MISSION: IMPOSSIBLE - ROGUE NATION Is Best Yet In Franchise

MISSION: IMPOSSIBLE - ROGUE NATION Review:

- The Mission Impossible movies have always been unique among modern action franchise films. There's nothing particularly memorable about their characters or plotlines, yet the franchise has consistently delivered solid - even great - action thrills via a series of talented directors and a star, in Tom Cruise, who is always absolutely driven to ensure that each MI film pushes the limits. Cruise - not his character Ethan Hunt - is the real star of Mission Impossible. He brings an intensity and physicality to these movies - even at age 50 - that few other modern-day action stars can approach. And in ROGUE NATION, Cruise is paired with a director who is similarly old-school in his approach to visceral action - Christopher McQuarrie. McQuarrie, both as a writer and director, has a knack for infusing movies with clockwork precision in story and action. In a franchise that's gone extreme via John Woo and over-the-top big via Brad Bird, McQuarrie brings things back down to earth - crafting a visceral film that makes sure that each action scene is tightly crafted and tells a story. In my mind, that makes ROGUE NATION the best in the series to date. While other MI movies tend to be entertaining but ultimately somewhat forgettable, ROGUE NATION'S cleverly choreographed action scenes have stuck with me over the last few weeks. This one was a great way to close out the summer blockbuster season - an old-school action movie that works on all levels.

The short version of ROGUE NATION's premise is that Cruise's Hunt is on the run and separated from his team. The Mission: Impossible unit has been disbanded by a government that finds it too much of a liability. But instead of coming home to roost, Hunt goes rogue - convinced that a top-secret organization called The Syndicate is pulling the strings from behind the scenes - taking out MI operatives and plotting various nefarious acts of global terror. Jeremy Renner's William Brandt - the MI government liason introduced in the last film - finds his hands tied by the government's blacklisting of the whole MI program, but he decides to help out Hunt in secret. As does Simon Pegg's ever-loyal tech expert Benji, and Ving Rhames' bruising weapons guru Luther. Hunt desperately tries to find the mysterious man behind the curtain of The Syndicate - the villainous Solomon Lane (Sean Harris), even as he runs afoul of femme fatale Ilsa Faust (Rebecca Ferguson), who may be working for The Syndicate, may be a double agent, or may have her own mysterious agenda.

So, a couple things to talk about there. The first is that McQuarrie does great things with the MI team. After five movies, this is the first one where I realized that I really dug this combo of actors and characters. McQuarrie infuses all of the team members with jolts of personality. I mean, sure, Pegg has the comic chops and charisma to make Benji entertaining regardless. But here, Benji is more than just comic relief - we really get insight into his friendship with /hero worship of Hunt - and there's an added emotional layer to the character. There's lots of great banter - and genuine tension - between Cruise, Pegg, Renner, and Rhames. Throw in Alec Baldwin as a melodramatic government suit at odds with Renner, and you've got lots of great character dynamics to play with.

I also really enjoyed Sean Harris as the villain. He's like Mike Myers' Dieter as the leader of a global criminal conspiracy. And man, the final confrontation between him and Hun is just ingeniously staged. But more than that, the way the villains are introduced here is just Action Movie Making 101. McQuarrie gives each of Harris' henchmen just enough personality to make every fight and chase feel personal.

But the biggest story here is clearly Rebecca Ferguson as Ilsa Faust (great character name, by the way). Begin your fan-casting for her in the role of every kick-ass female franchise part now, because she is flipping fantastic in ROGUE NATION. As much as we've seen the which-side-is-she-really-on? femme fatale done before, Ferguson owns the part in a way that's rare and noteworthy. In the past, we've seen female leads in the MI-verse that couldn't quite match Cruise's intensity and presence. But here, Ferguson proves herself to be the real deal. It helps that the film's script ultimately does right by her character - giving her an arc that ultimately makes sense, and emotional and dramatic stakes that matter. But you've also got to give credit to the presence and badassery of the actress bringing this character to life. Suffice it to say, there's a brutal fight scene towards the film's end in which a lesser movie would have sidelined Ilsa. But in ROGUE NATION, Ilsa is not only right in the middle of the fray, but she is a complete ninja.

To talk a little more about Cruise, I think we're all getting to the point where - whacked-out Scientology baggage aside - we've got to acknowledge Cruise as a modern cinematic treasure. The level of commitment the guy brings to these roles - whether it be via participating in insane stunts, or just in general with the ferocity and physicality of his acting - is unmatched. Cruise is one of the few actors who I'm basically okay watching play a version of himself. Not to say he can't also do great character roles. But what I'm saying is: I can forgive Ethan Hunt being sort of a blank slate, because really, we're here to watch the Cruise show. And what's sort of - again - ingenious about ROGUE NATION is how fully aware it is of that on a meta / script level. The movie's main themes - about Hunt being turned on by the cruel system that birthed him, and wondering if he should just chuck it all and disappear - nicely parallel Cruise's own story. In any case, Cruise 100% brings his A-game to this one, and it makes a difference.

Now, Cruise and McQuarrie had a nice little action-sleeper recently with Jack Reacher. But their skill-sets really sync perfectly here. ROGUE NATION has several standout set-piece action scenes that are just masterfully composed. I'm thinking about a gorgeously shot fight scene that takes place backstage at an opera house, as Hunt tangles with a Syndicate heavy atop suspended platforms that rise and fall depending on how they are weighted. I'm thinking about a nail-biting underwater sequence in which Hunt has to hold his breath while trying to open a computerized lock, all while giant rotors rotate around him, forcing him to dodge for his life. I'm thinking of a high-speed motorcycle chase that has you holding on to dear life in your seat. What makes these action scenes work so well? For one thing, each is big, elaborate - and yet, each is grounded in physics and logic and "rules." It's amazing how effective an action scene can be when we understand the physics of what's happening in a given moment - that's how you make something visceral. For another thing, each one tells a story. We understand what the characters are after, it's clear what the goal is, and we understand the underlying stakes. Again, it's movie-making 101, but it feels like a lost-art in today's blockbuster world.

My only complain with the film is that, occasionally, the tone feels a little off. McQuarrie tends towards the pulpy - which is cool - but I think that the movie occasionally has some dialogue and character stuff that serves as unintentional comic relief because it's so grandiose. Alec Baldwin, in particular, goes a little too Jack Donaghy in some places.

ROGUE NATION feels like a throwback - not because there's anything dated about it, but simply because it feels practical, real, and beholden to real-world logic even at its most extreme. This is the rare action movie that has you hanging on every punch, every leap, every bullet's trajectory.  The best Mission: Impossible movie and one of the summer's best.

My Grade: A-

THE WORLD'S END Is a World-Conquering Capper to Wright, Pegg, and Frost's Modern-Classic Trilogy

THE WORLD'S END Review:

- Shaun of the Dead. Hot Fuzz. Two modern action/comedy classics from director Edgar Wright and lead actors Simon Pegg and Nick Frost. Well, add one more to the list. THE WORLD'S END is right up there with the other two entries in Wright's thematically-linked "Cornetto Trilogy." In fact, the more I think about it, the more I'm convinced that it might just be the best film of the three - a perfect finale to the series that mixes laugh-out-loud comedy, sci-fi insanity, and genuine pathos. One of the best, funniest, and craziest movies of the year, The World's End is also one of the smartest and most emotionally rich. How many movies can both give you a feeling of "this is awesome" in the moment, yet also give you plenty to chew on after leaving the theater? And how many of those will also cause you to laugh your ass off? It's that potent combo that puts the movies of Edgar Wright in a class of their own.

While the first two entries in the Cornetto trilogy were overt genre-spoofs right from the get-go, THE WORLD'S END takes its time to get to the sci-fi weirdness. But all of that build-up is worth it, and the result is a movie that, honestly, could have worked even without the sci-fi (though let's face it, the sci-fi stuff makes it all the sweeter). Wright takes so much time establishing these characters though that there is a real, sincere humanity to the film. And a lot of that centers around Pegg's Gary King.

In his teenage years, Gary took his last name literally. He fancied himself king of the world - a black-clad punk who, along with his posse of young hooligans, raised both middle fingers to the world and felt poised to take it over. Flash-forward to twenty years later, and Gary is still the exact same Gary King he was in high school. Problem is, at age 40, that makes him a pretty pathetic loser - an irresponsible, self-destructive drunk - still living in the past and unable to grow up or mature. Gary tends to look back, not forward, and so he gets in in his head to revisit the most fondly-remembered - yet woefully uncompleted - adventure from his teen years - the Golden Mile pub crawl that he and his mates attempted as teens, back in their hometown of Newton Haven. The crawl was to have seen the gang get a pint each at twelve local pubs, culminating in a final drink at the pub known as The World's End. But alas, the Golden Mile was never finished, and now, decades later, Gary sees finishing the crawl as a way to recapture his lost youth.

It is also, of course, a way for Gary to reconnect with the old gang. While Gary King refused to grow up, his old pals have, perhaps, grown up too much. Martin Freeman's Oliver Chamberlain (aka "The O-Man") became a blue-tooth headset, suit-clad bore. Eddie Marsan's Peter Page became a meek introvert, still haunted by teenage traumas. Paddy Considine's Steven Prince became a douchey car salesman, divorced and dating a young trophy girlfriend while still harboring feelings for his high school crush, Oliver's sister Sam (Rosamund Pike). And then there's Nick Frost's Andy Knightley (see any theme with these character names?), who was once Gary's partner in crime and best friend. Andy, once a party animal who never met a pint he didn't like, is now stone-cold sober. Working in a corporate office, he's a different man than the teenage troublemaker that Gary once knew. What's more, Andy has deep-seated resentment for his old friend Gary after a long-past incident that caused a rift between the two. Suffice it to say, Gary hasn't talked to or seen most of the old gang in years, and so rounding them up to once again tackle the Golden Mile won't be easy.

But somehow, he convinces them. The old gang reunites for a trip to Newton Haven. All but Gary are reluctant. All but Gary realize that you truly can't go home again. All but Gary think this is a pretty terrible idea. But as drinks are had and old wounds are laid bare, Gary realizes that something is amiss in his home town.

All of Gary's fears - and all the fears of anyone who was once a cool kid but is now aging - seem to be coming to literal life. Fear that local haunts are becoming homogenized and gentrified. Fear that no one remembers your name or who you were - that you've faded into obscurity. Fear that today's youth doesn't appreciate all the cool stuff that you grew up with. Fear that your once-fun friends are being replaced by suit-and-tie-wearing pod people who've been sapped of their souls by the corporate machine.

Well, turns out, there might be more to Gary's fears than the everyday anxieties of an aging dude approaching middle age. It turns out there may be some *really* crazy $#%& going on in Newton Haven, and it just may be that Gary and his mates are about to witness the literal World's End even as they make their way to the fabled pub of the same name.

When THE WORLD'S END goes full-on sci-fi nuts in its second half ... man, it's glorious. Edgar Wright - as we know from Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. The World - can direct madcap, insane action with stylistic aplomb. He's got a knack for crafting absolutely applause-worthy, hilarious, crazy-ass action that's pretty much unmatched. Most of his movies don't have the slick f/x or high budgets of big Hollywood summer tentpoles, and so there's a manic, hand-crafted, "what the hell, why *not* do this?" aspect to the action that only adds to the sense of fun. But it all starts with the characters. Even as Gary King learns to be there for his friends and not always duck out when there's trouble, the rest of the guys learn to loosen up a bit and find some of their old, youthful fire. Seeing Nick Frost's Andy get progressively drunker and crazier as the movie goes on - fighting like a man possessed (even utilizing many classic WWE-style wrestling moves in the process) - my god, it's a thing of beauty.

Here's the thing though ... it would have been very easy for Wright to make this a simple comedy about old friends getting hammered and happy and working out all their problems. But this is a much more complex and nuanced movie than that. Wright throws in plenty of fantastic, "hell yeah!" sorts of moments that will keep you grinning throughout. But he also never gives in to the temptation to make the film simply a celebration of beer and never growing old. In fact, Gary is the movie's most misguided and troubled character. And for much of the movie, *he* is the asshole. Sure, his friends are a bit uptight. But while they might have a little to learn from Gary, Gary has *a lot* to learn from them. In particular, Andy, whose seemingly boring life is actually a fulfilling one for him, and one that took a lot of guts to create and uphold. Wright smartly doesn't make this movie about proving that either Gary or Andy's life choices were "right." Wright shows us that there's something to be said for Gary's unwillingness to conform, just as there's also something to be said for Andy's maturity, sobriety, and dedication to his family.

At this point, let me stop for a moment to just heap praise upon Simon Pegg and Nick Frost. I think this movie cements them as one of the great comedic duos. The fact that they have so much real-life, genuine affection for one another makes their on-screen chemistry that much more natural and hilarious. And that much more heartbreaking when we see their characters at odds. The World's End rather brilliantly subverts the usual Pegg-Frost relationship, tearing it down only to build it back up again as the movie goes.

The rest of the supporting cast is also quite good. Martin Freeman, Eddie Marsan, Paddy Considine, and Rosamund Pike are all excellent, and work great together and with Pegg and Frost. And there are a ton of great bit parts and cameos littered throughout the movie. My favorite? A dapper Pierce Brosnan as an old teacher of Gary and Andy's, who proves to be not quite what he seems.

The World's End is, in fact, one of the most dense movies you're likely to see. Not only is each scene packed with dialogue-driven gems and blink-and-you'll-miss-'em visual gags, but there is, like I said, a ton of thematic meat to chew on. I suspect that the movie's epilogue, for example, is going to be discussed and debated among film geeks for many years to come - what does it all mean? How do the strange circumstances that Gary and Andy find themselves in reflect back on the overarching themes of the film? There is that level of food-for-thought to be found here, but there's also another level of just pure hilarity. All I'll say is that the climactic scene of Gary and Andy confronting the movie's Big Bad is a classic - drop-dead funny and raise-your-fist-high awesome.

There is a bit of a feeling of melancholy here. The World's End feels like a definite end to this era of Edgar Wright's career. And you have to wonder: is he too grappling with the same extremes embodied by Gary and Andy in the film? Does he continue to do these scrappy, indie, anything-goes genre mash-ups? Or does he go corporate and "grow up?" I think what makes this movie so resonant is that in some way, we all ask ourselves this same question. And the movie's epilogue sort of says, in a way, that the movies and fantasy and sci-fi present this compelling third option - imagined worlds where epic adventure and thrilling battles go hand-in-hand with the act of becoming a grown-man or grown-woman. It's like Wright and co-writer Pegg end up admitting that they aren't fully satisfied that with either the Gary or Andy way of life, and so hey, here's this other way, and "wouldn't it be great if ..?".

And it's on that note that I think THE WORLD'S END just might be its own sort of masterpiece. And purely as a fan, I have to say a hearty thank you to Wright, Pegg, and Frost for fighting the good fight and making movies that are hilarious, badass, and heartfelt all the same. If this is indeed the end, it's been a hell of a ride.

My Grade: A

STAR TREK: INTO DARKNESS Goes Boldly Forward

STAR TREK: INTO DARKNESS Review:

- No, this isn't the old Star Trek. This isn't the philosophical original Star Trek, nor is it the intellectual Next Generation. This is the new-school Trek, and what it is is the pop iconography of Star Trek distilled down into a two hour popcorn blockbuster. If that idea inherently annoys you, then hey, you may be predisposed to dislike Into Darkness. It's even more Star Wars-ish than the first film - huge battles and set-piece action scenes, plenty of comedy and lighthearted quips, and a pulp-pop sci-fi energy that is made more for the masses and less so for the diehard Trekkie that refuses to think that Trek can be every bit as action-packed and fast-paced as its sci-fi brethren.

Look, I'm not a hardcore Trekkie, but I have a huge soft spot for select moments of the Original Series, and even more so for The Next Generation (and I'm still brainstorming roundabout ways for Patrick Stewart to cameo in the new movies). And hey, I agree that Star Trek in its absolute ideal form is about being smarter than other sci-fi franchises. Trek should ideally explore moral and philosophical concepts with depth and reverence, treat its futuristic science seriously, and make you think as much (if not more so) as it makes you feel.

The problem is ... it's near-impossible to put all of that into a two-hour movie, especially when the franchise only produces a new movie once every four or so years. And ironically enough, the most highly-regarded Trek movies - Wrath of Khan, First Contact - are the ones that go the big blockbuster route, and that take the show's iconic characters and put them in epic, huge-stakes conflicts worthy of the big-screen.

And so that's why I'm pretty pleased with INTO DARKNESS. Yes, the script is imperfect. Yes, some of the movie is, as Spock would say, illogical. And yes, the movie goes for brawn over brains. But man, this is one of the most fun, entertaining, and rip-roaring blockbusters in quite some time. The movie's energy and action is second to none, and it propels forward at a dizzying and dazzling pace. Most importantly though, the excellent cast really shines. JJ Abrams and Damon Lindeloff have always been "character first, plot second" guys - and while I haven't always agreed with that approach (final season of Lost, anyone?), it really is appreciated here. Because despite the odds and the legacy that they have to live up to, Chris Pine, Zachary Quinto, Zoe Saldana, Simon Pegg, Karl Urban, and the rest of this new cast have become damn near definitive. Blasphemy? I don't know - and the transition is eased by having the great Leonard Nimoy aboard to lend an extra dose of gravitas as Spock Prime. But the cast is universally fantastic here. This movie franchise doesn't have dozens of episodes to establish relationships, so it's got to move quickly. But amidst the chaos and frenzy, there are some wonderful dynamics at play here. We've only known these versions of the characters for a short time - plus, it's been a while since the last film - but Abrams and co place the spotlight firmly on the core cast and their relationships, and very quickly we're invested and rooting for 'em.

So yes, this is different. Some fans are going to roll their eyes and wonder if they're watching The CW's new take on Trek. But again, it's the quality of the actors that elevates the material and makes you genuinely invested in them. Chris Pine shines as Kirk. I think as the franchise proceeds, he needs to start to bring a little more maturity and weight to the role ... but for now, he is charismatic and capable as the still-headstrong captain of the Enterprise. The real star of the movie, however, is Zachary Quinto's Spock. Quinto has now perfected Spock's stoicism, with an undercurrent of wry humor and the capability for genuine pathos as well (credit his half-human side). Plus, he's super badass when it's his turn to save the day. Ultimately, the theme of the movie is about Spock learning how to be not just a slave to logic, but a good friend, companion, and teammate. Maybe that sounds cheesy on paper, and maybe it is slightly cheesy in practice in the film. But again, this is a much more heart-driven Star Trek than we've seen before, and it works quite well in this context.

Aside from Pine and Quinto, the supporting cast is just so darn lovable, it hurts. In terms of returning players, Simon Pegg's Scotty is the real scene-stealer in this one. He's got a pivotal role as compared to the first film, and he's both funny and, in a way, Kirk's conscious. Karl Urban as Bones has less screentime, but man, he's good - delivering the good doctor's lines with a sardonic deadpan that cracked me up. And Zoe Saldana really holds it down as Uhura. While part of her role in the movie is defined by her relationship with Spock, she proves quite capable as a multitalented crew-member and also gets to kick some serious ass. Anton Yelchin's Chekov and John Cho's Sulu get fairly minimal screentime here, but both have a couple of nice moments. And I'll also give a shout-out to Bruce Greenwood as Kirk's predecessor Pike. He has some excellent moments with Kirk in the film, and Greenwood's presence lends a lot to the proceedings and plays a key role in the overall plot.

As for newcomers ... let's talk Benedict Cumberbatch. I know, the guy has a legion of fans already, but I went into Trek mostly unfamiliar with his work. As the villainous terrorist John Harrison (or is he?!), Cumberbatch is basically pretty awesome - as menacing and steely as you could want in a villain. I will say though, the big surprise for me was how big a role Peter Weller (Robocop!) ended up having in the film, playing the head honcho of Starfleet. Weller is one of my all-time favorites, so to see him get to play a major role in a big movie like this was a lot of fun. How is he not in more action and sci-fi films? Also enjoyed Alice Eve as new crew member Carol. It was high time that the modern version of the Enterprise had more than one major female crew member, and Eve quickly asserts herself as a capable-though-possibly-drama-starting member of the team. And man, she does "horrified blood-curdling scream" as good as anyone.

Now, about the plot. I liked it, though I do think the script leaves a lot of room to be picked apart. I will say this: some of the plot nitpicks I've already read online are pretty lame, in my opinion. The movie doesn't have time to address every little nagging question of the "why would he do X when he could have easily just done Y" variety, but most of these kinds of questions can be explained with a little something called imagination. To me, there were not really moments where I thought "glaring plothole!" Mostly, I thought things like, "hmm, okay, I guess Bones couldn't have just done X because, well, if you think about it ...". Point being, I really don't think there are plotholes big or important enough to in any way ruin the movie. Mostly, I think these kinds of complaints are people looking for any excuse to pick apart the movie.

And hey, sidenote: the worst complaints to me are the ones having to do with the rebooted timeline of these films not exactly paralleling the timeline of the original Trek universe. It's a rebooted universe! Anything is possible! But more importantly, I think fans just need to accept that that was basically a plot device / contrivance to allow JJ Abrams and co. to tip the hat to the old franchise, and to allow for a passing of the torch via Nimoy's version of Spock. It clearly was not intended as something to be analysed in the fashion of "so if everything was the same up until Point X, then clearly these elements of the new universe should be completely unchanged from the old one!" It was just a way to have old Spock in the new movies. Chill out. Basically, yes it's fun to think about (nerd-alert!), but not an essential part of these new movies.

That being said, there are some shortcuts taken in the script that I found hard to swallow. Not enough to justify unbridled nerd-rage towards Abrams, Kurtzman, Orci, and Lindeloff - but there nonetheless. One general problem is that the movie hurdles forward so quickly that it necessitates that the characters change their stance on issues on a dime. "Let's go for Plan A!" "No, Plan B!" "No, I was wrong, and I now see the error of my ways from five minutes ago! Plan A was right all along!" Occasionally frustrating, but sort of forgivable given how much the movie is cramming into a few hours. But to me, the biggest weakness of the film is the way in which Cumberbatch's character is handled. Like I said, Cumberbatch himself is awesome in terms of his performance. But the character's arc and backstory feels incredibly rushed and not necessarily presented in an organic-seeming way. Too much of this character's potential awesome-factor is reliant on people having a big "aha!" moment when his true backstory is revealed. And having that moment is fine, but we need more. I needed Cumberbatch himself to make us understand exactly why he is one evil dude not to be messed with, and to make us understand what his plans are and why he needed to be stopped. The movie takes some major shortcuts in this area, and it feels off. I like the call-backs to earlier Trek lore, but if this rebooted franchise wants to stand on its own, it can't rely on us having prior knowledge or recognition of key moments from the old movies. Shout-outs are fun (and this new Trek has a lot of fun ones that I won't spoil here), but skipping over the main villain's origins and motivation and plans, just because we're meant to assume them based on old stories? That is problematic.

But ... it's problematic more so if you look at Cumberbatch as being the movie's uber Big Bad. In a way, he's not, and that makes his somewhat thin character a little more acceptable. Why do I say that? Because ultimately, the film is less about him and more about Starfleet. I'm not going to spoil, except to say that this is a movie about modern warfare on an intergalactic level. Earth is America, the volatile and warlike Klingons are like the outer space version of Muslim extremists, and Starfleet is the force that has to decide if its mission is exploratory or militaristic. Cumberbatch? He's sort of the unfortunate guy who got caught in the middle of all this, got used, abused, and exploited in the name of military advancement, and is now pretty pissed off about it. The parallels with modern politics are not exact, but the thematic connection is 100% there and not exactly subtle (in fact, it may be a bit too on-the-nose). But again, even though I felt the movie took shortcuts with Cumberbatch, it is less important when you accept that he's actually more of a pawn in the movie's uber-plot than the one truly pulling the strings.

There's a lot going on in this film, but JJ Abrams juggles it pretty well, and compensates for some of the script's looseness with a nonstop barrage of incredible set piece action scenes. Star Trek Into Darkness looks amazing, and I don't doubt that Abrams can now go ahead and direct a Star Wars film every bit as epic and iconic as fans could hope for. Abrams continues to sort of pay homage to Spielberg in the way he creates huge-scale visuals matched with choreography that has real rhythm - mixing character, humor, and action to create swashbuckling scenes of epic scale and scope. And man, in IMAX 3D, the film looks stunning - a majority of the film appears to have been shot in IMAX, and there's an immersive, you-are-there feeling that rivals most rides at Disneyland.

Ultimately, Into Darkness succeeds because it is, quite simply, jam-packed with awesome moments. The "oh $#%&" factor is high. Even if the script has some problems, the overall pacing of the film makes for a fairly intoxicating experience - the energy never lets up, and the movie is never dull. Each major sequence of the film feels expertly crafted and staged, and I constantly felt wowed by what I was seeing onscreen - from the opening's breathtaking primordial, volcanic jungle to a later scene in which Pine and Cumberbatch rocket through space with only the help of perilously-close-to-malfunctioning space suits. Abrams wisely does something that I don't think any incarnation of Star Trek has previously done very well - and that is ground all of the interstellar stuff with a sense of what life is like on earth during this era. Into Darkness' juxtaposition of a sleek future-earth (London and San Francisco specifically), teeming with alien life and exotic tech - with the uncharted wilderness of space, and its Klingon homeworlds and floating fortresses - is unique in the Star Trek franchise. Abrams attacks the world of Trek with a Spielbergian sense of awe and wonder and infinite possibility that, honestly, the franchise has rarely ever possessed in years prior.

To reiterate, I can't say enough about the staging and pacing of the film - it moves with a breathless and almost musical energy that is reminiscent of the great action/adventure classics. Haters like to compare these new Trek films to the likes of dreck like Michael Bay's Transformers (and yes, I realize the two franchises share some writers). But visually, from a directorial standpoint, let's give JJ his due. He's doing things here that are in another league than anything Bay could hope to accomplish with his chaotic and ugly visual style. This is Grade-A stuff. And by the way, speaking of music, the movie's score is fantastic, mixing the newer theme with the old-school theme song in a way that is incredibly cool.

Yes, there are logic gaps in Into Darkness that would give Spock some serious pause. But the movie is so fun, so exciting, so visually explosive, and so filled with great characters and moments that it's hard - for me at least - to get too hung up. The movie is flawed, sure, but it also felt like the kind of epic popcorn flick that is the perfect way to kick off the Summer movie season. Save the primal screams of anger for Kirk and Spock - this Trek, while paying homage to the past, nonetheless goes boldly where no Trek has gone before.

My Grade: A-