Jornada nas Estrelas III: À Procura de Spock

How does one follow a film with a fantastic villain, perfect structure, and really good special effects? Muddy the waters, apparently.

Don't get me wrong. I feel like the third Star Trek film is good, but it's also got problems.

So, let's start with the good. The Enterprise is coming home from the Mutara system, wounded with one less officer. There's no sense of victory as the ship tracks into spacedock where its wounds get pushed into a harsh light. Captain Kirk dismisses a cadet's desire for a celebration by referring to paying for their return with their dearest blood. And, on top of it, McCoy is acting odd. He breaks into Spock's sealed quarters and talks of a need to go to Vulcan. Spock's father, the Vulcan ambassador Sarek, tells Kirk of the need to bring Spock's katra, his soul, back to Vulcan, or his essence will die forever.

Kirk must get Spock's body back from the Genesis planet where they shot his body, but Starfleet won't allow it. The Genesis planet is at the center of a galactic controversy and has been declared forbidden.

All of this first act up to this point is a bit clunkier than it should be, but it's effective at getting the point across. And then we get to one of my two favorite individual sequences in all of the Star Trek movies (both of which are in this one, actually).

There are a few things in the sequence of the Enterprise escaping Space Dock that get me. First is the music. James Horner did a bang up job for the previous film, and Nimoy, the director, brought him back to score this. Here, Horner explores the musical themes he created in the second film and gives them greater scope and a larger breadth. The second is the action itself. Much like in the second film, there's an understanding of the limitations of what the models can do, and turning a slow chase out of a dock into something really exciting through the editing is a solid accomplishment. The third is about Kirk. Kirk knows that what he's doing is going to ruin his career, but he has to do it because his friends need him. He's not doing this because he expects to get Spock back, but he does know that Spock's soul is hurting McCoy and needs to find a place to rest. When the captain of the Excelsior tells him that he'll never sit in a captain's chair again, Kirk's face doesn't move. That may be a coincidence of editing, an accident more than anything else, but it's also effective. Kirk's face doesn't move in a way that suggests he knows what the Excelsior's captain is telling him is the truth and that he's still willing to go through with the action anyway. He understands the consequences of his actions, and he's sill stalwart. It's such a fantastic moment.

Before I go any further, I'm going to address the single largest problem with the film: Christopher Lloyd's Klingon, Kruge. Taken in a vacuum, Kruge is actually a pretty good Klingon. The way he strangles a giant space worm with his bare hands, picks up his communicator, and tells his ship that nothing's going on is just perfect. The problem, though, is that he feels like a missing subplot from The Wrath of Khan rather than a natural element in The Search for Spock. He doesn't fit thematically. The theme of the film is about rebirth and creating second chances, while Kruge is having an argument that he missed out on with Khan. He feels like a puzzle piece in the wrong puzzle.

Anyway, the movie continues to the point that Kruge overpowers the weakened Enterprise and sends most of his men onboard in order to commandeer. That's when we get to my other favorite moment in the Star Trek film series.

The self-destruct sequence became such a cliché after this, but it never meant anything because they all got aborted or reversed somehow. Here we have the self-destruct go all the way through, and the destruction of the ship is beautiful. I love how the saucer section essentially melts away, tearing apart the letters of the timeless ship before exploding and falling into the atmosphere of the Genesis planet and turning into nothing more than a ball of flame. There's something permanent and meaningful about that action.

The movie's final action beats are weaker, though. A fist fight in an exploding environment (with some dodgy compositions with the special effects) between our main character and a bad guy from another movie just feels a bit unsatisfactory.

The Vulcan mysticism of the final few minutes of the movie hints at a larger culture that I really enjoy as well. Vulcans, driven by logic, also hang on ceremony in extremely focused ways.

Amidst all of this action, I think we have Shatner's best performance in a Star Trek movie. His reaction to hearing his son die, where he simply falls to the ground instead of into his chair, is great. DeForest Kelley is very good as the confused and angry version of Bones. Lloyd is solid as the bad guy from another movie.

Overall, I do think the movie is solidly good, but it had the capability of being something great. Rewriting Kruge so he actually fit in thematically would have helped, I'm sure. Upping the production and special effects budget a bit so that the effects weren't such a mixed bag would have done good things as well. Still, as a follow up to what is arguably the best Star Trek movie, they could have done far, far worse.

The film talks the veteran crew of the Enterprise NC1701 piloted by James T.Kirk (Wililam Shatner) arrives in spacial station for repairing their starship but they quickly must set out to search Spock (Leonard Nimoy) who's found on planet Genesis . They'll face off nefarious enemies and battle the Klingon (commanded by Christopher Lloyd) . This Star Trek is principally the follow-up to ¨Wrath of Khan¨ that finished with death of Khan (Ricardo Montalban) and Spock sacrificing his life to save his friends .

The storyline is concentrated on characters as well as thrill-packed action and special effects although there're numerous of that too . The movie has tension , comedy , emotion ,suspense and sensational spacial scenarios as is customary development in the franchise , besides with impressive aircrafts made by means of miniature and non computer generator . Spectacular, exciting , fast-paced , thrilling this is the description of this new outing of Star Trek , film that reinvents various elements , including a perfect pulse narrative that does not give a second of rest to the spectator who is trapped for almost two hours approx. in a genuine visual spectacle . As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew . Usual saga actors making brief appearances as Uhura (Michelle Nichols) , James Doohan (Scotty) , Zulu (George Takei) , Chejov (Walter Koenig) and trademark effects abound in a film that will please the fans and even non enthusiasts will most likely find it agreeable . The villains of the film were originally intended to be Romulans, but upper studio management wanted Klingons to be used since they were better-known enemies. By the time the decision was made, the Romulan ship was already built and they did not want the expense of replacing it. However, since the original Star Trek (1966) series had already established that the Klingons and Romulans had shared technologies and ships in the past (for exactly the same real-world cost-cutting reasons), the idea of Klingons using a Romulan-style vessel was not a problem . The motion picture has a climatic and spectacular ending . Stirring final amazing the spectator , in which the moving and spectacular scenes create a perfect union that terminates with an ending that leaves you stuck in the armchair facing the formidable spectacle as a privileged witness . James Horner musical score (replacing Jerry Goldsmith)is exceptional and atmospheric . Release was well directed by Leonard Nimoy who appears secondary in this film , too . The flick will appeal to long time series buffs such as the neophite .

It is what it is folks, it's a good honest Star Trek story, it beats a real emotive heart and although some may decry the lack of blistering space battles, or end of the universe peril scenarios, it's an essential film for dealing with the protagonists we know and love.

Into the mix here we have our favourite alien enemies The Klingons (led by the oddly cast Christopher Lloyd), Spock's father, Sarek, who adds grace to the story, and crucially Kirk gets an emotional kicker. While elsewhere hardcore fans get a big surprise with the beloved Enterprise.

It's of course merely a set up for the next (and delightfully great) instalment of Star Trek IV: The Voyage Home, but on its own terms this stands up as one of the better character pieces in the series. Due in no small part to having Leonard Nimoy directing it because he shows care and thought about a subject he obviously knows quite a bit about. 7/10

Star Trek 3:The Search for Spock is well done movie it just doesn't stand out. I do admit Leonard Nimoy is good director. Look out for Taxi's Christopher Lloyd as the Klingon captian Kruge. I give this movie a 3 out of 5.

Boldly going where no man (or woman) has gone before, climb aboard the Enterprise and let it fly and soar, as old friends gather, reunite, off to battle and to fight, strange new worlds, civilisations to explore.

A child is discovered all alone, a Vulcan without soul, perhaps a clone, while a Doctor rediscovers, an old friend inside another and a starship's final journey helps them home.

Some things are more important than rules and regulations as the captain of the Enterprise takes his pride and joy to recover what was lost and resurrect what was saved.