Star Trek: Original Motion Picture Collection Blu-ray

The Motion Picture / The Wrath of Khan / The Search for Spock / The Voyage Home / The Final Frontier / The Undiscovered Country





Star Trek: Original Motion Picture Collection Blu-ray Review

The original six beam onto Blu-ray.

Reviewed by Martin Liebman, May 25, 2009



"Star Trek" lived up to its promise, boldly going where no television series had gone before, the forward-thinking and enormously popular program from the 1960s spawning eleven feature films, an animated spinoff show, four additional live action television programs spanning 25 seasons, countless novels and fan fiction works, attics full of toys, dozens of conventions, and legions of fans. Series creator Gene Roddenberry likely didn't even imagine the enormity of his creation when the show was conceived, and its lore grows only larger as time moves on. What Roddenberry did see, however, was the bold new direction the series explored when then-little-known writer and director Nicholas Meyer became the creative force behind the most lauded and acclaimed (before, arguably, J.J. Abram's fantastic 2009 reboot) Trek movie, The Wrath of Khan. Re-thinking not necessarily the mission of Starfleet in general and the Enterprise in particular but certainly lending to them a more militaristic, uniform, and orderly structure, Meyer's influence on Star Trek and all its many interpretations since remains even today, approaching thirty years since Khan was unleashed on theaters. The six films featuring the original Enterprise crew -- Captain Kirk (William Shatner), Mr. Spock (Leonard Nimoy), Dr. "Bones" McCoy (DeForest Kelley), Mr. Scott (James Doohan), Uhura (Nichelle Nichols), Sulu (George Takei), and Chekov (Walter Koenig) -- offer good stories and bad, pajama uniforms and military-appropriate garb, action and adventure, past and future, good and evil, politics and drama, Earth and the farthest reaches of space, old enemies and new friends, timeless literature and classic acting and, most importantly, love and family, all showing what makes Star Trek so special, so memorable, so enchanting, so important, so smart, so exciting, and so meaningful to an incredibly diverse spectrum of humanity that sees in Gene Roddenberry's fictional world a very real future worth striving for.





To boldly go.



Star Trek: The Motion Picture

Rating: 4/5



The human adventure is just beginning.



A large, mysterious cloud on a direct course towards Earth destroys three Klingon Battle Cruisers and a Federation outpost. A refitted Enterprise is the only ship within intercept range before the cloud reaches Earth, but the ship is in no condition to either pursue or engage the deadly force. His experience his greatest ally, Admiral James T. Kirk, former Captain of the Enterprise, successfully lobbies for his return to the Captain's chair, supplanting Captain Decker (Stephen Collins) and reassigning him to the position of Executive Officer. Despite new and untested engines, a mostly inexperienced crew, and no science officer, the Enterprise sets out to intercept the cloud, the famed vessel perhaps Earth's last, best chance for survival.



Before 1979, "Star Trek" fans had enjoyed their heroes on small, fuzzy television screens, the grandeur of both the Enterprise and the many "strange, new worlds" she traveled to and the "new life forms and new civilizations" she encountered perhaps lost in translation from set to screen. With Director Robert Wise's (The Sound of Music) Star Trek: The Motion Picture, fans were treated to a larger-than-life presentation of the "Star Trek" experience, and indeed, every moment of The Motion Picture plays out like a long, drawn-out love affair with not necessarily the story, but the characters and, most importantly, the Enterprise herself. In perhaps the film's best sequence, and indeed one of the finest in the entirety of Trek lore, Mr. Scott flies Kirk to the Enterprise in a small shuttle pod, offering an extended visual tour of the ship from the outside, the camera slowly moving across the hull, saucer section, and nacelles. The sequence marks the Enterprise's debut on the silver screen, the vessel's size and mass captured with both beauty and perspective, the scene featuring men in space suits moving about the exterior of the ship, offering viewers an idea of the enormity of the NCC-1701 Enterprise.



While Star Trek: The Motion Picture may be more about its characters and visuals, the story that ties the experience together represents classic "Trek" and also hearkens back to some of the deeper, more involved classic Science Fiction films of previous decades. Delivering on many of the same ideas as some of the better episodes of the Star Trek may very well exist some two centuries into the future. Star Trek: The Motion Picture also features the introduction of the now-iconic Star Trek theme, one perhaps even more recognizable than that of the original series, the music later serving as the opening theme to the "Star Trek: The Next Generation" television series.







Star Trek II: The Wrath of Khan

Rating: 5/5



How we deal with death is at least as important as how we deal with life.



On a mission to locate a lifeless world on which to test the "Genesis" device, an object capable of instantly transforming a barren world into a habitable paradise, the U.S.S. Reliant's Captain Terrell (Paul Winfield) and Commander Chekov beam down to Ceti Alpha V (though they believe the planet to be Ceti Alpha VI) to investigate a singular object which may represent life. There, they discover the remnants of the Botany Bay, the vessel housing a marooned Khan Noonien Singh (Ricardo Montalban), a 20th Century genetically-engineered superman with an unquenchable thirst for the blood of his old nemesis, Admiral James T. Kirk. Capable of controlling Terrell and Chekov and commandeering Reliant, Khan sets out to both capture the Genesis device and exact revenge on an unawares Kirk and Enterprise crew.



So named for the character that first appeared in the "Star Trek" episode "Space Seed," perhaps the most unique feature of The Wrath of Khan is that the film isn't about Khan at all. His presence lends to the film the dramatic aspect of the picture and serves as the vessel through which the primary plot revolves, but his is of only secondary importance to the thematic core of the film, a study of life and death. The Wrath of Khan -- from the barren wastelands of Ceti Alpha V to the rebirth of Regula, from the reemergence of a forgotten foe to the loss of an old friend -- deals with life's most basic yet also most mysterious principle and does so with a level of dramatic and emotional gusto the likes of which few films, and indeed even fewer Science Fiction films, capture at a level at once wholly fundamental, psychological, and spiritual. Indeed, the core elements of the picture are never obscured behind phaser blasts, torpedo launches, or nebulae; the continuous reminders of the frailty of life and the permanence of death, of the thin line between functional and useless, the small reminders that hint at what once was, what is, and is to come -- play central to story. Never does the theme grow tiresome, but quite the opposite. Repeat viewings serve not to reinforce but rather, with time, redefine the message, its significance only becoming more clear and its implementation more impressive. Neither decades nor repeat viewings can lessen the emotional impact of the film's conclusion. Few pictures stir the emotions quite like The Wrath of Khan, the almost overwhelming issues of death, the creation of life, and the reunification of family cannot help but emotionally drain but also satisfy the viewer.



The best-made of the original ten Star Trek films from a purely technical perspective, The Wrath of Khan's structural superiority impresses, even when the emotional overtones devour the screen. Though the quality direction, score, and acting simply cannot overshadow the fundamental theme of the picture, it can no doubt match it on several occasions. William Shatner's performance -- particularly in the film's most emotionally-charged scenes at the end of the film, the first with David and moments later alongside McCoy and Dr. Marcus -- captures a range of emotion rarely seen in film, and for all the critiques of his acting, Shatner delivers, in the latter in particular, a final moment that captures the very essence of the entirety of the film in but a single shot. Also of note, obviously, is the all-time great performance of Ricardo Montalban, his effort some 15 years after "Space Seed" recapturing not only the overreaching essence of the character but the small mannerisms the defined him in his debut. Director Nicholas Meyer's contributions to the film, aside from his sure-handed direction, are well-documented and noted above, but his effort carried the film not just in those moments of thematic import but also through the very well-staged and engaging action pieces, too, that make the film a complete effort. Finally, James Horner's remarkable score adds not a finishing touch to the picture but rather a necessary element that both adds to the more militaristic feel of the picture and perfectly reinforces its core themes.







Star Trek III: The Search For Spock

Rating: 3/5



If I hadn't tried, the cost would have been my soul.



Most of its trainees reassigned and the badly-damaged Enterprise returning home from its confrontation with Khan, the skeleton crew laments the loss of their friend, Spock, the ship feeling cold and lifeless in his absence. Upon their arrival at a star base, Kirk and crew learn that the Genesis planet is at the center of a galactic controversy, and a refitted and repaired Enterprise won't be returning to the new world where their colleague has been laid to rest. In fact, the Enterprise is to be decommissioned, the fate of her crew in question. When Kirk learns that Spock's katra or "living spirit" was transferred to Dr. McCoy moments before his death, he, Scotty, Uhura, Chekov, Sulu, and McCoy hijack the Enterprise from space dock in order to return to Genesis to retrieve Spock's body in hopes of reviving him and transferring his katra back to its rightful body. Complicating matters is a none-too-happy Starfleet and a Klingon captain named Kruge (Christopher Lloyd) bent on securing the secrets of the Genesis device for his own use as an ultimate doomsday weapon.



A sequel not only in number but also in thematic content, The Search For Spock begins soon after the events depicted in The Wrath of Khan. Unfortunately, this Leonard Nimoy-directed picture doesn't exude the same level of excellence as Nicholas Meyer's masterpiece. Although sharing with its predecessor a similar theme of life and death, the film tackles the issues more because of a necessary extension to tie the film together with the last rather than as a means of exploring important emotional and psychological undertones, and it does so with a rather heavy-handed approach that removes much of the dramatic and emotional effect from the story. The film never takes on a sense of urgency in either its action or its drama, and despite some good moments scattered throughout, it never quite gels and generally fizzles just as often as it succeeds. For every "stealing the Enterprise" sequence there are equally poor moments, many of which are dragged down by less-than-inspired acting from secondary characters, including Christopher Lloyd as the Klingon Kruge; James Sikking as the Excelsior's Captain, Styles; Phillip R. Allen as the Grissom's Captain, Esteban; and Robin Curtis as Lt. Saavik. Nevertheless, the movie's sole purpose -- the resurrection of Spock -- is handled well enough and with just enough believability in the context of both the story and the accepted power of the Genesis device and the events on the Genesis planet. With fine performances from and banter between the primaries, Star Trek III: The Search for Spock reinforces not only the friendship but the brotherhood of the bridge crew as they put their lives and careers on the line for the sake of one of their own, returning the favor and sacrifice shown by their fallen comrade in The Wrath of Khan.







Star Trek IV: The Voyage Home

Rating: 5/5



Admiral, there be whales here!



With Mr. Spock recovered from his rebirth and once again a fully-capable Starfleet officer, the Enterprise bridge crew votes unanimously to return to Earth to face the charges levied against them. On their way home in a commandeered Klingon Bird-of-Prey, they learn that a mysterious probe has arrived at Earth, sending out a signal that baffles Starfleet Command and simultaneously causing a string of environmental disasters that threaten Earth's power reserves. Spock surmises that the probe's signal may not be meant for humans, and verifies his theory when he discovers that it is indeed a replication of the songs sung by humpback whales, an extinct species in the 23rd century. The only solution is to slingshot around the sun in an effort to travel back in time, retrieve a pair of whales, and return them to the 23rd century so they may communicate with the probe before it destroys the planet.



Following the disappointment of The Search for Spock, The Voyage Home delivers a unique and highly entertaining experience quite unlike anything Trek fans had seen before. Though the time travel angle had been used to great effect in episodes past, including the magnificent "The City on the Edge of Forever," The Voyage Home frames its story through a comedic angle that sees each cast member deliver a nonstop barrage of humorous and classic lines. Generally, the film offers little in the way of action, and even the most intense sequences -- a chase through a nuclear vessel or the smuggling of a patient out of a hospital -- plays with a comedic edge and a smart sense of humor that adds levity to the sequences but doesn't sacrifice the drama or excitement of the moment. Enjoying a far better script and acting than its predecessor, The Voyage Home works even when the film takes on more serious tones and issues, including its ecologically-friendly message. Though the "save the whales" message is delivered bluntly, it never overpowers the film. Indeed, the comedy often overshadows the plot, and many viewers may even forget the danger 23rd century Earth is facing, even as the crew goes about solving the problem in the 20th century.



Still, the film's humor steals the show, and The Voyage Home is easily not only the funniest movie in Trek history but also one of the better comedies of the past several decades. The infectious humor sees McCoy delivering his usual barrage of classic lines ("off the deep end, Mr. Scott"), but as might be expected, Spock's presence in a world even more illogical than 23rd century Earth and dealing with a populace fond of "colorful" means of expression, steals the show. His attempts to fit into the 20th century and understand the mannerisms, dialect, and popular culture of the day makes for one humorous scene after another. Of course, what makes The Voyage Home so memorable for fans is its inclusion of every cast member into the plot, with each enjoying scenes and dialogue that represent the best the film has to offer. Chekov and Scotty, in particular, dazzle, Chekov's "nuclear wessels" routine and Scotty's interaction with a classic Macintosh computer marking, perhaps, the film's most memorable individual scenes.







Star Trek V: The Final Frontier

Rating: 2.5/5



Your pain runs deep.



Shore leave is cut short when the newly-designed Enterprise -- registration NCC-1701-A -- is called upon to resolve a hostage crisis on the planet Nimbus III, a world settled jointly in the name of "galactic peace" by the Federation, the Klingons, and the Romulans. Each of these powers' emissaries to the world is taken captive by a renegade Vulcan named Sybok (Laurence Luckinbill) who devises a scheme to overpower the Federation forces and hijack their starship for the purpose of traveling to the edge of the galaxy in search of God. Though with only a skeleton crew and plenty of technical problems plaguing the ship, the Enterprise heads to Nimbus III, only to fall prey to Sybok's plan. With the Enterprise crew enchanted by Sybok's mystical ability to ease the burden of deeply-rooted individual pain and suffering, the ship heads towards a world that may be home to God -- with a Klingon Bird-of-Prey in pursuit.



Though The Final Frontier bears the burden as, by consensus, the worst film amongst the six original crew pictures, one must at least give it credit for trying to be both meaningful and exciting. The film's foray into exploring deeper philosophical issues both hits the mark and falls well short of it at the same time. The primary theme of the picture -- that a man is the sum of his experiences rather than the superficialities he shares with those around him -- hits the mark in a rather good sequence that transitions the film between middle and final act. Kirk reflects that his pains -- those experiences that may hurt on the inside but that have also molded his soul -- make him whole, and sacrificing them sacrifices his entire being. Unfortunately, The Final Frontier falls flat in its exploration of both the attraction to and the purpose of a higher being. Although the underlying theme appears to state that a search for God lies not at the edge of the universe but rather inside a man's heart, it seems lost in the shuffle in the name of a less-than-stellar action sequence with a being that only purports to be God. Kirk delivers this sound philosophical explanation, stating that God exists perhaps not at the farthest reaches of space but rather in a man's heart and, by extension anywhere he may be, from the fields of Iowa to the edge of the Great Barrier.



As for the action, it's partially routine and partially laughable, with a typical Klingon enemy in one corner and a band of poverty-stricken nobodies in the other, the latter led by a renegade Vulcan who both dodges the law and shuns his heritage. Such a character offers an intriguing juxtaposition to Spock, and indeed, Laurence Luckinbill delivers a steady if not slightly goofy performance, though in context and compared to some of his peers, he's one of the film's brighter spots. For the first time in the series, the primary players -- the Enterprise bridge crew -- each see a noticeable drop in effort, likely due to a script that even Patrick Stewart probably couldn't have done anything with. Fortunately, several scenes do work rather well. The interaction between Kirk, Spock, and McCoy around the campfire sees the characters at their very best, both poking fun at one another but also showing their kinship and understanding of their differences, differences that serve to strengthen their bond rather than weaken it.







Star Trek VI: The Undiscovered Country

Rating: 4.5/5



Cry 'havoc!' and let slip the dogs of war.



When the Klingon moon Praxis -- a primary energy production facility -- suddenly explodes, the Klingon species finds itself unable to recover and on the verge of extinction. In an effort to both save the Klingons and bring peace to a long-troubled relationship, the Federation agrees to help the Klingons, assistance that includes dismantling part of the fleet across the neutral zone. Spock volunteers Kirk, the Enterprise, and her crew to escort the Klingon Chancellor, Gorkon (David Warner), through federation space to a peace conference. Kirk rejects both the mission and its purpose, proclaiming his distrust of the Klingons. Nevertheless, the Enterprise carries out her orders, but relationships become further strained when the ship seems to fire on the Klingon Cruiser and a pair of assassins beam aboard the vessel and murder the chancellor. Kirk and McCoy beam over to the Cruiser to ascertain the situation, are arrested, and ultimately found guilty of the assassination. Sentenced to life imprisonment on the harsh penal colony of Rura Penthe, the pair must not only struggle to escape but to save their very lives on a daily basis. Meanwhile, the Enterprise crew vigorously searches for answers in hopes of identifying the true assassins before they have a chance destroy any hopes of achieving peace.



Of all the Trek films, The Undiscovered Country may be the smartest and most fundamentally sound, playing not only with more intellectually-oriented ideas such as political intrigue, but also implementing into the film references to classic literature that play directly into the film's thematic elements. The primary theme of the film, reduced to a single line, is uttered several times throughout. "To be or not to be" reflects a question that defines the story both in its immediate sense and in the context of the consequences of the story that, whatever the outcome, will determine one species' future in absolute terms, reflecting either its survival or total demise. The smart script is reflected in the acting, too, with the primary cast returning to form after a disappointing outing in The Final Frontier. Adding tremendous weight to the film is Christopher Plummer (The Sound of Music), whose performance as the Klingon General Chang is every bit as good as Ricardo Montalban's effort as Khan. Plummer immerses himself in the role, playing off the classical themes of the picture and rising to the occasion in every scene, be it the dining sequence or his delivery of the classic "cry 'havoc!'" from Shakespeare's Julius Ceaser , the line still sending chills up the spine with each viewing.



Moreover, The Undiscovered Country enjoys the best pure action of any Trek film since The Wrath of Khan. Nicholas Meyer, returning once again to direct the crew for their final voyage together, shows why he remains the benchmark Trek director, both his films encompassing the entire spectrum of moviemaking magic, delivering smartly-written characters; a sound plot with under- and overtones reflecting upon timely social, political, and human characteristics; well-staged action; fantastic acting; and wonderful pacing. His films reflect both Trek and Science Fiction in general at its very best, and with a hand in the writing of The Voyage Home, his stamp may be found on the three best original crew pictures. Finally, the film provides a fitting send-off for the crew, with a reference to Peter Pan, bringing Meyer's themes of life and death that surround the two films he's directed full-circle, followed by each cast member "signing off" for the last time, together, across a star field.





"Star Trek" lived up to its promise, boldly going where no television series had gone before, the forward-thinking and enormously popular program from the 1960s spawning eleven feature films, an animated spinoff show, four additional live action television programs spanning 25 seasons, countless novels and fan fiction works, attics full of toys, dozens of conventions, and legions of fans. Series creator Gene Roddenberry likely didn't even imagine the enormity of his creation when the show was conceived, and its lore grows only larger as time moves on. What Roddenberry did see, however, was the bold new direction the series explored when then-little-known writer and director Nicholas Meyer became the creative force behind the most lauded and acclaimed (before, arguably, J.J. Abram's fantastic 2009 reboot)movie,. Re-thinking not necessarily the mission of Starfleet in general and thein particular but certainly lending to them a more militaristic, uniform, and orderly structure, Meyer's influence onand all its many interpretations since remains even today, approaching thirty years sincewas unleashed on theaters. The six films featuring the originalcrew -- Captain Kirk (William Shatner), Mr. Spock (Leonard Nimoy), Dr. "Bones" McCoy (DeForest Kelley), Mr. Scott (James Doohan), Uhura (Nichelle Nichols), Sulu (George Takei), and Chekov (Walter Koenig) -- offer good stories and bad, pajama uniforms and military-appropriate garb, action and adventure, past and future, good and evil, politics and drama, Earth and the farthest reaches of space, old enemies and new friends, timeless literature and classic acting and, most importantly, love and family, all showing what makesso special, so memorable, so enchanting, so important, so smart, so exciting, and so meaningful to an incredibly diverse spectrum of humanity that sees in Gene Roddenberry's fictional world a very real future worth striving for.A large, mysterious cloud on a direct course towards Earth destroys three Klingon Battle Cruisers and a Federation outpost. A refittedis the only ship within intercept range before the cloud reaches Earth, but the ship is in no condition to either pursue or engage the deadly force. His experience his greatest ally, Admiral James T. Kirk, former Captain of the, successfully lobbies for his return to the Captain's chair, supplanting Captain Decker (Stephen Collins) and reassigning him to the position of Executive Officer. Despite new and untested engines, a mostly inexperienced crew, and no science officer, thesets out to intercept the cloud, the famed vessel perhaps Earth's last, best chance for survival.Before 1979, "Star Trek" fans had enjoyed their heroes on small, fuzzy television screens, the grandeur of both theand the many "strange, new worlds" she traveled to and the "new life forms and new civilizations" she encountered perhaps lost in translation from set to screen. With Director Robert Wise's (, fans were treated to a larger-than-life presentation of the "Star Trek" experience, and indeed, every moment ofplays out like a long, drawn-out love affair with not necessarily the story, but the characters and, most importantly, theherself. In perhaps the film's best sequence, and indeed one of the finest in the entirety oflore, Mr. Scott flies Kirk to thein a small shuttle pod, offering an extended visual tour of the ship from the outside, the camera slowly moving across the hull, saucer section, and nacelles. The sequence marks the's debut on the silver screen, the vessel's size and mass captured with both beauty and perspective, the scene featuring men in space suits moving about the exterior of the ship, offering viewers an idea of the enormity of the NCC-1701Whilemay be more about its characters and visuals, the story that ties the experience together represents classic "Trek" and also hearkens back to some of the deeper, more involved classic Science Fiction films of previous decades. Delivering on many of the same ideas as some of the better episodes of the original series , the film sometimes feels like a drawn-out, big budget episode of the show and includes in its plot themes of adventure, exploration of the unknown, teamwork, romance, and certainly "boldly going where no man has gone before." The film also smartly fine-tunes its story to include in it a plot development that hearkens back to the days in which the film was made, providing audiences with something almost tangible to grasp and believe that, indeed, the world ofmay very well exist some two centuries into the future.also features the introduction of the now-iconictheme, one perhaps even more recognizable than that of the original series, the music later serving as the opening theme to the "Star Trek: The Next Generation" television series.On a mission to locate a lifeless world on which to test the "Genesis" device, an object capable of instantly transforming a barren world into a habitable paradise, the U.S.S.'s Captain Terrell (Paul Winfield) and Commander Chekov beam down to Ceti Alpha V (though they believe the planet to be Ceti Alpha VI) to investigate a singular object which may represent life. There, they discover the remnants of the, the vessel housing a marooned Khan Noonien Singh (Ricardo Montalban), a 20th Century genetically-engineered superman with an unquenchable thirst for the blood of his old nemesis, Admiral James T. Kirk. Capable of controlling Terrell and Chekov and commandeering, Khan sets out to both capture the Genesis device and exact revenge on an unawares Kirk andcrew.So named for the character that first appeared in the "Star Trek" episode "Space Seed," perhaps the most unique feature ofis that the film isn't about Khan at all. His presence lends to the film the dramatic aspect of the picture and serves as the vessel through which the primary plot revolves, but his is of only secondary importance to the thematic core of the film, a study of life and death.-- from the barren wastelands of Ceti Alpha V to the rebirth of Regula, from the reemergence of a forgotten foe to the loss of an old friend -- deals with life's most basic yet also most mysterious principle and does so with a level of dramatic and emotional gusto the likes of which few films, and indeed even fewer Science Fiction films, capture at a level at once wholly fundamental, psychological, and spiritual. Indeed, the core elements of the picture are never obscured behind phaser blasts, torpedo launches, or nebulae; the continuous reminders of the frailty of life and the permanence of death, of the thin line between functional and useless, the small reminders that hint at what once was, what is, and is to come -- play central to story. Never does the theme grow tiresome, but quite the opposite. Repeat viewings serve not to reinforce but rather, with time, redefine the message, its significance only becoming more clear and its implementation more impressive. Neither decades nor repeat viewings can lessen the emotional impact of the film's conclusion. Few pictures stir the emotions quite like, the almost overwhelming issues of death, the creation of life, and the reunification of family cannot help but emotionally drain but also satisfy the viewer.The best-made of the original tenfilms from a purely technical perspective,'s structural superiority impresses, even when the emotional overtones devour the screen. Though the quality direction, score, and acting simply cannot overshadow the fundamental theme of the picture, it can no doubt match it on several occasions. William Shatner's performance -- particularly in the film's most emotionally-charged scenes at the end of the film, the first with David and moments later alongside McCoy and Dr. Marcus -- captures a range of emotion rarely seen in film, and for all the critiques of his acting, Shatner delivers, in the latter in particular, a final moment that captures the very essence of the entirety of the film in but a single shot. Also of note, obviously, is the all-time great performance of Ricardo Montalban, his effort some 15 years after "Space Seed" recapturing not only the overreaching essence of the character but the small mannerisms the defined him in his debut. Director Nicholas Meyer's contributions to the film, aside from his sure-handed direction, are well-documented and noted above, but his effort carried the film not just in those moments of thematic import but also through the very well-staged and engaging action pieces, too, that make the film a complete effort. Finally, James Horner's remarkable score adds not a finishing touch to the picture but rather a necessary element that both adds to the more militaristic feel of the picture and perfectly reinforces its core themes.Most of its trainees reassigned and the badly-damagedreturning home from its confrontation with Khan, the skeleton crew laments the loss of their friend, Spock, the ship feeling cold and lifeless in his absence. Upon their arrival at a star base, Kirk and crew learn that the Genesis planet is at the center of a galactic controversy, and a refitted and repairedwon't be returning to the new world where their colleague has been laid to rest. In fact, theis to be decommissioned, the fate of her crew in question. When Kirk learns that Spock'sor "living spirit" was transferred to Dr. McCoy moments before his death, he, Scotty, Uhura, Chekov, Sulu, and McCoy hijack thefrom space dock in order to return to Genesis to retrieve Spock's body in hopes of reviving him and transferring hisback to its rightful body. Complicating matters is a none-too-happy Starfleet and a Klingon captain named Kruge (Christopher Lloyd) bent on securing the secrets of the Genesis device for his own use as an ultimate doomsday weapon.A sequel not only in number but also in thematic content,begins soon after the events depicted in. Unfortunately, this Leonard Nimoy-directed picture doesn't exude the same level of excellence as Nicholas Meyer's masterpiece. Although sharing with its predecessor a similar theme of life and death, the film tackles the issues more because of a necessary extension to tie the film together with the last rather than as a means of exploring important emotional and psychological undertones, and it does so with a rather heavy-handed approach that removes much of the dramatic and emotional effect from the story. The film never takes on a sense of urgency in either its action or its drama, and despite some good moments scattered throughout, it never quite gels and generally fizzles just as often as it succeeds. For every "stealing the" sequence there are equally poor moments, many of which are dragged down by less-than-inspired acting from secondary characters, including Christopher Lloyd as the Klingon Kruge; James Sikking as the's Captain, Styles; Phillip R. Allen as the's Captain, Esteban; and Robin Curtis as Lt. Saavik. Nevertheless, the movie's sole purpose -- the resurrection of Spock -- is handled well enough and with just enough believability in the context of both the story and the accepted power of the Genesis device and the events on the Genesis planet. With fine performances from and banter between the primaries,reinforces not only the friendship but the brotherhood of the bridge crew as they put their lives and careers on the line for the sake of one of their own, returning the favor and sacrifice shown by their fallen comrade inWith Mr. Spock recovered from his rebirth and once again a fully-capable Starfleet officer, thebridge crew votes unanimously to return to Earth to face the charges levied against them. On their way home in a commandeered Klingon Bird-of-Prey, they learn that a mysterious probe has arrived at Earth, sending out a signal that baffles Starfleet Command and simultaneously causing a string of environmental disasters that threaten Earth's power reserves. Spock surmises that the probe's signal may not be meant for humans, and verifies his theory when he discovers that it is indeed a replication of the songs sung by humpback whales, an extinct species in the 23rd century. The only solution is to slingshot around the sun in an effort to travel back in time, retrieve a pair of whales, and return them to the 23rd century so they may communicate with the probe before it destroys the planet.Following the disappointment ofdelivers a unique and highly entertaining experience quite unlike anythingfans had seen before. Though the time travel angle had been used to great effect in episodes past, including the magnificent "The City on the Edge of Forever,"frames its story through a comedic angle that sees each cast member deliver a nonstop barrage of humorous and classic lines. Generally, the film offers little in the way of action, and even the most intense sequences -- a chase through a nuclear vessel or the smuggling of a patient out of a hospital -- plays with a comedic edge and a smart sense of humor that adds levity to the sequences but doesn't sacrifice the drama or excitement of the moment. Enjoying a far better script and acting than its predecessor,works even when the film takes on more serious tones and issues, including its ecologically-friendly message. Though the "save the whales" message is delivered bluntly, it never overpowers the film. Indeed, the comedy often overshadows the plot, and many viewers may even forget the danger 23rd century Earth is facing, even as the crew goes about solving the problem in the 20th century.Still, the film's humor steals the show, andis easily not only the funniest movie inhistory but also one of the better comedies of the past several decades. The infectious humor sees McCoy delivering his usual barrage of classic lines ("off the deep end, Mr. Scott"), but as might be expected, Spock's presence in a world even more illogical than 23rd century Earth and dealing with a populace fond of "colorful" means of expression, steals the show. His attempts to fit into the 20th century and understand the mannerisms, dialect, and popular culture of the day makes for one humorous scene after another. Of course, what makesso memorable for fans is its inclusion of every cast member into the plot, with each enjoying scenes and dialogue that represent the best the film has to offer. Chekov and Scotty, in particular, dazzle, Chekov's "nuclear wessels" routine and Scotty's interaction with a classic Macintosh computer marking, perhaps, the film's most memorable individual scenes.Shore leave is cut short when the newly-designed-- registration NCC-1701-A -- is called upon to resolve a hostage crisis on the planet Nimbus III, a world settled jointly in the name of "galactic peace" by the Federation, the Klingons, and the Romulans. Each of these powers' emissaries to the world is taken captive by a renegade Vulcan named Sybok (Laurence Luckinbill) who devises a scheme to overpower the Federation forces and hijack their starship for the purpose of traveling to the edge of the galaxy in search of God. Though with only a skeleton crew and plenty of technical problems plaguing the ship, theheads to Nimbus III, only to fall prey to Sybok's plan. With thecrew enchanted by Sybok's mystical ability to ease the burden of deeply-rooted individual pain and suffering, the ship heads towards a world that may be home to God -- with a Klingon Bird-of-Prey in pursuit.Thoughbears the burden as, by consensus, the worst film amongst the six original crew pictures, one must at least give it credit for trying to be both meaningful and exciting. The film's foray into exploring deeper philosophical issues both hits the mark and falls well short of it at the same time. The primary theme of the picture -- that a man is the sum of his experiences rather than the superficialities he shares with those around him -- hits the mark in a rather good sequence that transitions the film between middle and final act. Kirk reflects that his pains -- those experiences that may hurt on the inside but that have also molded his soul -- make him whole, and sacrificing them sacrifices his entire being. Unfortunately,falls flat in its exploration of both the attraction to and the purpose of a higher being. Although the underlying theme appears to state that a search for God lies not at the edge of the universe but rather inside a man's heart, it seems lost in the shuffle in the name of a less-than-stellar action sequence with a being that only purports to be God. Kirk delivers this sound philosophical explanation, stating that God exists perhaps not at the farthest reaches of space but rather in a man's heart and, by extension anywhere he may be, from the fields of Iowa to the edge of the Great Barrier.As for the action, it's partially routine and partially laughable, with a typical Klingon enemy in one corner and a band of poverty-stricken nobodies in the other, the latter led by a renegade Vulcan who both dodges the law and shuns his heritage. Such a character offers an intriguing juxtaposition to Spock, and indeed, Laurence Luckinbill delivers a steady if not slightly goofy performance, though in context and compared to some of his peers, he's one of the film's brighter spots. For the first time in the series, the primary players -- thebridge crew -- each see a noticeable drop in effort, likely due to a script that even Patrick Stewart probably couldn't have done anything with. Fortunately, several scenes do work rather well. The interaction between Kirk, Spock, and McCoy around the campfire sees the characters at their very best, both poking fun at one another but also showing their kinship and understanding of their differences, differences that serve to strengthen their bond rather than weaken it.When the Klingon moon Praxis -- a primary energy production facility -- suddenly explodes, the Klingon species finds itself unable to recover and on the verge of extinction. In an effort to both save the Klingons and bring peace to a long-troubled relationship, the Federation agrees to help the Klingons, assistance that includes dismantling part of the fleet across the neutral zone. Spock volunteers Kirk, the, and her crew to escort the Klingon Chancellor, Gorkon (David Warner), through federation space to a peace conference. Kirk rejects both the mission and its purpose, proclaiming his distrust of the Klingons. Nevertheless, thecarries out her orders, but relationships become further strained when the ship seems to fire on the Klingon Cruiser and a pair of assassins beam aboard the vessel and murder the chancellor. Kirk and McCoy beam over to the Cruiser to ascertain the situation, are arrested, and ultimately found guilty of the assassination. Sentenced to life imprisonment on the harsh penal colony of Rura Penthe, the pair must not only struggle to escape but to save their very lives on a daily basis. Meanwhile, thecrew vigorously searches for answers in hopes of identifying the true assassins before they have a chance destroy any hopes of achieving peace.Of all thefilms,may be the smartest and most fundamentally sound, playing not only with more intellectually-oriented ideas such as political intrigue, but also implementing into the film references to classic literature that play directly into the film's thematic elements. The primary theme of the film, reduced to a single line, is uttered several times throughout. "To be or not to be" reflects a question that defines the story both in its immediate sense and in the context of the consequences of the story that, whatever the outcome, will determine one species' future in absolute terms, reflecting either its survival or total demise. The smart script is reflected in the acting, too, with the primary cast returning to form after a disappointing outing in. Adding tremendous weight to the film is Christopher Plummer (), whose performance as the Klingon General Chang is every bit as good as Ricardo Montalban's effort as Khan. Plummer immerses himself in the role, playing off the classical themes of the picture and rising to the occasion in every scene, be it the dining sequence or his delivery of the classic "cry 'havoc!'" from Shakespeare's, the line still sending chills up the spine with each viewing.Moreover,enjoys the best pure action of anyfilm since. Nicholas Meyer, returning once again to direct the crew for their final voyage together, shows why he remains the benchmarkdirector, both his films encompassing the entire spectrum of moviemaking magic, delivering smartly-written characters; a sound plot with under- and overtones reflecting upon timely social, political, and human characteristics; well-staged action; fantastic acting; and wonderful pacing. His films reflect bothand Science Fiction in general at its very best, and with a hand in the writing of, his stamp may be found on the three best original crew pictures. Finally, the film provides a fitting send-off for the crew, with a reference to Peter Pan, bringing Meyer's themes of life and death that surround the two films he's directed full-circle, followed by each cast member "signing off" for the last time, together, across a star field.

Star Trek: Original Motion Picture Collection Blu-ray, Video Quality



Star Trek: The Motion Picture

Rating: 4/5



Star Trek: The Motion Picture warps onto Blu-ray with a generally stunning 1080p, 2.35:1-framed transfer. One of the first things noticed is the intricate detail on the Klingon cruisers seen at the beginning of the film. In short, they look fantastic, all of the various protrusions and textures seen on the models now visible in splendid detail thanks to the 1080p resolution. The interiors of these same vessels take on a hazy, soft appearance, a stark contrast to the highly-detailed and nicely-lit exterior shots. Once the film moves its focus to the Enterprise, the film's fundamental set of visuals -- the ship, the crew members, the uniforms, and the small intricacies on board the Enterprise -- generally showcase high levels of visible detail that provide plenty of "wow" moments throughout the transfer. The inside of the Enterprise in particular, with its clean, sleek, silver and white appearance, not to mention the gray, white, blue, and mustard-colored crew uniforms, look better than ever.



Star Trek: The Motion Picture does feature a few drawbacks, though none seem particularly bothersome taken in the context of the original elements. Various shots appear soft and blurry while others look sharp as a tack, though some of this is due to Director Wise's various techniques or some of the more special-effects-heavy shots. Indeed, many effects shots appear littered with dirt and debris, though such is to be expected of such shots from a film of the era. Also visible is a bit of blocking in some of the blacks, though the problem is never all that noticeable. The film also looks smooth throughout, without much at all in the way of noise save, again, for some of the more complex effects-heavy shots. When all is said and done, though, Star Trek: The Motion Picture looks fantastic, certainly the best home presentation the film has ever seen.







Star Trek II: The Wrath of Khan

Rating: 4.5/5



Presented in a 1080p, 2.35:1-framed transfer, The Wrath of Khan has never looked better for home viewing. The transfer enjoys a slight layer of grain, spiking at times but remaining steady and unobtrusive throughout much of the film. The transfer enjoys startling clarity compared to any and all previous home video transfers, with both foreground and background objects revealing details never seen to such an extent. Particularly impressive are the many printed signs throughout the film and the instrument panels and readouts on the bridges of both Enterprise and Reliant, all far sharper and readable thanks to the improved resolution offered by the Blu-ray transfer. A few scenes take on a soft look, even a few intercut with sharp scenes that define the majority of the image. A few effects shots see some scattered debris, and the 1080p resolution reveals a few leftover remnants from the assembly of the shots, but never to an intrusive extent. Flesh tones appear normal and blacks tend towards a generally dark and inky hue. Paramount delivers a suitably high quality transfer for the flagship film in this collection.







Star Trek III: The Search For Spock

Rating: 3/5



Coming off of two rather impressive visual releases in The Motion Picture and The Wrath of Khan, The Search for Spock, much like the movie itself, disappoints. Presented in 1080p high definition and framed inside a 2.35:1 window, the image appears lifeless and incredibly smooth, though very clear. Colors range from natural to incredibly bright and vibrant; the Klingon Bird-of-Prey appears an overpowering shade of neon green, and the red Starfleet uniforms sometimes appear to be cranked a shade or two above optimal. The 1080p imagery does reveal the remnants of some effects shots, placing bright boxes around objects against the darkness of space, though the effect is minimal in most instances. Also, while the majority of the image is sharp, some softness creeps in from time to time. The major drawback, though, comes in the form of noise reduction, where backgrounds that should be swirling with grain often appear static, lending to the film a phony, flat appearance. Though faces sometimes look like plastic, flesh tones never waver too far from optimal, and blacks levels are decent. While this Blu-ray release of The Search For Spock looks better than any previous home video release, it pales next to its predecessors.







Star Trek IV: The Voyage Home

Rating: 3.5/5



Faring slightly better than The Search For Spock but not as good as The Wrath of Khan or The Motion Picture, The Voyage Home features a decent but slightly underwhelming image. Once again, noise reduction appears to be the primary culprit. Backgrounds where one might expect a swirling grain field appear static, such backgrounds almost looking frozen in time and devoid of life. A very small amount of blocking and banding also appear in several shots. Nevertheless, the image enjoys a bit more depth than its predecessor. The hazy interiors of the Klingon Bird-of-Prey look fine, with background details adequate under both the haze and the utilitarian color scheme. The ship's exterior takes on a slightly more natural shade of green here, too. The image tends to look just fine in the bright, daytime exterior San Francisco shots, where it sports a fair bit of depth and vibrancy. Overall, colors offer a more natural tone while skin shades and blacks deliver suitable visuals. The Voyage Home looks fine, but seems like it could be a notch or two better should a future release be given a bit more of a thorough effort.







Star Trek V: The Final Frontier

Rating: 3.5/5



Neither the best nor the worst transfer of he bunch, The Final Frontier delivers a mostly satisfying 1080p, 2.35:1-framed transfer. Detail ranges from adequate to exceptional; Sybok's woven garb as seen at the beginning of the film on the dusty planes of Nimbus III showcases a nice, palpable texture. Likewise, the rockface of El Capitan, which Kirk is seen climbing at the beginning of the film, shows adequate detail in close-up shots, and exterior and up-close shots of the Klingon Bird-of-Prey reveal extraordinary details in the ship's outer hull and wing-mounted weapons. The transfer appears rather soft in several sequences, though the majority appears mostly sharp and clear. Backgrounds don't appear quite as static in this film as in its pair of predecessors, though there is virtually no grain to be seen here, either. The print exhibits small speckles here and there, too. Flesh tones tend to remain strong but blacks often tend towards a too-bright, slightly grayish appearance. For the film likely to get the least playtime of the six, this one delivers a transfer somewhat better than expected of it.







Star Trek VI: The Undiscovered Country

Rating: 3.5/5



The Undiscovered Country premieres on Blu-ray with a 1080p, 2.35:1-framed transfer. Like the previous few films, this one delivers a suitably good transfer, but one that may have benefited from a bit more tender loving care. The transfer reveals generally strong details and fine colors, though it lacks personality, appearing smooth and somewhat artificial, with film grain only seen minimally and in places. A few shots exhibit some unsightly shimmering and jagged edges on objects. Flesh tones appear fine, and blacks, while stable, sometimes appear a bit on the gray end of the spectrum. Effects shots hold up well. Though easily the best the film has looked for home viewing, it still exhibits some pesky issues that prevent it from being a definitive release.





warps onto Blu-ray with a generally stunning 1080p, 2.35:1-framed transfer. One of the first things noticed is the intricate detail on the Klingon cruisers seen at the beginning of the film. In short, they look fantastic, all of the various protrusions and textures seen on the models now visible in splendid detail thanks to the 1080p resolution. The interiors of these same vessels take on a hazy, soft appearance, a stark contrast to the highly-detailed and nicely-lit exterior shots. Once the film moves its focus to the, the film's fundamental set of visuals -- the ship, the crew members, the uniforms, and the small intricacies on board the-- generally showcase high levels of visible detail that provide plenty of "wow" moments throughout the transfer. The inside of thein particular, with its clean, sleek, silver and white appearance, not to mention the gray, white, blue, and mustard-colored crew uniforms, look better than ever.does feature a few drawbacks, though none seem particularly bothersome taken in the context of the original elements. Various shots appear soft and blurry while others look sharp as a tack, though some of this is due to Director Wise's various techniques or some of the more special-effects-heavy shots. Indeed, many effects shots appear littered with dirt and debris, though such is to be expected of such shots from a film of the era. Also visible is a bit of blocking in some of the blacks, though the problem is never all that noticeable. The film also looks smooth throughout, without much at all in the way of noise save, again, for some of the more complex effects-heavy shots. When all is said and done, though,looks fantastic, certainly the best home presentation the film has ever seen.Presented in a 1080p, 2.35:1-framed transfer,has never looked better for home viewing. The transfer enjoys a slight layer of grain, spiking at times but remaining steady and unobtrusive throughout much of the film. The transfer enjoys startling clarity compared to any and all previous home video transfers, with both foreground and background objects revealing details never seen to such an extent. Particularly impressive are the many printed signs throughout the film and the instrument panels and readouts on the bridges of bothand, all far sharper and readable thanks to the improved resolution offered by the Blu-ray transfer. A few scenes take on a soft look, even a few intercut with sharp scenes that define the majority of the image. A few effects shots see some scattered debris, and the 1080p resolution reveals a few leftover remnants from the assembly of the shots, but never to an intrusive extent. Flesh tones appear normal and blacks tend towards a generally dark and inky hue. Paramount delivers a suitably high quality transfer for the flagship film in this collection.Coming off of two rather impressive visual releases inand, much like the movie itself, disappoints. Presented in 1080p high definition and framed inside a 2.35:1 window, the image appears lifeless and incredibly smooth, though very clear. Colors range from natural to incredibly bright and vibrant; the Klingon Bird-of-Prey appears an overpowering shade of neon green, and the red Starfleet uniforms sometimes appear to be cranked a shade or two above optimal. The 1080p imagery does reveal the remnants of some effects shots, placing bright boxes around objects against the darkness of space, though the effect is minimal in most instances. Also, while the majority of the image is sharp, some softness creeps in from time to time. The major drawback, though, comes in the form of noise reduction, where backgrounds that should be swirling with grain often appear static, lending to the film a phony, flat appearance. Though faces sometimes look like plastic, flesh tones never waver too far from optimal, and blacks levels are decent. While this Blu-ray release oflooks better than any previous home video release, it pales next to its predecessors.Faring slightly better thanbut not as good asorfeatures a decent but slightly underwhelming image. Once again, noise reduction appears to be the primary culprit. Backgrounds where one might expect a swirling grain field appear static, such backgrounds almost looking frozen in time and devoid of life. A very small amount of blocking and banding also appear in several shots. Nevertheless, the image enjoys a bit more depth than its predecessor. The hazy interiors of the Klingon Bird-of-Prey look fine, with background details adequate under both the haze and the utilitarian color scheme. The ship's exterior takes on a slightly more natural shade of green here, too. The image tends to look just fine in the bright, daytime exterior San Francisco shots, where it sports a fair bit of depth and vibrancy. Overall, colors offer a more natural tone while skin shades and blacks deliver suitable visuals.looks fine, but seems like it could be a notch or two better should a future release be given a bit more of a thorough effort.Neither the best nor the worst transfer of he bunch,delivers a mostly satisfying 1080p, 2.35:1-framed transfer. Detail ranges from adequate to exceptional; Sybok's woven garb as seen at the beginning of the film on the dusty planes of Nimbus III showcases a nice, palpable texture. Likewise, the rockface of El Capitan, which Kirk is seen climbing at the beginning of the film, shows adequate detail in close-up shots, and exterior and up-close shots of the Klingon Bird-of-Prey reveal extraordinary details in the ship's outer hull and wing-mounted weapons. The transfer appears rather soft in several sequences, though the majority appears mostly sharp and clear. Backgrounds don't appear quite as static in this film as in its pair of predecessors, though there is virtually no grain to be seen here, either. The print exhibits small speckles here and there, too. Flesh tones tend to remain strong but blacks often tend towards a too-bright, slightly grayish appearance. For the film likely to get the least playtime of the six, this one delivers a transfer somewhat better than expected of it.premieres on Blu-ray with a 1080p, 2.35:1-framed transfer. Like the previous few films, this one delivers a suitably good transfer, but one that may have benefited from a bit more tender loving care. The transfer reveals generally strong details and fine colors, though it lacks personality, appearing smooth and somewhat artificial, with film grain only seen minimally and in places. A few shots exhibit some unsightly shimmering and jagged edges on objects. Flesh tones appear fine, and blacks, while stable, sometimes appear a bit on the gray end of the spectrum. Effects shots hold up well. Though easily the best the film has looked for home viewing, it still exhibits some pesky issues that prevent it from being a definitive release.

Star Trek: Original Motion Picture Collection Blu-ray, Audio Quality



Star Trek: The Motion Picture

Rating: 4/5



Star Trek: The Motion Picture has never sounded better for home consumption than it does with this full-fledged Dolby TrueHD 7.1 lossless soundtrack. Jerry Goldsmith's score, particularly the overture, features a nice, inviting feel, the orchestral music playing smoothly and pleasantly while flowing cleanly from the front channels, the experience recalling the sensation of a live performance. Likewise, the classic "Trek" theme sparkles, each instrument in the arsenal heard distinctly, an all-encompassing effort that emanates from both the front and the rear channels. Sound effects -- communication chatter, background voices and ambience inside Starfleet Headquarters, or the humming of the Enterprise's engine as heard from the ship's engineering section -- may be heard, and in some cases felt, all about the soundstage to wonderful effect. Sound swoops around the listening area, too. The cloud's attacks on the Klingon vessels allows sound effects to rush from one speaker to the next, offering an almost liquid ambiance. The electrical impulses emanating from the V'ger cloud spread out throughout the soundstage, and the many beeps and thumps from V'Ger seemingly emanate from every speaker in the 7.1 configuration with quite the presence and plenty of LFE support. Along with fine dialogue reproduction, Star Trek: The Motion Picture makes for a fantastic listen, both the score and the many distinct and memorable sound effects playing most impressively via this quality soundtrack.







Star Trek II: The Wrath of Khan

Rating: 3.5/5



Presented with a Dolby TrueHD 7.1 lossless soundtrack, The Wrath of Khan delivers a solid if not slightly feeble audio experience. James Horner's score, from the more reflective of pieces to the louder action-oriented segments, plays with grace across the front, though perhaps not featuring the utmost in either clarity or volume. Once the film begins with the action sequences -- the opening Kobayashi Maru sequence, for instance -- the track never produces much in the way of low-end heft, explosions sounding slightly more uninspired than anticipated. However, the first time the Reliant is seen cruising through space, the soundtrack does well to send a bit of a rumble across the soundstage as the vessel seemingly flies through the room. Surround activity picks up a bit during the exterior Ceti Alpha V sequences as wind and debris fly audibly across the soundstage. The lossless track does reveal some minor nuances scattered here and there that seem to have been lost in the shuffle of previous releases. Dialogue reproduction suffices, though a few scenes exhibit a slightly harsh edge, though hardly of any level of troubling import. In summation, the track delivers almost as expected of a film with a sound design that impresses in context but fizzles next to the latest and greatest offerings.







Star Trek III: The Search For Spock

Rating: 4/5



Once again presented in a Dolby TrueHD 7.1 lossless format, The Search For Spock enjoys a solid listening experience. The music accompanying the opening credits features fine clarity and strong rear-channel support, the whole experience recalling a live orchestral performance. Interior Enterprise shots enjoy the humming of the engines in the background, the effect increased when the action shifts to the engineering section. Sound often plays with a heft and room-filling presence; a de-cloaking Bird-of-Prey features thunderous lows and a spacious presence that makes fine use of every speaker. Likewise, the chaotic shifting climate of the Genesis planet feature booming lows and a wide soundstage. Dialogue generally impresses, though a few lines sound garbled. This is a solid all-around effort.







Star Trek IV: The Voyage Home

Rating: 4/5



Presented with a Dolby TrueHD 7.1 lossless soundtrack, The Voyage Home delivers a pleasant and robust sonic experience. Like the other films in the set, this one features a clear and precise delivery of the theme that plays over the opening credits, offering crisp highs, a solid midrange, and deep lows. The music also enjoys strong rear-channel support, and its breezy, easygoing flair sets the stage nicely for the lighthearted romp to follow. With little in the way of action, this track relies more on atmospherics, music, and dialogue, and no one element falters. Most importantly, dialogue reproduction impresses, and minor sound effects -- the transporter beam, for example -- features a good sense of space and depth, the effect spilling across the entirety of the front soundstage. The Voyage Home may be the least aggressive of the six films in this collection, but its soundtrack is no worse for it.







Star Trek V: The Final Frontier

Rating: 4.5/5



The Final Frontier features a powerful Dolby TrueHD 7.1 lossless soundtrack. Surprisingly active, boomy, and spacious, the mix never disappoints during the action sequences. Sound effects throughout the film play with both heft and volume, all flowing effortlessly about the soundstage. The track enjoys excellent clarity across the front, be it in explosions or music, but the track also features plenty of rear channel activity, too. The battle outside of Paradise City, where both phasers and cruder weapons are fired from every corner of the soundstage, engulfs the listener with a steady, loud, and aggressive presentation. As with the previous outings, music excels, too, that accompanying the film's title sequence once again recalling the feel of a live orchestral performance. Rounded out by strong dialogue reproduction, this soundtrack delivers even when the movie does not.







Star Trek VI: The Undiscovered Country

Rating: 4.5/5



Yet again, Paramount offers a Dolby TrueHD 7.1 lossless soundtrack for The Undiscovered Country. The Praxis explosion packs a nice wallop, the waves flowing through the soundstage from front-to-back with a noticeable presence and feel. Likewise, the sounds heard inside the various starships play all over the soundstage with subtle atmospherics, engulfing the listener and spilling out of every speaker and at just the right volume so as not to overwhelm the sense or create a phony-sounding environment. The raucous trial of Kirk and McCoy features chanting Klingons pounding and shouting from every speaker, and in these scenes the track delivers a fabulous echoing effect in the cavernous trial chamber as Chang prosecutes the pair of Federation officers. Also featuring strong dialogue reproduction, The Undiscovered Country offers up arguably the best soundtrack in this collection.





has never sounded better for home consumption than it does with this full-fledged Dolby TrueHD 7.1 lossless soundtrack. Jerry Goldsmith's score, particularly the overture, features a nice, inviting feel, the orchestral music playing smoothly and pleasantly while flowing cleanly from the front channels, the experience recalling the sensation of a live performance. Likewise, the classic "Trek" theme sparkles, each instrument in the arsenal heard distinctly, an all-encompassing effort that emanates from both the front and the rear channels. Sound effects -- communication chatter, background voices and ambience inside Starfleet Headquarters, or the humming of the's engine as heard from the ship's engineering section -- may be heard, and in some cases felt, all about the soundstage to wonderful effect. Sound swoops around the listening area, too. The cloud's attacks on the Klingon vessels allows sound effects to rush from one speaker to the next, offering an almost liquid ambiance. The electrical impulses emanating from the V'ger cloud spread out throughout the soundstage, and the many beeps and thumps from V'Ger seemingly emanate from every speaker in the 7.1 configuration with quite the presence and plenty of LFE support. Along with fine dialogue reproduction,makes for a fantastic listen, both the score and the many distinct and memorable sound effects playing most impressively via this quality soundtrack.Presented with a Dolby TrueHD 7.1 lossless soundtrack,delivers a solid if not slightly feeble audio experience. James Horner's score, from the more reflective of pieces to the louder action-oriented segments, plays with grace across the front, though perhaps not featuring the utmost in either clarity or volume. Once the film begins with the action sequences -- the opening Kobayashi Maru sequence, for instance -- the track never produces much in the way of low-end heft, explosions sounding slightly more uninspired than anticipated. However, the first time theis seen cruising through space, the soundtrack does well to send a bit of a rumble across the soundstage as the vessel seemingly flies through the room. Surround activity picks up a bit during the exterior Ceti Alpha V sequences as wind and debris fly audibly across the soundstage. The lossless track does reveal some minor nuances scattered here and there that seem to have been lost in the shuffle of previous releases. Dialogue reproduction suffices, though a few scenes exhibit a slightly harsh edge, though hardly of any level of troubling import. In summation, the track delivers almost as expected of a film with a sound design that impresses in context but fizzles next to the latest and greatest offerings.Once again presented in a Dolby TrueHD 7.1 lossless format,enjoys a solid listening experience. The music accompanying the opening credits features fine clarity and strong rear-channel support, the whole experience recalling a live orchestral performance. Interiorshots enjoy the humming of the engines in the background, the effect increased when the action shifts to the engineering section. Sound often plays with a heft and room-filling presence; a de-cloaking Bird-of-Prey features thunderous lows and a spacious presence that makes fine use of every speaker. Likewise, the chaotic shifting climate of the Genesis planet feature booming lows and a wide soundstage. Dialogue generally impresses, though a few lines sound garbled. This is a solid all-around effort.Presented with a Dolby TrueHD 7.1 lossless soundtrack,delivers a pleasant and robust sonic experience. Like the other films in the set, this one features a clear and precise delivery of the theme that plays over the opening credits, offering crisp highs, a solid midrange, and deep lows. The music also enjoys strong rear-channel support, and its breezy, easygoing flair sets the stage nicely for the lighthearted romp to follow. With little in the way of action, this track relies more on atmospherics, music, and dialogue, and no one element falters. Most importantly, dialogue reproduction impresses, and minor sound effects -- the transporter beam, for example -- features a good sense of space and depth, the effect spilling across the entirety of the front soundstage.may be the least aggressive of the six films in this collection, but its soundtrack is no worse for it.features a powerful Dolby TrueHD 7.1 lossless soundtrack. Surprisingly active, boomy, and spacious, the mix never disappoints during the action sequences. Sound effects throughout the film play with both heft and volume, all flowing effortlessly about the soundstage. The track enjoys excellent clarity across the front, be it in explosions or music, but the track also features plenty of rear channel activity, too. The battle outside of Paradise City, where both phasers and cruder weapons are fired from every corner of the soundstage, engulfs the listener with a steady, loud, and aggressive presentation. As with the previous outings, music excels, too, that accompanying the film's title sequence once again recalling the feel of a live orchestral performance. Rounded out by strong dialogue reproduction, this soundtrack delivers even when the movie does not.Yet again, Paramount offers a Dolby TrueHD 7.1 lossless soundtrack for. The Praxis explosion packs a nice wallop, the waves flowing through the soundstage from front-to-back with a noticeable presence and feel. Likewise, the sounds heard inside the various starships play all over the soundstage with subtle atmospherics, engulfing the listener and spilling out of every speaker and at just the right volume so as not to overwhelm the sense or create a phony-sounding environment. The raucous trial of Kirk and McCoy features chanting Klingons pounding and shouting from every speaker, and in these scenes the track delivers a fabulous echoing effect in the cavernous trial chamber as Chang prosecutes the pair of Federation officers. Also featuring strong dialogue reproduction,offers up arguably the best soundtrack in this collection.

Star Trek: Original Motion Picture Collection Blu-ray, Special Features and Extras



Star Trek: The Motion Picture

Rating: 3/5



Star Trek: The Motion Picture debuts on Blu-ray with a nice selection of bonus materials. First up is a commentary track with Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman. These participants share their recollections on the film's origins and opening; special effects shots; the actors in both major and minor roles; shooting locations; new sets, uniforms, and accessories; and plenty of discussion on the planned but never created television program, "Star Trek: Phase II." Several times the discussion ceases as the participants find themselves watching the film rather than commenting on it, but this is generally a solid commentary. Library Computer allows users to access detailed information on persons, places, and things as seen or discussed throughout the movie. The Longest Trek: Writing 'The Motion Picture' (1080p, 10:44) further examines the origins of what was to become the first of now eleven Star Trek feature-length films. Special 'Star Trek' Reunion (1080p, 9:37) features a quintet of extras reminiscing on their experiences of winding up in the movie. Starfleet Academy SciSec Brief 101: Mystery Behind V'Ger (1080p, 4:24) features a "Next Generation" Starfleet officer recalling the events as depicted in The Motion Picture. Also included are eleven deleted scenes (480p, 8:02), three sets of storyboards (Vulcan, Enterprise Departure, and V'Ger Revealed), the film's teaser (1080p, 2:18) and theatrical (1080p, 2:29) trailers, and seven TV spots (480p, 3:39 combined). Finally, this disc is BD-Live (Blu-ray Profile 2.0) enabled. At time of writing, the page allows users access to Star Trek I.Q., a game that "lets you test your Star Trek knowledge by playing unique trivia games."







Star Trek II: The Wrath of Khan

Rating: 4/5



Star Trek II features several supplements, this package headlined by a pair of commentary tracks. First up is a track featuring Director Nicholas Meyer. Meyer shares his credentials, the process of writing the film, William Shatner's initial displeasure with the script, some of the smaller nuances of the film, the work of the actors, the film's budget constraints, sets, and more. Track two once again features Meyer, this time accompanied by Producer Manny Coto. Meyer again impresses with his wealth of information, discussing the direction he took the film, and by extension the series, lending an element of reality to the picture, the work of the cast, and more. Both tracks make for excellent listens that should please fans. Once again, this disc contains Library Computer, a feature allowing users to learn more about the world of Star Trek II, from Khan to the Boatswain's Whistle.



Next up are five pieces filed under Production. Captain's Log (480p, 27:21) takes a direct but incredibly fascinating look at how the film came together, told through interviews with primary cast and crew. Designing Khan (480p, 23:54) features a look at the design of the ships, the new uniforms, the creation of the Genesis torpedo, and more. Original Interviews With William Shatner, Leonard Nimoy, DeForest Kelley, and Ricardo Montalban (480p, 10:56) features the quartet of actors recalling their experiences in making the film in a collection of classic interviews. Where No Man Has Gone Before: The Visual Effects of 'Star Trek II: The Wrath of Khan' (480p, 18:14) takes viewers behind-the-scenes and into the making of the film's special effects shots. James Horner:Composing Genesis (1080p, 9:33) features the composer discussing his work on the film.



The 'Star Trek' Universe is another piece broken into several features. Collecting 'Star Trek's' Movie Relics (1080p, 11:05) takes a very interesting look at some of the props used throughout the history of 'Star Trek.' A Novel Approach (480p, 28:55) looks at bringing 'Trek' history and lore to the printed page. Starfleet Academy SciSec Brief 002: Mystery Behind Ceti Alpha VI (1080p, 3:08) features a "future" look back at the events of 'The Wrath of Khan.' Rounding out this package of supplements is a collection of 13 storyboards, A Tribute to Ricardo Montalban (1080p, 4:44), the film's theatrical trailer (1080p, 2:22), and BD-Live (Blu-ray profile 2.0) connectivity, this feature once again offering Star Trek I.Q.







Star Trek III: The Search For Spock

Rating: 4/5



Star Trek III: The Search For Spock births several bonus features. Leading things off is a commentary track with Director Leonard Nimoy, Writer/Producer Harve Bennett, Director of Photography Charles Correll, and Actress Robin Curtis. Recorded separately and edited together rather coherently, the track manages to flow well despite its patchwork origins. Nimoy offers the best comments of the bunch, showing a passion for the material and delving beyond the superficialities of the film to share a good many insights into the picture. The second commentary track features "Trek" veterans Ronald D. Moore and Michael Taylor. They discuss their history of working on various "Star Trek-" related programs and how they took the canon as established in the films as gospel, their credentials as fans, and plenty of little odds and ends that make for an overall satisfying listen. Also included, once again, is Library Computer.



The Production tab provides access to a quartet of features. Captain's Log (480p, 26:13) looks at Star Trek III's origins, Leonard Nimoy's involvement, the development of the story, the challenges of the shoot, cast discussing their characters, and more. Terraforming the Prime Directive (480p, 25:53) looks at the potential for mankind to terraform Mars. Industrial Light & Magic: The Visual Effects of 'Star Trek' (1080p, 13:50) examines some of the old-school techniques used to bring the Trek films to life. Spock: The Early Years (1080p, 6:22) looks at the young actors who portrayed Spock in the film.



The 'Star Trek' Universe is another piece divided into five features. Space Docks and Birds of Prey (480p, 27:49) focuses on the new and intricate models, effects, and shooting techniques seen in the film. Speaking Klingon (480p, 21:04) examines the development of the Klingon language as heard in the 'Star Trek' films. Klingon and Vulcan Costumes (480p, 12:16) looks at the wardrobe and adornments seen throughout the films. 'Star Trek' and the Science Fiction Museum and Hall of Fame (1080p, 16:52) takes viewers to Seattle, Washington for a look at the many "Star Trek" exhibits in the museum. Starfleet Academy SciSec Brief 003: Mystery Behind the Vulcan Katra Transfer (1080p, 2:42) once again shows a "Next Generation" officer discussing the ancient Vulcan ritual that plays a pivotal role in both The Wrath of Khan and The Search for Spock. Also included are two photo galleries: Production and The Movie; 10 storyboards; the film's theatrical trailer (1080p, 1:12); and BD-Live functionality that, again, features Star Trek I.Q.







Star Trek IV: The Voyage Home

Rating: 5/5



Go back in time and into the making of Star Trek IV through the following included bonus materials. Two commentary tracks headline the package, the first featuring William Shatner and Leonard Nimoy. The best track to be found anywhere in this entire collection, the Captain and First Officer discuss the lightheartedness of this film compared to the relative heaviness and themes of death and old age of the last two films. They also discuss the time travel theme of the film, the chemistry between the cast, the humor in the film, and much more. The second track is a "fan track" with the writers of the 2009 Star Trek film, Roberto Orci and Alex Kurtzman. They discuss the strong and overwhelmingly positive fan reaction to the film during its theatrical screenings (similar to many fan's experiences with the new film), the strength of the story, the special effects, the humor, and more. Despite some dead air in the second, both of these tracks make for fantastic listens. Also included, again, is the Library Computer interface.



Future's Past: A Look Back (480p, 27:32) is the first of five features under the Production tab. An entertaining retrospective piece, cast and crew discuss the success of the franchise, the humor of the film, the time travel story arc, a discussion of some of the film's more famous scenes (including the "punk on bus" sequence), and more. On Location (480p, 7:26) looks at shooting in then-modern-day San Francisco. Dailies Deconstruction (480p, 4:13) shows viewers side-by-side takes and angles of a scene. Below-the-Line: Sound Design (480p, 11:45) examines the creation of sound effects for objects that exist only on-screen. Pavel Chekov's Screen Moments (480p, 6:09) features Actor Walter Koenig discussing his increased role in the film.



Next up is The Star Trek Universe, a collection of seven features. First among them is Time Travel: The Art of the Impossible (480p, 11:15), a piece where prominent physicists discuss the theories of time travel. The Language of Whales (480p, 5:46) takes a brief look at the species and how they learn and communicate. A Vulcan Primer (480p, 7:50) features an examination of the logical and emotionally-controlled species. Kirk's Women (480p, 8:19) features a series of interviews with several of the women that worked with Shatner over the years. Star Trek: Three Picture Saga (1080p, 10:12) looks at what makes the second, third, and fourth films a "trilogy." 'Star Trek' For a Cause (1080p, 5:40) examines how the film raised public attention to whaling and environmentalism. Finally, Starfleet Academy SciSec Brief 004: The Whale Probe (1080p, 3:42) features a "Next Generation" officer recounting the events of the film.



Visual Effects examines a pair of sequences -- From Outer Space to the Ocean (480p, 14:43) and The Bird of Prey (480p, 2:48). Original Interviews features vintage pieces with William Shatner (480p, 14:33), Leonard Nimoy (480p, 15:40), and DeForest Kelley (480p, 13:02). Next is Tributes, a tab containing two features: Roddenbery Scrapbook (480p, 8:17) and Featured Artist: Mark Leonard (480p, 12:44). Moving along, Production Gallery (480p, 3:55) features a series of behind-the-scenes stills. Concluding this supplemental package is a collection of eight storyboard galleries, the film's theatrical trailer (1080p, 2:24), and BD-Live (Blu-ray profile 2.0) functionality that offers the Star Trek I.Q. game.







Star Trek V: The Final Frontier

Rating: 4.5/5



This Blu-ray release of Star Trek V allows viewers to search for answers to the universe's most difficult questions via a jam-packed supplemental section. First up are two commentary tracks, the first featuring William and Liz Shatner. A slowly-paced track, the Shatners deliver the expected stories from the set, the chemistry between Kirk, Spock, and McCoy in the campfire scenes, the budget of a Star Trek film, and many other tidbits. Track two serves up Michael and Denise Okuda, Garfield and Judy Reeves-Stevens, and Daren Dochterman. They discuss the film's failings with audiences, challenges on-set, William Shatner's direction, set design, the campfire scenes, and more. Also included, again, is Library Computer.



Production again breaks down into six segments. Harve Bennett's Pitch to Sales Team (480p, 1:42) features the producer discussing the film and the "live long and prosper" salute. The Journey: A Behind-the-Scenes Documentary (480p, 28:55) looks at the process of creating the film, from the origins of the story to the scrapping of the infamous "rock man" footage. Makeup Tests (480p, 9:50) features screen tests for several characters. Pre-Visualization Models (480p, 1:41) offers a series of screen tests with miniature models. Rockman in the Raw (480p, 5:37) features sketches, photos, and footage of the costume. Finally, 'Star Trek V' Press Conference (480p, 13:42) features the entire cast on-set and in front of the press answering a series of questions.



Moving along, The Star Trek Universe tab contains an additional eight features. Herman Zimmerman: A Tribute (480p, 19:09) looks back on the career of the famed composer. Original Interview: William Shatner (480p, 14:37) is a vintage piece featuring the actor-director discussing the film. Cosmic Thoughts (480p, 13:05) features a philosophical examination of what might be beyond the boundaries of Earth and man's place in it. That Klingon Couple (480p, 13:05) features Actors Todd Bryant and Spice Williams recounting their experiences playing Klingons in the film. A Green Future? (480p, 9:24) takes an extended look at Yosemite National Park and nature's importance to mankind. 'Star Trek' Honors NASA (1080p, 9:57) looks at the influence of Gene Roddenberry's creation on the space program and the series' forward-thinking themes and technologies. Hollywood Walk of Fame: James Doohan (480p, 3:10) showcases a few brief scenes from the dedication ceremony. Starfleet Academy SciSec Brief 005: Nimbus III (1080p, 3:02) again takes a futuristic look back at the events as depicted in Star Trek V.



Next up are a series of four deleted scenes (480p, 4:17). Production Gallery (480p, 4:05) features a series of behind-the-scenes stills set to music. Storyboards offers viewers the opportunity to examine three scenes in the earliest of stages: Sha-Ka-Ree, The Face of God, and Escape. Concluding the supplements are a pair of theatrical trailers (1080p, 2:42 & 1:34), seven TV spots (480p, 3:14 combined runtime), and BD-Live (Blu-ray profile 2.0) functionality, again offering the Star Trek I.Q. game.







Star Trek VI: The Undiscovered Country

Rating: 4.5/5



Star Trek VI: The Undiscovered Country, much like its quintet of predecessors, comes packed with supplements. This disc is headlined by two commentary tracks, the first with Director Nicholas Meyer and Screenwriter Denny Martin Flinn. Meyer recalls how the film reflects the period of history in which it was made. Also discussed are the costumes, the performances and professionalism of the actors, the dialogue, inspirations for particular scenes, and more. Track two features Larry Nemecek and Ira Steven Behr. As is generally the case, these "fan" tracks work much better than the drier (albeit still interesting) crew tracks. This pair provides fine insight into the film and recall their Trek memories in a relaxed manner. Once again, Library Computer interactivity is also included on this disc. The Perils of Peacemaking (480p, 26:33) examines the role of Science Fiction in facilitating an examination of contemporary problems, and Star Trek VI's parallels to the contemporary world.



Stories from 'Star Trek VI' breaks down into six features. It Started With a Story (480p, 9:46) further examines the film's parallels to the politics of the late 1980s and early 1990s. Prejudice (480p, 5:02) looks at the role of racism in the film, and pays particular attention to the disagreement between cast and crew over the tone of the film and the difficulties of the cast to adequately perform their parts. Director Nicholas Meyer (480p, 5:57) features cast and crew laying praise on the director. Shakespeare and General Chang (480p, 5:53) looks at both the role of Shakespeare and Actor Christopher Plummer in the film. Bring it to Life (480p, 23:25) take a look at the making of various segments of the film, including the dinner scene and the score. Farewell and Goodbye (480p, 7:04) looks at the ideas behind the film's final shot.



The Star Trek Universe is another grouping of extras, divided this time into eight segments. Conversations With Nicholas Meyer (480p, 9:33) focuses attention on a series of interview segments with the director. Klingons: Conjuring the Legend probes the place of Klingons throughout the history of Star Trek. Federation Operatives (480p, 4:53) looks at actors who have played roles over multiple incarnations of Trek. Penny's Toy Box (480p, 6:06) plays with several of Trek's props. Together Again (480p, 4:56) looks at William Shatner's and Christopher Pummer's history of working together. Tom Morga: Alien Stuntman (1080p, 4:57) features the actor recounting his long history of working on Trek. To Be or Not To Be: Klingons and Shakespeare (1080p, 23:04) takes viewers behind-the-scenes of a real-life Klingon language performance of Hamlet . Finally, Starfleet Academy SciSec Brief 006: Praxis (1080p, 2:37) takes a "Next Generation" look at some of the events from Star Trek VI.



The Farewell tab features DeForest Kelley: A Tribute (480p, 13:19), a look back at the man and his character. Original Interviews features chats with William Shatner (480p, 5:05), Leonard Nimoy (480p, 6:26), DeForest Kelley (480p, 5:03), James Doohan (480p, 5:33), Nichelle Nichols (480p, 5:39), George Takei (480p, 5:28), Walter Koenig (480p, 5:31), and Iman (5:07), the actress who played "Martia" in the film. Production Gallery (480p, 3:24) features behind-the-scenes video clips from the set. Next up is a collection of four storyboard sequences -- Praxis, Assassins, Rura Penthe, and Leaving the Spacedock (omitted). Rounding out the supplements on this disc is the film's teaser (1080p, 1:28) and theatrical (1080p, 2:23) trailers, 1991 Convention Presentation by Nicholas Meyer (480p, 4:49), and BD-Live (Blu-ray profile 2.0) functionality that offers, again, Star Trek I.Q.







The Captain's Summit

Rating: 3/5



Disc seven offers only the singular feature Star Trek Summit (1080p, 1:11:12), a three-part roundtable discussion with William Shatner, Leonard Nimoy, Patrick Stewart, and Jonathan Frakes, hosted by Whoopi Goldberg. The piece moves along briskly and the five "Trek" legends deliver a well-rounded and light discussion, speaking on the impact of Star Trek on both popular culture and in their personal lives, their television watching habits, the wardrobe, their favorite moments in the show, their forays into directing, and much more.

debuts on Blu-ray with a nice selection of bonus materials. First up is a commentary track with Michael & Denise Okuda, Judith & Garfield Reeves-Stevens, and Daren Dochterman. These participants share their recollections on the film's origins and opening; special effects shots; the actors in both major and minor roles; shooting locations; new sets, uniforms, and accessories; and plenty of discussion on the planned but never created television program, "Star Trek: Phase II." Several times the discussion ceases as the participants find themselves watching the film rather than commenting on it, but this is generally a solid commentary.allows users to access detailed information on persons, places, and things as seen or discussed throughout the movie.(1080p, 10:44) further examines the origins of what was to become the first of now elevenfeature-length films.(1080p, 9:37) features a quintet of extras reminiscing on their experiences of winding up in the movie.(1080p, 4:24) features a "Next Generation" Starfleet officer recalling the events as depicted in. Also included are eleven deleted scenes (480p, 8:02), three sets of storyboards (, and), the film's teaser (1080p, 2:18) and theatrical (1080p, 2:29) trailers, and seven TV spots (480p, 3:39 combined). Finally, this disc is BD-Live (Blu-ray Profile 2.0) enabled. At time of writing, the page allows users access to, a game that "lets you test yourknowledge by playing unique trivia games."features several supplements, this package headlined by a pair of commentary tracks. First up is a track featuring Director Nicholas Meyer. Meyer shares his credentials, the process of writing the film, William Shatner's initial displeasure with the script, some of the smaller nuances of the film, the work of the actors, the film's budget constraints, sets, and more. Track two once again features Meyer, this time accompanied by Producer Manny Coto. Meyer again impresses with his wealth of information, discussing the direction he took the film, and by extension the series, lending an element of reality to the picture, the work of the cast, and more. Both tracks make for excellent listens that should please fans. Once again, this disc contains, a feature allowing users to learn more about the world of, from Khan to the Boatswain's Whistle.Next up are five pieces filed under(480p, 27:21) takes a direct but incredibly fascinating look at how the film came together, told through interviews with primary cast and crew.(480p, 23:54) features a look at the design of the ships, the new uniforms, the creation of the Genesis torpedo, and more.(480p, 10:56) features the quartet of actors recalling their experiences in making the film in a collection of classic interviews.(480p, 18:14) takes viewers behind-the-scenes and into the making of the film's special effects shots.(1080p, 9:33) features the composer discussing his work on the film.is another piece broken into several features.(1080p, 11:05) takes a very interesting look at some of the props used throughout the history of 'Star Trek.'(480p, 28:55) looks at bringing 'Trek' history and lore to the printed page.(1080p, 3:08) features a "future" look back at the events of 'The Wrath of Khan.' Rounding out this package of supplements is a collection of 13 storyboards,(1080p, 4:44), the film's theatrical trailer (1080p, 2:22), and BD-Live (Blu-ray profile 2.0) connectivity, this feature once again offeringbirths several bonus features. Leading things off is a commentary track with Director Leonard Nimoy, Writer/Producer Harve Bennett, Director of Photography Charles Correll, and Actress Robin Curtis. Recorded separately and edited together rather coherently, the track manages to flow well despite its patchwork origins. Nimoy offers the best comments of the bunch, showing a passion for the material and delving beyond the superficialities of the film to share a good many insights into the picture. The second commentary track features "Trek" veterans Ronald D. Moore and Michael Taylor. They discuss their history of working on various "Star Trek-" related programs and how they took the canon as established in the films as gospel, their credentials as fans, and plenty of little odds and ends that make for an overall satisfying listen. Also included, once again, isThetab provides access to a quartet of features.(480p, 26:13) looks at's origins, Leonard Nimoy's involvement, the development of the story, the challenges of the shoot, cast discussing their characters, and more.(480p, 25:53) looks at the potential for mankind to terraform Mars.(1080p, 13:50) examines some of the old-school techniques used to bring thefilms to life.(1080p, 6:22) looks at the young actors who portrayed Spock in the film.is another piece divided into five features.(480p, 27:49) focuses on the new and intricate models, effects, and shooting techniques seen in the film.(480p, 21:04) examines the development of the Klingon language as heard in the 'Star Trek' films.(480p, 12:16) looks at the wardrobe and adornments seen throughout the films.(1080p, 16:52) takes viewers to Seattle, Washington for a look at the many "Star Trek" exhibits in the museum.(1080p, 2:42) once again shows a "Next Generation" officer discussing the ancient Vulcan ritual that plays a pivotal role in bothand. Also included are two photo galleries:and; 10 storyboards; the film's theatrical trailer (1080p, 1:12); and BD-Live functionality that, again, featuresGo back in time and into the making ofthrough the following included bonus materials. Two commentary tracks headline the package, the first featuring William Shatner and Leonard Nimoy. The best track to be found anywhere in this entire collection, the Captain and First Officer discuss the lightheartedness of this film compared to the relative heaviness and themes of death and old age of the last two films. They also discuss the time travel theme of the film, the chemistry between the cast, the humor in the film, and much more. The second track is a "fan track" with the writers of the 2009film, Roberto Orci and Alex Kurtzman. They discuss the strong and overwhelmingly positive fan reaction to the film during its theatrical screenings (similar to many fan's experiences with the new film), the strength of the story, the special effects, the humor, and more. Despite some dead air in the second, both of these tracks make for fantastic listens. Also included, again, is theinterface.(480p, 27:32) is the first of five features under thetab. An entertaining retrospective piece, cast and crew discuss the success of the franchise, the humor of the film, the time travel story arc, a discussion of some of the film's more famous scenes (including the "punk on bus" sequence), and more.(480p, 7:26) looks at shooting in then-modern-day San Francisco.(480p, 4:13) shows viewers side-by-side takes and angles of a scene.(480p, 11:45) examines the creation of sound effects for objects that exist only on-screen.(480p, 6:09) features Actor Walter Koenig discussing his increased role in the film.Next up is, a collection of seven features. First among them is(480p, 11:15), a piece where prominent physicists discuss the theories of time travel.(480p, 5:46) takes a brief look at the species and how they learn and communicate.(480p, 7:50) features an examination of the logical and emotionally-controlled species.(480p, 8:19) features a series of interviews with several of the women that worked with Shatner over the years.(1080p, 10:12) looks at what makes the second, third, and fourth films a "trilogy."(1080p, 5:40) examines how the film raised public attention to whaling and environmentalism. Finally,(1080p, 3:42) features a "Next Generation" officer recounting the events of the film.examines a pair of sequences --(480p, 14:43) and(480p, 2:48).features vintage pieces with William Shatner (480p, 14:33), Leonard Nimoy (480p, 15:40), and DeForest Kelley (480p, 13:02). Next is, a tab containing two features:(480p, 8:17) and(480p, 12:44). Moving along,(480p, 3:55) features a series of behind-the-scenes stills. Concluding this supplemental package is a collection of eight storyboard galleries, the film's theatrical trailer (1080p, 2:24), and BD-Live (Blu-ray profile 2.0) functionality that offers thegame.This Blu-ray release ofallows viewers to search for answers to the universe's most difficult questions via a jam-packed supplemental section. First up are two commentary tracks, the first featuring William and Liz Shatner. A slowly-paced track, the Shatners deliver the expected stories from the set, the chemistry between Kirk, Spock, and McCoy in the campfire scenes, the budget of afilm, and many other tidbits. Track two serves up Michael and Denise Okuda, Garfield and Judy Reeves-Stevens, and Daren Dochterman. They discuss the film's failings with audiences, challenges on-set, William Shatner's direction, set design, the campfire scenes, and more. Also included, again, isagain breaks down into six segments.(480p, 1:42) features the producer discussing the film and the "live long and prosper" salute.(480p, 28:55) looks at the process of creating the film, from the origins of the story to the scrapping of the infamous "rock man" footage.(480p, 9:50) features screen tests for several characters.(480p, 1:41) offers a series of screen tests with miniature models.(480p, 5:37) features sketches, photos, and footage of the costume. Finally,(480p, 13:42) features the entire cast on-set and in front of the press answering a series of questions.Moving along,tab contains an additional eight features.(480p, 19:09) looks back on the career of the famed composer.(480p, 14:37) is a vintage piece featuring the actor-director discussing the film.(480p, 13:05) features a philosophical examination of what might be beyond the boundaries of Earth and man's place in it.(480p, 13:05) features Actors Todd Bryant and Spice Williams recounting their experiences playing Klingons in the film.(480p, 9:24) takes an extended look at Yosemite National Park and nature's importance to mankind.(1080p, 9:57) looks at the influence of Gene Roddenberry's creation on the space program and the series' forward-thinking themes and technologies.(480p, 3:10) showcases a few brief scenes from the dedication ceremony.(1080p, 3:02) again takes a futuristic look back at the events as depicted inNext up are a series of four deleted scenes (480p, 4:17).(480p, 4:05) features a series of behind-the-scenes stills set to music.offers viewers the opportunity to examine three scenes in the earliest of stages:, and. Concluding the supplements are a pair of theatrical trailers (1080p, 2:42 & 1:34), seven TV spots (480p, 3:14 combined runtime), and BD-Live (Blu-ray profile 2.0) functionality, again offering thegame., much like its quintet of predecessors, comes packed with supplements. This disc is headli