Book Review: Psycho (Robert Bloch)

Every good thriller needs a threat, and what could be more threatening than a 40-something-year-old man and his mommy? Turns out this can be scary as hell when you dig into the minds of both and unearth pure psychosis.

Chances are you may already know this story and its characters--this novel was adapted to film faithfully in 1960, becoming one of the most famous horror pictures of all time. In its original incarnation, the Psycho novel hits a lot of the same story beats as the film, but a little differently. The famous shower scene happens much earlier (largely because the book takes much less time tracking Mary Crane's story arc). This story circles around Norman Bates, a lonely, overweight, geeky middle-aged man struggling to keep his unassuming motel in business. And his life seems to be ruled by a domineering mother, who would do anything to keep Norman safe and keep him away from the amoral temptations of women. Including murder. So when Mary Crane runs off with $40K and happens by the motel, things don't go well, and other characters are drawn to the motel to uncover Norman's darkest secrets.

The story is interesting by nature, thanks to its close focus on Norman Bates and all the problems that define him as a literal psychopath. Roughly inspired by the real-life crimes of Ed Gein (a killer so vicious he'd inspire both this story and Texas Chain Saw Massacre), Norman's life is encapsulated by impulses and obsessions, some repressed and others explicit. The book paints this character vividly in his actions--everything from reading gory history books to spying on women in his motel rooms to his arguments with his mother. There is a marvelous twist to this story (chances are you know it already)--much like Fight Club or the film The Sixth Sense, it's something that makes you want to re-read or review past events and see them in a completely different context that somehow works. As additional pieces to Norman's character, those story twists add even more dimension--he was a very well-designed and fascinating character worth reading and studying.

When the prose focuses on Norman, the book is at its best. With other side characters, the voice becomes much more neutral. I found myself less enamored (and perhaps even bored) by Sam, Lila, and Mr. Arbogast. Even though the book does maintain a close-enough distance to them to follow their thoughts and their journey, they come off as shallow and less interesting characters compared to Norman. But their inclusion is necessary to stir up the plot some.

With the plot, it is an intriguing story with an ingenious premise and twist. In text form, it's a little dry to get through, on account that this is one of those books with huge swathes of introspect and inner conflict and less physical action. An awful lot of prose is spent on exploring the character thoughts--when it's Norman, it can be genuinely freakish and thrilling. With other characters, tension and momentum are often lost.

And yet, this is an older novel that abides by older writing rules. I suspect if this was written today, it would be shorter, punchier, would have a lot less explanation on backstories (especially regarding Mary's situation, how Norman's motel business fared), and the exposition at the end would probably be different (a complaint I always hear about the film, but the book has the same scene in different wording--it's still exposition for the readers' benefit and it does stick out). What the book does do well, thankfully, is get nice and deep with Norman's POV, and it's enough to make it a thrilling and worthwhile read.

As a book, it's short but a little dry. There are sporadic bursts of great characterization, and it truly cements Norman Bates as a deep and definitive villain of horror. Personally, I prefer the film by a wider margin--it has the unique strengths of its own, thanks to its expert cinematography, performances (especially by Anthony Perkins, who doesn't resemble the book's description at all, but was picked specifically for the role because of how normal he seemed--thus becoming scarier as a villain who could be anybody anywhere). The film also took a unique liberty with the plot, by stretching out Mary's arc and following her as the POV character as a deliberate attempt to mislead audiences. Even though this may have all started with the book, I give the movie the edge for taking this freaky story and making a heck of a show (and a classic) out of it.

3.5/5

Film Review: Arrival (2016)

If we ever do meet an extraterrestrial race, our first biggest hurdle will be communication. Say the right things, and mankind could make a friend. Say the wrong things, and it could be war. It may not even be war with them, but war among ourselves, as we struggle to comprehend who they would be and what would they want.

These are the things that Isaac Asimov's dreams and HP Lovecraft's nightmares are made of, and it's also the focus of Arrival. In this slow-burning sci-fi drama, big alien discs appear around the Earth, and a language professor joins a government science team attempting first contact. Communication is the basis for all the conflict in this film, to the point where physical action and stakes come up dry. What it does accomplish effectively is building tension on the core dilemma, thanks to the gradual build-up of political pressure.

The story has a lot of merit and is worth seeing, even if it's been done before. Chances are nobody remembers a humble made-for-TV film Epoch, which was also about a strange alien rock that appeared and challenged scientists to decipher its message in the shadow of political stress. Arrival carries over all those same ideas, but with substantially better quality. Cinematography, dark though it is, boasts very solid photography, with shots that are occasionally evocative. Performances are top-notch--I've never seen so much emotional range from Amy Adams before, I continuously forgot it was her acting. Writing is fine. This production has really nice-looking sets, props, costumes, locales, and special effects. The music score has some odd quirks, but marries well with the film.

As a story, Arrival demands attention by toying with audience perception in ways that makes viewers wonder about what's really going on between the lines and what will happen next. There is a long dry spell in the opening quarter or so where tension and stakes are absent--these scenes are probably the weakest, but might hold up better on repeat viewings. The middle, with all its wonder and mystery, is properly captivating. The climax is gripping, but wraps up in a very fast and tidy manner--maybe a little quick for my liking. But this is accomplished by a natural quirk of the story involving the perception of time--it's a major plot point and theme, and it even prompts a more experimental cutting of the film to string the narrative to its natural conclusion. It's a style and twist befitting a Christopher Nolan film, but without killing credulity. If anything, most of Arrival holds up to scrutiny in its tight circle of a plot.

One thing that is hard to swallow is the sudden love story that pops up towards the end. With zero chemistry between the characters in question, this comes off as an abrupt way to tie up one or two loose ends that could have been left alone. At the same time, maybe chemistry isn't needed, given the circumstances of the overall story. Knowing the full circle of what happens, it fits in its own way, even if it feels like it shouldn't.

This is not a film to watch for action--it's a high-brow sci-fi drama with an intimate focus on character, plot, and themes. There is a slight undercurrent that carries the same fears and themes of a movie like The Day the Earth Stood Still, and it's enough to ensnare willing viewers in its delicate loop of a story. For the unwilling viewers who want more zing, I hear there's a cool new Star Wars movie!

4/5

RIP 2005 Ford Focus ZX4 SES

On September 2nd 2016, I had an accident. I was driving on the priority road behind the grocery store, having finished my work day, visited the library, and bought food for the weekend. A Honda Odyssey poked its nose over the threshold from a side road leading to an apartment area. I eyeballed the huge vehicle as it creeped past the stop sign, then made a left turn in front of me. Inevitably, its front end hit my front end. The whole time, I was certain it wouldn't come to this--after all, I had the right-of-way, she had to stop and wait just a few seconds. I let off the brakes suspiciously, but by the time I realized she wasn't stopping, it was too late to honk the horn or slam on the brakes.

It's naturally upsetting when something like this happens. On any other day, I'm not even sure I would have kept my cool. For some reason, I didn't panic or get upset. I didn't burst out of the car yelling or acting out. Similarly, neither did the other party. We just kinda stared at each other, then gestured to pull into the apartment zone where we assessed the damage and exchanged information. It was all a very civil and calm manner--I may have been rather shaken, but I went through the motions of photographing the cars, the street, and the other person's insurance card. The other person was an older lady--she claimed she was frazzled by other matters, and I took it to mean she was distracted mentally. I remained cool, not wanting to assign blame or anything. A relative of hers came out to help figure things out--a police report would have probably been wise, but we opted not to get the law involved and let the insurance companies figure it all out.

Somehow, despite having the entire front-end of my 2005 Ford Focus knocked out of whack, the engine still ran. No leaks, odors, smoke, or obvious damage to raise alarm. I decided to try and drive home, and the lady's relative was kind enough to follow me to make sure I'd make it. It was a disconcerting drive home, with rattling noises and heavy grinding with every turn. What really sealed the car's fate was the hood, which none of us realized was unsecured. Halfway there, the hood slammed up into the windshield, cracking it severely. At that point, I figure the car was too unsafe to drive, and I summoned a tow truck.

Numerous phone calls later, I got the car to a repair shop. I received the estimate over the phone: over $4,500 to repair. 91% of the car's value. By insurance company standards, a total loss.

My knee-jerk reaction was to just suck it up, pay a little more, and go through with the repairs and keep the car going for a while longer. In two years, I don't even know if I'll be here or not--buying a new vehicle seemed risky and expensive at this phase. To give it up, however, meant more money and more time with a rental. Reluctantly, I decided to hand over the title and part with it.

It's just as well--the car's going on 12 years old, and it doesn't run nearly as smoothly or quietly as it used to. Its transmission had to be rebuilt once, its muffler was in danger of coming off, the windshield was replaced once, headlights went out every year, and for a while, it went through brake pads like they were made of water. At some point, I had to draw a line at where repair and maintenance just wasn't worth it anymore. With a new vehicle, none of this would matter, and I'd enjoy a cleaner, quieter, smoother ride.

Why should I be so attached to my crummy old Ford Focus? The funny thing about this unassuming sedan is that it has been with me for so long, and its sheer history is priceless.
--------------------
In 2004, I was in Germany with my parents. I must have been around 20 at the time, with just two and a half years experience of work, but this was my first full-time position. In off hours, I attended distance education classes and eventually earned my college degree in Computer Studies. Moving into the Rhine area, we purchased this car from one of the US installations, and it seemed so new at the time. With the SES model, it had a nice sound system with a six-CD changer and MP3 player. It had enough power to hold its own on a German autobahn, though it is much more modest in speed and acceleration than most speed demons you'd find there. Power windows, heated seats, automatic transmission, and even a spoiler on the back--what's not to love?

I had the pleasure of driving the car once in a while, but it belonged to my parents back then. It served us for about four years, shuttling us to work and back. We did have occasional excursions though, mostly around local areas.

In 2008, I had to move, and my parents offered the car to me for the exceptionally-reasonable price of $7K. For the next eight years, it was all mine with no down-payment. In my next assignment in England, it became my trusty transport between work and home, with a few shopping trips and other destinations here and there. As hilly and curvy as those roads are, the car probably endured the most wear and tear during these years. It braved so much rain, snow, dirt, and close-calls (because British roads sure are narrow).

2013 to now, I took a job in Utah, and had the car shipped to Los Angeles. Since that road trip, the car continued to carry me to work and home again, with even longer excursions in more exciting destinations. By this time, I adorned the car with labels (a Rebel Starbird in the back from a Comic-Con trip, a Batman symbol that came with the movie's soundtrack, a Native American skull from a museum in Seattle, and a NERV sticker in the front from the Neon Genesis Evangelion DVD series--yep, all nerd stuff). After a while, I would also change out the CD player (the six-disc changer never did handle MP3 files that well, and the disc-changing ability diminished over time).

All together, this car would have been at the following places:

• Boppard, Germany 
• Cochern, Germany
• Darmstadt, Germany (to include the Frankenstein 10K marathon) 
• Eltville, Germany
• Koblenz, Germany
• Limburg, Germany
• Mainz, Germany 
• Marksburg, Germany
• Ruedesheim, Germany
• Saint Goar, Germany
• Trier, Germany
• Wiesbaden, Germany

--------------------

• Brimham Rocks, England
• Fountains Abbey, England
• Harrogate, England
• Leeds, England
• Manchester, England (to include a concert by the Gorillaz) 
• Patley Bridge, England
• Ripley, England
• Ripon, England
• York, England

--------------------

• Antelope Island National Park, UT, USA
• Arches National Park, UT, USA
• Bryce Canyon, UT, USA
• Denver, CO, USA
• Durango, CO, USA
• Grand Canyon Southern Rim, AZ, USA
• Los Angeles, CA, USA
• Lehi, UT, USA 
• Logan, UT, USA (to include a writing conference)
• Mesa Verde, CO, USA 
• Midway, UT, USA
• Moab, UT, USA
• Park City, UT, USA (to include a concert by Thievery Corporation)
• Provo, UT, USA (to include a writing conference)
• Salt Lake City, UT, USA (to include Comic-Con a few times)
• Snowbird, UT, USA
• The Wasatch Mountains, UT, USA
• Zion National Park, UT, USA

There are numerous other places I've been--Paris, Rome, Prague, numerous towns and sights in England and Europe--but these and others I went in other cars, buses, planes, and trains. I probably saved the Focus some wear this way. Total mileage in the end: 106,000-ish. For its age, I've always been told this was decent. It probably could have had more.

--------------------
Now that a few weeks have passed, I've invested in a new car. With the help of my parents, I came across a 2016 Ford. It seemed like a low price for such a new car. I doubted I could find a used car with less wear for less, so I went with it. It is a slightly smaller car than my old one, with less trunk space, no cruise control (something I never used anyway), but I was overjoyed to have a car with a backup camera and hands-free Bluetooth feature for my phone. Above all, it drives quieter, smoother, and more comfortably than the old car.

As I gradually become accustomed to the new ride, I can leave my old car behind knowing it served me well. Not only was it my sole means of commuting, it also let me see so many wonderful sights around the world, from the castles of England to the canyons of the American southwest.

In a way, the old Focus became a reliable traveling companion more than a car. It was always there to carry me and my stuff for miles on end. It listened impartially to all my rants and raves about traffic. It's probably the only witness in the world to whenever I would jam to a favorite song.

And yet, it is just a car in the end. Now I have a better one that will undoubtedly serve me better (hopefully in the snow too). There's no telling how far and how many places this new car will take me.

Film Review: A Bittersweet Life (Dalkomhan Insaeng)

"You can do a hundred things right, but it takes only one mistake to destroy everything."—Yeong-cheol Kim
--------------------
Life just isn't fair. Some people have it all, others have nothing. It's always disappointing when you don't get what you want, but nobody can have everything. It's more depressing when somebody wants something so pure and beautiful, but by nature and circumstances he simply can't. It's pure tragedy when a man's punished for doing one good thing.

A Bittersweet Life is such a tragedy that hinges entirely on that simple premise: a man secretly yearns for something he can't have, and pays the price for disobedience. The man in question is Sun-woo Kim, a mob enforcer who's loyal, professional, gentlemanly, and can still kick some serious butt when needed. He's tasked with checking up on his boss' mistress, who's suspected of having an affair. And she is. Problem is, Sun-woo has feelings for her too, and faces the terrible decision to "deal" with her and her lover, or spare them.

As you may surmise, he picks the latter decision, and it costs him. The last half of the film dives into the same dark, violent revenge-thriller territory that Korean cinema is known for. Sun-woo endures incredible pain and torment, before rising back up and getting payback one body at a time. It all culminates in a pretty major shootout, although the greatest joy of watching this film is less in the climax as it is the build-up to get there.

It surprises me how many reviewers complain about the "weak" story. I think it's one of the strongest, mostly because it's all focused on the character. Nearly half of the movie is devoted to following the main character and the twisty events that lead to the big rampage, and nearly every scene shows you who he is and elicits the necessary sympathy for the tough decisions he makes. Sun-woo is a strong character because he exudes so many heroic traits (including a sense of chivalry), but he wins sympathy because he suffers through no fault of his own (other than denying the truth, perhaps). With so much pathos set up, the film becomes filled with a soul and spirit of its own, giving it the poetic tone and weight it needs to make the action punchy and the drama significant. In essence, a perfect marriage of substance and style. Best of all, just about all of these strengths are achieved through visuals (via performances, cinematography, editing, plot) than through exposition. Yes, this is a film that shows more than it tells, and it's phenomenally captivating that way.

Through this story, the film offers some very subtle themes concerning karma. The whole thing is about a man suffering because he made one bad move (or rather, he wanted one beautiful thing but mucked it up so bad). This is a movie built on solid action and reaction, and all subplots come in full circle. It's a hellish journey that brings a seemingly-perfect and invincible hero to his knees. As the title promises, the film juxtaposes beauty with brutality, offering a tale as bittersweet as life itself.

This story is captured with exquisite photography--camera framing and movement is often superb and paints very strong images. Editing is perfect--every shot is carefully trimmed and connected to carry the story through its visual prowess. Acting is top-notch: Byung-hun Lee is perfectly nuanced and sympathetic as Sun-woo, and every other player is no less effective. Writing is good, especially since the film keeps the dialogue minimal and lets the story and visuals speak for itself. This production uses very real-looking locales, sets, props, and costumes. Music is pretty nice.

To me, this is one of the prime examples of how strong character-building can elicit just the right sympathy for a more effective payoff. It's not as batty as OldBoy, not as action-packed as Kill Bill, not as intense as I Saw the Devil, but I believe A Bittersweet Life achieves the best balance of storytelling and action, thanks to its focus on character. For that reason, and because it is such a bittersweet experience, I can't recommend this film enough.

5/5

Film Review: Star Trek: Beyond

"This is where it begins, Captain. This is where the frontier pushes back!"—Idris Elba
--------------------
After two successful entries of the rebooted Star Trek series, it's finally time to bring the adventures of the Enterprise to the final frontier. What will they find on the edge of space? The latest film finds the Enterprise crew in the middle of their five-year assignment—in the heart of a wicked-looking nebula, they'll come face-to-face with a menace that could wipe out the Federation for good.

Surprisingly, the film kicks off on a rather dour note—after an amusing opening scene, Kirk reflects on three years of mundane exploration. Once the set-up is out of the way, the film delivers ample amounts of action that just gets bigger and bigger. Grand space battles. Phaser-beam fights. Lots of running and gunning. In one epic finale, Kirk and the gang has to save a thriving space colony from certain destruction, overcoming swarms of ships before duking it out with the bad guy.

There are cool scenes in Star Trek: Beyond, but it's far from the end-all-be-all Trek adventure. Despite the action, the film drags between the major action swells. Part of the issue is that outside of JJ Abrams' hands, a certain something is missing. Color, spirit, and energy are dampened—Beyond is surprisingly dark in its lighting and mood, and slightly bland in its style and writing. Fortunately, the experience is funner in its second half than the first—some light comedy (thanks to McCoy, Scotty, and a lovable alien named Jaylah) and absurdity (a few unlikely stunts, and a certain scene with Beastie Boys music) makes this a fair (but not exceptional) blockbuster experience.

The story this film tells is an interesting one for the Enterprise records (and it's most welcome after the uninspired events of Into Darkness). By nature, it's a story that challenges the series' classic themes of exploration and utopic peace. In turn, these themes carry over to the character arcs, as Kirk finds his mojo again in the face of death. Characters are as strong as ever—they are familiar and mature at this point, and they feel more at home as the Enterprise crew than they did in the previous films. The villain adds an interesting dimension to things as well—I found the big twist predictable, but it is an interesting turn that keeps the action going and keeps enough brain cells firing. The film offers a few sentiments concerning certain characters and events before its closing, keeping it from being a total throwaway.

The film boasts plain photography and editing. Most scenes in the first half seem really dark and drab. However, there are some impressive standouts (including a great time-lapse shot of a spaceship being built). Acting is great: Chris Pine seems most mature as Captain Kirk, but still kicks plenty of butt and shows all the right attitude we know and love. Zachary Quinto, Karl Urban, Zoe Saldana, Simon Pegg, John Cho, and Anton Yelchin still deliver great performances. Idris Elba is a decently-menacing villain, and I was fairly smitten by Sofia Boutellas' character. Writing is not bad--it's nowhere near as low-key as the last two movies, which I think makes the film more creditable as a Trek movie, but it also comes off as a little dry (even with the humor). This production uses decent-looking sets, props, and costumes—a lot of things match up with the Trek universe well, and Yorktown might be the most imaginative space station I've seen. Most special effects are great. The music score is lovely.

Star Trek: Beyond doesn't have the same punch as its predecessors, but it is an enjoyable film with an original, fairly thoughtful story. While the film won't leave as big of an impact, it has its fair share of fun.

3.5/5

Film Review: Star Trek: Into Darkness (Revisited)

"There will always be those who mean to do us harm. To stop them, we risk awakening the same evil within ourselves."—Chris Pine
--------------------
In 2009, Star Trek was "rebooted", successfully remixing aspects of the classic Trek universe and making it all fresh, new, and exciting again. At the same time, it remained true to the classic characters and the spirit of the franchise. In the film's first sequel, Into Darkness sets forth to do the same thing most other sequels do: introduce more characters, raise the stakes, and take the audience on a (hopefully bigger and "better") thrill ride.

This film definitely retains the thrill ride aspects—like its predecessor, it still has some great action scenes, some jaw-dropping special effects, and the occasional pieces of humor. The film definitely goes big--with chases and battles across space, on alien planets, and ultimately on Earth, there are plenty of huge action scenes. The film also tries its best to blow up the emotional stakes.

Therein lies the film's most interesting and redeeming values: where the characters stand at this point. The first film introduced the Enterprise crew in a fresh new light, using Kirk's flirtation with death as a thematic pillar. In this film, the theme is expanded tremendously, pitting Kirk against death in a twisting series of events that constantly calls for him to make the hard choices. At multiple moments, everybody is called upon to question the value of human life, the value of the mission, and the morality of self-sacrifice. Oh yes, fans of the classic films will recognize these same aspects from The Wrath of Khan and The Search for Spock, because Into Darkness takes the same aspects and remixes them.

Unfortunately, this becomes the film's biggest problem. After going through all the trouble to reset the Trek universe, filmmakers placed their bets on the safest of creative choices: they created a story where history repeats itself. The matter is made worse in the bizarre way they wrapped this rehashed story around a Federation conspiracy (which in itself seems to be inspired by the writers' own 9/11 conspiracy theories, which I always found hard to swallow, and it's equally hard as a Trek story). Juggling so many aspects and agendas, plot holes are patched in flimsy ways. Some scenes (and characters) pass without leaving any impact. It all adds up to a brisk climax that brings the action back to Earth (thus limiting the scope of the movie to disappointing levels), and fixing things up tidily so the Enterprise crew can sail once more. The only thing that holds this story up are the character arcs (and they're good enough, thankfully).

The film continues to exhibit some jittery camerawork and plenty of lens flares, which will irk many viewers. Some of the camera movements are pretty brilliant though. Acting is the same as before: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Anton Yelchin, John Cho, and Simon Pegg all inhabit their characters comfortably, and are a joy to watch. Bruce Greenwood is still good, Alice Eve is quite appealing, and I felt that Peter Weller's role is appropriate. The biggest draw to this film will be Benedict Cumberbatch as the villain--the man definitely establishes the proper screen presence and gives his character plenty of nuance. Writing for this film could have been better. As before, the film uses some clever camera trickery and unique settings to give the film a unique and authentic-looking edge. All the sets, props, costumes, and special effects are good. The music score offers much of the same as from the first film, but with unique new variations.

It is disappointing that Star Trek: Into Darkness doesn't boldly go where no film has gone before. What the film lacks in good plotting, it makes up for in its energy, spirit, characterization, and quality, all of which carries over from the last film superbly. It's still an enjoyable thrill ride, but far from perfect.

4/5

Film Review: Star Trek (2009) (Revisited)

"Whatever our lives might have been, if the time continuum was disrupted, our destinies have changed."—Zachary Quinto
--------------------
You’d have to be living under a rock on Delta Vega to have never heard of the Star Trek franchise. Ever since its (tragically-cancelled) run in the 60s, this quaint sci-fi show spawned a dozen films, half-a-dozen spinoff TV shows, and a massive fan base that could constitute its own nation (complete with its own language, customs, and dress code). Slight problem with some of the original films is that they cater specifically to the Trekkies—most casual audiences might find some amusement among the even-numbered films, but the entire saga is a nerd haven more than anything.

So, in 2009, this reboot was released with the casual audience in mind. Even if you’ve never liked or heard of Star Trek before, this film will blow you away! From start to finish, there’s loads of spectacular space battles, shootouts, fistfights, and occasional bursts of witty (and rather silly) humor. The pacing is tight, and the movie overall carries an adventurous spirit that hasn’t really been invoked since Star Wars. At the same time, die-hard Trekkies should be relieved to see some familiar faces, hear some familiar lines, and witness the occasional homage to the classics.

This new saga begins on an emotionally gut-wrenching note: Jim Kirk's birth, in the middle of a starship disaster. This scene alone elicits enough awe and tears to give the film dramatic weight. The rest of Kirk's journey doesn't strive for the same level of emotion, but the character arcs are strong. Part of the film tracks Kirk's maturity from a reckless lost soul to a capable starship captain. Spock gets his own story arc, crammed full of emotional turmoil and identity conflict. Their union underscores key themes concerning destiny (which, is partly about aligning the Trek crew in all the right places, but is also relevant to Kirk and his challenge to make something of himself--it's an inspiring change). On top of that, there are subtle themes of death that emerge. Some of it is passing scenes and dialogue that illustrate the perils of space travel. Other parts analyze the way characters handle life and death situations. These ideas not only give the action weight, but also gives leverage to the sequels.

Unfortunately, the story is not without its contrivances. It does use some clever science to reset the Trek universe and open up possibilities for the new series. In doing so, the film had to link up a few key scenes with some shortcuts (such as the idea of "transwarp beaming," which in turn becomes a sudden possibility because of an unlikely ally). Though I found these shortcuts minor, they do little to mask the film's agenda of tying together nostalgia in a blockbuster package for mass consumption. Some viewers will find this distasteful. Personally, I felt the experience of the film, the strength of the characters, and the overall color and spirit made up for the shortcomings.

Coming from JJ Abrams, you can expect some jittery camerawork and lens flares--some people find these effects annoying, but I think they add realism and intensity to the film. Otherwise, much of the film sports very unusual camera movements and angles, which gives the film a lot of movement and perspective. It's more than style—it's a highly successful way of immersing the audience in outer space. Editing is snappy. Acting is superb—I initially found Chris Pine a little off as Kirk, but the man does emphasize the arrogance and impulsiveness of Kirk with some degree of accuracy. As Spock, Zachary Quinto balances nuance and emotion in a very endearing performance—he has a few moments of angst, but it befits the story. Karl Urban isperfect as McCoy. I enjoy the performances of Zoe Saldana, Eric Bana, Bruce Greenwood, Simon Pegg, John Cho, and Anton Yelchin. Winona Ryder is in the mix too, and I didn't even know it was her playing Spock's mom until later. Writing is good overall—much of the dialogue is rather low-key, but the film does expertly balance signature Trek aspects, character-building, and action. Production value is decent—it’s pretty obvious that they filmed many scenes at a beer factory, but most camera tricks are incredibly convincing, and it shows magnificent prowess at using less to make more. A lot of it also serves to make things look creditable—transporter beams, warp drive, red matter, etc all appear scientifically plausible. A lot of costumes and props look sleek and futuristic, but are still classy throwbacks to the original saga. Special effects are spectacular. Music is surprisingly catchy.

The new Star Trek universe is an awesome-looking, epic-scale blockbuster adventure brimming with color and spirit. Its story twists things around in a few contrived ways, but the characters are spot-on, and the experience overall has never failed to elicit feelings of awe and adoration. For those feelings and the adventurous spirit the film embodies, this remains my favorite Trek movie of them all.

5/5