Star Trek Into Darkness
Thriller, Action, Adventure, Sci-Fi
IMDB rating:
J.J. Abrams
John Cho as Hikaru Sulu
Amanda Foreman as Ensign Brackett
Noel Clarke as Thomas Harewood
Jon Lee Brody as Enterprise Crew Security
Elly Kaye as Star Fleet Officer
Felicity Wren as Starfleet Officer
Benedict Cumberbatch as Khan (rumored)
Anton Yelchin as Pavel Chekov
Chris Pine as James T. Kirk
Leonard Nimoy as Spock Prime
Bruce Greenwood as Christopher Pike
Karl Urban as Bones
Zoe Saldana as Nyota Uhura
Simon Pegg as Scotty
Storyline: When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction. 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.
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File Size 1382 Mb
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Type DVD-rip
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DVD-rip 640x272 px 943 Mb mpeg4 995 Kbps avi Download

Bungie Jumping Sci-Fi, Unfortunately...
If my headline wouldn't have contained a spoiler, I would have titled this review: "Pussy Kligons, Ineffective Khan". The spoiler being that no one is to know that Khan is the villain until the second half of the movie, and most Sci-fi fans knew the identity of the enemy from the previews. Judging this film on the poor characterization of two of the best villains in Sci-fi history, however, would be giving a half-billion dollar production a pass.

No, this is a film that likes Kligons for their looks, and Khan for his action moves. How closely the Federation's actions are to the Kligons is never debated. What the implications of the Genetics War were to a new war mongering society were also swept under the rug. But again, that's back to old Star Trek...

What does this film have to offer to the Sci-Fi genre? Not much. Most of the scenes revolve around hair raising events, and how risky they are to the human body - such as the volcano sequence in the first part of the film. This is a good beginning. Too many times, all films show these daring do stunts that no human can survive. But instead of delving into a situation in which science is used to upgrade the human body, the filmmakers instead just bring in Khan as the answer.

(Also, this alternate universe was supposed to have been created 28 years prior to this film, whereas the Botany Bay - Khan's ship - was supposed to have set sail about 280 years prior, and was to be in unexplored space. The film never mentions how the Federation was supposed to have picked up his ship.) It's obvious the film maker doesn't have any feel for these stories. It might have been interesting to blow up Vulcan, or make Kirk a problem child, but science fiction actually has to have some science dilemma. Remake Die Hard, Walking Tall or The Bourne series. Leave the heady Sci-Fi stuff alone.
Let JJ Abrams and the lousy writers go ruin Star Wars
Viacom/Paramount have got to pull the JJ Abrams team (writers Damon Lindelof, Roberto Orci, Alex Kurtzman) from the next one ... anyone could do a better job

First and foremost the Abrams team did not make Star Trek either with their 2009 film or this one, and if they get to do the next one after the under-performance of Into Dreckness it won't be until 2017 that it sees a release since Abrams, et al, are off to do what they do to the Star Wars franchise for Lucas and Disney


Into Darkness is a typical action-adventure Mission Impossible kind of thing (it's what Abrams does), but this one is even more hackneyed and grasping than their first effort. They don't respect the source material and couldn't come up with any ideas so the reverted to the Plot Scrambler again and trot out an amalgam of forger female characters and a stupid new secret society found only in the novels and comic books and long after the audience has figured it out reveal that Brit actor-of-the-moment Benedict Cumberbatch is indeed KKHHHAAAAAAAAAAANNN

The stupid brewery is still there as if Abrams wanted to thumb his nose at those who called him out on how dumb it was the first time ... and that idiotic little rock-monster sidekick is still around

Viacom/Paramount ... quietly let the deal the for the 3rd installment by Abrams and his team go kaput and hire Dean Parisot to do the next one since he's arguably done the best one already anyway (GalaxyQuest)
Watch it and ignore the critics!
We watched ' Star Trek - Into the Darkness this afternoon (May 9th 2013).

I am not going to reveal specific details because this film is so new that I am aware that many people still have not had the opportunity to watch it, and I do not wish to ruin their experience.

Having read the points raised in the 'maddog' review I just wanted to say that we found it to be a truly absorbing and brilliant film, and our views are so diametrically opposed to 'maddog' that I genuinely wonder if he/or she actually watched the same film - or slept through it and took a wild guess as to its quality.

Star Trek - Into the Darkness is mainly a fast paced action film interspersed with scenes of human interest which facilitates the deeper development of the main characters and their inter-relationships. The phrase 'bonding under fire seems appropriate.

I would urge people not to be dissuaded from watching this film because a reviewer cannot see the link between Gene Roddenberry's much vaunted ideals and therefore trashes J.J. Abrams work. Let me just say that as I am in my 66th year, I have watched ALL the Star Trek series and films and can advise that this film combines a serious reflection of William Shatner's portrayal of James T. Kirk but also matures Chris Pine as the film progresses. As Roddenberry was closely involved with original Star Trek series I therefore believe that he would approve the direction that Abrams is taking the latest incarnation of Star Trek.

Star Trek - Into the Darkness is aptly named. It is rich in plot detail and exciting to watch. It will have many people sitting on the edge of their seats, willing those embroiled in battle to succeed. Even the villain (stunningly portrayed by Benedict Cumberpatch) warrants a certain amount of sympathy from all fair minded people.

My advice - Go, Watch - and be thrilled by a brilliant film. We will go and see it again!!

Our thanks to all those involved in bringing this to our screen - great job!
Star Trek The Wrath of Khan Parity
Firstly, let me say that both the visual effects and sound track are both great, but it's all down hill from there.

The opening scene, I completely agree with Scotty when he says "You know how completely ridiculous it is to hide a starship on the bottom of the ocean?" Yes this ridiculous, it is a spaceship not a submarine. The ship could have stayed in orbit and either beamed the cold fusion device directly into the volcano or beamed Spock with the device down and then beamed him up. This entire scene feels like it was an excuse to get the cast into 23rd century swimmers.

Next, the effect when the ships go into warp has changed since the last film. Why do the ships leave a trail of shiny star dust at warp? When Star Trek was rebooted in the last film, the warp effect was updated, this was the time to add this (I still wouldn't have liked this effect). They should have kept this effect consistent for both films.

Though this film comes after the Enterprise series, making it canon, the appearance of the Klingons, the design of the Bat'leth and the Bird of Prey have all been changed. These are all key Star Trek components are shouldn't be tampered with.

Having Dr. Carol Marcus change uniforms in a shuttle while Kirk is asked to turn his back, is just a pathetic excuse to see Alice Eve in her underwear, and is completely unnecessary to the story.

Many parts of the story were predictable and were taken directly from The Wrath of Khan with a slight twist. Having Benedict Cumberbatch's character of John Harrison ending up to be Khan was no surprise. Having Kirk die while saving the ship instead of Spock and having Spock yell KHAN instead of Kirk, these parts were just swapped from The Wrath of Khan. The audience I was with, was shocked in horror that these scenes were rehashed again. When Bones was experimenting with Khan's blood to resurrect a dead tribble, it was obvious that this was going to be used to bring back Kirk.

The design of the Enterprise has as been tampered with. When falling to Earth, since when did the Enterprise have 10+ thrusters in the underside of the saucer section of the ship? Secondly, why does the Engineering section have torpedo tubes down both sides to firer the long range torpedoes? This made me think of a pirate ship with canons along both sides. These should have been fired via the existing fore or aft torpedo tubes.

The Wrath of Khan is possibly the best film of the first ten and should never have been touched upon again. 2 of the 3 three writers claim to be long time trek fans, if so, they should have known that this would not be taken well from existing fans. The previous film also had a few issues that I wasn't happy with (Enterprise being constructed on Earth instead of in orbit, a Cardassian beverage though we don't meet the Cardassians for about another 100 years and having a Orion (the green women) members in Star Fleet as the Orion Syndicate were enemies of the Federation), but as the story was original and good, these few issues I can turn a blind eye to. Unfortunately, Into Darkness has too many issues for me to forgive. The writers have an universe of new stories they could write, don't go rehashing content from previous films.
The entire franchise is now in 'Darkness'
Since it has now become (dilithium) crystal clear that J.J. Abrams and his team of writers have COMPLETELY dismantled the entire Trek universe we once knew -- the one that was built so meticulously by Gene Roddenberry (and later, Harve Bennett and Nick Meyer too) -- we must now embrace a Trek product that will likely insult and disgust most purists, plus any ticket buyer who wants something more than a movie enjoyed by ADHD attention spans.

This "Into Darkness" film continues where the 2009 effort left off, and with much the same approach, but the decibel level is harder on the eardrums this time: more explosions, more stunts, more fisty-cuffs, more chases (both in space and Terra Firma), more phaser shots and more temper tantrums from Kirk and Spock both.

I could rhetorically say something like, "WTF? Why is this STAR TREK? WHY!?!?!?" and then launch into a heated Trek-purist diatribe attacking the intellectually-challenged, comic book-level screenplay penned by Orci, Kurtzman and Lindelof. But instead, let us try to examine the movie as a space-bound rip-off of the "Die Hard" franchise, which obviously are the terms on which the film hopes to succeed.

The film's plot presents a saturnine, black-overcoated menace named John Harrison (played woodenly by Benedict Cumberpatch), who starts blowing up buildings in London, then shooting at a roomful of Starfleet's top brass during a staff meeting. He then escapes to the Klingon homeworld to hide out, and will presumably resume his mysterious rampage against the Federation later.

But not if James T. Kirk can help it. Even if it means starting a war with the Klingons, our risk-taking Captain gets the green light from Admiral Marcus (Peter Weller) to warp the Enterprise over to Kronos, armed with some secret missiles and an undercover mission imperative. As Kirk tells his crew over the intercom, "Let's go get the son of a bitch."

Such a standardized, by-the-numbers action yarn has succeeded in efforts produced by the Jerry Bruckheimer stable, for example, or even the second "Aliens" movie. But here, the film feels so overstuffed with chases, phaser beams and mortal combat, it's much like the second Indiana Jones movie from 1984; after a while, we become numb to the "excitement" and viewing this movie is like riding a roller coaster that simply won't stop, even long after the rider has had enough "thrills."

****SPOILERS START HERE ------ Further ruining the film is the decision by Orci and Kurtzman to "unmask" John Harrison as Khan, the genetically-engineered super-baddie from the original Trek that the late, great Ricardo Montalban elevated to legendary Trek status. By forcibly shoving Khan into the "Into Darkness" storyline, the writers seemed almost desperate to include a familiar face as a crowd pleaser, but I found this "unmasking" about as convincing as a cheesy moment in a daytime soap opera, and it is essentially where I gave up on the film (about when the third act began).

From there, the movie worsened (for me) because soon after, we are then supposed to shed tears for our gallant Captain Kirk sacrificing himself in the Enterprise's warp core chamber to save his ship and crew. Orci and Kurtzman try to duplicate the same touching moment from the "The Wrath of Khan" (when Spock dies) by practically duplicating some of the dialogue from that 1982 film. They are reminding us that they know their Star Trek, but I found this moment to be gimmicky and as such, it registered a complete emotional zero.

Spock himself, as written by Orci and Kurtzman, also seems little more than a gimmick in these films now, especially at the film's climax, which uses our ever-logical Vulcan as a John Rambo wannabe, as he mercilessly pounds his fists into Khan's face, all in the name of revenge for the loss of his pal Jim Kirk. Much of the movie portrays Spock in the same simplistic manner, and his point-counterpoint interaction with the all-more human Kirk has none of the old magic that Shatner and Nimoy once provided so effortlessly.

As I said earlier, forget the fact that this movie is a horrifying abomination for Star Trek purists. Instead, just consider the fact that we have a new franchise, one where you check your brain at the door, don't concern yourself with characterization, and just ignore the words, "…to boldly go where no one has gone before." (those words were spoken by Chris Pine at the fadeout, and hearing them after watching THIS film was a moment of bitter irony for me, I might add)

I wish J.J. Abrams would stick to the new "Star Wars" films and leave it at that.
Star Trek Into DUMBNESS
*** SPOILERS ***

Star Trek Into DUMBNESS is action packed. Stop reading now if you loved the film because that's the nicest thing I will say. Chris Pine has pretty blue eyes. (Last chance to stop.)

Roger Ebert is looking down from heaven wishing he were still alive so that he could rip Star Trek Into Dumbness to shreds. (God bless you, Roger. And while you're up there, send my sympathies to Gene Roddenberry. It's all gone to Sh--, Gene.)

Star Trek Into Dumbness will gross a mountain of money because of its solid special effects and frenetic and constant action that has apparently put many viewers' brains on stun. But make no mistake, this high octane Red Bull film is flat out bad.

Star Trek The Reboot "jumps the shark" in the very first sequence here. Spock goes into a volcano, the Enterprise is now a submarine... The only way it could have been more abominable is if Jar Jar Binks had shown up.

Actually the Enterprise in the water is a symbol – this movie is a turd. A giant stinking floating turd. Very sad.

(Um, note to technical folks: "Cold Fusion" has nothing to do with actual coldness and cannot freeze super-hot molten lava. But, of course, bad science does not a bad film make – a bad script does that.)

The deftly made first film in the franchise rebirth perfectly handled the origins of multiple characters yet managed to be a rip roaring good time - a feat all in itself. It should have been downhill, smooth sailing all the way after that for gents with such talent. But me thinks now our director and screenwriters are spreading themselves a little too thin with too many gigs.

The film brings back an old and beloved original series villain and in doing so serves to remind fans how good Wrath of Khan really was.

Into Dumbness is a convoluted mess.

The characters have completely devolved into caricatures.

There are too many jokes by too many characters – a misstep which also strips the drama away with misplaced humor. (Pity our future if everyone's making jokes when big bad things start to happen.)

The whole Kirk-Spock "I am your friend" stuff just doesn't work because the filmmakers have not built the friendship in a meaningful way between these two in the 120 minutes that precede it.

There is in fact no relationship building for any of these characters (unless you consider the insufferable Spock and Uhura teen romance squabbles an example of relationship building).

Plot and character have been sacrificed for action, with expository speeches in the final act used in an attempt to patch all the holes (and beg viewers for forgiveness if they were still paying attention).

I still can't figure out the narrative. Something about explosions I think. Oh, the Klingons were in the film too pretty early on but they were forgotten along the way. We're at war with them now – or so we are TOLD I think. Can't really remember; I may have have gotten an early jump on my 2013 tax returns by that point in the screening.

Nice to see RoboCop getting work though – even if it was a one-note role far beneath his talents.

Thank the Great God of Cinema that J.J. is just directing the next Star Wars movie and that the reins of that franchise are in other hands. There still may be hope.
Further proof of the 'Death of Craft'
There comes a point in time in the life of any cinephile when you realize that the majority of films are being made and targeted towards a generation now younger than yourself. As depressing as this realization is, it becomes doubly demoralizing when you realize the demographic being targeted has the digital age attention span of someone badly in need of a Ritalin roofie.

If you've seen the original Wrath of Khan film, it's virtually impossible not to hold this movie and the people who made it in contempt. This is a film utterly devoid of originality, creativity and soul. The shameless fashion in which Abrams has recycled a film from a previous generation (and in fact, verbatim dialogue passages) and repackaged it wrapped in a glossy CGI bow for his tween audience is reminiscent of watching an American Idol contestant butcher a jazz standard.

Style over substance - could it be the mantra for this generation?

It certainly would be for the two teenage girls who sat in front of me while I watched this cartoon. They giggled ceaselessly at every predictable pun, sighed ardently whenever Chris Pine flexed his hair, and will wonders never cease, were reduced to tears when their generation's Captain Kirk committed the unthinkable action – a selfless act. Never mind that the scene was directly plagiarized from a far more talented and original screenwriter and Abram's directorial execution is more comparable to a shampoo commercial. We're living in the digital age where calling something a reboot gives you the artistic 'license' to steal.

The box office receipts confirm it. Hollywood knows its audience. They line up like lemmings for vacuous fare like 21 Jump Street, Mission Impossible and Star Trek - Into Darkness, and this current generation of movie goers never once stops to consider why Hollywood exhibits zero fear in foisting this mediocre dreck on its hapless consumers.

Movies like this confirm that, in this era of immediate digital gratification, we are experiencing the death of craft. Say goodbye to films like Goodfellas and Apocalypse Now. Bid adieu to albums like Dark Side of the Moon and Quadrophenia. The modern consumer/digital pirate has spoken with their wallets and voted in favour of a never ending stream of artistic pabulum.

Those who settle for mediocrity will get the world they deserve. Enjoy.
Dumbed down from a highly intelligent and thoughtful franchise.
Star Trek Into Darkness should be renamed Star Trek In Name Only. What has always distinguished Star Trek from other sci-fi is the thoughtful and nuanced way that philosophical and sociological commentary was woven into the stories. Star Trek is not just a lot of sci-fi nonsense but a meaningful exploration of what it means to be human. In the past, Star Trek has been intelligent and character driven. Now it is all fancy CGI and snappy one-liners. Abram's Star Trek is an action-for-action's sake Kirk and Spock buddy flick. The "surprises" Abrams plants aren't surprises if you're familiar with the Star Trek universe. His preference for violence and political intrigue makes Abrams' vision more Star Wars than Star Trek.

The fill-in-the-blanks plot is a repetitive onslaught of video-game like CGI sequences separated by brief breaks used to set up the next CGI spectacle. The first half begins with a scene taken from Raiders of the Lost Ark and quickly moves to The Return of the King's Mount Doom. Cumberbatch's attack on Starfleet HQ is a scene stolen from Godfather 3. When Cumberbatch is captured, he and Pine briefly become caricatures of Hannibal Lecter and Agent Starling from Silence of the Lambs. The second half attempts to remake The Wrath of Khan but is backwards and upside down. Instead it is practically a beat-for-beat repeat of the identically plotted Star Trek Nemesis.

The cast was the best thing about the last movie but not this time. The other familiar crew members each get a brief moment in the spotlight but for the most part they fixate on comedic asides. The romance between Uhura and Spock is unnecessary and actually diminishes Uhura's character. Alice Eve is little more than eye candy. Peter Weller's Admiral Marcus is a disappointment. Karl Urban was eerily good as McCoy last time but stays in the background this time, a third wheel on the Kirk/Spock bicycle. Pine's beefy frat-boy Kirk is an exaggeration of Shatner's Kirk. When he is angry he sounds like a bratty child. Cuberbatch's performance is the best thing this time and overshadows everyone else.

I left the theater thinking that my free passes were over-priced.
facepalm time. they don't know much about star trek.
what they have turned star trek into is unfortunately a disgrace to the series. they have no idea about technology, diplomacy, war, the races or anything that made the series great. they just can do a lot of special effects, 'cool-looking' scenes, cheap lines, cliché emotional drama and fighting scenes. all of it orchestrated with the music. this is done as you would expect it if someone really focuses on that. so those aspects are not bad, there is just a lot left to desire. but if you don't mind getting only all of what i just mentioned and really nothing more then go ahead and see it. but if you want to use your brain while watching you will be disappointed. even more so if you are a fan of the series. the display of the klingons was ridiculous, they just posed as the evil-looking enemy for a fighting scene. the characters and the relationship between them feel flat and boring. the actors try to be very dramatic which makes it unbelievable for me. this combined with their cheap lines and trying to be humorous at some points make it feel forced. the story is very easy to follow, not much to process there. it has a lot of holes that are immediately visible. of course only if you are used to really concentrate on a movie on different levels.

just don't expect star trek if you are going to see this movie. what you get is a space-drama combined with some aspects of star trek. calling it dumbed down would be accurate in my opinion. but i don't judge. different people want and expect different things. but what the star trek fans expect is probably not there.

it's as if the movie follows a guide-book or a check-list for standard action movies.

though i have to admit that i didn't really like the star trek series when mr. kirk was the lead. maybe they tried to remake that part of the series, i don't know. i just know it's not for me.
Crash and Burn
******SPOILERS BELOW******

When I saw the starship Vengeance crash into San Francisco, I thought, "This is what J.J. Abrams has done to Star Trek."

Already, some of you might be sneering, "Another bashing from someone who knows nothing about Star Trek." I reiterate what I wrote 4 years ago about the previous movie (review #347, posted 5/9/2009): I was a Star Trek fan since The Original Series was on NBC. I have seen every episode of every TV series, including The Animated Series, and all 12 movies. I found the previous movie repulsive, but hoped that Abrams would deliver a better 2nd act. Instead, this movie was even worse.

I shall begin by listing the few positives in this movie. Once again, Chris Pine and Zachary Quinto gave very good performances. Once again, ILM produced very good visual effects.

End of positives. Here come the negatives, in random order.

The dress uniforms were comical. They looked like parodies of Nazi German uniforms. The standard uniforms still looked like cheap knockoffs I would find in a second-rate costume shop.

Once again, the Enterprise's Bridge looked like a disco. Once again, Abrams included irritating shots of glare to make the movie more "realistic." Once again, Engineering looked like an oil refinery. Once again, this Enterprise is a pale shadow of the original NCC-1701.

Once again, we had a very loud and very forgettable soundtrack.

Once again, we saw Scotty's pint-size companion, Keenser - a.k.a. Cabbageface, a.k.a. Rockface, a.k.a. the Jar Jar Binks of Star Trek.

We saw Doctor Carol Marcus, but now she's British?? And a weapons specialist?? Now Chekov is not only an Engineer, but (temporarily) the ship's Chief Engineer?? Apparently, Paramount is allowing J.J. Abrams to turn the Star Trek universe upside-down and inside-out.

When the Enterprise visited Nibiru, she was underwater, and Spock (and, eventually, Starfleet Command) were worried about the Nibirans seeing the ship emerge from the sea. Objection #1: Why was the ship underwater? Couldn't the mission be conducted with the Enterprise in orbit? Objection #2: Considering the water pressure on the ship's hull, why didn't we hear any creaking in the hull or see any breaches caused by the pressure? The shields weren't up because Scotty complained about the sea water corroding the hull. Objection #3: How did the ship enter the water without any Nibirans seeing her? Was the Enterprise invisible during descent? Are all the planet's humanoids in that one small village?

What I did in the previous paragraph is called Thinking About What I'm Watching. This is what we should do when watching any Star Trek story. But in J.J. Abrams' version of Star Trek, we are expected to stop thinking and just watch the loud, frantic action.

Now we come to Khan Noonien Singh. Abrams has transformed Khan from a Sikh Indian into a Brit. (Is Abrams obsessed with Brits?) Also, Khan's blood can resurrect the dead! So now Khan is like Robert Neville in The Omega Man (1971), or - dare I say it - Jesus Christ. (This Is The Cup Of My Blood, The Blood Of The New And Everlasting Covenant, etc.) Obviously, Starfleet Medical should extract blood samples from those 73 superhumans so that Starfleet personnel who are killed can be resurrected. (Again, we are supposed to stop thinking.)

This movie had two scenes that may be disturbing - even traumatic - to some viewers: the explosion in London, and the crash of the Vengeance in San Francisco. Many people in the Boston area (after 4/15/2013), the New York City area (after 9/11/2001), and the London area (after 7/7/2005) may be appalled by this exploitation of massive tragedies. Abrams might be trying to assuage such objections by dedicating the movie to first-responders and military personnel "after 9/11." But this still looks like exploitation.

I'm not the only veteran Star Trek fan who saw the ripoff of Star Trek II - The Wrath Of Khan and Star Trek III - The Search For Spock. The minor changes: Kirk enters the radiation-filled warp-core chamber; Spock gets to bellow, "KHAN!!" (which was almost comical); instead of The Genesis Effect, the resurrection agent is Khan's blood. Also, Kirk's death gives Spock another excuse to act like a brutal savage (what would Sarek say?), and Abrams an excuse to stage an absurd high-altitude fight scene.

Let's debunk the basic defense of J.J. Abrams; i.e., that he saved Star Trek. He has replaced Gene Roddenberry's version with his own version. In the pre-Abrams chapters of Star Trek, we saw intelligent stories with strongly-defined characters. But Abrams has replaced that with movies loaded with loud, frantic action but thin on story and logic. Obviously, this is appealing to the only movie fans who count: teenagers, who expect every movie to resemble a 3-D video game. I saw the 2-D version (on the night of May 19), and noticed that the theater was only half-full and devoid of teenagers. Apparently, the Target Audience gathered in the 3-D theater. We can expect every future Star Trek movie to follow the Abrams Canon: virtually non-stop, loud, 3-D action, with very little intelligence.

Paramount's weak excuse is, "We still have Star Trek." We still have Saturday Night Live, too. But both have become pale shadows of their original selves. Thanks to J.J. Abrams, I am no longer a Star Trek fan.
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