![]() Jun 14, 2018 - In the first Test in Auckland, they trailed 8-11 at half-time before cracking on 44 unanswered points in the second half. “Whilst we were really. Follow Those madcap galoots, Captain James T. Kirk (Chris Pine) and “Bones” McCoy (Karl Urban), are trying to escape a band of chalk-faced aboriginals on the Class-M planet Nibiru. Having broken a Starfleet rule by intervening in a prehistoric civilization, they run for their lives, like and hightailing it out of Zanzibar after one of their schemes went kaflooey. Soft cell. Reaching a cliff, with the natives in angry pursuit, Jim and Bones leap desperately toward the water far below. Now they’re Butch and Sundance, in every way except for yelling, “S—!” as they plummet to safety. They’re just one Enterprise crew member short of being the Three Stooges. Actually, Moe — Mr. Spock (Zachary Quinto) — is trapped nearby in an erupting volcano, its spewing lava reminiscent of the kitsch special effects from the 1940 One Million B.C., but in 3-D and gaudy color. Kirk, back on the Enterprise, ignores another Starfleet dictum and flies into the inferno to rescue Spock; the primitive Nibirians gape at the spacecraft with the same perplexed wonder as the apes at the 2001 monolith. When the Enterprise returns to Earth, Rear Admiral Christopher Pike (Bruce Greenwood) demotes Kirk to Starfleet Academy and separates him from Spock. Pike might be an exasperated homeroom teacher forced to keep two troublemakers apart — or a father regretting that he gave his reckless teen son the keys to the starship. (READ: ) Any prequel series to a movie franchise is obliged to imagine younger versions of famous characters. We know from the Star Trek TV series, spawned in 1966 by Gene Roddenberry, and from the six subsequent feature films starring William Shatner and Leonard Nimoy, that Kirk is the man of action, Spock the half-Vulcan half-man of thought. Abrams applied that dichotomy to his 2009 Star Trek reboot and now to the first sequel to the prequel, Star Trek Into Darkness. (Abrams has his plate full with revered sci-fi franchises. Disney has entrusted him with reviving Star Wars.) (READ: Mary Pols’ ) The difference between the Roddenberry and Abrams Kirks: This one has a severe case of arrested development. He’s always spoiling for a fight that might endanger his crew, nay, alter the fate of the universe. Not that Into Darkness doesn’t provide bustling fun equal to its modest ambitions or that the script (by the writing duo of Robert Orci and Alex Kurtzman and Abrams’ co-creator of Lost, Damon Lindelof) doesn’t find rich plunder in the maleficence of an early Star Trek villain. But with its emphasis on its hero’s adolescent anger, the movie turns this venerable science-fiction series — one that prided itself on addressing complex issues in a nuanced and mature fashion — into its own kids’ version: Star Trek Tiny Toons. At times, the viewer is almost prodded to mutter, “Grow up!” When catastrophe reunites the crew members for one more mission, we find the rest of them suffering growing pains as well. Spock, who’s hardly on speaking terms with Kirk after the Nibiru caper, endures a puppy-love spat with Communications Officer Uhura (Zoe Saldana).
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