STAR TREK is back, Captain Kirk (Chris Pine) is still flouting the rules, director J.J. Abrams is still dividing the fan base, but amazingly, inconceivably, there’s no dissent within the Cinefantastique Online ranks this time: Steve Biodrowski, Lawrence French, and Dan Persons all agree that STAR TREK INTO DARKNESS is supreme, quintessential TREK adventure. Telling the tale of the Enterprise’s encounter with a diabolical mastermind (Benedict Cumberbatch), the film at once delivers the big-scale action (even better in IMAX 3D) that audiences have come to expect from a major studio tent pole release while honoring the ideals that made creator Gene Roddenberry’s optimistic vision of the future so compelling.
Come join Steve, Larry, and Dan as they delve deep into this top-notch entry to the TREK franchise, exploring what makes it both a superior entertainment and a worthy elaboration of Roddenberry’s humanistic vision. Plus: What’s coming to theaters next week.
Director J.J. Abrams is back in the captain’s chair, piloting the U.S.S. Enterprise through more explosions, more lens flare – in fact, more of just about everything that disenchanted Trekkies with STAR TREK (2009) – and this time all of it is enhanced with enough eye-popping 3D to make these angry fans switch their phasers from stun to kill; and yet, none of that prevents STAR TREK INTO DARKNESS from doing what no STAR TREK film has ever done before: achieve greatness for the second time in a row. Though purists may disagree, Abrams’ two STAR TREK features rank atop their predecessors, eclipsing all of the STAR TREK: THE NEXT GENERATION films and all but the best of the classic TREK films.
What redeems all the bombs and bombast – the tipping of sacred cows – and the apparently heretical disregard for TREK orthodoxy? It’s a simple trick, really, but a profoundly insightful one: by staying true to the fundamental core of the familiar STAR TREK ethos and characters, screenwriters Roberto Orci, Alex Kurtzman, and Damon Lindelof can twist the details in new and interesting ways without ever violating the franchise’s prime directive: portraying an optimistic view of the future. Yes, that Utopian future will be threatened, and the story will focus less on speculative fiction than on the action-fueled drama of defending against a villainous threat, but that scenario will be used not just as an excuse for photon torpedoes and phaser blasts but also as framework for grandiose moments of pathos that bring the characters alive for a younger generation and remind old viewers why they fell in love with the crew of the Enterprise in the first place.
This time, the threat takes the form of Jonathan Harrison (Benedict Cumberbatch), who bombs a Starfleet data archive and later targets Starfleet headquarters itself, before skipping off to a planet in the Klingon system. Kirk (Chris Pine), who has been briefly demoted for ignoring the Prime Directive and prevaricating about it in his captain’s log, is re-instated as commander of the Enterprise and tasked with using a newly developed photon torpedo to take out Harrison and make a quick getaway before starting an interplanetary war with the Klingons.
There may be more to the story, however, as it turns out that the Starfleet Data Archive was actually a secret project to develop weapons for a war with the Klingons, which Admiral Marcus (Peter Weller) believes is inevitable. Is Harrison simply a patsy? Is he part of a conspiracy to ignite the simmering Klingon-Starfleet conflict? Or does he have his own, secret agenda?
STAR TREK INTO DARKNESS attempts to be the MAGNUM FORCE (1973) of the TREK series, directly addressing – and in fact deliberately back-walking – the impression left by its predecessor. Whereas MAGNUM FORCE attempted to counter the critical accusation that DIRTY HARRY (1971) endorsed a fascist approach to policing, STAR TREK INTO DARKNESS directly takes on the perceived militarization of the TREK universe, which reached its apotheosis in 2009’s STAR TREK, wherein seeking out new life and exploring strange worlds took a back seat to blowing up bad guys. Harrison’s attacks have lethal and very personal consequences for Kirk, who initially is happy to go on a vengeance-fueled mission involving targeted assassination from a safe distance.
As in the best STAR TREK, the scenario is a thinly veiled reflection of our current situation: think of drones and targeted assassinations in the Middle East, and you get the picture, at least initially; later developments turn the story into a warning about the dangers of blow-back. The joy here is that the script – and Pine – sell the device as character drama, allowing us to identify with the understandable feelings of grief and rage that could lead Kirk to moral compromise. In this regard, it is worth noting that STAR TREK INTO DARKNESS reaches back into the very earliest days of the original STAR TREK television series – back to that first half-season, produced by Gene Roddenberry, when Kirk was a driven man, given to heated, sometimes incorrect decisions (think of his effort to track down and kill the Gorn in ARENA without bothering to ascertain who was really the aggressor in a lethal territorial dispute).
Fortunately, as in the series, Spock (Zachary Quinto) and McCoy (Karl Urban) are on hand to help their captain reclaim his ethical center. As in the previous STAR TREK, the characters are milked for the dramatic juice that energizes what could have devolved into preachy moralizing. Yes, the familiar shtick is proudly displayed (Spock invokes logical and regulation; McCoy says “Dammit, Jim…”), but the screenwriters and the actors realize full well that these cliches are not just arbitrary punchlines to be inserted at random; rather, they are tags that help identify the underlying truth about the characters, which is then teased out when they are tested under life-or-death circumstances. SPOILER ALERT
Exactly how that happens is fascinating, to coin a phrase. Just as the previous STAR TREK made rebooting the story part of its plot, acknowledging the previous history while simultaneously subverting it, STAR TREK INTO DARKNESS deliberately echoes – or, more precisely, mirrors – the events of STAR TREK II: THE WRATH OF KHAN. Familiar elements abound: a newly developed force capable of great destruction; the presence of Carol Marcus (Alice Eve); bodies secreted in photon torpedo tubes – so much so that, by the time Harrison reveals that he is actually Khan Noonien Singh, it is only what we expected.
The trick is that the expected set pieces are inverted, with characters taking on actions previously performed by others; we get a true alternate-universe version of the familiar events, taking what was old and making it new again, including a heart-rending variation on STAR TREK II’s most memorable plot development. (We won’t give it away here, but we will say you do get to here the memorable how of rage, “KHHHAAANNN!!!” – but not from the lips of James Kirk.) Here, STAR TREK INTO DARKNESS flirts with post-modernism, using the audience’s assumed familiarity to add resonance to the events depicted, even though, strictly speaking, there is no direct plot continuity with the film being referenced.
Even more impressively, the new film not only enhances itself by looking back on its 1982 predecessor; it also performs a sort of retro-active miracle, enhancing our appreciation of WRATH OF KHAN, which has now become part of a mirror-image diptych, the two films mutually reinforcing each other with their similarities and differences. END SPOILERS
Amidst all the action and angst, STAR TREK INTO DARKNESS never forgets to be fun. The familiar character patter from the classic series is re-energized here; most of the jokes feel like authentic character moments, not old vaudeville routines hauled out of the mothballs. One exception is the sly, post-modern bit when Kirk transfers Checkov to engineering and tells him to put a red shirt on. Checkov’s worried expression is supposed to relate to concern over his new duties, but the audience reads it as fear of the fate known to befall so many red-shirted cadets in the old television episodes.
Technical credits are astounding; even the 3D conversion looks great, enhancing the dynamism on screen – especially in IMAX engagements. Fortunately, there is more than just visual flash here. Early on, there are actually some almost non-dialogue sequences, accompanied by a more delicate style of music scoring, that convey subplots and even a touch of exposition with admiral subtlety and economy, balancing the intentionally over-the-top excesses of the action sequences.
The more visceral scenes are sometimes overdone, and the plot is more convoluted than it needs to be, requiring a fairly thick slab of dialogue to explain Harrison’s actions, which dovetail perhaps a bit too conveniently with the desire of Admiral Marcus to find a casus belli with the Kklingons. STAR TREK INTO DARKNESS crams too much into one film, with the result that it frequently seems to be careening off into the wrong direction. Remarkably, the film almost always makes the necessary course correction before speeding down the wrong worm hole, and if viewers are more than occasionally left feeling that Abrams and company are trying too hard to recreate memorable beats from their first TREK outing, those misguided efforts usually redeem themselves. (For example, the rather non-energetic opening tease of Kirk escaping from a primitive alien tribe turns into an interesting dilemma – obey the Prime Directive or save Spock’s life – and culminates in sly joke at the expense of Trekkies: after a glimpse of the Enterprise, the tribe seems to adopt it as an object of worship, just as legions of fans on Earth have done for decades.)
As in the previous STAR TREK film, the cast turn the characters into something resembling people, not fifty-year-old cliches. Pine captures the strengths and weaknesses of Kirk; Quinto has Spock’s dual nature down cold, the external logic keeping the underlying emotion hidden yet always felt, just beneath the surface. Urban is uncanny in his ability to play McCoy as if the part always belonged to him.
Even the supporting characters (Zoe Saldana as Uhura, John Cho as Sulu, Anton Yelchin as Chekov), though still clearly subordinate, are given their moments to shine, establishing what makes them great crew members, worthy of being on the Enterprise. Simon Pegg seems a little older and a wee bit tired as Scotty, but he is still an engaging comic presence, and the character even shows a little moral backbone, resigning over a matter of principal at a time when Kirk is too blinded by rage to see that Scotty is right.
At its core, STAR TREK INTO DARKNESS is a story of a brash young man who learns a much-needed lesson in humility. Thankfully, the screenwriters realize that personal growth, in and of itself, is not enough to justify the collateral damage that results in a film like this (would it really be fair for dozens if not hundreds of crew people to die so that Kirk can become a better person?), so something else is offered, a larger lesson about holding onto your ideals even when you are tested in extremis. It’s a lesson not only for Kirk but for all of us, and STAR TREK INTO DARKNESS makes the point as well as any classic STAR TREK episode ever did.
Where will the Enterprise voyage next? STAR TREK INTO DARKNESS ends with the promise the the familiar five-year journey about to commence, implying that future episodes will take place out in the galaxy, instead of focusing on the defense of Earth. Although the first two films in the revamped franchise have triumphed at extracting dramatic gravitas from dire situations, there are only so many times you can go for the big emotional character moments before those moments go stale. Perhaps there could be dividends from allowing the supporting characters to take up more of center stage, but hopefully the next TREK will boldly go to some strange new world, where spaceships and tricorders are not merely a backdrop for an action-adventure tale but part and parcel of some thoughtful speculative fiction.
[rating=4] STAR TREK INTO DARKNESS (Paramount Pictures: May 16, 2013). Directed by J.J. Abrams. Written by Roberto Orci & Alex Kurtzman & Damon Lindelof. 132 minutes. PG-13. Cast: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Alice Eve, Leonard Nimoy.
If you’re going to see THE HOBBIT: AN UNEXPECTED JOURNEY at an IMAX theater this weekend, you’re a lucky person! You get to spend $6.95 on a medium soda! Also, you’ll likely be seeing the first 9 minutes of STAR TREK INTO DARKNESS, J.J. Abrams curiously titled follow up to his highly praised franchise reboot. Will we learn a bit about how this alt-Trek-universe diverges from the original? (Maybe.) Will we get some sort of confirmation that the plot for this chapter will somehow key off of “Where No Man Has Gone Before?” (Likely not.) Will we get lots of lens flares? (Bring your sunglasses.)
Paramount included an “abbreviated” list of theaters showing the preview in their announcement, which we’re including below. You can find the full list at startrekmovie.com
Carmike Patton Creek 16 & IMAX, Hoover
Cobb Hollywood 16 & IMAX, Tuscaloosa Alaska
Regal Tikahtnu Commons Stadium 16 & IMAX, Anchorage Arkansas
Dickinson Chenal 9, IMAX, Little Rock Arizona
Dickinson Gateway 12, IMAX, Mesa
AMC Deer Valley 30 & IMAX, Phoenix
AMC Loews Foothills 15 & IMAX, Tucson California
AMC Burbank 16 & IMAX, Burbank
Edwards Fresno Stadium 22 & IMAX, Fresno
AMC Century City 15 & IMAX, Los Angeles
Esquire IMAX, Sacramento
AMC Palm Promenade 24 & IMAX, San Diego
AMC Van Ness 14 + IMAX, San Francisco
AMC Downtown Disney 12 & IMAX, Anaheim Colorado
UA Colorado Mills Stadium 16 & IMAX, Lakewood
UA Colorado Center Stadium 9 & IMAX, Denver
AMC Westminster Promenade 24 & IMAX, Denver Connecticut
AMC Loews Danbury 16 & IMAX, Danbury
Rave Buckland Hills 18 & IMAX, Manchester Florida
AMC Universal Cineplex 20 & IMAX, Orlando
AMC Regency 24 & IMAX, Jacksonville
AMC Veterans 24 & IMAX, Tampa
Cobb Dolphin 19 & IMAX, Miami
Muvico Parisian & IMAX, West Palm Beach Georgia
Regal Cinemas Atlantic Station 16 & IMAX, Atlanta
Regal Augusta Exchange Stadium 20 & IMAX, Augusta
AmStar 16 & IMAX, Macon Hawaii
Regal Dole Cannery 18 & IMAX, Honolulu Idaho
Edwards Boise Stadium 22 & IMAX, Boise Illinois
AMC Showplace Naperville 16 & IMAX, Naperville
Carmike Grand Prairie 18 & IMAX, Peoria
AMC Showplace Rockford 16 & IMAX, Rockford Indiana
Carmike Jefferson Pointe 18 & IMAX, Ft. Wayne
AMC Showplace Indianapolis 17 & IMAX, Indianapolis Iowa
AMC Star Council Bluffs 17 & IMAX, Council Bluffs
Rave Davenport 53 & IMAX, Davenport Kansas
AMC Studio 28 & IMAX, Olathe
Warren West IMAX, Wichita Kentucky
Rave Stonybrook 20 & IMAX, Louisville
AMC Newport on the Levee 20 & IMAX, Newport Louisiana
Rave Mall of Louisiana 15 & IMAX, Baton Rouge
AMC Clearview Palace 12 with IMAX, Metairie Maryland
AMC Loews White Marsh 16 & IMAX, Baltimore
Regal Westview Stadium 16 & IMAX, Frederick
AMC Loews Rio Cinemas 18 & IMAX, Gaithersburg Maine
Saco Cinemagic & IMAX, Saco Massachusetts
AMC Loews Boston Common 19 & IMAX, Boston
Showcase Cinemas Randolph & IMAX, Randolph Michigan
Celebration! Cinema Grand Rapids North & IMAX, Grand Rapids
Celebration! Cinema & IMAX, Lansing
AMC Star Fairlane 21 & IMAX, Dearborn Minnesota
AMC Eden Prairie Mall 18 & IMAX, Eden Prairie
AMC Southdale 16 & IMAX, Edina
AMC Arbor Lakes 16 & IMAX, Maple Grove
Springfield 11 & IMAX, Springfield
Wehrenberg Ronnies 20 Cine & IMAX, St. Louis AMC BarryWoods 24 & IMAX, Kansas City Nebraska
AMC Oakview 24 & IMAX, Omaha New Hampshire
Hooksett Cinemagic & IMAX, Hooksett New Jersey
AMC Clifton Commons 16 & IMAX, Cliffton
AMC Jersey Gardens 20 & IMAX, Elizabeth
AMC Loews New Brunswick 18 & IMAX, New Brunswick Nevada
Brenden Theatres and IMAX at the Palms, Las Vegas
Regal Aliante Stadium 16 & IMAX, Las Vegas
Regal Sunset Station Stadium 13 & IMAX, Henderson New York
Regal Crossgates Mall Stadium 18 & IMAX, Albany
Regal Sheepshead Bay Stadium 14 & IMAX, Brooklyn
AMC Loews 34th Street 14 & IMAX, New York
AMC Loews Kips Bay 15 & IMAX, New York
City Center 15: Cinema de Lux & IMAX, White Plains North Carolina
Regal Stonecrest At Piper Glen Stadium 22 & IMAX, Charlotte
AMC Concord Mills 24 & IMAX, Concord
Southpoint Cinemas & IMAX, Durham
Wells Fargo IMAX Theatre at Marbles- Raleigh Ohio
AMC Easton Town Center 30 & IMAX, Columbus
AMC Lennox Town Center 24 & IMAX, Columbus Oklahoma
AMC Southroads 20 & IMAX, Tulsa
AMC Quail Springs Mall 24 & IMAX, Oklahoma City
Moore Warren IMAX, Moore Oregon
Regal Old Mill Stadium 16 & IMAX, Bend
Regal Valley River Center 15 & IMAX, Eugene
Regal Lloyd Center 10 Cinema & IMAX, Portland Pennsylvania
UA King of Prussia Stadium 16 & IMAX, King of Prussia
AMC Franklin Mills 14 & IMAX, Philadelphia
RC Reading Movies 11 & IMAX, Reading Rhode Island
Providence Place Cinemas 16 & IMAX, Providence South Carolina
Citadel Mall IMAX Stadium 16, Charleston Tennessee
Regal Streets of Indian Lake Stadium 16 & IMAX, Hendersonville
Regal Pinnacle Stadium 18 & IMAX, Knoxville
Regal Opry Mills Stadium 20 & IMAX, Nashville Texas
AMC The Parks at Arlington 18 & IMAX, Arlington
AMC Barton Creek Square 14 & IMAX, Austin
AMC Northpark 15 & IMAX, Dallas
AMC Gulf Pointe 30 & IMAX, Houston
Santikos Palladium IMAX, San Antonio Utah
ATK IMAX, Clark Planetarium, Salt Lake City
Megaplex 17 & IMAX Jordan Commons, Sandy Virginia
AMC Hoffman Center 22 & IMAX, Alexandria
AMC Hampton Towne Centre 24 & IMAX, Hampton
AMC Lynnhaven 18 & IMAX, Virginia Beach Washington
IMAX Lincoln Square Cinemas, Bellevue
Regal Thornton Place Stadium 14 & IMAX, Seattle
AMC River Park Square 20 & IMAX, Spokane Washington DC
AMC Loews Georgetown 14 & IMAX, Washington DC Wisconsin
AMC Star Fitchburg 18 & IMAX, Fitchburg
The following is an abbreviated list of theaters in Canada that will show the extended preview of “STAR TREK INTO DARKNESS.” For the complete list, please visit the official movie site at www.startrekmovie.com.
Scotiabank Chinook & IMAX, Calgary
Empire Studio 16 Country Hills & IMAX, Calgary
Scotiabank Edmonton & IMAX, Edmonton British Columbia
Colossus Langley& IMAX, Langley
SilverCity Riverport & IMAX, Richmond
SilverCity Victoria Cinemas & IMAX, Victoria Manitoba
SilverCity Polo Park Cinemas & IMAX, Winnipeg Newfoundland
Empire Studio 12 Gateway Park & IMAX, St. John’s
Empire 18 Cinemas & IMAX , Halifax Ontario
SilverCity London Cinemas & IMAX, London
SilverCity Windsor Cinemas & IMAX, Windsor
Empire Theatres Kitchener & IMAX, Kitchener
Coliseum Mississauga & IMAX, Mississauga Quebec
Mega-Plex Taschereau 18 & IMAX, Greenfield Park
Mega-Plex Pont Viau 16, Laval
Mega-Plex Marche Central 18, Montreal
Mega-Plex Terrebonne 14 &IMAX, Terrebonne
For a complete list of IMAX® theatres worldwide that will show the extended preview, please visit IMAX.com.
Japanese version with extra footage, via JoBlo’s youtube page.
“In Summer 2013, pioneering director J.J. Abrams will deliver an explosive action thriller that takes STAR TREK Into Darkness.
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.”
Starring Chris Pine, Zachary Quinto, Benedict Cumberbatch, Zoe Saldana, Karl Urban, Simon Pegg, Anton Yelchin, John Cho, Bruce Greenwood, Peter Weller.
Directed by J.J. Abrams from a screenplay byAlex Kurtzman , Roberto Orci , and Damon Lindelof.
Due out May 17th, 2013 from Bad Robot Productions and Paramount.
Splash News got this Behind the Scenes footage of Mr. Spock (Zachary Quinto) against SHERLOCK’s Benedict Cumberbatch in a fight sequence for Paramount’s STAR TREK sequel.
Director JJ Abrams was on hand guidng the actors through their movements, and though a stuntman for Quinto was on set, it looked as if the actor was doing the bulk of the work.
Probably any shot with the character being knocked down was doubled, as insurance companies are naturally disinclined to allow stars to take actual falls. An eariler leaked photo indicates that Lt. Uhura (Zoe Saldana) is in on the action as well—perhaps with a better idea for subduing the seemingly Vulcan Nerve Pinch-resistant Cumberbatch.
In response to Zachary Quinto’s( Mr. Spock) recent comment that the script to the currently filming STAR TREK sequel is still undergoing rewrites, co-writer Roberto Orci told TrekMovie.com
“…you should know the story hasn’t change(d), the structure hasn’t changed, and the action sequences haven’t changed. Most changes are minor.
The changes I suspect Quinto is referring to are the character interactions as we fine tune the level of their various friendships. How well they all know each other and what they’ve all been through off screen is a nuanced yet essential part of the actors understanding where they are coming from with each other. While discussing the exact same plot elements, what they’ve been through colors their attitude toward each other.
And given that the time past (sic) in real life is different than the amount of time passed in the movie world, it takes a polish to get it just right. That’s what polishes (a legal contractual word in our contract) are for.
Does any of this mean the movie will be any good? No. But if it’s no good, it will be because we were wrong to execute exactly what we wanted. Not because we changed our minds or someone changed our minds for us. “
See the much longer comments at the link above, where Orci adds that some slight revisions are also necessary to accomodate changes in setting as director JJ Abrambs explores new equipment allowing greater camera movement, presumably within and between sets. All this must of course be documented and reflected in the script on any complex production.
Nearly all films require some on-going rewrites during production to allow for directors’ decisions, ideas generated by actor improvisations, location opportunities, etc.
According to Variety, Noel Clarke, who was the recurring character Mickey Smith on the BBC’s revived DOCTOR WHO in its first two seasons, has been cast in role in Paramount’s next STAR TREK film.
A wirter and director himself, he joins a cast that includes Peter Weller (ROBOCOP) and Alice Eve (ENTOURAGE, MEN IN BLACK 3).
The article had no further details, other than the the fact the actor’s role is reputed to be ” a family man with a wife and young daughter”.
STAR TREK 2 is being directed by JJ Abrams from a screenplay by Alex Kurtzman, Roberto Orci and Damon Lindelof.
The as yet un-named sequel is presently scheduled for release May 17th, 2013 from Bad Robot Productions, Skydance Productions, and Paramount Pictures.
Deadline reports that Paul Wernick and Rhett Reese (ZOMBIELAND) will
write the screenplay to bring MICRONAUTS to the screen for Paramount Pictures and JJ Abrams’ Bad Robot Productions.
Currently owned by Hasbro, the Micronauts were orginally brought to the U.S. by the Mego Corporation in 1976, adapting the Microman toy line created by Takaraare, a Japanese toy company later taken over by TOMY. The Micronauts became a Marvel Comic in 1977, and in later years other companies such as Image Comics had short runs with the characters.
Interestingly, some of the Marvel-created comic book characters were used in other titles, with their Micronauts connection unmentioned.
There’s been fan speculation that CBS/Paramount was planning to remaster STAR TREK: THE NEXT GENERATION in HD for Blue-Ray release. Now there’s some confirmation that a test of four episodes are being done.
LeVar Burton revealed on his twitter feed that he saw some of the work being done.
Stopped by to see how the TNG conversion to HD for Blue Ray was coming along… #mindblown
The Digital Bits reports that an un-named source told them them episodes being up-converted are the two-part premiere Encounter At Far Point Parts 1 & 2 , Sins of the Father, and The Inner Light.
The “Sampler Disc” will reportedly be rleased in Germany on December 17th, though no formal announcement has been made by CBS/Parmount.
THE NEXT GENERATION actually poses more of a problem in HD conversion than the original series did. High quality negative and prints of that series exist in Paramount vaults. While NEXT GEN was also shot primarily on 35mm film, the series was edited and much of the effects composited on standard denfinition 525-line video (actual resolution 720X486).
In the early years of the show, the equipment used was not much more advanced than a netwrok news edit room, sometimes with rather “soft”-looking film transfers, and FX elements occasionaly generated directly on video. It’s unclear how much of the original materials were stored, and what condition they might be in.
One might speculatethat the episodes would have to be re-edited nearly from scratch, a formidible proposition. A simple ‘up-conversion” through line doubling and similar methods would likely yield inferior results.
In other STAR TREK news JJ Abrams told NBC that he might consider the idea of bringing STAR TREK back to television.
“It’s never really come up, frankly, but depending on what that would sort of be and how it would be done I’d be open to the idea of it. Right now we’re just sort of focusing on making a movie that’s worth people’s time.”
And regarding the sequel to his hit STAR TREK cinematic reboot:
“I’m excited. We’re working hard. We’re very close and I hope to have something to talk about concretely soon. I do feel like if ‘Trek’ happens as we hope that it will, it will be a fun return to that group of people, because it’s an amazing group.”