Composed by Michael Giacchino
After the under-performance of Nemesis killed the film franchise, Star Trek fell into a hiatus of a few years. It did not take long for Paramount Pictures to revive the series. This time it was to be a full reboot under the direction of J.J. Abrams. The movie was a success and I used to like it. Over time, though, as I’ve watched more original Trek, I’ve found the film to be uninspired and only superficially Star Trek. A Romulan mining ship led by Nero (Eric Bana) goes back in time thanks to some black hole physics. It attacks a ship and kills Kirk’s father. Over twenty years later Kirk (Chris Pine) and his future crew are called up due to an emergency. Nero is out for revenge and plans to use a weapon to destroy earth. It turns out that in the future Romulus was destroyed, despite the efforts of Spock. The time travel creates a separate timeline so Abrams doesn’t have to worry about linking up with the original show (called the Kelvin timeline). The movie is a lot of people running around and yelling and shooting each other so nobody will notice the plot holes or Abrams’ horrible grasp of space distances and physics. The plot itself boils down to bad guy wants revenge, and this story would be told in the two sequels itself. Abrams also has a very superficial grasp of the characters. He assumes Kirk is a reckless hothead (he was actually very considerate and thoughtful), makes Spock is prone to emotional outbursts because of his human side, and replaces Dr. McCoy’s place in the main trio with Uhura, throwing off the character dynamics that fueled most of the Star Trek’s emotional and ethical stakes. In short it heralded the simplistic, uninspired plotting Abrams would conduct for The Force Awakens. At least the music is good.
A common collaborator of J.J. Abrams, Giacchino naturally got the role of composer. 2009 was a big year for Giacchino. He scored three films (while still doing scoring duties for Lost), among them this one, Land of the Lost, and Pixar’s Up (for which he won an Oscar). While he would not regularly compose films for a couple more years, his placement on a globally identified franchise did wonders for his career and allowed him to flex his musical muscles with a larger orchestra. Continue reading