#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – When the USS Enterprise crew 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 space 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.
Plot: 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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|7.7/10 Votes: 464,620|
|7.3 Votes: 7391 Popularity: 27.686|
**The following is a long form review that I originally wrote in 2013.**
_Star Trek: Into Darkness_, or _STID_, as the kids are calling it (which makes me sad ’cause it’s akin to both STI’s and STD’s) is, in my unprofessional opinion, a step up from the previous instalment (which I did still quite enjoy).
Both J.J. Abram’s 2009 film, as well as _Into Darkness_ did both, however, seem to have an issue I couldn’t overlook in common. And that is that both essentially feel like an incredibly drawn out episode of a TV show. And I’ve seen next to nothing of the old _Star Trek_ series, so it’s not from that sort of a view I’ve come to have this feeling. It’s just a sort of unshakable notion I developed after a few minutes from the start during each film. Even in this aspect, _Into Darkness_ is a slight improvement on its forebear.
This new _Star Trek_ film is, unfortunately, riddled with plot holes. Some… Or at least one, is completely unforgivable. They’re not enough to ruin the film per se, but it does make me wonder about Abram’s ability to be a showrunner in the future if he can’t even handle _Star Trek_. Right from the get go I had questions that could have easily been answered with only a couple of lines of dialogue’s worth of effort. Which was sad, because it cast a pall over what was, at its heart, an enjoyable piece of cinema.
Despite these issues worsening as the movie progressed, a congratulatory word does again have to go out to Abram’s and his team for their tweaked timeline. Working a way in which to successfully reboot the franchise, without belittling the integrity of the original was a great move (moreover, they’ve left themselves open for more deviations in the future, now that the concept is established). Very smart.
Zachary Quinto, Karl Urban, Simon Pegg, John Cho and Anton Yelchin returning is of course a big plus for me. Completely unsurprisingly there just as fantastic as ever. But, that kind of Tumblr user would I be if I didn’t give a special bit of praise to Benedict Cumberbatch (which all levity aside, is actually well earned from the Brit, who makes for a spectacular villain).
Weak story for a movie with a huge budget.
Honestly, I think you will only like it if you are a Treky. In no other way you will be able to get any logic out of it and the fact that the Captain of the space ship is the first to get out to do field work.
I can boldly embrace both
As someone who has grown up with the franchise, watched every show and every movie (I’ve watched the entire DS9 series at least twice!), suffered through characters/actors who I didn’t care for (Tasha Yar, seriously?), I realize we all have opinions about what makes Gene Roddenberry’s vision so lasting.
That being said? I LOVED this movie. I even capitalized it I loved it so much. The play between the characters, the more human version of Spock, the absolutely delightful “Scotty” (although his sidekick is one of those throwaway characters I dislike) as well as a much better crafted plot this time made for a completely enjoyable movie. The action is intense, the friendship deepened between the characters, the twists and turns are a bit predictable at times, but that is reminiscent of the franchise as a whole. I am already excited for the next movie. I tremendously respected and appreciated the ties in this movie to the elements that make Star Trek great – strong story line, deep connection to the characters and a philosophical element. In some of the older Star Trek episodes the moral/philosophical element can be oppressively heavy handed. No so in the new Trek movie. The ideas of friendship, family and humanity are woven through this movie with subtly and I will outright admit I more than teared up during the climactic scene in the engine room. EVEN though I had already figured out what was going to happen, I have already come to care about, respect and enjoy the new actors in their iconic roles.
So yes, ten out of ten. And let the haters, hate. Those who can not embrace change can go sit and watch old Star Trek reruns and bemoan the ‘good old days’ and spout off all the reasons why ‘Star Trek ain’t what it used to be’!!!!
I, on the other hand, will boldly go and embrace the new with a continued reverence for the old. This movie makes it possible to love both.
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.
Original Language en
Runtime 2 hr 12 min (132 min)
Genre Action, Adventure, Sci-Fi
Director J.J. Abrams
Writer Roberto Orci, Alex Kurtzman, Damon Lindelof, Gene Roddenberry (television series “Star Trek”)
Actors Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban
Awards Nominated for 1 Oscar. Another 8 wins & 58 nominations.
Production Company Bad Robot
Sound Mix Dolby Digital, Datasat, SDDS, Dolby Atmos, Auro 11.1, IMAX 6-Track, Sonics-DDP, Dolby Surround 7.1
Aspect Ratio 1.66 : 1 (70mm IMAX – some scenes), 1.78 : 1 (IMAX Blu-ray – some scenes), 1.90 : 1 (Digital IMAX – some scenes), 2.39 : 1
Camera Arriflex 435 ES, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses, IMAX MSM 9802, Hasselblad Lenses, Iwerks MSM 8870, Hasselblad Lenses, Panavision Panaflex Millennium XL2, Panavision Primo, C-, E-Series, ATZ and AWZ2 Lenses, Red Epic (some shots)
Laboratory Company 3 (digital intermediate), DeLuxe (color), FotoKem Laboratory, Burbank (CA), USA (35 mm and 65 mm dailies), Kelvin Optical, Los Angeles (CA), USA (digital intermediate)
Film Length 3,610 m (Portugal, 35mm), 3,622 m (8 reels)
Negative Format 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219), 65 mm (horizontal) (Kodak Vision3 200T 5213, Vision3 500T 5219), Redcode RAW
Cinematographic Process Digital Intermediate (2K) (master format), IMAX (source format) (some scenes), Iwerks 8/70 (source format) (some scenes), Panavision (anamorphic) (source format)
Printed Film Format 35 mm (Kodak Vision 2383), 70 mm (horizontal) (IMAX DMR blow-up) (also dual-strip 3-D) (Kodak Vision 2383), D-Cinema (also 3-D version)