Kirk, is also a cleverly surreptitious setup for a major plot point), we meet the next round of major players in the story: Gorkon, Chang, Azetbur, and the rest of the Klingon delegation. I appreciate how tense and awkward the Enterprise crew is about meeting them, and little nuances (like Kirk's line about never being so close to a Klingon vessel) highlight how surreal it is to suddenly invite your enemies over for a friendly visit. I also appreciate that Gorkon and Chang represent opposite sides of the diplomatic coin: the former is genuinely invested in peace, and the latter still thirsts for war, yet they both seem equally willing to work with the Federation. The dinner party goes poorly for all the right reasons, and I'm even OK with the choppiness of the dialogue in that scene. It sounds to me like there were some deleted lines or last-minute script changes, but the uneven flow of the conversation makes sense for two groups of people who don't know how to talk to each other, especially if you view the scene as a series of snapshots from the dinner party.
A little bit of hangover humor lightens the mood before two torpedoes make a bad diplomatic situation considerably worse. The characters' shock and confusion is palpable, and the rapid progression of the assassination attempt, the Enterprise surrendering, McCoy being unable to save Gorkon, and McCoy and Kirk getting arrested sets up an excellently layered "How are they going to get out of this?" situation. The Pepto-Bismol floating in zero gravity is pretty cool, too.
From here, we get to see three different aspects of the aftermath: Kirk and McCoy's trial and sentencing, Spock's investigation of the attack, and the greater political ramifications. I like how Azetbur proves to be the middle ground between her father and Chang—she fights for a broader peace while demanding personal vengeance. I also like that Sarek's diplomatic position isn't overlooked, even though he's not really involved in the story. I'm normally not a fan of crime dramas, and I've had more than my fill of stories involving rescue attempts and prison breaks, but I enjoy this section of the movie because it stays focused on the characters. The trial, investigation, escape, and rescue are all driven by the skills and personalities of the people involved, and I love how all the different plot threads pull together to weave the final act. On top of all that, I'm a sucker for ice planets and shapeshifters.
The conclusion of the movie is, in my book, the most satisfying of any Star Trek film. The banter between Kirk and Martia when they're fighting, and that moment of suspense when you're not sure which one's been vaporized. Space combat where Excelsior and Enterprise work together to outsmart and outgun Chang, who's wanted a fight like this since the beginning, and who dies as poetically as he lived. The tension of whether or not the crew will stop the assassination attempt in time, and Scotty—my second-favorite character in the entire franchise—takes down the assassin single-handedly. The big reveal that Starfleet was in on the conspiracy. The dénouement that shows both sides are able to overcome their prejudices. A fond farewell to the Enterprise and her crew, with the actors effectively autographing the film for the viewer. I love this movie.
I only have a handful of complaints, but they're obviously not substantial enough to sway my opinion of the film. For starters, It's hard to believe that Uhura would be rifling through a huge pile of printed books for Klingon phrases. I know the movie was made before e-books and translation websites took off, but surely some of that information would have been in the Enterprise computer. Heck, she could've used the universal translator to translate some sentences for her, then memorize how to pronounce them and recite them back to the Klingons. It's a funny scene, but it breaks my suspension of disbelief now that I've thought about it too hard.
Valeris seems more helpful in the investigation than she should be. On the one hand, she could be winning Spock's trust without giving away anything he wouldn't figure out on his own; on the other hand, I don't get the sense that she's doing a good job of hiding anything, aside from one or two times where she changes a potentially incriminating conversation topic. Personally, I would've made the magnetic boots disappear in a "transporter accident" and altered the transporter log to hide the deed. I also would've liked a little more overt explanation of the logistics of the conspiracy; we know who was involved, but not a lot is said about how they were involved. However, I mentioned that I don't care for crime dramas (and I'm not big on political intrigue, for that matter), so it might be that I'm unaccustomed to filling in the gaps in a story like this.
Although all the heroes make a meaningful impact on the story, I feel like McCoy doesn't get to shine as brightly as the others. As the ship's doctor, he fails to save his only patient, gets arrested for it, and is belittled for it in front of an entire courtroom. As Kirk's friend and moral compass, he delivers maybe three lines of encouragement on Rura Penthe, but it sounds like Kirk has already organized his thoughts without McCoy. His biggest accomplishment is modifying the torpedo that destroys Chang's ship, but even that is under the direction and supervision of Spock.
Regardless of these and any previously stated issues, Undiscovered Country remains my favorite film in the franchise. The pacing and story progression are spot-on, and the action scenes are as engaging and memorable as the interpersonal scenes. The new characters add some interesting depth to the universe, and the returning characters all have ample screen time on their final outing together. The theme of confronting the unknown—whether it's a future you're afraid of or people you don't understand—is thoughtfully woven into the dialogue. The subject matter is satisfyingly weighty for a conclusion to a series, but there's enough levity to keep the seriousness from becoming depressing, and it happens organically because of the characters involved. The performances are believable; there are several great lines delivered by the entire cast; and the makeup, costumes, and sets look as good as ever. Then there's the music—a dynamic soundtrack that's brooding, quietly intense, rough-and-tumble, heroic, and urgent in all the right places. So good on so many levels.
[Last updated July 31, 2017]
Undiscovered Country starts with a literal bang: the Klingon moon of Praxis explodes in glorious fashion, and the USS Excelsior is swept along in the shockwave. It makes sense that one of the Enterprise crew would eventually be promoted to Captain, and it's delightfully fitting that Sulu commands the Excelsior, following through on a little bit of optimistic foreshadowing in Search for Spock and Voyage Home. We get a taste of Sulu's command style, and it's thrilling to see him go from completely off guard to completely in command in a matter of seconds. Sulu's incredulity at the end of the scene brings a touch more humanity to the situation; little moments like this keep the movie fun despite its seriousness. Overall, the opening scene does a terrific job of setting the tone for what's to come.
The next scene reunites the rest of our heroes, and it's clear that they've all started to move on from being the cohesive unit we remember from TOS. They're chairing seminars at Starfleet Academy and planning for retirement and being real people, people who are only really being brought together for one last hurrah because of a situation that ties in with their past together. The Enterprise crew has a history with the Klingons, most of all Kirk; if anybody's going to prove that a truce can work, it's them. The briefing they attend establishes one of the main themes of the movie: prejudice—or perhaps more accurately, fear of the unknown. Kirk and Cartwright are strongly against the idea of helping the Klingons, but their position is sympathetic. We know what the Klingons are like, and Kirk hasn't forgotten how his son was murdered by them. This would be a difficult assignment to begin with, but Kirk is already starting to feel like the galaxy owes him one ("We've done our bit for king and country"), and nobody wants to come out of near-retirement to risk dying on a fool's errand. At the same time, this catastrophe has shaken the Klingons to the point of virtually surrendering to the Federation. When an entire civilization pleads for help, what kind of monster must you be to refuse? This scene subtly provides a foundation for the notion that the true villain of the movie isn't any one individual, but rather an ideology that brings good people into conflict with each other. Great stuff.
Moments later, we are introduced to Lieutenant Valeris. I like the role she plays in the story—as an inexperienced outsider, she helps highlight the expertise and strong rapport of the established TOS characters; as Spock's protégé, she represents the hope as well as the danger of passing the reins to someone else. My only disappointment with Valeris is that she's not secretly a Romulan, or at least heavily influenced by Romulan philosophy. I can accept that a Vulcan might reach a logical conclusion about preserving peace with an assassination plot, but there's not quite enough explanation to fully persuade me that this was an entirely Vulcan thing to do. Romulan would be a better fit for the evidence (and would also add some delightful irony to McCoy's "She's a Vulcan, alright" line at the beginning). I mean, she even knows about a stash of Romulan Ale on board the Enterprise...
After a brief interlude of character development (which, for Kirk, is also a cleverly surreptitious setup for a major plot point), we meet the next round of major players in the story: Gorkon, Chang, Azetbur, and the rest of the Klingon delegation. I appreciate how tense and awkward the Enterprise crew is about meeting them, and little nuances (like Kirk's line about never being so close to a Klingon vessel) highlight how surreal it is to suddenly invite your enemies over for a friendly visit. I also appreciate that Gorkon and Chang represent opposite sides of the diplomatic coin: the former is genuinely invested in peace, and the latter still thirsts for war, yet they both seem equally willing to work with the Federation. The dinner party goes poorly for all the right reasons, and I'm even OK with the choppiness of the dialogue in that scene. It sounds to me like there were some deleted lines or last-minute script changes, but the uneven flow of the conversation makes sense for two groups of people who don't know how to talk to each other, especially if you view the scene as a series of snapshots from the dinner party.
A little bit of hangover humor lightens the mood before two torpedoes make a bad diplomatic situation considerably worse. The characters' shock and confusion is palpable, and the rapid progression of the assassination attempt, the Enterprise surrendering, McCoy being unable to save Gorkon, and McCoy and Kirk getting arrested sets up an excellently layered "How are they going to get out of this?" situation. The Pepto-Bismol floating in zero gravity is pretty cool, too.
From here, we get to see three different aspects of the aftermath: Kirk and McCoy's trial and sentencing, Spock's investigation of the attack, and the greater political ramifications. I like how Azetbur proves to be the middle ground between her father and Chang—she fights for a broader peace while demanding personal vengeance. I also like that Sarek's diplomatic position isn't overlooked, even though he's not really involved in the story. I'm normally not a fan of crime dramas, and I've had more than my fill of stories involving rescue attempts and prison breaks, but I enjoy this section of the movie because it stays focused on the characters. The trial, investigation, escape, and rescue are all driven by the skills and personalities of the people involved, and I love how all the different plot threads pull together to weave the final act. On top of all that, I'm a sucker for ice planets and shapeshifters.
The conclusion of the movie is, in my book, the most satisfying of any Star Trek film. The banter between Kirk and Martia when they're fighting, and that moment of suspense when you're not sure which one's been vaporized. Space combat where Excelsior and Enterprise work together to outsmart and outgun Chang, who's wanted a fight like this since the beginning, and who dies as poetically as he lived. The tension of whether or not the crew will stop the assassination attempt in time, and Scotty—my second-favorite character in the entire franchise—takes down the assassin single-handedly. The big reveal that Starfleet was in on the conspiracy. The dénouement that shows both sides are able to overcome their prejudices. A fond farewell to the Enterprise and her crew, with the actors effectively autographing the film for the viewer. I love this movie.
I only have a handful of complaints, but they're obviously not substantial enough to sway my opinion of the film. For starters, It's hard to believe that Uhura would be rifling through a huge pile of printed books for Klingon phrases. I know the movie was made before e-books and translation websites took off, but surely some of that information would have been in the Enterprise computer. Heck, she could've used the universal translator to translate some sentences for her, then memorize how to pronounce them and recite them back to the Klingons. It's a funny scene, but it breaks my suspension of disbelief now that I've thought about it too hard.
Valeris seems more helpful in the investigation than she should be. On the one hand, she could be winning Spock's trust without giving away anything he wouldn't figure out on his own; on the other hand, I don't get the sense that she's doing a good job of hiding anything, aside from one or two times where she changes a potentially incriminating conversation topic. Personally, I would've made the magnetic boots disappear in a "transporter accident" and altered the transporter log to hide the deed. I also would've liked a little more overt explanation of the logistics of the conspiracy; we know who was involved, but not a lot is said about how they were involved. However, I mentioned that I don't care for crime dramas (and I'm not big on political intrigue, for that matter), so it might be that I'm unaccustomed to filling in the gaps in a story like this.
Although all the heroes make a meaningful impact on the story, I feel like McCoy doesn't get to shine as brightly as the others. As the ship's doctor, he fails to save his only patient, gets arrested for it, and is belittled for it in front of an entire courtroom. As Kirk's friend and moral compass, he delivers maybe three lines of encouragement on Rura Penthe, but it sounds like Kirk has already organized his thoughts without McCoy. His biggest accomplishment is modifying the torpedo that destroys Chang's ship, but even that is under the direction and supervision of Spock.
Regardless of these and any previously stated issues, Undiscovered Country remains my favorite film in the franchise. The pacing and story progression are spot-on, and the action scenes are as engaging and memorable as the interpersonal scenes. The new characters add some interesting depth to the universe, and the returning characters all have ample screen time on their final outing together. The theme of confronting the unknown—whether it's a future you're afraid of or people you don't understand—is thoughtfully woven into the dialogue. The subject matter is satisfyingly weighty for a conclusion to a series, but there's enough levity to keep the seriousness from becoming depressing, and it happens organically because of the characters involved. The performances are believable; there are several great lines delivered by the entire cast; and the makeup, costumes, and sets look as good as ever. Then there's the music—a dynamic soundtrack that's brooding, quietly intense, rough-and-tumble, heroic, and urgent in all the right places. So good on so many levels.
[Last updated July 31, 2017]