Fair warning: review contains spoilers.
At its best Star Trek has been a standard bearer for intelligent, mainstream science fiction. But the longer it allowed its actors creative control, the more it risked being the victim of runaway egos. The series had done fine letting Leonard Nimoy direct a couple installments, but the franchise was about to suffer it's first bona fide dud with the William Shatner helmed
Star Trek V: The Final Frontier.
In interviews, producer Harve Bennett, who remains enthusiastic about the finished product, calls the film “Bill's turn,” referring to a contract clause that allowed Shatner a shot at directing solely because Nimoy had had one. That he would try directing a feature isn't surprising, he'd long been looking for ways to distinguish himself beyond acting. In addition to his infamous singing carrier, he had directed a few small plays and a smattering of
T.J. Hooker episodes. The same year
Final Frontier was released, Shatner published
TekWar, the first in a series of cyberpunk novels he co-wrote with an uncredited Ron Goulart. Shatner viewed himself a storyteller and for his feature debut, he set his sights sky high for what he hoped would be the ultimate
Star Trek film, one that would simultaneously take the franchise into darker, more action oriented territory whist pumping up the broad comedy and, most staggeringly, answer the question of 'is there a God' with a very preachy 'no.'
That's quite a checklist for a first time film director, but the film cannot be called a failure of ambition because that would imply that Shanter, Bennet and screenwriter David Loughery (
Lakeview Terrace,
Nurse 3D) had a clear, unified idea of what they were doing. Instead the film is the definition of egotism, going off in a hundred different, conflicting directions, thinking each one will be equally fantastic and perfect, and the resulting film is a complete mess.
The film is not without its moments. The film's prologue – one of the few moments where the film rises above its generally workmanlike visual look, a problem perhaps exacerbated by the films short shooting schedule – lands us on Nimbus III and introduces us to Sybok (Laurence Luckinbill), a renegade Vulcan who's brainwashing the local farmers into serving as his own personal army.
From here it gets really convoluted, really quickly. Through some awful dialogue delivered by David Warner (who seems to be in physical pain delivering it), we learn that Nimbus III is a diplomatic outpost in the Neutral Zone separating the Klingon and Romulan Empires from the Federation. The place is even refereed to as “the planet of Galactic peace.” Why then, we might ask, is the conference room where the ambassadors meet in a storage closet behind a seedy dive bar in the kind of town waiting for Clint Eastwood to ride through? It doesn't really matter. The film may go through a lot of trouble explaining Nimbus III, but it's all about to be thrown away. All that matters is that there are important people in the capital city that Sybok will use as hostages so he can steal a starship.
All this exposition is intercut with some shockingly disparate scenes where Kirk, Spock and McCoy go camping in Yosemite National Park. This 'action' climaxes with a campfire scene where the gang teaches Spock to sing “Row, Row, Row, Your Boat.” As a kid I remember kind of liking this, It's patently ridiculous, and the chemistry of the actors almost sells it, but as an adult it feels like little more than a way to fill time while scoring easy fan service. The fact is that real fans already know that these people love each other, and if the film wanted to remind us of their bond for later in the film, there are a hundred simpler ways to do so that don't stop the action cold. It's never a good sign when the first half hour of a film feels like the first half.
Eventually, the crew is ordered to rescue Sybok's hostages and after arriving on Nimbus III we get a direct to video style action scene where Kirk and Spock ride on blue horses and charge a team of commandos into Paradise City (where the grass is not green and the girls are cats).
Eventually Sybok wins and uses Kirk to takeover the understaffed and chronically malfunctioning Enterprise A. At this point we learn two unbelievably ridiculous things, 1) Sybock is really Spock's half brother and 2) The reason Sybok wants to steal the Enterprise is so he can travel to the center of the Galaxy and meet God.
The film uses the family revelation to shake up the Kirk/Spock/McCoy relationship. It's an admirable idea, but giving Spock an evil half-brother we've never heard of is such an out of nowhere
Scooby Doo twist that it's a non-starter, as is the implication that the overly pragmatic Spock might betray Kirk and their multi-decade spanning friendship for an outcast half brother with whom he has an anecdotal relationship at best. Still, the film doggedly peruses the idea that the crew's loyalty is up for grabs as Sybok uses his Vulcan abilities to “remove their pain.” What that means exactly is very inconsistent. At the beginning of the film it seems like he's brainwashing people into joining him. But as the film goes on it tones down the Charles Manson vibe and it suddenly seems like his glassy eyed followers have free will, especially when it comes to characters we like.
This culminates in the film's only good scene, where Sybok attempts to take away McCoy's inner pain. He's forced to relive his father's death, for which he was responsible, while Kirk and Sybok argue as to the best way to deal with our daemons. Sybok insists that we must purge ourselves of the past in order to move forward, hence his whole “give me your pain” shtick. Where as Kirk believes that our past, especially our misfortunes define who we are and should be preserved at all costs. This is the kind of intellectual argument that
Star Trek is best at, and the film would have done better to have more of this, but alas the film decides it really wants to meet God instead.
The Enterprise approaches the center of the Galaxy, passing through lots of lightning bolts, energy clouds and other special effects nonsense before arriving at a mysterious planet the crew dub Eden. Sybok and the core Trek trio set down on Eden and search while Jerry Goldsmith's score does an admirable job instilling a sense of wonder. For a moment it feels we just might have something, but then “God” shows up. We should not expect very much from a film that promises a cameo from the almighty, we have such high expectations that it's hard to impress us.
 |
| Sticking with the "big, white beard" look doesn't help. |
To be fair, the being that appears isn't very well defined, it could be God, the Devil, some kind of alien, or some kind of combination of the three. I take it though that he is meant to be God in some fashion because that's what the finished film has set up, and it never really suggests otherwise. At any rate, he is revealed to be a fraud. After a shockingly short encounter, Kirk outsmarts “God” who seems to be nothing but a snake oil salesman who, like Sybok only wants to steal a starship, prompting Shatner's famous line: “What does God need with a starship?”
That's a good line, but it's the beginning of a thought not the end of one. At this point in the film it's fairly safe to assume that Shatner is an Atheist, which is fine and dandy if that's what works for you, but his film casually brushes off the idea of a God without any thought, insight, nuance or debate. The film had the wonderful opportunity to explore how faith can be corrupted and trap people or even suggest that this being only wants a starship so he too can search for his creator, which would be really interesting. But instead of doing any of those things, the film decides to half-ass the whole Atheism thing and paint Shatner's alter ego as "God's" outright superior: according to this film, God and his followers are either glassy-eyed hicks or hucksters who are easily outwitted by the glorious Captain Kirk, envy of all! That is, of course, before "God" is killed by a photon torpedo delivered by Spock (
Trek's go to embodiment of all that is logical and scientific).
Final Frontier had a chance to be something interesting, but mistakes the kernels of ideas for fully formed ones. It wants to have big ideas but would rather go camping. All and all, it would have been best if Shatner had stuck to acting. Time has ensured that film isn't necessarily the lowest point in the series, but it's pretty damn close.
Grade: D
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