karacter's Reviews

The Omega Man (1971)

4/10

Let's fess up....this is not such a great movie......

14 March 2011

Warning: Spoilers

I saw "The Omega Man" in 1971 when I was 9 and thought it was pretty cool; having just watched it again 40 years later, I realize (with a deep sigh) that it's actually pretty lame.

It reminds me of some of those "classics" our high school English teachers had us read from time to time; you've been told for years by authority figures that you instinctively trust how terrific and epic and timeless the story is, and then, when you read it, well, it's a real struggle NOT to put it down and go on to something else more worthy of your time.

1971's "The Omega Man" is a lot like that; it's a poorly written and directed and scored and produced picture that just happens to feature some pretty good actors, who struggle very hard to make the most of what they've been given to work with.

Charlton Heston, of course, cut from the same mold of Sean Connery and Al Pacino and Robert DeNiro, always makes a sub-standard film worth watching, and his performance here is focused and sincere- you can tell that he took his assignment seriously. Supporting actors Anthony Zerba and Rosalind Cash also put forth sincere and well meaning efforts towards the project.

The problem is, everything else about the film is pretty poorly done.

The scriptwriting team of John and Joyce Corrington, who also wrote the epic screenplays for the spectacular "Battle for the Planet of the Apes" and the epic "Killer Bees", (need I say more??), work their magic here with yet another flimsy script featuring plot holes galore and plenty of cheesy dialog (Richard Matheson, who wrote the original "I am Legend" story on which this movie is based, said that the bad screenplay didn't bother him as it was so far removed from his original piece).

Ron Grainer's funky 70's soundtrack, which is poorly suited for the action on the screen, sounds like a cross between the worst episode of "Starsky and Hutch" and the rejected music from 'Cleopatra Jones". It becomes downright annoying after a short time (thank goodness for modern technology and the "mute" button!)

Numerous sloppy on-screen errors (people & vehicles in the background of the "deserted" city, brightly lit interiors of buildings that have no electricity for lights!), choppy direction and rather poor, washed out cinematography add the "icing on the cake" (and insult to the audience) to a film that is more at home as the second movie at a drive-in double feature (when everybody is making out at that late hour and not watching the screen anyway).

Worth a look for die hard Charlton Heston fans (which I am), but, if you're looking for much better renditions of Richard Matheson's source material, you're better off checking out Vincent Price in 1964's "The Last Man on Earth" or Will Smith in "I am Legend" (2007).

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The Green Hornet (2011)

6/10

Enjoyablebut could have been so much better!

15 January 2011

*** This review may contain spoilers ***

I grew up in the 60's with "The Green Hornet" on TV. OK, I can accept- and be happy with- the fact that the basic premise and plot structure and of "The Green Hornet" film is not original at all but basically a re-hash & carbon copy of the "Batman", "Spiderman", and "Iron Man" films.

Namely, in all of the above:

1. A gifted individual, not living up to his true potential, is motivated by a tragedy in his life to become a crime fighter; 2. This individual has inherited his money, is independently wealthy and uses his wealth to create a really cool hideout, high tech weapons and vehicles (Spiderman being the exception here); 3. This individual is treated initially like a criminal by ordinary society, even while he himself is on the side of the law & fights criminals; 4. Our hero has a beautiful, really hot love interest who initially doesn't know his secret identity but eventually learns it & then supports him. 5. Each film ends in a climatic showdown with the villain, where the hero is nearly killed but emerges victorious (if in tatters) at the end.

I can accept that "The Green Hornet" is constructed of all the above clichés and really doesn't break any new ground, because it's the nature of superhero/crime fighter comics & movies to be formulaic. No problem there.

The main problem in "The Green Hornet" is in the "walking of the tightrope" between drama and comedy, the careful blend of humorous moments and serious drama & conflict; unfortunately, Seth Rogan's over the top performance falls too often into farce and robs the character of any dignity and, most importantly, audience respect.

Rogan, a talented comic actor, is not entirely to blame; the script & directing undoubtedly have a lot to do with it. It's one thing to be a "beginner" crime fighter and make understandable mistakes with humorous results (as Robert Downey, Jr. did in "Ironman"), but it's quite another to play the character as an inept clown, as Rogen does. Downey, Jr's Tony Stark managed to be witty with plenty of one-liners but still be clever, intelligent, and noble; Rogen plays Brit Reid as a cross between Animal House's "Bluto" and The Pink Panther's "Inspector Clouseau", so much so that we can never take the character very seriously or have much faith in him.

This would be OK in a movie that's a straight, unapologetic comedy (like "Airplane"), but "The Green Hornet" bounces back and forth constantly between slapstick comedy and deadly seriousness; the result is an uneasy mixture of the two leaving the audience emotionally confused.

As stated before, it's OK to be a novice crime fighter who's noble and well intentioned, but just makes early mistakes due to inexperience (like Peter Parker and Tony Stark), but Rogen's Brit Reid is not only inexperienced, he acts downright foolish & stupid sometimes (if not most of the time), and there's very little nobility to be found in foolishness & stupidity. It definitely hurts the film.

And most superheroes start out a little incompetent at the beginning and then gradually grow into their role & become better throughout the film as they gain experience & confidence, allowing the audience to grow with them- here, Brit Reid starts out a reckless, incompetent clown and pretty much ends up that way at the end, with very little maturing and seasoning of the character in-between. It's very disappointing.

On the plus side, Cameron Diaz is always fun to watch (even if her talents are pretty much wasted here in a small and confusing romantic subplot between Kato & Britt Reid). Jay Chou is excellent as Kato, and Christoph Waltz puts a good effort as the somewhat ordinary and strangely uninteresting villain (again, the script is at fault here, not the actor).

Lots and lots of exciting action sequences and flashy gadgets, cars, etc., so no complaints there.....the film is not dull! Production values- sets, photography, costumes, etc.- are excellent.

All in all, better than I expected, and definitely watchable, but a wasted opportunity. What a shame.....

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Star Trek: Voyager: Workforce (2001)

Season 7, Episode 15

9/10

One of the better 7th season adventures!

5 July 2010

Warning: Spoilers

The story isn't completely original, of course (crew members held captive on an alien planet requiring other crew members to "go under cover" to rescue them is a fairly common Star Trek adventure), but fortunately it has been tweaked enough so that it ends up being a fresh approach with lots of clever surprises at every turn.

Coupled with really outstanding visual effects & sets representing an alien city, some genuinely suspenseful moments, and the fun of seeing the cast play "themselves" in an alternate reality, this installment ends up being an excellent and highly enjoyable Star Trek adventure, certainly one of Voyager's very best.

Although the entire cast shines here, Tim Russ and Robert Picardo are especially noteworthy for their excellent performances.

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Star Trek: Voyager: The Void (2001)

Season 7, Episode 14

7/10

Not terribly original but likable adventure....

5 July 2010

Warning: Spoilers

The "oh, my, we're trapped in a mysterious dark void with no way out" concept has been used and reused many times in the Star Trek Universe (ST: Next Generation's Second Season installment "Where Silence Has Lease" is a good example that comes to mind) so don't expect any surprises or new territory here....we have seen this all before. This eliminates any suspense from the get go (as does the fact that this is not a two-parter), so we just know from the very beginning that the crew will manage to escape in 60 minutes and that they are never in any real danger.

What makes this episode enjoyable, though, is good solid acting and interplay by the regulars and some fun performances by some likable (and not so likable!) guest stars.

Not a bad show by any means, but it's a shame this couldn't have been a two parter...this would have helped to build the suspense a bit and also would have provided more time to see & learn more about all the different ships & species trapped in the void, which could have been quite interesting.

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Star Trek: Voyager: Prophecy (2001)

Season 7, Episode 13

5/10

Not bad..but certainly a wasted opportunity...

4 July 2010

Warning: Spoilers

A fairly entertaining Season 7 installment- with a particularly funny subplot involving Neelix & an amorous Kilingon woman- but the rest is rather mediocre.

The appearance of Klingons in ANY Star Trek show always brings the promise of high drama, action, and adventure...unfortunately here, the promise isn't kept. This particular episode features the Klingons spending much more time in staff meetings than in battle or in conflict.

The plot moves along quite slowly. A great opportunity to explore a very old Klingon battle cruiser from Captain Kirk's(!) era is squandered early, and the main "action" of the piece..a battle showdown between Tom Paris and an aggressive Klingon challenger...is devoid of any real drama because all the actors- including Robert Duncan McNeill- are so nonchalant about it that no dramatic tension has a chance to build, and so we never really feel that Tom is ever in any danger or at risk at any time (which one would ordinarily expect when one is forced to fight an angry Klingon).

The "poor casting" gremlin that seems to haunt Voyager's last two seasons strikes again here with the casting of Wren T. Brown as the Klingon leader Kohlar. Although a competent actor who turns in a sincere performance, Mr. Brown lacks the Klingon "edginess"- (the simmering and chilling threat of barely restrained aggression that could burst forth at any moment)- that the best Klingon actors in Star Trek possess (Michael Dorn, Robert O'Reilly, Christoper Lloyd, Christoper Plummer, etc.) Mr. Brown's portrayal is quiet, subdued, polite, and soft spoken- not threatening at all, and certainly not Klingon. It should be noted that two of Mr. Brown's previous roles include a turn as Whoopi Goldberg's comic relief brother in Whoopi" (2003-2004) and as a reoccurring character in "The New Adventures of Flipper" (1995). Hmmmm...I rest my case on the casting issue.

Not the worst Voyager adventure by any means, but don't expect to be on the edge of your seat during this one..rather, you're more likely to be comfortably settled in it and possibly dozing off from time to time.

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Star Trek: Voyager: Repentance (2001)

Season 7, Episode 12

9/10

A bit preachy but very powerful & watchable....

1 July 2010

Warning: Spoilers

Strong emotional performances by regulars and guest stars alike, plus a well written & directed story, make this installment one of the better outings in Season 7.

Not a lot of outer space action in this one but, in the best tradition of Star Trek, the cast tackles a controversial human rights issue and leaves the audience with much to think about afterwords.

An especially enjoyable show for me because it finally underscores a major plot hole in ALL the major Star Trek incarnations (with the exception of Star Trek: Enterprise)- the use of force fields for jail cells instead of ordinary bars. Although force fields are certainly more "high tech" (and allow a better view of the guest star prisoners for the television audience), from a practical standpoint they make no sense at all. Force fields require constant power, maintenance, and are always at risk of disappearing during a power failure (which is exactly what happens here, allowing the prisoners to escape and wreak havoc).

Even in the advanced 24th century, wouldn't just plain old fashioned steel bars be much better for confining prisoners? They are relatively cheap, easy to install, require no maintenance or power source, and won't disappear during a power failure. Just a thought.......

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Star Trek: Voyager: Lineage (2001)

Season 7, Episode 11

3/10

Well intentioned but forgettable episode...

30 June 2010

Warning: Spoilers

The famous motivational speaker Zig Zigler has a great expression for people & projects that start out with the best of intentions but soon pan out to nothing of significance...he calls it "squatting to rise (up), but getting cooked in the squat". "Lineage" does this very thing...it starts out with good possibilities, but falls flat very soon.

Its failure has nothing to do with the energy of the actors- all the regulars give it their best effort, in particular Robert Duncan McNeill & Roxann Dawson, who turn in perhaps their most emotionally charged performances of the entire series. Rather, the major faults here include poor writing and poor guest star casting.

With respect to writing, the plot moves at a snail's pace, with little or no action, and very little humorous interplay to fill this void. And the plot holes make the Grand Canyon look like a drainage ditch. In a series franchise like Star Trek that has time and time again passionately preached the message that ALL life is sacred, special, and worthy just as it is, B'Elanna attempts to have her baby surgically altered by using unethical and illegal means (commondeering ship systems, locking out Voyager's security team, reprogramming the Doctor) and yet she is not punished or reprimanded in any way.

And, speaking of which, what ABOUT that very sneaky trick of diabolically altering the Doctor's program to make him an unwitting accomplice to an "ethnic cleansing" of the unborn child? True, she does apologize to him, but in the "respect everyone's individual rights at all times" world of Star Trek, shouldn't the consequences of her dangerous actions be a little more severe than her mild embarrassment at having to apologize to him? Finally, poor guest star casting makes the situation worse. The actor cast as B'Elanna's father is just too wimpy too be believable..he's a good actor, but he is simply the wrong choice for the part. We're supposed to believe that this rather effeminate & "milk-toasty" guy won the admiration of...and married.. a KLINGON woman? He seems more suited to play the mild-mannered Dad on some Nickelodeon show or perhaps The Disney Channel, not the husband of a woman from an aggressive warrior race that values strength and power above all else.

The story and end result here mirrors many of Voyager's Seventh Season installments- good concept, but poor execution.

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Star Trek: Voyager: Drive (2000)

Season 7, Episode 3

5/10

A good idea that suffers from choppy presentation...

23 June 2010

Warning: Spoilers

(SPOILERS) The idea of a "race in space" has never been introduced in the Star Trek Universe before, and so there was great opportunity in "Drive" for a truly exciting and unique Trek adventure. Unfortunately, the end result, while not terrible, falls far short of its potential.

The main fault seems to be too many subplots (the race, warring factions & sabotage, AND Tom & B'Elanna's relationship problems), which require the viewer to constantly jump from one to another to the extent that one feels almost as if one is watching three different episodes at the same time instead of just one. In trying to be many things, "Drive" fails to by any ONE thing, and so the show ends up with a "choppy" and jumbled feel to it.

I, for one, would have loved to have seen more emphasis on the race itself- the individual racers, the bizarre vehicles they were piloting, the potential unknown hazards along the race course, etc. (The pod race in "Star Wars: The Phantom Menace" (1999) is a great example of how visually interesting- not to mention fun & exciting- a multiple species space race can be).

Finally, I was rather disappointed that a major Star Trek Voyager event- the marriage of Tom Paris & B'Elanna Torres- happened off screen and was somewhat haphazardly tacked on at the very end! What's up with that? One would think that the marriage of these two major characters would deserve at least a token amount of screen time.

Perhaps "Drive" would have worked better with a little more "breathing space"- as a two part story arc, there would have been more time to explore & develop all the subplots. As it stands, it seems a little rushed & out of focus.

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Star Trek: Voyager: Spirit Folk (2000)

Season 6, Episode 17

2/10

"Star Trek" becomes 'Little House on the Prairie"...

6 June 2010

Warning: Spoilers

(SPOILER) Even before I had seen "Voyager", I read about fans describing the shows episodes as "hit and miss"...this installment is certainly a textbook example of that, an astonishingly dull & pointless follow-up to the equally dull & pointless "Fairhaven".

Perhaps part of the reason is that both episodes seem to focus on the "feelings" of holedeck characters- and the Voyager crews' sensitivity to this- which makes about as much sense as being concerned about the self-esteem of Mario, Luigi, or Donkey Kong.

The best episodes in Star Trek..in all the series incarnations...contribute a little something to the franchise as a whole, whether through character development, introduction of a new idea, fact, species or technology, etc. "Spirit Folk" does none of this and, interestingly enough, the Voyager regulars play second fiddle here to the "zany" antics of the holedeck characters. This wouldn't necessarily be a problem if the holedeck characters were interesting or had anything interesting to do, but they aren't and they don't- not exactly a good recipe for exciting or meaningful sci-fi television.

On the plus side, fans of the talented Robert Picardo will enjoy some very funny scenes with the Doctor playing an overly dramatic village priest. And the Voyager cast seems to be having a sincerely good time romping around in this colorful period piece (which features on location shooting at Universal Studio's European Village Backlot set, which the cast undoubtedly enjoyed). Unfortunately, the cast are the ONLY ones having fun, and the audience is left to suffer through it.

The largest plot hole, in my opinion, is the fact that the Voyager crew spends an incredible amount of time, energy, and attention worrying about, and fussing with, this pointless holedeck program and its characters. Surely the crew can find better & more meaningful things to occupy their time and the ship's resources (like exploring the UNIVERSE, maybe?) than fiddling with a 3D video game. I know that if I was in a starship in the Delta Quadrant, I wouldn't be sitting sitting in my quarters the whole time focused on my XBox360.

It's just a holedeck program. When all is said and done, who cares? In the end, certainly not the audience.

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Star Trek: Voyager: Bride Of Chaotica! (1999)

Season 5, Episode 12

4/10

This is supposed to be "Star Trek"...not "Lost in Space"!

12 April 2010

Warning: Spoilers

(SPOILER) Many enjoyable things in life are best enjoyed in small doses- chocolate cake, for example, is wonderful as a dessert or occasional treat, but most rational people would quickly tire of it...plus get a little nauseous...if they were eating it for breakfast, lunch, and dinner.

That's the trap that "Bride of Chaotica!" falls squarely into. Momentary glimpses of Tom Paris' "Captain Proton" adventures have been a welcome relief from time to time during the course of Voyager's many hazardous adventures, and have provided a welcome chuckle or two before we get down to some serious space drama. but an entire hour devoted to the camp humor and over-the-top performances of the "Proton" characters is simply a bit too much and after awhile becomes annoying rather than amusing.

There is a fine line between excellent satire and just plain silliness, and this installment quickly strays into the latter and stays firmly there. There is supposed to be a serious subplot involving a previously unknown race of photonic aliens (REAL Star Trek stuff) but, unfortunately, this is "lost in space" (pun intended) as an unending barrage of sight gags and campy dialog destroy any possibility of dramatic tension or interest in the plot or characters.

I'm sure that this story probably looked great on paper, and no doubt the principle actors had some fun with it, but we've seen far too many "we can't shut the holideck down" episodes not only in "Voyager" but in ST:TNG and ST:DS9 as well, and the idea has long since worn out its welcome, so lets move on already (but kudos to the production designers for some affectionate, faithful, and highly detailed "Buck Rogers" style costumes & sets).

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Star Trek: Deep Space Nine: If Wishes Were Horses (1993)

Season 1, Episode 16

9/10

Creatures, Sex, & Baseball...Star Trek doesn't get any better than this!

21 April 2009

Warning: Spoilers

"Be careful what you wish for...it might come true". This not a dramatically original concept for TV & movie stories; Hollywood has been churning out productions featuring this storyline ever since the days of silent pictures.

In this installment, however it's presented with such fun, playfulness and energy that you can't help but sit back and enjoy the ride, thanks to a very clever script, excellent direction, wonderful supporting actors, and as much skin & sexual innuendo as we've seen in DS9 up to this point. It's obvious that the actors had a great time filming this episode, and their enthusiasm is contagious.

The key to this episodes success, as with most great theater, is immediate & consistent connection with the characters- identifying through personal experience what they are going through makes the viewer feel like "a part of the action". This "opportunity for empathy" is presented in abundance here- all the viewer needs to do is pick his or her particular flavor. Who hasn't had steamy fantasies about a co-worker? Or wondered what it would be like to meet a favorite hero face-to-face? Or sat at a desk in school or at work and daydreamed about being out on the baseball field?

Everyone- regulars and guest stars- turns in an solid performance here, but Michael J. Anderson as Rumpelstiltskin particularly shines; his portrayal is so warm, interesting and appealing that one starts to wish he was a regular character on DS9. Anderson is a veteran of many TV and film appearances, but is perhaps best known to TV audiences as "Samson", the surreal & avuncular carnival boss in HBO's excellent miniseries, "Carnivale" (2003-2005).

"If Wishes Were Horses" is tremendously entertaining, fun to watch, and one of the best installments of the first season. Don't miss this one!

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Star Trek: Deep Space Nine: Progress (1993)

Season 1, Episode 15

6/10

Slow paced but moving story about senior citizens...

20 April 2009

Warning: Spoilers

You won't find any "fall out of your seat" space adventure here, and the story itself isn't particularly original and doesn't break any new ground.

Two elements, however, raise this installment above average- first, the excellent casting of veteran actor Brian Keith as the defiant and spirited farmer, Mullibok, and an outstanding and emotional outing for Nana Visitor (Major Kira)as she is torn between her devotion to duty and her growing affection, empathy, and respect for the father like Mullibok.

Brian Keith was one of Hollywood's finest and most productive character actors, with a career that stretched all the way back to silent films. An expert at portraying "gruff and irascible but soft on the inside" characters, he is perfectly cast here, and delivers a powerful, moving, and multi-layered performance. The fact that Keith is so well known to viewers adds to the impact of the show, as his familiar face, voice, and personality reinforces the idea that this could be your grandpa or your uncle being forced to make major life changes in his twilight years.

Also adding to the emotional power and effectiveness of Brian Keith's performance is the fact that his role as Mullibok closely mirrored his own private life at the time; indeed, his later years were shadowed by personal tragedy, unwanted change, and health issues (just like his character in the show). Interestingly enough, this fine and respected actor ended up taking his own life just 4 years after appearing in this episode, in a classic case of art imitating life. Proud & dignified to the end (just like his character Mullibok), he chose to end his own life on his own terms in 1997 rather than submit to a long and debilitating terminal illness and the lifestyle changes that it was sure to bring.

Also in this episode, Nana Visitor (Major Kira)turns in an outstanding performance, and we get a good look past her cold, defiant exterior to see how lonely & desperate she is on the inside. Her scenes with Mullibok, especially when she stays to take care of him after he is injured, are among the most moving & emotional ever seen in the Star Trek Universe.

A silly and pointless "Jake & Nog" sub-plot focusing on their efforts to be businessmen is mildly amusing, but seems out of place here; mixing it in with the much more substantial and meaningful Major Kira/Mullibok storyline only serves to disrupt the emotional pacing of the show. In addition, their sub-plot has a "Brady Bunch" feel to it, and is just way too campy to have any real meaning. Star Trek is watched by a lot of kids, true, but it is not a kid's show, and efforts to make it such only detract from the whole.

Not the greatest Deep Space Nine installment, but well worth watching to see a great Hollywood legend in one of his final screen appearances.

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Star Trek: Deep Space Nine: The Storyteller (1993)

Season 1, Episode 14

5/10

"Little House on the Prairie" and "The Waltons" in outer space...

16 April 2009

Warning: Spoilers

The Star Trek creators are infatuated with stories about villagers; we've seen episodes focused on them time and time again- "The Apple" , "Friday's Child", "A Private Little War", and 'The Paradise Syndrome" from TOS, "Code of Honor", and "Who Watches the Watchers" from ST:NG, and even a villager themed movie(!), "Star Trek:Insurrection"(1998). The list goes on and on and on.

The ST creators love episodes about villagers because villagers are economical- wardrobe is kept to a bare minimum (robes and simple tunics and such), make-up is limited, and no fancy gadgets or sets are required (villagers are, after all, primitive and "one-with-nature"- which means you don't have to spend a lot on set construction).

Star Trek villagers as a plot device, however, have 2 main drawbacks:

1. They can quickly become dull and boring if we spend too much time on them, unless the actors and story are so powerful that they can overcome this (as in ST:NG's excellent episode, "The Inner Light", for example);

2. Group scenes with villagers tend to look cheesy, cliché', and staged if not planned creatively. Rather than evoking the image of a mysterious new alien species, they more often end up looking like a group of overacting Southern Californian bit part TV actors who would be more at home in a cereal commercial than on the exotic confines of a Star Trek Planet.

This is the formidable slippery slope that dominates "The Storyteller", a feel good, "group hug", first season installment that plays more like a group therapy session than an exciting Star Trek adventure. Some laughingly poor special effects for the hostile energy cloud ("Star Trek V: The Final Frontier" anyone?) and a rather funny near-encounter between Miles O'Brian and three seriously hot & sexy village women can't salvage this one from being what it is...an excellent cure for insomnia.

As if the show's primary focus on the somnolent villagers wasn't enough to hasten you to your slumbers, the creators add a "coup de grace" subplot back on the station featuring a precocious teenage ambassador and her two smitten suiters (the notorious "plot slowing" Jake and Nog). A couple minutes enduring their stilted dialog, poor acting, and hilarious hijinks (Hey-did you see that? Nog threw oatmeal on Jake!- har, har, har!) and you'll be BEGGING for the return of Wesley Crusher- and wondering if you're watching the right show (is this "Star Trek" or "Saved by the Bell"?)

Well, you've been warned...watch at your own risk (and be sure to bring something to pass the time while you're watching).

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Star Trek: Deep Space Nine: Battle Lines (1993)

Season 1, Episode 13

6/10

Well done but not particularly memorable "warring faction" retread...

14 April 2009

Warning: Spoilers

Watching this episode is like visiting your old high school for the millionth time- there are some new faces and a few changes here and there, but, in the end, it's just not terribly exciting or dramatic because you've "been there-done that".

"Battle Lines" is a very sincere first season effort that takes great pains to "dot its I's and cross its T's- a good solid script & directing, consistent action sequences, and strong performances from both regulars and guest stars certainly elevate this installment above the rating of average.

Unfortunately, it never rises much above that, due to the fact that the basic premise of this episode- two cultures locked in a futile, generations old conflict- with a newly arrived Starfleet Captain attempting to miraculously mediate a lasting peace- has been done, re-done, and done to death in the Star Trek Universe. We've seen it all before, this basic story, in TOS, ST:NG, Star Trek:Enterprise, etc.

In all fairness, although the writers are clearly to blame for being repetitious, it's really hard to blame them too harshly. Star Trek has been in almost constant production since the 1960's; after hundreds of hours and story lines, it's inevitable that occasionally they are going to stumble and start repeating themselves. That's exactly what happens here.

A particularly intense performance by Nana Visitor (Major Kira) and excellent character portrayals by Camille Saviola (Kai Opaka) and Paul Collins (Zlangco) help to liven things up a bit, along with a spaceship crash & some excellent hand phaser shoot-outs.

Worth a look, but not a re-look.

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Star Trek: The Next Generation: Second Chances (1993)

Season 6, Episode 24

8/10

One of the most interesting & original episodes of any Star Trek...

12 April 2009

Warning: Spoilers

Yes, it's true, the "duplicate" and "clone" stories are pretty ubiquitous in the Star Trek Universe (the two Kirks in TOS "The Enemy Within", the "alternate universe" duplicates in TOS, ST:NG and "Star Trek; Enterprise", etc), but this installment presents a startling, fresh, and thought-provoking twist on this frequently re-visited concept- the "second Riker" isn't just a copy, clone, or evil twin, he's another original, complete with childhood memories, career goals, and romantic thoughts identical to the first Riker (at least up to 8 years ago in the story).

Being exactly the same person in all respects- sharing everything in common (including Riker's legendary individualism, ambition and stubbornness), the two Rikers are forced to work together on the Enterprise and find themselves competing with each other in almost every respect (including a moving & sometimes heart-wrenching contest for the love of Deanna Troi).

What a fascinating idea- imagine being forced to work with & compete with yourself! This is a great episode because it makes full use of Star Trek's wonderful imaginary technology (in this case the transporter) to present the viewer with a unique situation that could only happen here, in the Star Trek Universe.

Not much action in this one (unless one includes the romantic scene(!) with Riker#2 and Deanna in the workout room but that's a different kind of action- lol), but that is more than compensated for by a well written script, excellent acting and directing, and of course a highly intriguing premise. Jonathan Frakes follows up his outstanding performance in "Frame of Mind" with another tour de force here in a dual role that showcases his excellent acting skills.

The only negative aspect of this installment (if there is any) is that it's only an hour long- all the avenues of such an interesting concept just can't be explored fully in 60 minutes. This story could have easily made a great two-part episode or even a feature film (with a little more action added in).

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Star Trek: The Next Generation: Rightful Heir (1993)

Season 6, Episode 23

8/10

It's the visuals that make this one so much fun...

12 April 2009

"Rightful Heir" is a solidly written, well-acted piece about faith and religion. The themes are personally relevant and timeless for everyone, and the viewer immediately connects with the story and is drawn in. In fact, the script is good enough to hold its own were it to be used for any dramatic series, not just Star Trek.

What makes the story really shine are two things- first, spectacular sets, costumes, and camera work give this Klingon oriented episode the look & feel of a feature film; one has to really watch it twice to catch all the visual delights the producers painstakingly worked into it. The wide variety and intricate detail of the Klingon costumes is particularly outstanding.

Second, the excellent casting of veteran character actor Kevin Conway in the lead role; his in-depth, powerful, yet sensitive performance as Kahless is another reason why "Rightful Heir" has a high quality, feature film atmosphere. Conway's resume' is quite extensive but he is perhaps best known for his role as "Sgt. 'Buster' Kilrain" in "Gettysburg"(1993) and "Gods and Generals"(2003).

Maybe this isn't the most action packed or memorable installment of the series, but it certainly ranks up there as one of the finest produced in every respect.

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Star Trek: The Next Generation: Suspicions (1993)

Season 6, Episode 22

5/10

A slow paced mystery drama, not bad but lacking something...

9 April 2009

Warning: Spoilers

A "Dr. Crusher" show that gives the reliable & likable Gates McFadden a chance in the spotlight, and, in script form, must have appeared like a potentially exciting & intriguing mystery drama.

Unfortunately, this installment moves at such a slow pace (especially the first half) that the viewer's mind has long since wandered away when the action (what little there is) begins, and so it's difficult to really jump back into the story as things start to happen again (as if we were ever there to begin with). The problem here is really threefold:

1. The characters, while visually interesting and very sincerely played, come off as utterly passionless and devoid of any energy or enthusiasm. The whole cast goes through the entire episode as if they are heavily medicated- even Picard looks bored throughout most of the show. Peter Marx as the Ferengi scientist Dr. Reyga tries to inject a little emotion into the piece, but he, too, seems far to subdued & calm most of the time, considering that the Ferengi are generally pretty outrageous in their speech & mannerisms.

2. This episode is very, very "talky", with much quiet dialogue and very little action. This approach works fine in Star Trek when the idea being talked about relates & connects to the viewer emotionally in some way (Data's personal rights & freedom on trial in "The Measure of a Man", for example, or characters falling in love, etc.), but here the subject in question is an obscure shielding technology that we really never understand or get our arms around, and so we can't really relate to the subject being discussed. Hence we never feel "drawn in" to the show the way the best Star Treks will allow us to be. We just end up standing off at a distance the whole time, detached, watching the characters do their thing and trying to figure out what's going on.

3. Finally, for the viewer to remain interested for an hour, in the absence of a strong emotional or intellectual bond to the subject there needs to at least be some action (this is is supposed to be a space adventure, after all) and there simply isn't enough action in this piece to fill in the void. A brief physical confrontation between Dr. Crusher and a female Klingon scientist ends as soon as it begins, and ends up looking contrived; the other brief action sequence is stuck right on the end, appearing almost as an afterthought.

The regulars and guest stars are not to blame here- all are excellent, as are the costumes and make-up (James Horan as Dr. Jo'Brill in particular gives us an alien species that is very striking visually).

The fault (if any, because it's not a BAD show) lies with the script, and, even there, it's not so much the writing as it is the fact that it's not particularly well suited to production as a Star Trek adventure- it would have been much better as an episode of "Columbo".

Watching "Suspicions" can be compared to sitting on the sidelines and watching a friend play a favorite video game- it might be a great game, even visually interesting at times, but since you can't participate, you never really get into it.

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Star Trek: The Next Generation: Frame of Mind (1993)

Season 6, Episode 21

9/10

"Star Trek meets The Twilight Zone"....

8 April 2009

Warning: Spoilers

A truly unusual and unsettling episode that, although I've never seen it show up in viewer polls, surely ranks as one of the series' best in terms of writing, directing, and acting. The disturbing and surreal atmosphere that haunts every minute of "Frame of Mind" is eerie and effective- so much so that the viewer half expects to see Rod Serling step into the picture at any moment.

Jonathan Frakes steals the show with his best and most intense performance of the entire series. Guest star David Selburg (Dr. Syrus) must also be commended for a first-rate turn as a calmly rational and calculating alien psychiatrist.

The acting and storyline are so much fun to watch that the viewer can easily overlook the two major plot holes inherent in this episode- and they are big ones. First, why is Riker, of all people, sent on this dangerous mission in the first place? He's the First Officer on the Federation flagship, a man with enormous responsibilities for the critical day-to-day operations of a ship with more than 1000 people on board- is it really logical to risk such a highly experienced & hard to replace starship officer on a mission to rescue some Starfleet researchers who have no particular importance? (At least no particular importance was mentioned).

The Enterprise has over 1000 people on board- is there really no other crew member trained to do this? And doesn't Starfleet Security have special, better trained people for this type of hostage recovery work? ("Star Trek: Enterprise", for example, which was set two hundred years before this series, featured special "Marines" on-board the Enterprise NX-01 that were specially trained & armed for exactly this type of mission).

Second, in TOS episode "Patterns of Force", Dr. McCoy implanted small tracking devices into Kirk & Spock so that Scotty could keep a transporter lock on them & beam them out in case any trouble happened on their dangerous away mission. He did this relatively quickly & easily with a small device about the size of a hypo-spray. What happened to this technology? Was it abandoned by Starfleet? (Or maybe forgotten by the show writers?) Seemed like a pretty good idea.

In any event, towards the end of "Frame of Mind" we see Riker's communicator lying right next to him in the alien interrogation room. Can't a communicator serve as a homing beacon for the ship's computer? True, Riker wasn't wearing it, but he happened to be in the same room with it- why not lock on to that communicator signal & beam a security team down to its location have a look around/stage a rescue? Or, at the very least, beam a probe/camera down to the communicator's location and have a look around.

Big plot holes, indeed, but it certainly doesn't diminish the power and entertainment value of this episode.

Well worth your time- I give it a 9 out of 10.

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Star Trek: Deep Space Nine: Vortex (1993)

Season 1, Episode 12

8/10

Tense, well written & acted space drama...

7 April 2009

Warning: Spoilers

An excellent first season installment that "delivers the goods" for Trekkers and others alike- solid acting, mysterious aliens, phaser battles, ship-to-ship battles, and a strong, well written story that comes complete with moral dilemma.

It's another "Odo centered" episode that gives us more insight into him, especially his efficiency and integrity as a law enforcement officer, while at the same time giving us a peek past his cold exterior to see his inner loneliness and vulnerability. Guest star Randy Oglesby as Ro-Kel/Ah-Kel is excellent as a ruthless smuggler (or pair of smugglers) who manages to be truly menacing without playing it too far over-the-top (quite an accomplishment in the Star Trek Universe!) Guest star Cliff De Young gives a solid performance as Croden, a roguish visitor to the Station who we initially distrust yet eventually feel compassion for. Mr. De Young's excellent acting (and a good script) make his character three-dimensional and totally believable, escaping the "cardboard cutout" quality of so many Star Trek characters. The character of Croden reminds us of the basic truth of people- that no one is all good or all bad, but a combination of both, and that both must be acknowledged hand-in-hand to truly know and understand a person's character.

Like the best episodes in the Star Trek Universe, this one makes you think and ponder your own moral standards- and wonder what you would do were you to be in the character's situations. That is the basis for any type of excellent drama and it is presented quite well here.

I give this one an 8 out of 10.

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Star Trek: Deep Space Nine: The Nagus (1993)

Season 1, Episode 11

5/10

A fun romp...not a great episode but still a lot of fun...

6 April 2009

Warning: Spoilers

Ferengi are kind of like the oddball relatives or kooky neighbors that sometimes visit your home- they can be fun and amusing in small doses but can quickly wear out their welcome if they stay too long.

That starts to happen in "The Nagus", an amusing episode about Quark's sudden rise (and fall) from power in Ferengi affairs. The Ferengi, with their screechy over-the-top voices, wild appearance, and annoying mannerisms, are the "court jesters" of the Star Trek Universe, and usually pop up (and disappear just as fast)to provide quick comic relief in the middle of a serious storyline.

Here, however, we're treated to a full hour devoted almost exclusively to them, and their outrageous antics (especially the exaggerated voices) begin to grate on the nerves after a while, especially the voice of Zek, The Grand Negus, played by veteran character actor Wallace Shawn, a talented performer who specializes in portraying nerdy, whiny, over-the-top characters. I can only compare listening to his character talk to the sound of long fingernails screeching down a chalkboard (except the latter would be more tolerable).

For those who journey to Star Trek looking for serious dramatic content, action, and adventure, you won't find it here- this one is played strictly for laughs from the very beginning, with nary a hostile Klingon, menacing Borg, or angry Cardassion in sight. For those that enjoy broad farce and slapstick comedy, however, you might find a chuckle or two.

Fans of the talented Armin Shimermin have a real treat here, as Quark learns that "being the boss" is not always what it's cracked up to be. Shimermin, in the midst of outrageous comedy, manages to inject some thoughtful dramatic moments as he struggles with his new found power and the added responsibilities (and dangers) it brings.

Aside from the comedy involving the Ferengi, there is a kids oriented sub-plot involving Jake & Nog, which apparently was intended to make a point about children's relationships, but, unfortunately, only serves to slow down the plot and pacing of the episode. Part of the problem lies with the child actors, who are simply too wooden and 2-dimensional in their dialog & portrayals to be of any real interest. This is often a pitfall with child actors in a drama- unless they are really good (the Harry Potter kids, for example), scenes with kids can quickly become stilted, forced, and annoying, especially if the child actors are just not skilled enough/experienced enough to carry the scene. That's what happens here and the scenes with Jake & Nog come off as flat, dull, and uninteresting, especially when interspersed with scenes featuring the outrageous & amusing Ferengi.

In general, though, this is a fun and amusing episode, the highlight being a hilarious (and lovingly crafted) send-up to "The Godfather"(1972) during the scene where Quark meets with Nava to discuss a business opportunity. This scene alone makes the whole worth watching.

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Star Trek: Deep Space Nine: The Passenger (1993)

Season 1, Episode 9

9/10

Powerful, edge of your seat dramatic adventure...

5 April 2009

Warning: Spoilers

First-rate story,writing. direction, and acting by both regulars and guest stars combine to produce one of the best installments of the first season.

In particular, Alexander Siddig is outstanding and really shines here, giving a powerful performance in a dual role. Guest star Julie Caitlin Brown also turns in a convincing performance as the cold and ruthless Ty Kajada, and we get to learn a bit more about the relationship between Odo and Sisko here, too. Excellent direction by Paul Lynch keeps you constantly guessing in this suspenseful adventure that plays very much like an Alfred Hitchcock spy mystery.

The only weak link in the chain is that of Lieutenant Primmin, played sincerely but ineffectively by James Lashly. The fault here is not so much Lashly's performance as it is the fact that he is simply miscast in this role; his affable manner and genial appearance do not make him threatening enough to be believable to be as a member of the intimidating & mysterious Starfleet Security (sort of like John Goodman trying to play a CIA agent- good actor, but wrong part). Apparently, the producers felt the same, way, too, for after one more appearance in the next episode, "Move Along Home", Lt. Primmin "sailed off into the stars" and was never seen in the Star Trek universe again.

Highly entertaining, with many unexpected twists and turns. I give it a 9 out of 10.

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Star Trek: Deep Space Nine: Move Along Home (1993)

Season 1, Episode 10

4/10

One of the more forgettable shows of the first season...

5 April 2009

Warning: Spoilers

An interesting story idea with great potential that suffers from sub-standard writing, direction, and acting, "Move Along Home" comes off as weak and contrived, all the more so because the previous episode, "The Passenger", was so powerful and compelling. The whole episode seems rushed and thrown together, without much thought given to plot, character development, or even costuming.

We are introduced to a new species, the "Wadi", who, we are told beforehand, are focused as a culture on the concept of games. Following much fanfare and anticipation, our initial meeting is disappointing- after being treated throughout the series to visually spectacular species- with complex motivations- such as the Klingons, Cardassions, and Ferengi, the Wadi come off as so human and familiar in appearance & mannerisms that they give the impression of a group of co-workers dressed up for the office Halloween party. With their somewhat cheesy, economical looking sparkly costumes, painted-on forehead tattoos, and very human behavior, they seem better suited as characters for TOS than for DS9, and their whole appearance screams of "let's cut some corners on wardrobe & make-up budget this week".

The Wadi are played rather lamely by some forgettable television actors who, other than the leader, don't contribute much other than exaggerated facial expressions. The Wadi leader does attempt to inject a little passion into his performance, but he overacts badly at times and comes off as mysterious & menacing as a zany dad in a McDonald's commercial.

The excellent regulars in the series- Sisko, Dax, Odo, etc., do the best they can, but it's obvious they're struggling with a lackluster script and mediocre directing so they don't have much to work with. The game that they find themselves trapped in is supposed to be dangerous, a perilous "life or death" situation, yet the dialogue and acting is so devoid of passion or intensity that this never really comes across as convincing or believable. The result is an episode where I found myself just as interested in answering my text messages as I was watching the screen.

And it would take a whole separate review just to list all the plot holes- if the situation IS life or death, and Odo IS genuinely concerned about the safety and recovery of the senior officers, why does he meekly play along from the very start instead of immediately arresting the Wadi and demanding the immediate return of the crew? It's his station, his crew, his responsibility, and his rules- yet he sure doesn't act like it. And what about the Starfleet Intelligence Officer working in OPS- the entire senior staff has been missing for a day and he isn't concerned? Not very believable.

Luckily, Star Trek is like pizza, beer, or cigars- even when they're bad, they're still pretty good. If you're a die-hard Trekker, you may want to watch this one, if for no other reason that it makes you appreciate the better made episodes all the more. For anyone else, you may want to pass.

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