The eleventh Star Trek film, simply entitled Star Trek, is a genuine experience. Saying that they got it right is like saying that the sky is blue. Star Trek is the best Trek film – but that’s only half the story. It is a blockbuster in all the right ways: fascinating characters; robust action sequences; a relatable villain; stuff that gets blowed up real good [and yet, not gratuitously], and even some romance [between two of the least likely characters – one of the film’s bigger risks…].
Director J.J. Abrams and writers Alex Kurtzman and Roberto Orci have produced a film that is set up in such a way that it does not need to navigate through forty-plus years of continuity – a film that can [and does] take chances. Instead of having to worry that any situation might rile Trekkers by flagrantly violating Trek continuity, Star Trek shuffles the deck with a unique twist on time travel paradoxes that allow fresh adventures within the positive core of creator Gene Roddenberry’s original concept. That it is “real” cannot be denied. It has the blessing of the Roddenberry family and Leonard Nimoy – and if Spock says it’s Trek, then it’s Trek. Plus, there’s no Big Red Reset Button [though there is the traditional red-shirted casualty-in-waiting…].