firstname.lastname@example.org — Despite an overall dismissal and thumbing of the nose of science fiction by the major award circuits throughout the history of film (and beyond if you throw in years of geek bullying from print or radio), one element that has not been denied ultimate glory quite as often is the musical force behind them. Whether proven through legends like John Williams or Jerry Goldsmith or even more recently through the non-traditional likes of Daft Punk, there is no denying how the impact of said scores continues to leave an impact both culturally and on the overall human psyche.
This film is the latest example in what I predict could be the most crowded nomination field for musical score in decades with yet another impressive entry (this time by Michael Giacchino) in what is turning out already to be a banner year for cinema conductors. With a story that is already a significant improvement over 2009’s reboot, it becomes downright brain numbing in the joy department. As one embarks on the journey that is “Star Trek Into Darkness,” there’s no one moment where the audience feels abandoned and warps ahead to something that captures classic as well as refreshing.
Consider part two of the adventures of Señor Jump into the Frying Pan, more training on the job for the young crew of USS Enterprise, who have learned some lessons from their first fray, but still have a way to go in their early careers. Case in point, the actions taken by Captain Kirk (Chris Pine) on a mission that should have been to just observe a primitive planet in the Nibiru system, but instead violates just about every rule in the book from likely rerouting history for an entire people by being seen in their super sleek starship to saving Spock (Zachary Quinto) after a plan to secretly save the species there spirals out of control.