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Wednesday, September 13, 2017

REVIEW: Fathom Events - Star Trek II: The Wrath of Khan Director's Cut

2017 marks the 35th anniversary of the release of Star Trek II: The Wrath of Khan, widely considered to be the finest film in the franchise. While it isn't my personal favorite (that would be the follow up Star Trek III: The Search for Spock), I can't deny the greatness of this film. To commemorate the anniversary, Paramount, through Fathom Events, released the director's cut into theaters for a limited two day engagement on September 10th and 13th. It doesn't matter that I've seen the film countless times and have it on all variety of home video. The plain fact is, if a classic Star Trek film is being run on the big screen, you will find me there.

A decently filled, albeit small, theater with reclining seats faced a nice sized screen. Since I waited too long to order my tickets, I wound up in the very last row to the right. But there really weren't any bad seats in the house. The event kicked off with an interview with William Shatner by film critic Scott Mantz, a self proclaimed die hard Trekkie. He was exuberant and, well, annoying. However, Shatner was a delight as he joked and gave insights into the making of the film. Many of his statements were inaccurate, but the guy's in his mid-80's, so I just went along for the ride. It was a jovial, fun 15 minutes, but Mantz was too eager to allow spoilers. I realize it's a 35 year old film, but more than one parent I've spoken with was showing their kids the film for the first time. Running the interview at the end would have been a better choice.


The preamble concluded, the film proper kicked off. I must admit to some genuine excitement. I have only seen this film twice before in the cinema; once during the original run in 1982 and a second time in 2012 in a small Manhattan revival house, which was packed with fans. That night was glorious as a scratched and cruddy 35mm print unspooled. The audience was into it then, almost too much. I don't like shenanigans in the theater. This time, we got a silent enraptured audience and a crisp 4k digital projection.

The film itself is classic. They truly don't make them like this anymore. Instead of wall to wall action, a shaky bobbing and weaving camera and rapid fire edits, we were treated to a slowing unfolding dramatic space opera. It took literally 45 minutes for the action to truly kick in. Yet none of it was dull. The pacing is crisp as we are introduced to all the players. Kirstie Alley's debut as Vulcan Lt. Saavik, a command trainee, is impressive. During the combat simulation, she fails to save her crew, unable to comprehend it was a no win situation with no correct resolution. Meanwhile, the USS Reliant, with first officer Pavel Chekov (Walter Koenig) is looking for a lifeless planet with which to test the new terraforming technology, Genesis. They discover a lifeform reading and Captain Terrell (Paul Winfield) and Chekov investigate. There they find Khan (Ricardo Montalban) who has been stranded for 15 years. Kirk, back in the original series episode "Space Seed," left Khan there with his people, to tame a garden planet for their own. A calamity caused the orbit of the planet to shift, laying waste to the surface. Having lost his wife to indigenous ear crawling eels, Khan was driven quite mad in the process and now sees his opportunity to leave and take his revenge on the man who left him there.   

Back on the Enterprise, Kirk is feeling the pull of age. His usefulness and youth are gone. Now an administrator, he yearns for command again. Saddled with a crew of cadets, he isn't even in command of the Enterprise during academy training cruise. Not until a distress call from the inventor of Genesis, old flame, Carol Marcus (Bibi Besch) alters the Enterprise's mission from training to investigation. Spock (the always great Leonard Nimoy) relinquishes command to Kirk, who immediately comes to life.

This is without a doubt William Shatner's film. Everything revolves around Admiral Kirk's story as his old foe Khan hunts him as a 23rd century Ahab (Star Trek would wear out the Moby Dick references, but for this film it was fresh). Shatner takes the ball and runs with it, giving the right amount of layering, making Kirk a real person. However, he's lost his edge, as he is outmaneuvered by Khan in their first battle. Meeting his own son, who blames him for the death of his friends, doesn't help. David (Merritt Buttrick) is a reminder of an unfulfilled life and of time going by. Yet, as the film progresses, Kirk is rejuvenated. He turns the tables on Khan, finds his groove and wins the day. However, in the process, his dearest friend is lost while saving the ship. Spock, in his own no-win scanerio, passes his test and pays the ultimate price.

The effect Spock's death had on the fanbase can't be underestimated. Fans were in an uproar and in real tears over it (even my icy cold mom cried). At the time, Nimoy had no intention of coming back. So he was pretty dead. However, he had a change of heart at the end of filming and certain "trapdoors" were left over for his return.


As this is the Director's Cut of the film, a handful of minutes have been put back in, not enough to alter the story, but they do break up the flow a bit. Most of these scenes are inconsequential and add nothing to the film but running time. A few, however, are of note.

The first is in Kirk's apartment when Bones (DeForest Kelley) gives Kirk glasses for his birthday. The DC specifically has McCoy state the frames are an antique. This would pay off in Star Trek IV: The Voyage Home. Later, in Engineering during the Enterprise inspection, we meet Peter Preston (Ike Eisenmann), who Scotty (James Doohan) introduces as his nephew. This ties up during the initial battle with Reliant, when the boy is killed. An additional scene in Sick Bay plays off Scotty's intense grief. It's one of Doohan's best moments. However, the coda of the scene is badly acted by Shatner. It has been alleged by Doohan that Shatner would intentionally fluff scenes where someone was doing good work, or took the spotlight from him. While I can't confirm this is the case, Shatner's performance here is well off his norm. 

None of the additional scenes are of any significance. Just the opposite, as they were well cut out to begin with. Some performances are awkward or the editing is off. They make a nearly flawless film occasionally clumsy.

However, none of this impacts the film in the long run. All of the power remains. The film ends sadly, but not oppressively so.  Kirk's rebirth, the restoration of his youth and vitality, and the addition of his new family, offsets the loss of Spock. Kirk's final words, responding to Dr. McCoy's question of how he feels, are beautiful: "young...I feel young."

As a teenager, I didn't appreciate this ending. It felt corny. Now, however, as a man about the same age as Kirk is here, I get it completely. Seeing it now with a whole different set of eyes really hit home for me. Kirk is back doing what he loves; commanding a Starship. He lost his friend, but gained so much more. The gorgeous music by the late James Horner seals the deal as we go from Kirk's epiphany to the final shots of Spock's coffin, soft-landed on the surface of the new planet. The tears this film earns are as much from joy as from sadness.

There was a time when character was king. Star Trek was about character. Today, even in modern Trek films which still tend to be pretty thoughtful, these beats are generally obscured in the flash and dazzle in an attempt to appeal to as many non fans as possible. However, in 1982, they just made the best Star Trek movie they could. The result was a truly classic film that was a massive box office success. It resuscitated the franchise and paved the way for a plethora of films and television series.  Whether you choose the Director's Cut or the theatrical version, both thankfully on Blu-Ray, Star Trek II: The Wrath of Khan is a trek well worth taking.






Thursday, July 27, 2017

Hans Zimmer Live Concert

Hans Zimmer's World Tour hit Radio City Music Hall this week and played to capacity crowds. While Zimmer isn't my favorite film score composer by a long shot, I rarely have the chance to see film music performed live and this opportunity was too good to pass up. So, with bellies full of a fantastic dinner at Bill's Bar and Burger's, I - joined by my wife and sister - took our seats at the legendary venue. At exactly 8:00, the lights came down and the curtain rose.

Without introduction, the music began with a medley made of up scores from Driving Miss Daisy, Sherlock Holmes and Madagascar. It was an energetic start, setting a lively tone. As each section of the ensemble was to play, the curtain rose another row to reveal them. When the curtain was finally fully raised, we were able to see the round screen behind where a variety of images would be projected to match the music.

Once the first medley was complete, Mr. Zimmer began his intro. An affable personality, he projected much warmth, humor and joy, engaging the audience and introducing his fellow musicians. The love shared between Zimmer and his troupe was obvious and contributed to the family feel. Throughout the evening. Zimmer would take up the guitar, the keyboard, the drums and even a xylophone. His musical talents were widely on display.

Over the following two and half hours, a greatest hits collection from Crimson Tide, Angels and Demons, and Gladiator swept the audience away. Excitement gave way to beautiful imagery when The Da Vinci Code was played, but the real surprise came when the unmistakable voice of Lebo M. exploded forth. The Lion King piece was received with rapturous applause and even I had chills when it concluded with a rousing rendition of "The Circle of Life."

More thrills and cheers when Jack Sparrow's theme began, ending the first half of the show with a generous helping of Pirates of the Caribbean.

The second half began with True Romance and Rain Man before heading into Super Hero territory with fan favorite cuts from Man of Steel and the Wonder Woman theme from Batman v Superman: Dawn of Justice.  The Thin Red Line was sandwiched between DC and Marvel as The Amazing Spider-Man 2's "Electro's Theme" rhythmically flowed outward. There was a brief respectful interlude as Mr. Zimmer introduced "Aurora," and understated piece created to honor the lives lost in the Aurora, Colorado movie theater shootings during showing of The Dark Knight.

Interstellar provided a lengthy and inspirational "close" to the show, as Mr. Zimmer gave a rather restrained farewell and left the stage. However, like any good musician. Zimmer knew how to play the audience and everyone filed back for an encore: a truly explosive and show stopping medley from my personal favorite of his scores, Inception. It was well worth the wait. 
At the end, the entire audience was on its feet, cheering, stomping and caught up in the love given and taken by Zimmer, his musicians and his fans.

I was incredibly impressed by the entire show. The pieces were very well chosen and the live performances were impeccable. The lights were synchronized with the music, which gave us a KISS worthy light show. Zimmer was able to balance styles as wide ranging as opera with classical music, light jazz and hard rock and meld them all into one cohesive experience. This is his gift, his hopscotching of musical genres. His success at this explains his massive worldwide appeal and how he even has fans who wouldn't ordinarily embrace film scores. At times, particularly in the latter half, this came off as a rock concert sans lyrics. None were needed. Music feed and carries emotion. That's its power. And Zimmer was at his most powerful in front of a crowd of nearly 6000 people. I walked out of there totally energized, full of good spirits and with a much greater appreciation for his music. He has jumped up a few notches and am thrilled to have had the chance to live the experience.

Sunday, February 19, 2012

Voyage to the Bottom of the Sea

Season 2, Episode 4
Prod #8205

THE CYBORG

Written by William Read Woodfield and Allan Balter
Directed by Leo Penn

Thursday, February 16, 2012

Voyage to the Bottom of the Sea

Season 2, Episode 2
Prod #: 8203

TIME BOMB


Written by: William Read Woodfield & Allan Balter
Directed by: Sobey Martin

Monday, February 13, 2012

Voyage to the Bottom of the Sea - Reviewing the final episode.

It's been a year since I wrote about the first episode, so here's something about the finale. Maybe one day I'll fill in the episodes in between.

NO WAY BACK

Written by: William Welch
Directed by: Robert Sparr

Wednesday, February 16, 2011

The 9 Phases of Lost in Space: Evolution of a Cult Classic - Part 1

Lost in Space (1965 - 1968), created and produced by Irwin Allen, began its run as a serious space adventure about a family, the Robinsons, surviving on an alien planet while an evil saboteur plots to end their lives.