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Star trek VI - Terre inconnue (1991) HD online

Star trek VI - Terre inconnue (1991) HD online
Language: English
Category: Movie / Action / Adventure / Sci-Fi / Thriller
Original Title: Star Trek VI: The Undiscovered Country
Director: Nicholas Meyer
Writers: Gene Roddenberry,Leonard Nimoy
Released: 1991
Budget: $30,000,000
Duration: 1h 50min
Video type: Movie
After an explosion on their moon, the Klingons have an estimated 50 years before their ozone layer is completely depleted, and they all die. They have only one choice - to make peace with the Federation, which will mean an end to 70 years of conflict. Captain James T. Kirk and crew are called upon to help in the negotiations because of their experience with the Klingons. Peace talks don't quite proceed, and Kirk and McCoy are convicted of assassinating the Klingon High Chancellor, and imprisoned on Rura Penthe, a snowy hard-labor prison camp. Will they manage to escape? And will there ever be peace with the Klingons?


Cast overview, first billed only:
William Shatner William Shatner - Kirk
Leonard Nimoy Leonard Nimoy - Spock
DeForest Kelley DeForest Kelley - McCoy
James Doohan James Doohan - Scotty
Walter Koenig Walter Koenig - Chekov
Nichelle Nichols Nichelle Nichols - Uhura
George Takei George Takei - Sulu
Kim Cattrall Kim Cattrall - Lt. Valeris
Mark Lenard Mark Lenard - Sarek
Grace Lee Whitney Grace Lee Whitney - Excelsior Communications Officer
Brock Peters Brock Peters - Admiral Cartwright
Leon Russom Leon Russom - Chief in Command
Kurtwood Smith Kurtwood Smith - Federation President
Christopher Plummer Christopher Plummer - Chang
Rosanna DeSoto Rosanna DeSoto - Azetbur (as Rosana DeSoto)

Michael Dorn plays Colonel Worf, the grandfather of his regular character Lieutenant Worf in Star Trek: La nueva generación (1987).

Frankie y Johnny (1991) was being filmed in the same studio, and required Al Pacino to have a surprised expression on his face after opening a door. Director Garry Marshall arranged for Kirk (William Shatner) and Spock (Leonard Nimoy) be on the other side of the door that Pacino opened.

Christian Slater wore the trousers made for William Shatner in Star Trek II: La ira de Khan (1982). "It was an honor to get into Shatner's pants", he quipped during a BBC interview.

Christian Slater framed his 750 dollar paycheck for his walk-on part.

General Chang's eyepatch has three bolts that go into the skull. They all have the Klingon insignia engraved on them.

In a featurette on the Special Features from the 2-disc DVD, William Shatner, talks about how he was upset with Nicholas Meyer for breaking a promise regarding one of his lines. The line in question was when Kirk says "Let them die" during the scene when he and Spock are talking after the classified briefing. Shatner wanted to say the line, then gesture as if he didn't mean to say it, and he made Meyer promise to show it on camera. However, in the final cut, after Kirk says "Let them die", it cuts to Spock looking surprised, and only goes back to Kirk, cutting over when Kirk gestures with regret.

Nichelle Nichols objected to the scene in which the crew desperately searches through old printed Klingonese translation dictionaries in order to speak the language without the standard universal translator being used. It seemed more logical to her that Uhura, being the ship's chief communications officer, would know the language of the Federation's main enemy, or at least have the appropriate information in the computer. However, Nicholas Meyer bluntly overruled her. In Star Trek (2009), Uhura specializes in xenolinguistics, intercepts and translates a Klingon communication, and speaks Klingonese in Star Trek: En la oscuridad (2013).

Producers Harve Bennett and Ralph Winter's original idea for this film was a prequel titled "Star Trek: The Academy Years" in which the young Enterprise crew meet at Starfleet Academy. A script was written by David Loughery. Gene Roddenberry and the original cast were vehemently against this idea. So were the fans who sent letters to Paramount demanding the return of the original cast. Paramount decided to cancel the prequel. A disappointed Bennett decided to leave the "Star Trek" franchise. The prequel idea was later used for Star Trek (2009).

According to George Takei in his autobiography, in earlier drafts of the script, it was Captain Sulu and the Excelsior crew who discover the Klingon Bird-of-Prey's weakness and use their gaseous anomaly equipment to find it. But, William Shatner objected because he felt that Captain Kirk would not need another Captain's help, and the scene was re-written.

The official Star Trek Chronology suggests this film takes place in the year 2293, or 27 years after the events of the first episodes of the original Star Trek (1966) series, which the chronology suggests occur in 2266. This is taken from a line by McCoy stating he has served on the Enterprise for 27 years. According to the Chronology, Star Trek VI: Aquel país desconocido (1991) therefore takes place about six years after the events of Star Trek V: La última frontera (1989), and some 22 years after the events of Star Trek: La película (1979).

Nicholas Meyer met with Gene Roddenberry following a rough cut screening, to fulfill Roddenberry's role as creative consultant. Roddenberry, who was in failing health at the time, was bound to a wheelchair, and had to be hooked up to an oxygen tank. Despite his frailty, Roddenberry demanded certain cuts to the film and, according to Meyer, engaged him in a heated argument. Roddenberry died several days after the meeting, and Meyer has expressed deep regret over his behavior in the meeting, not realizing just how sick Roddenberry really was at the time.

A subplot to this movie was to show that even in the 23rd century, humans hadn't totally shed their bigotries and prejudices. James Doohan had a line about "that Klingon bitch", but Nichelle Nichols refused to say it, in reference to the Klingons' "Yeah, but would you let your daughter marry one of them?" The line was dropped.

The technique of showing the translators so it appears that Chang is speaking English during the trial is similar to technique used for the German-speaking members of the court in ¿Vencedores o vencidos? (1961). William Shatner starred in both films.

Gene Roddenberry died within 48 hours of viewing the film. It was later dedicated to his memory.

The final film appearance for DeForest Kelley (Star Trek (1966) regular "Bones") and Mark Lenard (beloved guest star Sarek) although Lenard's final television appearance Star Trek: La nueva generación: Unification I (1991) was filmed at approximately the same time. A photograph of Star Trek movies guest star Merritt Butrick, who died in 1989, appears as David Marcus in a photograph on Captain Kirk's desk.

The name "Gorkon" is a blending of the last names Mikhail Gorbachev and Abraham Lincoln, two of Nicholas Meyer's models for the character of the Klingon chancellor.

Gene Roddenberry expressed his displeasure with this film's storyline after viewing a rough cut, complaining that the Klingons were simply used as generic villains and their society and cultural viewpoints never really explored. After the release of the film and Roddenberry's death, Executive Producer Leonard Nimoy admitted that Roddenberry had been right. Subsequent episodes of Star Trek: La nueva generación (1987) and Star Trek: Espacio Profundo Nueve (1993) explored Klingon society and culture extensively.

It was long rumored that when filming was through one day nearing the end of production, Kim Cattrall posed nude for some steamy photos on the bridge set, but Leonard Nimoy happened on scene and seized the film, destroying it and having studio security toss the photographer out. This has been repeatedly stated to be false by both Mr. Nimoy and Ms. Cattrall, and not one shred of verifiable evidence has ever been produced.

The design/concept used for the explosion of the Klingon moon Praxis would later be used in several other movies, such as Stargate: Puerta a las estrellas (1994), as well as the remastered versions of La guerra de las galaxias (1977) and El retorno del Jedi (1983). This effect would later become known as the "Praxis Effect".

William Shatner performed a stunt in the fight with the blue Behemoth Alien. Shatner himself fell into the fire.

The Casting Director was Mary Jo Slater, mother of Christian Slater. Thus, his small role as a Communications Officer aboard the Excelsior.

Nicholas Meyer and Leonard Nimoy dispute who came up with the concept of using the film as an allegory for the fall of Soviet Communism, with both men claiming credit for the idea. Nimoy and Meyer also had a bitter dispute during post-production, with Nimoy preferring his own edit of the film, to that of Meyer, who refused to incorporate Nimoy's changes into the final cut of the film.

Nothing from the original draft by Lawrence Konner and Mark Rosenthal was used in the final film. However, the two went to the Writers Guild and demanded story credit. The Guild originally removed Leonard Nimoy's story credit, but Nimoy threatened to sue the Guild and Paramount if his credit was not restored. Finally, all three of them received story credit.

The Enterprise bridge set was designed so Uhura and Spock wouldn't be forced to face the wall in their normal working positions. "Desk extensions" were added to make it easier to film them, and to allow their characters to see the main viewscreen while working.

First Trek production to use actual computer displays on starship bridge sets.

Exterior scenes for Rura Penthe were filmed outside and on location at Bronson Park in Los Angeles. The scenes were filmed in warm weather, with William Shatner and DeForest Kelley trying to cover up the fact that they were sweating, and not freezing to death as was to be portrayed on-screen.

Valeris and Uhura both wear skirts, non-regulation in the time period of the movie. All other female Star Fleet crew wear slacks or jumpsuits.

Captain Sulu (George Takei) is the only Star Trek (1966) regular character to be given command of a starship other than the Enterprise.

The opening was originally intended to be much longer, with Kirk and Spock assembling the crew from their post-Enterprise careers. Scotty was in charge of the engineering team disassembling the captured Bird-of-Prey. Uhura was a radio hostess. Chekov was playing chess with aliens. However, budget limitations forced these scenes to be scrapped, and replaced with the introduction at Starfleet Headquarters.

The film is largely an allegory about the fall of Soviet Communism. When General Chang demands that Kirk answer a question without waiting for the translation, it is an allusion to the real-life exchange at the United Nations between U.S. Ambassador Adlai Stevenson and Soviet Ambassador Valerian Zorin during the 1962 Cuban missile crisis. Also, the explosion on Praxis due to "insufficient safety measures" is akin to the meltdown at Chernobyl nuclear power plant in present-day Ukraine, which is believed to have contributed to the decline of the Soviet Union. Spock says that there was seventy years of "unremitting hostility" between the Klingon Empire and the Federation, which is not how long the Cold War lasted, but is the approximate length of time that the U.S.S.R. (Union of Soviet Socialist Republics) existed in the twentieth century, with a communist form of government.

Christopher Plummer asked that he be allowed to wear less "severe" Klingon make-up for his role as General Chang.

The name of Gorkon's flagship (and the name of the Klingon home planet) is spelled Qo'noS and pronounced "kronos" in English. Kronos was a tyrannical, cannibalistic Greek god who swallowed his prey whole. Chronos, a homonym, means Time, and Kronos has sometimes been identified with Father Time.

Some of the Klingons wear costumes from Star Trek: La película (1979).

The Klingon translating Chang's words into English is Klaa (Todd Bryant), the renegade captain from the previous film, Star Trek V: La última frontera (1989). Though it isn't said in the film, several sources state the character was demoted to translator duty as punishment for his unsanctioned attack on Kirk.

Kim Cattrall initially turned down the part of Valeris, thinking she was to play Saavik. Upon finding out she was to play a new character, she agreed. Cattrall also designed her own hairstyle for the part of Valeris, and also came up with the idea to completely shave off her sideburns in order to more prominently show her Vulcan ears.

This is the first Star Trek movie to validate that Kirk's middle name is Tiberius. The "T" in James T. Kirk was officially given as "Tiberius" by writer David Gerrold, uttered by Kirk himself in Star Trek: La serie animada: Bem (1974). (David Gerrold is the screenwriter of Star Trek: The Trouble with Tribbles (1967), Star Trek (1966)'s most famous and consistently most-liked episode.) Sulu's first name is given as Hikaru for the first time on screen (it appears in Star Trek books going back to at least 1981). Uhura first name is not mentioned - Gene Roddenberry had originally offered Penda (which appears in early ST guide books) but later decided on Nyota (also spelled Niota), which was finally spoken on screen in Star Trek (2009).

The banquet hall used for the formal dinner between the Enterprise-A senior staff and the Klingon Delegation is a redress of the Observation Lounge from the Enterprise-D.

Rene Auberjonois has said he knew his scenes were edited out of the theatrical release, but was unaware that they had been added to the home video and broadcast releases. He first learned of it appearing at his first Star Trek convention to promote his role on Star Trek: Espacio Profundo Nueve (1993), and fans were asking him questions about his role in the movie. He added that he had completely forgotten the name of his character Colonel West.

Christopher Plummer's character, General Chang, was originally to have had hair, but as his make-up was being applied for the first time, Plummer liked the bald look, and had the make-up technician omit the hair.

The Klingon Language Institute, an organization dedicated to the Klingon language as formulated by Marc Okrand, took it upon themselves to translate William Shakespeare into Klingon based on David Warner's line about hearing Shakespeare in the original Klingon.

According to Nicholas Meyer, Brock Peters found Admiral Cartwright's words during the briefing scene to be so offensive he needed several takes to get them all out. In a similar vein, Nichelle Nichols refused to speak the line "Guess who's coming to dinner?" - an intentional reference to Adivina quién viene esta noche (1967) - which is heard prior to the Klingons' visit to the Enterprise. The line was instead given to Walter Koenig (Chekov).

The arctic wilderness shots were all filmed by the second unit with doubles. None of the principal cast went to Alaska.

The chorus heard in the background of many scenes, mainly those on Rura Penthe, says "To be, or not to be" in Klingon.

David Warner is the only actor to appear in two consecutive "Star Trek" films as two different characters. He first appeared in Star Trek V: La última frontera (1989) as St. John Talbot, the human hostage on Nimbus III, and appears in this film as Klingon Chancellor Gorkon.

Spock's "Only Nixon could go to China" line refers to the 37th U.S. President Richard Nixon having been seen as the best American politician to be sent to China to discuss detente. His strong anti-Communist stance avoided giving the impression that the U.S. had "gone soft" and sent a sympathetic negotiator.

In several drafts of the script, there was an early scene where Kirk learns that Carol Marcus (from Star Trek II: La ira de Khan (1982)) has died. Although the scene was eventually cut (it is included in the film novelization), the result of this fresh grief remained in the final film: Kirk's renewed blame of the Klingons for David's death in Star Trek III: En busca de Spock (1984).

The set used for the Federation President's office is a redress of the same set used for the Ten Forward lounge on Star Trek: La nueva generación (1987).

Whoopi Goldberg, who played the recurring role of Guinan in Star Trek: La nueva generación (1987) wanted to play the role of a Klingon princess in the film. However, Leonard Nimoy felt it would have been too distracting to have a well-known star in the film, and convinced Nicholas Meyer not to do it.

At the wrap party, Nicholas Meyer was presented with the steering wheel from the Klingon Bird-of-Prey.

The transporter room is a redress of the Enterprise-D's transporter room from Star Trek: La nueva generación (1987).

The door open/close sound effect from the original Star Trek (1966) series was reintroduced in the scenes of the Main Control Room level of the Enterprise-A.

As of 2015, the only Star Trek film to show the crew's quarters; this film establishes that crew quarters are co-ed.

The release of the film helped cap off a series of events commemorating Star Trek (1966)'s 25th Anniversary.

The Federation President appears to be the same species as the U.S.S. Saratoga helmsman in Star Trek IV: Misión, salvar la Tierra (1986).

The subtitle, "The Undiscovered Country", had been considered as a title for the installment which became Star Trek II: La ira de Khan (1982). It comes from Hamlet's famous "To be or not to be" soliloquy, as do many of General Chang's William Shakespeare quotes. Two of the more obscure lines Chang speaks during the final battle between the Klingons and the Enterprise are "Our revels now have ended..." from "The Tempest" and "The game's afoot" from "Henry V". Chang's line "Have we not heard the chimes at midnight?" is from Henry IV: Part 2.

The film marked DeForest Kelley's last on-screen performance as Dr. McCoy, and likewise Uhura's final canonical appearance as played by Nichelle Nichols. Nichols would later reprise her role in Star trek: Nuevos viajes (2004), an unofficial continuation of the original series based on ideas by Gene Roddenberry and made with the blessing of Paramount and the participation of the Roddenberry estate, including that of his late wife, Majel Barrett

Walter Koenig wrote an outline in which the Enterprise crew, except Spock, are forced to retire. Spock and his new crew are captured by a worm-like race of aliens and the old crew must reunite to rescue them. In the end, all of the original cast except McCoy and Spock die. Koenig's idea was rejected by Paramount.

Nicholas Meyer initially wished to use Gustav Holst's "The Planets" as the music for the film, but found that it would cost far too much in royalties and be far too tedious to edit into the film. He then asked James Horner, a composer to whom he gave his big break with Star Trek II: La ira de Khan (1982), to return and wrap up the original series. Horner stated his career had outgrown "Star Trek" and declined. Meyer then went to Jerry Goldsmith, who flatly refused after the failure of Star Trek V: La última frontera (1989). Finally, Meyer asked for demo tapes to be submitted, and he chose the theme of unknown composer Cliff Eidelman because it combined the best of "The Planets" with the styles of Horner and Goldsmith, while still sounding "fresh and original."

The Klingon trial concept was originally introduced in a draft script for Star Trek IV: Misión, salvar la Tierra (1986).

At the dinner with the Klingons the characters quote from Hamlet, by William Shakespeare. At that table are two notable Hamlets (Christopher Plummer in 1957 and 1964, and David Warner in 1965), as well as William Shatner, who began his career in Canada, understudying Plummer in Shakespeare plays. Early in their careers Shatner understudied Plummer in King Lear. Invited to the Edinburgh Festival, Plummer could not appear due to a kidney stone and Shatner replaced him with no rehearsals and with only four hours notice. The two had been having a friendly rivalry and, hearing rave reviews of Shatner's Lear, Plummer's performance the following night was what he described as being the best of his career - and he later acknowledged Shatner as providing the impetus for this..

Jack Palance was offered the part of Chancellor Gorkon, but passed, because the filming dates clashed with Cowboys de ciudad (1991) for which he won an Academy Award for Best Actor in a Supporting Role.

Nicholas Meyer and Denny Martin Flinn wrote the script through an early version of e-mail. Meyer lived in Europe, and Flinn lived in Los Angeles.

Along with Hook (El capitán Garfio) (1991), this is one of two films released in December 1991 to feature the line, "Second star to the right and straight on till morning."

The sets for the Enterprise hallways and Engineering are redresses of the Enterprise set from Star Trek: La nueva generación (1987).

The Federation President's Office was depicted as being located in Paris. This was something of a concession for Nicholas Meyer, who had wanted Star Trek IV: Misión, salvar la Tierra (1986) to take place in Paris.

The Morska listening post scene was done on the first day of shooting.

The establishing shots of Camp Khitomer were filmed at the Brandeis-Bardin Institute in Simi Valley, California.

Valeris was originally written to be Saavik, Spock's trainee from Star Trek II: La ira de Khan (1982), Star Trek III: En busca de Spock (1984) and Star Trek IV: Misión, salvar la Tierra (1986) lending greater impact to her character's betrayal. However, Gene Roddenberry objected to the character's actions, ending up in a battle with Nicholas Meyer (who believed the Saavik character was his to do with as he pleased). Roddenberry won the dispute and the character was re-written into Valeris, who is played by Kim Cattrall. Cattrall wanted to play a different character rather than be the third incarnation of Saavik, following Kirstie Alley and Robin Curtis. Meyer had originally wanted Cattrall to play Saavik back in 1982, but scheduling conflicts prevented her from working on Star Trek III: En busca de Spock (1984), as she was filming Loca academia de policía (1984) at the time. She initially turned down the part of Valeris, thinking she was to play Saavik. Upon finding out she was to play a new character, she agreed. Cattrall also designed her own hairstyle for the part of Valeris, and also came up with the idea to completely shave off her sideburns in order to more prominently show her Vulcan ears.

The painting in Spock's stateroom is a copy of "Adam et Eve chassés du Paradis" by Marc Chagall (1961).

Nicholas Meyer (previously of Star Trek II: La ira de Khan (1982)) is the only returning director to direct two non-consecutive Star Trek films. Leonard Nimoy, Jonathan Frakes, and J.J. Abrams all directed two in a row.

The Romulan ale visible in the dinner scene is much lighter blue than in any other Trek-universe movie or television episode. The ale's color has ranged from pale to dark blue in various productions, and can indicate the ale's "vintage."

In earlier screenplay drafts, the character of Maltz from Star Trek III: En busca de Spock (1984) appeared at the trial as one of Chang's witnesses, answering questions about Kirk's killing of the Klingon crew from that film. The scene was dropped, as it was deemed extraneous, and John Larroquette was unavailable to reprise the part anyway.

According to Star Trek 25th Anniversary Special (1991), the contents for the food props during the dinner scene aboard the Enterprise-A were: plastic sperm whale, hardboiled "Klingon" egg, unspecified flower species, chicken a-la-king, and blue Kool-Aid for the Romulan Ale.

In 2006, William Shatner appeared in a television spot for DirecTV, using re-edited footage from this movie. Shatner is the only one to have new lines, and although Leonard Nimoy and Walter Koenig also appear in the ad, their lines were taken straight from movie footage.

Nichelle Nichols, who plays Uhura, famously refused to use the phrase "Guess who's coming to dinner?" in this movie, which was meant to be a reference to Adivina quién viene esta noche (1967) (a movie about racial bigotry). That movie was remade as Adivina quién (2005), starring Zoe Saldana, who would later take over the role of Uhura in Star Trek (2009) and its sequels.

DIRECTOR_TRADEMARK(Nicholas Meyer): [Sherlock Holmes]: Spock tells the crew, "An ancestor of mine maintained that if you eliminate the impossible, whatever remains, however improbable, must be the solution." The "ancestor" Spock quotes is Sherlock Holmes, another fictional character well-versed in logic. Holmes, created by Sir Arthur Conan Doyle, is often used as a role model for characters in the Star Trek Universe, e.g. Data in Star Trek: La nueva generación (1987). Leonard Nimoy and Christopher Plummer have both played Holmes on stage and screen. Nicholas Meyer wrote several Sherlock Holmes "pastiche" novels, including "The Seven-Per-Cent Solution", considered by many to be the best non-Doyle story of Sherlock Holmes.

When the Klingons return to their ship after the dinner on the Enterprise, Chang speaks a Klingon phrase into his communicator (without English subtitles). Chang says "daHmacheH" which, in English, means "Ready to return now."

This is the only Star Trek film to be shot in the Super 35 format (all of the others were shot in Panavision anamorphic). Nicholas Meyer and Cinematographer Hiro Narita chose this format, mostly because they thought it would make the film look different from the previous five.

The name of the penal colony Kirk and McCoy are sent to, Rura Penthe, comes from the name of the slave labor camp in the film "20,000 Leagues Under the Sea" (1954).

Marc Okrand, who developed the Klingon language, had originally decided not to have a Klingon translation for the verb "to be". In English, "to be" is often used as a verb that links the subject of a sentence to a description (e.g. "he is afraid"). Okrand reasoned that Klingon would have separate verbs that described subjects, for example "to be afraid" or "to be concerned". When he was asked to translate "To be or not to be", he solved it by inventing the word "taH", which means "to continue/endure".

During the course of the film's pre-production, Paramount was attempting austerity in the wake of a string of high budgeted and profile films which had underperformed at the box-office. Due to this, the film's budget was cut, which Nicholas Meyer was initially unaware of. Upon finding out, Meyer immediately began to restore the original budget, but was unable to find a compromise with the studio. As a result the project was officially dead for a few weeks in early 1991. However, after a shake up with their executives, Paramount brought in new officials, with whom Meyer was able to find agreement with the budget.

First film in which campaign ribbons are worn by senior Starfleet officers.

George Takei (Captain Hikaru Sulu), Grace Lee Whitney (Commander Janice Rand), Jeremy Roberts (Lt. Dmitri Valtane) and Boris Lee Krutonog (Lt. Commander Lojur) would all later reprise their roles in Star Trek: Voyager: Flashback (1996), which recreated the film's opening scene and revealed that Voyager's second officer Tuvok (then a rookie officer) was also present on the Excelsior bridge, although not visible onscreen.

"To be, or not to be" in Klingon is "taH pagh, taH be'".

The only Star Trek film featuring the original series cast that does not include Hikaru Sulu at the helm of the U.S.S. Enterprise. Having been promoted to Captain, he is instead in command of the U.S.S. Excelsior.

The character of Dax in this film (a young crew member questioned during the search for incriminating evidence) cannot be the often-reincarnating character of Dax from Star Trek: Espacio Profundo Nueve (1993). DS9's Dax would, at the time of this film, be in the persona of Curzon Dax, a Federation Ambassador, which is clearly not the case for the character of this film. The name was a coincidence.

The mine elevator's movement was simulated by cranking a textured belt behind the actors.

The film takes place in 2293.

David Warner is only nine years older than Rosanna DeSoto who plays his daughter.

Originally conceived as a prequel to the original Star Trek (1966) television series. The story was to follow young Kirk and Spock when they met in Starfleet Academy, with Ethan Hawke rumored for the role of Kirk and John Cusack rumored for the role of Spock. However, partially due to the mixed to poor critical reception of Star Trek V: La última frontera (1989), and because of the strong desire for a future film involving the cast of Star Trek: La nueva generación (1987), it was decided to do a final film with the original cast, which would end with their retirement, and allude to the new cast taking over the franchise. A prequel series would later appear in the form of the television series Star Trek: Enterprise (2001), and Star Trek (2009) is a prequel film.

John Schuck (The Klingon ambassador) was formerly married to Susan Bay, who would later marry Leonard Nimoy.

William Shatner had once been Christopher Plummer's understudy in the theater.

Being the last movie focusing solely on the original Star Trek cast and characters, there was early consideration to feature Captain Picard from Star Trek: La nueva generación (1987) in the story. At the time however The Next Generation was still in the midst of its run on television, and Paramount had no plans to transition it to a movie series, or give any impression of such. In addition, Gene Roddenberry was long opposed to such crossovers between the Original Star Trek (1966) and The Next Generation, even though Bones had already appeared in Star Trek: La nueva generación: Encounter at Farpoint (1987) at Roddenberry's insistence, and Spock's father Sarek appeared in Star Trek: La nueva generación: Sarek (1990) (when Roddenberry's personal involvement with TNG was decreasing). Both Sarek and Spock himself appeared in TNG's "Unification" serial, filmed around the same time as this movie.

When Spock tells Valeris to have faith "That the universe will unfold as it should", this is a paraphrase of the 1927 Max Ehrmann poem "Desiderata", which say, in part, "And whether or not it is clear to you, no doubt the universe is unfolding as it should."

This film's title was originally intended for Star Trek II: La ira de Khan (1982). It was a reference to Spock's death in the earlier movie. It was changed because the executives at Paramount wanted Khan's name in the title.

The teaser trailer is tagged with its original December 13, 1991 release date. It was moved up a week early to avoid competing with Hook (El capitán Garfio) (1991) and El último Boy Scout (1991).

Nicholas Meyer wanted to keep some Enterprise prop blankets for his personal use, but he was told the stencil wouldn't stand up to normal use.

Art department gag: a few seconds before the first Rura Penthe shot, a small cylindrical object can be seen near Valeris' left hand in the two-shot of her and Chekov. It is a lock cylinder for starting the Enterprise with a key.

The door outside the Enteprise galley set leads to the transporter room set.

Brock Peters, who plays Admiral Cartwright, would later go on to appear in several episodes of Star Trek: Deep Space Nine as Captain Benjamin Sisko's father, Joseph Sisko. As well as another character called "Preacher".

Released between the airing Star Trek: La nueva generación: A Matter of Time (1991) (#5.9) & Star Trek: La nueva generación: New Ground (1992) (#5.10).

Colonel West's plan to send in a commando team to rescue Kirk and McCoy is reminiscent of Operation Eagle Claw, the failed mission from 1980 to free the hostages at the American Embassy in Teheran, Iran. The Delta Force team that was sent deep into Iran itself encountered many problems including equipment malfunctions, bad weather, and conflicting intelligence reports.

The door outside the set used for Spock's and Kirk's quarters, leads to the sick bay set.

The electron microscope prop that Spock uses to analyze the Klingon blood is the same prop that Freeman Lowell uses in Naves misteriosas (1972) to reprogram the drones Huey, Dewey, and Louie.

The same destruction of the Klingon Bird-of-Prey scene has been used multiple times in the Star Trek franchise, most notably in Star Trek: Generations (1994), and in a few episodes of The Next Generation.

The novelization names the Federation President as Ra-ghoratrei, a Deltan. Neither detail of the President is mentioned in the movie.

John Schuck reprises his role as the Klingon Ambassador from Star Trek IV: Misión, salvar la Tierra (1986).

Although he receives "Also Starring" billing, Mark Lenard (Ambassador Sarek) has only one line.

Many of the characters, especially General Chang, make reference to William Shakespeare in general, and Hamlet in particular. Christopher Plummer played Hamlet in Hamlet at Elsinore (1964). Chang also quotes Prospero from The Tempest, "Our revels now are ended." Plummer went on to play Prospero in The Tempest (2010).

Was the first film to be coded in DolbyDigital (AC-3) for test prints only; not for theatrical release. The first film with a theatrical release of Dolby Digital was Batman vuelve (1992).

The film was produced simultaneously with the fifth season of Star Trek: La nueva generación (1987).

John Schuck has appeared in two Star Trek films and three Star Trek spin-off series. He has played the Klingon Ambassador Kamarag in Star Trek IV: The Voyage Home (1986) and Star Trek VI: The Undiscovered Country (1991), Doctor Antaak Enterprise "Affliction" and "Divergence", Parn in DS9 "The Maquis Part 2" and Chorus #2 in Voyager "Muse".

The network premiere of the movie brings "Star Trek" full circle. The original Star Trek (1966) series aired on the NBC network from 1966-69, as did the Animated Star Trek: La serie animada (1973) from 1973-74. The first four movies premiered on ABC-TV, and Star Trek V: La última frontera (1989) on CBS-TV, following with the last film starring the original cast premiering back on original network NBC.

Bones makes two references to Kobayashi Maru to Kirk, first in this film, and then again in Star Trek (2009).

In a 2016 interview, Nicholas Meyer expressed regret over being naive regarding the film's plot points reflecting the end of the Cold War. Meyer said he has also come to regret portraying Spock's mind meld interrogation of Valeris, which he likened to water boarding.

McCoy says he doesn't even know Gorkon's (Klingons') anatomy. Aside from him determining a Klingon's identity in a television episode about tribbles, there are two books related to McCoy. On an episode of Voyager, Harry Kim refers to McCoy's reference book Comparative Alien Physiology. Ballantine published the STAR TREK STAR FLEET MEDICAL REFERENCE MANUAL, lists McCoy was listed as advisor, and which contains a section on Klingons. Which means that, at the time that he determined a Klingon's identity, and subsequently didn't know enough about Gorkon's anatomy to save his life, was before he learned thoroughly about Klingon anatomy.

The first Star Trek film since Star Trek II: La ira de Khan (1982) to be directed by someone who wasn't an actor from the original Star Trek (1966). Namely, the same man who directed that film, Nicholas Meyer.

This was the first of two films co-written by Lawrence Konner and Mark Rosenthal in which David Warner (Chancellor Gorkon) appeared. The second was El planeta de los simios (2001).

One of two theatrical films directed by Nicholas Meyer that were released in 1991. The two productions are Espías sin fronteras (1991) and Star Trek VI: Aquel país desconocido (1991). Moreover, Meyer was sole Screenwriter on the former and co-Screenwriter on the latter. The two are the final theatrical movies (to date, October 2016) that have been directed by Meyer.

Rura Penthe is also the name of the prison island in 20,000 Leagues Under the Sea (1954).

The opening title and credits begin with a metallic pink/purple in the upper half of all letters, a color similar to the Klingon blood. The colors change to that containing none of the pink/purple, and ending with the pink/purple on the bottom half.

Nicholas Meyer was worried that William Shatner would be upset at some of the lines written for the scene where Martia, disguised as Kirk, fights him ('I can't believe I kissed you!' 'Must have been your lifelong ambition!'). However, Shatner reportedly loved it.

First use of forcible Vulcan mind-meld to interrogate an unwilling subject.

As this was anticipated to be the last film with the original Star Trek (1966) series cast, there were rumors that Kirk would be permanently killed off in it. The rumors were fueled by a trailer featuring the image of Kirk being vaporized by a phaser. The scene was actually of Martia being killed after shape shifting into a double of Kirk.

Several scenes, which are present in the VHS release, as well as most television broadcast cuts, are noticeably absent from the DVD and Blu-ray releases, and are not even included as Deleted Scenes . These scenes include the visual inspection of the torpedoes by Scotty and Spock (which contains Scotty's "that Klingon bitch" line) as well as all of Colonel West's scenes (including his reveal as an in-disguise Klingon assassin at the peace conference). These scenes do exist, however, on the 2-disc Director's Cut DVD of the movie.

In both Star Trek II: La ira de Khan (1982) and Star Trek VI: Aquel país desconocido (1991), Spock says the line "Perhaps you're right" just as he is about to do something sneaky. In "Khan", he says it just before he nerve pinches McCoy and in "Country", just before he stealthily places a tracer patch on Kirk's uniform before Kirk beams onto Gorkon's ship.

Kirk makes open references to Star Trek: La nueva generación (1987) in his final Captain's Log, by amending "where no man has gone before" in mid-statement to say "where no one has gone before", which is the opening prologue of Star Trek: La nueva generación (1987). Kirk's comment about "the next generation" was not of the television series but of the next Enterprise, the Enterprise-B. The next film, of course, was Star Trek: La próxima generación (1994), which predominantly featured the Star Trek: La nueva generación (1987) cast, and also featured the Enterprise-B. The actors' signatures at the end were supposed to be the characters' signatures as they signed the final log.

According to the producers, the Klingon blood was purple to avoid an R-rating. Also, the use of purple blood was to serve as a visual symbol both metaphorical (showing the vast differences between Klingon and Terran values and ideals) and literal (showing the differences between the two species' anatomies; slamming home why McCoy could never have saved the Chancellor's life). Klingon blood has always been red like Terran blood in all other Star Trek Universe portrayals.

Despite having a pivotal role in the film, David Warner (Chancellor Gorkon) only has ten minutes of screen time.

Theatrical trailer features different/additional footage: the wide shots on Rura Penthe show Kirk, McCoy, and Martia escaping during daylight while in the film they escape during dusk or dawn, the arrival of the President of the Federation and Azetbur on Camp Khitomer, and when Martia (disguised as Kirk) is shot, you see a close-up of her, not the wide shot that was used in the film. The last was probably to trick the audience into believing Kirk would be killed off in this picture, so that they would be relieved when they saw the film and saw that he wasn't.

Kim Cattrall says that she was allowed to choose the name of her character and decided on "Valeris", integrating "Eris", the name of the Greek goddess of strife and subtly hinting at her character's part in the grand scheme of the movie.

During the confusion after Kronos 1 has been hit twice, you can see Valeris program the database concerning the two torpedoes. She programs her console and then hits the single red button. Later in the movie, after Kirk yells "fire" to shoot the altered torpedo, there is a close-up of someone firing the torpedo, using the same button to show you what that button does. Before she does this, the database, according to Scotty shows all torpedoes "stocked and fully loaded". After she does this, Spock reports that the database shows two torpedoes missing.

David Warner was almost seriously injured during the filming of Gorkon's death scene. A light exploded and a large piece of it barely missed landing on his head.

Just as Spock is surmising that "someone" has forged an entry in the photon torpedo data banks, Valeris (the guilty party) makes an entrance by sliding down the pole.

The Klingon prison planet Rura Penthe reappeared in Star Trek (2009) in a scene that was filmed, but was deleted, which saw Nero (Eric Bana) and his crew imprisoned on Rura Penthe, following their capture by the Klingons, but they escape.

Colonel West, the Starfleet Marine officer who conducts the Operation Retrieve briefing, is a punning reference to Colonel Oliver North, the U.S. Marine accused of shredding confidential documents associated with the Iran-Contra scandal of the 1980s. Colonel West was played by Rene Auberjonois, who would be cast a couple of years later as Constable Odo on Star Trek: Espacio Profundo Nueve (1993) and had worked with John Schuck on M.A.S.H. (1970).

The main plot of the movie includes the ending of the conflict between the Federation and the Klingon Empire, which thereafter allows the two superpowers to co-exist peacefully in the Milky Way. This, in turn, helps create the setting for Star Trek: La nueva generación (1987), which is set years afterwards, primarily on a new starship Enterprise, commanded by Captain Jean-Luc Picard (Patrick Stewart), and which now has a Klingon serving as a member of the main crew, Lieutenant Worf (Michael Dorn). Coincidentally, Worf's family is portrayed as having played a part in the events of the peace between the Federation and Klingons, since his grandfather, Colonel Worf, was appointed as the Defense Attorney for Kirk and McCoy following the assassination of Chancellor Gorkon. Colonel Worf was likewise played by Michael Dorn.

After becoming Chancellor, Azetbur wears the necklace that her father Gorkon wore.

Martia says she thought she would "assume a pleasing shape." Like the title of the film, this is a reference to William Shakespeare "Hamlet". In this case, the line comes from his "rogue and peasant slave" monologue. He states that the ghost of this father could be the devil, saying "The devil hath power to assume a pleasing shape." A demon could be assuming a pleasing shape, to trick him into wrongfully avenging his father's death upon his uncle. Then he resolves to test his uncle's conscience with a play - a moment which provided the title for an earlier Star Trek (1966) production: Star Trek: The Conscience of the King (1966). The line possibly foreshadows the revelation of Martia's duplicity.

After Kirk saves the Federation President he comments on some saying peace is "the end of history". Since Star Trek VI is an allegory of the end of the Cold War, this was likely a reference to Francis Fukuyama's well known 1989 article in The National Interest titled "The End of History", which was an examination of the post-Cold War world.

Originally, the film was to end with Captain Kirk "handing over the keys" to the Enterprise to Captain Picard. This was dropped because Star Trek: The Next Generation (1987) takes place 70 years after Star Trek (1966). The film takes place 71 years before Star Trek: The Next Generation: Encounter at Farpoint (1987) and Captain Picard was born 12 years after Chancellor Gorkon's assassination.

Coincidentally, two characters who are ultimately exposed as traitors are played by actors who later ended up on Star Trek: Deep Space Nine: René Auberjenois (as Constable Odo) and Brock Peters (as Joseph Sisko).

Before Kirk and McCoy go to the Klingon ship, Spock places a thin fuzzy strip on Kirk's shoulder, later called a "viridium patch". Veridian was the planetary system where the climax took place in Star Trek: La próxima generación (1994).

Reviews: [25]

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    The journey that began on the small screen in 1967 comes to its end on the big screen in 1991, after three TV seasons, six films, and the creation of a cultural phenomenon unrivaled in the history of television. The crew of the original series had met with mixed results on the big screen, producing the excellent The Wrath of Khan, but also the inexcusably bad The Final Frontier; the other four ranged from passable to good. After the financial failure of Star Trek V, Paramount brought back Star Trek II director Nicholas Meyer, and commissioned from him the final voyage of the original cast. As Star Trek so often does, the events depicted mirror the glasnost of the late 1980s, as the collapse of the Soviet Union eased global tensions and heralded the beginning of a new era. In the Trek universe, the possibility of rapproachment between the Federation and the Klingon Empire raises the hackles of hardliners on both sides, and Kirk and co. must prevent the weak peace from being destroyed. The original cast is in fine form, all of them giving their all to make the (potentially) final appearances of their characters memorable. Despite William Shatner's reputation as a ham actor, he delivers a great performance here; his final log entry is one of Trek's finest moments. As the villain of the piece, we get General Chang (Christopher Plummer), a Klingon out to insure "no peace in our time". Plummer is superb, chewing scenery and spewing Shakespeare with a wonderfully loathsome presence. I would rank Chang below Khan and the Borg Queen, but far above all the other Trek villains. There are some tacky anachronisms typical of Meyer's style, and the usual amount of discontinuities and canon issues; but that's inevitable, and I can accept it if it leads to a good story. Trek VI is a good story. 9/10.
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    The final Star Trek film to feature the original cast is an enormous improvement after the awful fifth film, and might just be the best in the series. Much of it is probably thanks to the return of director Nicholas Meyer, who is responsible also for the classic Star Trek II: The Wrath Of Khan (while film III through V were directed by cast members). Meyer's very professional directing shows in every scene on ST-VI, and the old cast - William Shatner (Kirk), Leonard Nimoy (Spock), DeForest Kelly (McCoy), James Doohan (Scotty) and the rest - give here what is without doubt their finest performance. Mind - Shatner and Nimoy are by now 60 years old, while Kelly and Doohan are well into their 70s. But there isn't a trace of the pathetic silliness that characterized the fifth movie; Meyer knows what to do with these aging actors that wouldn't make them look like idiots. What we see in Star Trek VI is a much more mature approach, and the crew members have to face, more than an outside enemy, their own aging, and their fear of change. That fear is a key element here, and it's an issue that is well handled and is always relevant.

    While the old cast members are doing splendidly here, the movie introduces some fantastic new characters. First and foremost, the experienced Shakespearean actor Christopher Plummer makes a fascinating villain in the conservative and suspicious Klingon General Chang, endlessly throwing out Shakespeare quotes on every turn. ('You haven't truly enjoyed Shakespeare until you've read it in the original Klingon') Also, Kim Cattrall, who achieved much success lately in the acclaimed 'Sex And The City'), plays the Vulcan Lt. Valeris and gives a great performance. Finally, David Warner gives a brief but memorable performance as the visionary Chancellor Gorkon. The real stars here, though, are Shatner and Kelly, whose attempt to save the Chancellor's life, as well as their trial for assassination before a Klingon court (CAMEO: Michael Dorn, who plays Worf in the Next Generation, plays Kirk and McCoy's attorney here - Colonel Worf. An ancestor, probably) make for some of the best scenes ever seen on Star Trek. The directing and camera work are splendid, and the script has just the right amount of self humor, which was dreadfully lacking from the fifth movie (e.g.: Spock: 'If I were human I believe my response would be "go to hell." ...If I were human.' All in all, a remarkable sign off for the original crew of the Enterprise and one of the best sci-fi movies of all time.
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    In the theatre years ago when I saw this film I thought gosh this is really different for a Star Trek film. It had so much suspense and conspiracy, and so much mystery that this was one of the best films in the collection. The acting is great, the action and the effect are superb, and the music is very good! I recommend this to all Star Trek and sci-fi film fans!
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    You don't have to be Einstein to figure out the Klingon Empire represented the Soviet Union in the original series and films so it's fitting Kirk's old foes should re-appear and give the crew it's final adventure at a time when similar questions raised in the film faced the old Soviet Empire.

    This is the best of the film series for several reasons. The timeliness of the film's release with real-world events. (Funny how Col. West had a contingency plan for terrorism along the Federation's border. Made me wish we had one prior to 9-11) The issue of how people can be frightened of drastic change (what a very Clinton-esque message) mirroring Kirk and crew's emotional baggage helps propel the plot forward and makes it believable.

    A great tense score and tight editing (sorry, no overlong speeches and theorizing) combined with terrific performances from Christopher Plummer and the best yet from the original ensemble kept me glued to my seat the whole time. Additional characters are actually relevant, unlike Saavik, the Marcuses, et al., and although I should have seen it coming I was surprised how far-reaching the conspiracy to kill Gorkon actually was, even including a Vulcan! Fun cameos from Michael Dorn, Christian Slater and Iman lighten the mood. Her presence finally makes McCoy quip to Kirk "What is it with you, anyway?" which is something that should have been said years ago. Must be the girdle. The Klingon attack scene at the end is great unrelenting action and was better than Khan's attack on the Enterprise in Part II (see my comments on that film to get an idea).

    "The Undiscovered Country" is essentially a mystery in space with political overtones and it's great fun watching Spock and Valeris unravel the mystery piece by piece. Valeris (Kim Cattrall)is given more to do than Saavik ever was. The only nit-picking comments I have is just why couldn't the assassins just throw the boots out the window? If an explosion in space wasn't monitored until the shockwave hit the Excelsior, how would the Enterprise find the boots? Would the NCC-1701 just shift gears into reverse?

    A lot has been made about the clock errors. To me, it's not terribly important since it's just background and your attention should not be there anyway. It was a bad idea to include such a prop though.

    The only wasted role belongs to Scotty but he had his moment of greatness in "The Voyage Home" during the transparent aluminum scenes. He also delivers the corniest line of the film during dinner with the Klingons: "Maybe we are looking at something of that future here!" Well, duh!

    Everything that made Star Trek great is in this film: action, great one-liners from McCoy and Chekhov, the peace message, the Klingons, Spock's logic skills, literary quotes and celebrity cameos makes "The Undiscovered Country" a worthy send-off to perhaps the most celebrated ensemble cast in entertainment history. Even if you're not a Trek-fan, you would enjoy this picture and is well worth the rental/purchase.
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    This is a taut political thriller that rivals Dune for impact, if not for complexity. The issues explored here are both timely and universal. Somehow, this mixes the Star Trek mythos with commentary on the Cold War, race relations and military down-sizing. It is indescribable how cool this movie is.
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    "Star Trek VI: The Undiscovered Country" is the final film with the entire original cast. This is also the best of the series because we see the Enterprise crew, past their prime, save the universe one more time.

    As the film opens, we are witness to an ecological disaster. As the starship Excelsior, now under the command of Capt. Sulu (George Takei)is on a survey, they witness the aftermath of the explosion of the Klingon moon called Praxis. Even though Sulu is ready to offer assistance, The Klingons want no help from them.

    Later, the Enterprise crew is called into a top secret meeting and is apprised of the situation,which is dire (Think Chernoble). Because of the devastation (Which will destroy their ozone within 50 years), the Klingons offer to extend an olive branch with the Federation. In other words, The Klingons and The Federation want a peace treaty.

    Considering that the Klingon Empire and the Federation have been at each others throats for ages, this doesn't sit well with the parties involved, especially Captain Kirk (William Shatner), who wants nothing to do with the process considering that it was the Klingons who had killed his son (See "Star Trek III: The Search For Spock"). In fact, when Mr. Spock (Leonard Nimoy), who has been working with the Klingons for the treaty, tells them that they are dying, Kirk viciously says "Let them die!" Ouch. However, he has to follow orders.

    Soon the crew of the Enterprise meets with Chancellor Gorkon (David Warner), his officer General Chang (Christopher Plummer) and his daughter Azetbur (Rosanna DeSoto). During a dinner in which pretty much everyone is intoxicated with Romulan Ale, there is some negativity among both sides, clearly indicating that the road to peace is going to be a bumpy one.

    And it is.

    Later, the Klingon ship is fired upon, seemingly by The Enterprise, and the Chancellor is assassinated, despite the attempts of Kirk and McCoy (DeForest Kelley) to save him. Both Kirk and McCoy are arrested and put on trial. Found guilty, both are sentenced to the ice planet known as Rura Penthe. How bad is it? Judging from Uhura's (Nichelle Nichols) and Scotty's(James Doohan)reaction, it would have been better for Kirk and McCoy to have been executed on the spot.

    Spock knows that a conspiracy is present. And so, while he is trying to find out the facts, Kirk and McCoy try to stay alive on the penal planet.

    With time running out before the peace conference starts, the crew of the Enterprise must not also save Kirk and McCoy, but to race to the site of the conference to stop another assassination from taking place, which will destroy any chance of peace. This proves even more difficult when they discover that there is a Klingon Bird of Prey that can fire when cloaked. And that those involved in the conspiracy work on both sides of the coin.

    What is interesting about the film is that it mirrors the general feelings between the U.S. and the former Soviet Union. Once considered enemies, each side works together for peace, even if both sides are skeptical. We also see the flaws of the crew of the Enterprise: everyone is prejudiced. Chekov (Walter Koenig), during dinner, mentions "unalienable human rights," and is chastised by Azetbur for his "racist" comments. Even Mr. Spock is prejudiced: he's so blinded by the accomplishments of his Vulcan protégé Valeris (Kim Catrall), that he doesn't see how much of a threat she is (He admits this to Kirk later on) until it is almost too late.

    It is nice to see the crew back in action one last time, and you can't help but get a bit misty eyed (Gene Roddenberry, the creator of Star Trek died before it's release, and this film is dedicated to him). A nice way to end the series, but it's hard to say goodbye.
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    Star Trek Movies are far more miss than hit, with only 3 excellent, 1 good and the rest rubbish (although NEMESIS may be slightly above rubbish level). Anyway, this movie was meant to contrast 60s style leadership and ethics with those of the 80s. Borrowing from the modern leadership styles and political correctness portrayed in the Next Generation series, "The Undiscovered Country" explores (in typical Hollywood sci-fi fashion) how our present day society has progressed toward multiculturalism. It explores how committed, loyal patriots can be burdened with their old prejudices after the world/universe has changed around them. The personal struggles of Kirk and the Chancellor's daughter, and even the violently opposed logical conclusions of two Vulcans in the same circumstances (but with differing priorities) are all clearly missed by most viewers. Of course, as with James Bond movies, Jim Kirk and his crew must save the day (and also nicely throw in some minor Star Trek future history trivia with the Khitomer massacre etc). An excellent story line, excellent themes, carefully produced and directed, this is a science fiction classic on par with Alien, Blade Runner and, yes, much better than any of the Star Wars movies.
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    Thus it came to pass, twenty five years after the original series began, and twelve years after the first movie, the original crew of the USS Enterprise decided to retire. Before going however, they created history and they battled the all too human fear of change, all in a film which is not only brilliant to watch, but is a superb send off to this wonderful crew.

    Since "Star Trek: The Motion Picture" (1979), the klingons, the most famous enemy of all, were always shown to be rather a pathetic lot. With their only appearance in the first film being five minutes, they didn't get off to the best of starts. In the third encounter, "The Search for Spock" (1984), they were given slightly more menace but were still relatively inept. Finally in "Star Trek V: The Final Frontier" (1989) the main Klingons were an old alcoholic mess who needed to be shouted at by Spock to do anything, and a pathetic ship Captain who seemed almost childlike and eventually had to apologise to Kirk. Therefore, for a long time, the Klingon Empire always seemed to be hard done by and put upon. In the first ten minutes of "Star Trek VI: The Undiscovered Country", this process appears to be repeating itself again. With the Klingon moon of Cronos being half destroyed, Captain Sulu's USS Excelsior encounters the shock-wave when they discover this awful accident. Skipping forward and on Earth the Federation's leaders are informed that the Klingon Empire is now facing doom. As a result, Captain Kirk's Enterprise is sent to meet with Chancellor Gorkon (David Warner in yet another different role) and to begin discussions of Peace. It isn't long however before things go wrong and Captain Kirk is forced to battle the wonderfully evil General Chang (Christopher Plummer).

    The beauty of this sixth film is that it puts considerable thought into all the real aspects required to make a decent "Star Trek" movie. With the crew beginning to feel their age, they perform brilliantly in their final adventure. At the same time, the supporting cast (including Plummer, Warner, Kim Cattrell and Brock Peters) is well thought out and constructed. Out of this supporting cast comes the absolutely superb General Chang, played by Christopher Plummer. When considering all of this series of films, arguably the three finest attempts are "The Wrath Of Khan", "The Undiscovered Country" and "First Contact". With the three charismatic, appealing bad guys in the form of Khan, Chang and the Borg Queen, these films appeal because they have an evenly matched battle. Whether it's Captain Kirk or Captain Picard, both Shatner and Stewart perform better in their roles when they are given an enemy to sink their teeth into. None is more true of General Chang in this film. Chang represents an almost Klingon alternative of Kirk. Both are Warriors with strong knowledge of Earth's past (Chang quoting Shakespeare perhaps once too often), and for the majority of the time, they both are terrified of change. The key to Kirk's success in this film is not the eventual destruction of Chang, but that Kirk is willing to set aside his prejudices and accept the Klingon offer of peace. The bartering between the two is superb and the film is considerably better for it.

    "Star Trek VI: The Undiscovered Country" is probably more what people would classify as a typical adventure. Whilst the forth film was funny, it never felt like it belonged in the series, and it was then followed by the awful fifth film which was just in general bad. Therefore it feels like this final voyage of the original crew has saved face really. This film feels like it has learnt to respect the genre. Constructing a brilliant plot, Nimoy, Konner and Rosenthal, have given the characters wide enough space for them to develop, whilst simultaneously sticking to what makes "Star Trek" so great. There are battles, there's drama, there's emotion and there is mystery. With these however, the crew are able to banter between themselves, with Dr McCoy (the late, great DeForest Kelley) getting some of the best lines once again.

    Ultimately, there is only one flaw with "Star Trek VI" and that is that it reminds us that this is the end. Whilst Patrick Stewart and the crew of the Enterprise NCC 1701-D would pick up the reigns from this moment on, the series would never be as good as it was with Captain Kirk in command. "Star Trek VI" tells us that never again will we see this crew together on board the Enterprise. This film is a brilliant film and a suitable way of saying farewell to this group of people, but this is in itself, rather upsetting.
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    I think that STVI is the greatest Trek film ever. The reason I think it is better then ST:FC is because First Contact was on such a large scale; save all of humanity from oblivion. Well, that's nice and all, but STVI was a part of Trek history. Peace with the Klingons, who would have guessed it. Peace with the Russians, who would have guessed it. Which brings me to my next point, it parallaled current world situations (which is why I bring up the USSR). It's a brilliant movie that will last the test of time.
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    Now this was a movie. The best case scenario for the orginial crew to leave the movie scene, making peace with the Klingons and Sulu finally becoming a Captain. Everything was great in this movie. It had humor, adventure, mystery and just about anything else you could possibly want. The best behind #2.
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    The last hurrah for the entire original crew sans Sulu, who now has command of the Excelsior featured in #2 and #3 (disregarding Kirk's goodbye in "Star Trek: Generations"), has Kirk and the gang playing diplomatic missionary of peace hosts to Klingon David Warner. Kirk does not like this because he honestly and openly admits he doesn't like Klingons and probably never will. After the dinner reception, however, the Klingon ship is attacked and Klingon David Warner killed. Kirk and McCoy try to help Warner in his hour of death but after Warner expires they are arrested and sentenced to life on a frozen wasteland of a planet. While they fight to stay alive, Spock and company try to figure out what's going on and the whole thing leads to a conspiracy on both sides of the Klingon/Federation dispute.

    After the box office woes of #5, the old crew gets a touching farewell in this politically charged science fictional drama that bears more than a few resemblances to the end of the Cold War. Superb special effects, a fun performance by Christopher Plummer as a sadistic Klingon and a fun cameo by Michael Dorn as Kirk & McCoy's Klingon lawyer. Dark and eerie in spots, uplifting in its finale.
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    This movie has it all, it has drama, action, special effects you name it. It also has a nice resolving conclusion to the Kirk era of Star Trek, the possibility of peace among Klingons and Humans.

    On the technical side the directing is beautifully and masterfully done by Nicholas Meyer. Well edited movie. The director took careful consideration to keep you in suspense, for example, hiding the villain in the background of the light, things like that. The special effects, though not remarkable, as in The Wrath of Khan's in-your-face effects, the effects in this movie generally are good, the battle sequences in this movie are just as good as The Wrath of Khan one.

    Again a nice motif is the scripts placement of Shakespeare quotes into the villain, just like Khan in Star Trek II. Speaking of the villain, Chang, here you see excellent acting thanks to the actor Christopher Plummer.

    There are a lot of in-line jokes, which adds to that atmosphere of closeness between the characters. Sulu's transfer to a new ship, the Excelsior is sought here. The set construction and pieces are great. The new enterprise bridge looks more military like. The presidential office (may note it is a redone Ten Forward from St, the next generation), the peace talk location, etc.

    The end of the movie has a sad feeling towards it, a teary farewell to the crew of the Enterprise, and a clear passing of the torch to the new crew.

    A great movie that you must see,

    Rating: 9/10
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    The final Trek for the original crew of the Enterprise restores the talent behind the camera including Star Trek II's Nicholas Meyer as director and thus intelligence and high production values are back on screen after the stagnant Star Trek V. The Undiscovered Country is a generous cut of the franchise's sweet meat though it doesn't hold the same place in my affections as Trek's II, III and IV. The story is the series at it's best - a deft allegory of the fall of Soviet Communism with the old cast having to question their old assumptions about those 'Klingon bastards' who are now suing for peace with their Federation foes. The ensuing political double crosses, assassinations and space battles are far meatier and more interesting than anything in the previous film and this is all counterbalanced by something approaching poignancy given that the movie represents a final fling for our quasi-geriatric heroes. The direction and visual effects are top notch with Meyer getting the best out of the classic cast including a surprisingly descent turn from Shatner who rediscovers a bit of the old magic as a Kirk trying to reconcile his hatred of the enemy and his personal resentment against the practicalities of the peace initiative. Its really his movie, though Spock and McCoy have some good moments and Christopher Plummer's General Chang provides prime cut villainy with just a glint in his eye (literally just the one eye) and a stroke of his Klingon moustache. His propensity to quote Shakespeare is a bit of a hoary old cliché for your would-be enemy but it works nicely as a hallmark of a man who has invested in the culture of his adversaries in an attempt to best them intellectually. As a military man with an less than honourable agenda he's a far more convincing villain than any megalomaniac hell bent on world domination, partially because writers Meyer, Nimoy and Flinn understand that the real world grounding of the story invests it with a edge and a credibility that might otherwise be wanting. There are a few false notes - The Enterprise rescue of Kirk and McCoy has always felt a bit too clean and easy for my liking and the purple Klingon blood is just inaccurate for continuity purposes but I'll put my hands up to pedantry on that one. The major faux pas though is the final 'sign off' from the crew in which their signatures are 'written' across the screen. Its not the idea that's wrong its the fact we're looking at the actor's signatures and not those of the characters. It feels like a bit of mis-step because it betrays a misunderstanding of the fact that it's the characters that made the series fly not an interest in William Shatner, Deforrest Kelly and so on. From the moment I first saw it it never felt right to me but still, there you go. Gene Rodenberry just got to see this before he died and a good job too because I think he'd have been satisfied that his original crew had gone out on a something of a high note. He'd also never see the 4 movies that followed with the Next Generation cast and for that alone he may have got out at just the right time.
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    The fall of the Berlin wall and the end of the Cold War unleashed a spate of Hollywood films in which Russians defected to the United States ("The Hunt For Red October"), Russians and Americans teamed up to fight crime ("Red Heat"), shaky peace-talks began between Soviet and US politicians ("The Undiscovered Country"), dissident Americans sold defence secrets to the Soviets ("Falcon and the Snowman") and likable America warriors kicked steroid injected Russian ass ("Rocky 4").

    Directed by Nicholas Meyer, "Star Trek VI: The Undiscovered Country" is one of the more interesting of such films. Meyer, a director and novelist who imbues his films with a quiet intelligence, is of course the man responsible for "Star Trek 2: The Wrath of Khan", a film which virtually re-invented "Star Trek". Meyer took Melville's "Moby Dick", several allusions to "Hornblower", Naval classics and submarine flicks, and turned Star Trek into a full blown maritime adventure movie in space. The pretentious technobabble and the soulless FX of Robert Wise's "Star Trek: The Motion picture" (it's actually pretty good), and the utopian flailings of Trek creator Gene Roddenberry, gave way to crowd pleasing action, humour, screwball banter, likable heroes and retro design changes. Elsewhere uniforms were given a more maritime feel, battles were staged like nautical encounters, crewmen blew whistles, torpedoes were loaded like cannons, captains talked about rudders and villains wore pirate eye-patches.

    These changes, of course, annoyed both Roddenberry and the die hard fanboys. How dare Trek – a series about ideas and social issues - degenerate into a mainstream action movie!? How dare you turn a futuristic fleet of star ships into a jazzed up version of The British Navy, each vessel literally piloted by a crew of Red Coats!? It's a valid point, until you realise that Meyer was the first artist associated with Trek to have recognised, not only that Star Trek was always "Hornblower in space", but that it was always a fascist and xenophobic franchise. Meyer didn't turn The Federation of Planets into "The British Empire with warp drive", he merely amplified, and questioned, what was always there.

    And so "The Undiscovered Country" begins by introducing Captain James Kirk (William Shatner) as an unashamed racist. Having lost his son to a "dirty" Klingon warrior, Kirk hates the Klingons, believing them to be vile, vulgar, violent and always untrustworthy. Of course his crew shares his sentiments. Why wouldn't they? Throughout the TV series, the Klingons were cast as token Russian, Black and Japanese villains. They were savage barbarians wearing Asian clothes and mostly played by black actors.

    But when Kirk's ship is chosen to host the peace talks between the Federation (US) and Klingon (Soviet) Empires, Meyer undermines our preconceptions by portraying the Klingons as a well spoken and sophisticated group, adept at quoting Shakespeare and well versed in Earth literature. Far from a band of vile pirates, they come across as classy noblemen. Kirk and his merry men, meanwhile, look like a horde of drunken sailors.

    Later, Meyer deftly toys with his audience's preconceptions, teasing us with the possibility that the Klingon's are responsible for a cunning attack on their own ambassador. But what actually unfolds is an elaborate plot, started by human, Vulcan, Romulan and Klingon militarist factions (in other words, we're all guilty), to destabilise any hope of peace between the empires. Old animosities and fears of change are essentially exploited in order to maintain the intergalactic status quo. The status quo being the constant cultural, scientific and military superiority of the United Federation of Planets.

    Beyond its simple parable, "Country" resumes Meyer's fondness for turning his films into altars to classic literature. Dickens, Melville, Doyle, Shakespeare...these are his influences. Watch how he has Spock turn into Sherlock Holmes, frantically racing to solve "the case of the missing gravity boots". Watch how he pulls the film's title out of Hamlet, has bad guys quoting Shakespeare and has characters standing proudly before bookshelves adorned with "A Tale of Two Cities". References to Peter Pan, the Merchant of Venice, The Tempest and the racially themed "Guess Who's Coming To Diner", give the film a classiness which the franchise typically lacks.

    Other impressive things abound: despite severe budget limitations, Meyer's space battles are deliciously spatial, his action has a cerebral kick, his dialogue is exceptionally well written (often screwball, always memorable, packed with one-liners), he makes sure all his cast members are given shining moments and cleverly counters Shatner's theatricality with appropriately theatrical villains. Elsewhere the film features an explosive shock-wave which set in stone the look of all future space shock-waves (the "Star Wars" shock-wave was only added in 1997).

    Still, the film has two flaws. Firstly, the film's lead characters are all ultimately heroes, each with their obligatory "save the day" sequences. You sense that Meyer wants them to be tarnished, to be deeply wounded in some way, but that these characters have simply become too iconic, too mythic, to be meddled with. And so all the film's evils are given to token characters, Kirk's evils transplanted to a Federation admiral, Spock's evils to a Vulcan officer, the Klingon's evils to a rouge captain and so forth. Secondly, like most science fiction films, the film fails in its depiction of alien planets (a boring ice planet) and alien creatures (shape shifters and costumed dogs). But this is mainstream sci-fi. When you're dealing with swashbuckling space opera, dog puppets and ice planets will suffice.

    8.5/10 – Worth multiple viewings.
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    The opening twenty minutes of 'Generations' aside, this is the penultimate send-off for TOS' crew. Sure, Scotty and Spock made the leap to TNG and Sulu made a sideways app. on Voyager... but this is, for me, the retirement mission.

    With it's meaning rooted in the fall of the Cold War, this film is level with Trek II in movie epic. Never one to shirk a social message (see various episodes and Trek IV), this one hits hard and heavy.

    The combination of story, action and a little Sherlock Holmes made for a great film and a proper send off into what should have been the Undiscovered Country of TNG.
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    The Undiscovered Country is just that...the Klingons are on the verge of annihilation from their own greed and warmongering and it's up to Kirk and his crew to save them. Boy, are they in trouble.

    This movie is absolutely one of the best. It has every element which makes a good movie into a successful movie, and all the classic Star Trek elements.

    Intrigue and suspense abound in this installment of the line. Jim Kirk is back with his suave, devil-may-care attitude and his loyal crew just can't get any better than this. It has action, suspense, intrigue, excellent space battles, excellent hand-to-hand battles, and much more.

    I'm not going to spoil any part of this movie. It is far too good for me to do that to it. A most excellent movie!

    This is a definite must-see for all Star Trek fans!!

    It gets a 10/10 from...

    the Fiend :.
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    Ironically, Nicholas Meyer also directed the best of the *Trek* movies, and the only one which I think works as a real movie (as opposed to a device for vacuuming dollars out of Trekkies' wallets), *The Wrath of Khan*. I guess he just got lucky with that one. Nevertheless, bringing him back to rescue the series from the clutches of the Shatnermonster was clearly a good decision. Everyone seems to have been so relieved that they are willing to ignore this movie's many and massive flaws.

    The core problem here is that the smug self-righteousness which was always the most obnoxious thing about *Star Trek* serves as the very basis of the film, and is handled in an even more ham-handed manner than it usually is. (Funny how no one ever behaves like a racist jerk until a Point needs to be made, and then suddenly Starfleet's full of 'em!)

    But that is exacerbated by a constant stream of little idiocies and absurdities:

    Chekov asks if he should raise shields when the *Enterprise* meets the ship they were expecting to meet. So, complete idiots can become officers on the Federation flagship, then?

    The idea of Klingons and humans dining together is treated as a shocking and unprecedented thing, even though the end of the previous movie, they were shown partying together (though it is understandable why everyone wanted to forget that the execrable *ST5* existed).

    Spock just happens to have a sticky-backed homing device which he can place on Kirk's shirt when he needs one, even though there is no reason at the time for him to be carrying one around.

    This marvel of 23rd-century miniaturization is an inch long and half an inch wide and remains clearly visible on the shoulder of Kirk's uniform throughout the entire process of his arrest and trial, but the Klingons never notice it.

    Neither the *Enterprise*'s crew, nor even the computer, can easily tell from the trajectory of a torpedo whether it came from *Enterprise*'s launchers or a point under her keel? And the "neutron surge" which "could only have come from another ship" didn't alert anyone to the presence of another ship until after Kirk and McCoy had been sentenced? I think I see how Chekov kept getting promoted.

    Apparently, gravity boots are not standard equipment on Starfleet vessels with artificial gravity, since only the killers will have them. Gee, you'd think having a few pairs around would be kind of useful, just in case.

    Valeris demonstrates the *Enterprise*'s alarm system by actually firing a phaser at a pot of food in the galley, instead of just explaining it.

    The guy she's explaining it to is Chekov. That's right, the brand-new helm officer is explaining ship operations to an officer who has served on this ship and its predecessor for a quarter-century. Worse, she says, "As you know" before explaining it. So what was that idiotic demonstration in aid of, exactly? Why not just say, "The alarms would have gone off"?

    The pot disappears, while the food inside it remains, even though no *Star Trek* phaser has ever worked that way before or since. Apparently Meyer thought this would be cool.

    Uhura comes to investigate the alarm at the head of the security team. That's right, the communications officer! And no, she doesn't bother calling on the comm system to find out what happened, she actually runs down to check it out in person, because...uh, because they needed an excuse to get Nichelle Nichols into the scene, I guess. Then Scotty runs in for the same reason. Apparently only the main guys care about stuff like that and don't have jobs to do.

    Even though the comm officer is standing right there, Spock orders the helm officer to send a false message to Starfleet. Why? Because the helm officer is a Vulcan, and it allows them to remind us that Vulcans don't lie unless it's *absolutely* necessary to the plot.

    It took *that long* for someone to notice the bright purple blood on the transporter pad? Can the transporters be accessed by just anyone? And aren't there records? Haven't any number of episode plots turned on transporter records?

    So Kirk *knew* about the homing device, and didn't even bother moving it to a less conspicuous location? Lucky Klingons are as dumb as humans.

    I'm not even going to go into the manifest imbecility of the "Klingon dictionary" scene, except to say, "Books? Printed books?!"

    Why would Spock ask McCoy to help him reprogram a torpedo? Dammit, he's a doctor, not an engineer!

    Why can a bunch of people just beam into a secret summit conference with phasers drawn, a short time after the Klingon Chancellor was assassinated? You'd think Starfleet and Klingon security would be pretty keen on stopping things like that.

    Apparently phasers have a rarely-used "defenestration" setting.

    (I won't mention "Colonel [!] West," since Meyer apparently retained enough sense to cut him from the original release.)

    Stupid movie.
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    This 6th installment in the franchise (the last with the full original TV cast) risks harming co-writer/director Nicholas Meyer's reputation as auteur of STAR TREK II: THE WRATH OF KHAN. His script for this one, written with partner Denny Martin Flinn and based on an idea by Leonard Nimoy, is more than a little obvious and simplistic. In a way it seems almost a throwback to the original, relatively unsophisticated TV series; all the more surprising in contrast to the literacy and mature sensibilities of KHAN's scenario, originally written by Jack B. Sowards and supposedly vastly polished and improved by Meyer's doctoring.

    What worked especially well in KHAN -- the larger than life villainy of Ricardo Montalban's title character, eloquently expressed in quotations from Melville, among others -- is here rather hammily echoed by Christopher Plummer as the Klingon General Chang. Unfortunately, his character's ferocity seems designed simply to fulfill the story's requirement of a baddie who can engage in a 'duel of wits' with Kirk, as in STII. But there's no backstory and no dramatic connection between the two warriors, and to be honest, Plummer's overwrought Shakespearean readings become old pretty fast.

    The parallel between the collapse of the Soviet Union in our time, and that of the Klingon Empire in the 23rd century, could have been quite effective if dramatized with more subtlety and believability. But again and again the proceedings here are undermined by obviousness and by-the-numbers plotting. We get Kirk as an unrepentant Klingon-hater who must eventually see the error of his ways. We get the insufferably smug Enterprise officers (?) showing disgust at their Klingon guests' table manners. We get a clichéd prison camp of horrors. And we get the unintentional comedy of actors who memorize their script and never listen to their fellow actors, or the director, to come to a consensus on how to pronounce "Gorkon."

    There are a few fine scenes, particularly a harrowing demonstration of the power of the Vulcan mindmeld as performed by Nimoy and Kim Cattrall, and a funny exchange between DeForest Kelley and Shatner which alludes to Kirk's conspicuous womanizing. But there are also some of the dumbest things you'll ever see in a Star Trek story. How about a starship crewman who doesn't wear shoes? Why? Because he has big clawed feet and can't find a single cobbler in the entire galaxy who can make a pair of boots for him! How about a shapeshifting creature who can not only transform her/its body into an exact replica of another person's, but manages to perfectly duplicate the clothes as well?! How about the spectacle of the Enterprise officers, having foiled an assassination attempt in the nick of time, being treated to a round of applause by a bunch of Federation diplomats? Yep, these are all just as stupid as they sound.

    So which is it? Is Meyer a wizard or a hack? And is it "Gork'n" or "Gor-khan"?
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    If you thought Trek V was bad, take a look at Trek 6-The Undiscovered Country. Talk about crap! The major problems in this flick are so numerous that they make the few smaller problems of Trek V pale by comparison. Let's take a look:

    -The galley scene, which shows real food being cooked, doesn't work at all. There's not enough room on a starship to store real food. And how about that alien with the bare feet making the food? Very sanitary. -Weapon alarms on a warship? That's like putting motion detectors in a gymnasium. Why didn't the alarms go off constantly? -Valeris leads the investigation into the murders and discovers that the killer is....Herself!!! She must be the stupidest Vulcan of all time. The Vulcan Criminal Justice System must be the laughing stock of the galaxy if it's this easy to get caught. -An object at rest tends to stay at rest unless acted upon by some force. This Law of Physics hasn't been discovered by the Klingons yet. That's why the sitting Klingons start to float in the air as soon as the gravity cuts out. (They also squeal little girls too. How Macho.) -The Enterprise is trying to sneak into Klingon space to find Kirk on Rurapentey Prison Planet. A Klingon outpost asks them what they are up to. The (stupid) Enterprise people reply- "We're condemning food." The Klingon says, "Okay, have a nice day," or words to that affect. Good thing the Enterprise ran into the stupidest Klingon in the galaxy or they might have gotten caught. (A pattern is developing.) They had to look up Klingon words in "books." It's been stated everywhere that books are a very rare thing by the 24th century. Spock gave Kirk a book for his birthday and Kirk was astonished that he found one. Yet they happen to have a half dozen Klingon-English dictionaries on board. How stupid. -At Kitomer, the Klingons are watching the Ambassador. Among them is Gorkon's daughter, who wants to kill Kirk more than she wants to breath. In walks Kirk and his friends and they walk right past the daughter, even saying "Excuse Me" to her!! The other Klingons just let them pass without a blink. Kirk should have been filleted on the spot. Here's the killer of her father walking past her to kill someone else.

    I could go on, but I don't want vomit on my keyboard. Trek V may be flawed, but it has a good, solid story. The direction is also good. The camera is in the right place, and everyone is on their spots. What more do you want? The ending was supposed to have gargoyles chasing Kirk after the demon was killed, but Paramount got cheap and cut the budget. The scenes with Sybok sharing Spock and McCoy's pain are very powerful. I'm sorry, but this is one of the better Trek films. It's certainly better than Insurrection, Nemesis and Generations.
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    This entertaining outing deals with an accident on the Klingon moon that turns their planet inhabitable , it forces the Klingon Empire into a truce with the Federation . Reluctant Kirk (William Shatner) , despite his mistrust of the Klingons after they killed his son in Genesis, is assigned to escort a Klingon cruiser carrying the Klingon Chancellor to Earth for the meeting point . Enterprise crew is missioned to negotiate a peace treaty with Klingon leader (David Warner) but are double-crossed by renegade cohorts . During the journey to the ship , the Klingon cruiser is torpedoed , and Kirk and McCoy fall prey a trap , being taken prisoners after the Chancellor is killed by two Starfleet crewmen assassins . Spock immediately begins an investigation, while Kirk and McCoy( DeForest Kelley) are judged and sentenced to life on Rura Penthe - a far deep-frozen asteroid , there they meet a weird transformer being (Iman). Meanwhile, Spock has discovered that a Klingon Bird of Prey - one that can fire when cloaked , and under the command of Klingon General Chang (Christopher Plummer) - is the aircraft responsible for firing on the Chancellor, and the two killers came from the Enterprise . The crews of the Enterprise and the Excelsior piloted by Sulu (George Takei) must stop a plot to prevent a peace treaty between the Klingon Empire and the Federation . Meanwhile , Spock (Leonard Nimoy, also executive producer), Scotty (James Doohan), Uhura (Michelle Nichols) , Chekov (Walter Koenig) attempt to free Kirk and McCoy ; they also discover a conspiracy.

    This epic story is concentrated on characters as well as thrill-packed action and special effects although there're numerous of that too . The movie has tension, brief touches of humor , emotion, suspense and sensational spacial scenarios like is customary development of the franchise . Spectacular, exciting , fast-paced , thrilling this is the description of this new outing of Star Trek , film that re-innovates the saga through a perfect pulse narrative that does not give a second of rest to the spectator who is trapped for two hours approx. in a genuine visual spectacle . Idealism ,humor , humanity , several agreeable characters and trademark effects abound and will please the enthusiasts such as the neophyte .

    The top-notch acting convinces with the usual deliciously flamboyant interpretations from Shatner , Nimoy , Koenig , Takei , Nichols and especially Christopher Plummer in a super-villain role , while other secondary players as Kim Cattrall, Mark Lenard , Brock Peters, John Schuck , Micheal Dorn , Kurtwood Smith also make a nice work . The stirring final amazing the spectator , in which the thrilling and spectacular scenes create a perfect union that terminates with an ending that leaves you stuck in the armchair facing the formidable spectacle as a privileged witness . Fans of the series may find much to love , and others will be pleased . Exceptional soundtrack by Cliff Eidelman , he composes an impressive musical accompaniment to the film . Furthermore , a colorful and evocative cinematography by Hiro Narita . The motion picture is stunningly directed by Nicolas Meyer (Star Trek II : Wrath of Khan , Time after the time , The deceivers , The day after) who also concocted the story . Suitable for family viewing , it's an enjoyable adventure which young and old men will enjoy . Fans of the series will find this entry very amusing and fun . It is entertaining to watch and Trekkies are sure to love it , resulting to be one of the best and last installments with the original characters .
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    First up I'm not a Trekkie, Trekker, Trekite, or whatever the fans of this show call themselves, so my comments are not the usual eulogistic gushings you find posted about the Star Trek movies. In fact if you are a Trek fan I'd skip reading this because you aren't going to like what I have to say.

    The main problem I had with this film, apart from the totally ludicrous Scooby-Doo type unmasking of the would be assassin, and Spock's plodding Jessica Fletcher impression, is the filmmaker's assumption that the audience is totally stupid.

    For example, towards the end of the film, faced with having to find an invisible spaceship (a "cloaked Warbird" no less) the crew of the Enterprise come up with the wizard wheeze of attaching some of "that atmospheric equipment we're carrying to catalogue gaseous anomalies" to a torpedo that will seek out the Klingon ship's exhaust. They hurriedly attach the gear to a torpedo and blow the baddies space ship to bits. Hurrah! This is great - except this is the first mention of the Enterprise carrying "all that atmospheric equipment". There was scene at the start of the movie on board a totally different ship, commanded by Sulu, which had just finished surveying "Fifty-four planets - and their gaseous atmospheric anomalies" in which we are told the "sensing and analytic equipment worked well" but there's no mention of the Enterprise lugging this kind stuff around until the script demands it. This is just lazy. It assumes the audience cannot remember what happened 80 minutes ago. It's insulting. Why didn't they look for the suspicious "Neutron emissions" that Spock noticed just before the attack? If the Warship was venting "Plasma" (which is very hot) why didn't they bung a night sight on their 'sensors' and look in the infra-red spectrum?

    Other moments of stupidity include:

    The galley having a gun rack just so a crew member can vapourise a chicken and prove a point about the alarm system. Why the hell would the ship's kitchen need a gun rack? Maybe there is a setting lower than 'stun' for melting the sugar on a Creme Brulet. Who Knows?

    The assassin's magnetic boots being left in a locker so they could be found later. Why didn't the bad guys just bung them out of an airlock or, even better, 'transport' them off the ship into the convenient undetectable , invisible space ship hanging about outside. But no, this is a Star Trek movie. Only the heroes are allowed to be smart (and that is only by comparison) so everyone else has to be REALLY stupid. Having found the boots, the locker's owner is brought forward and challenged to put them on to see if they fit. The camera pans down the suspect's legs to reveal he has huge webbed feet. Bare, huge webbed feet. No socks, no shoes, just ugly rubber feet. I guess this was supposed to be funny but it just made me think 'Starfleet only provides uniforms for Humans? Oh come on! Grow up, people!'

    And what's all this guff about the Klingons only having 50 years? If Earth's moon exploded with the force that the Klingon home-world's moon did it - it was a big enough bang to rock a Federation ship light years away - it would have done more than cause "deadly pollution of their ozone" it would have wiped life of the face of the Earth, Mars and any other colonised planets in the Solar System.

    For years, we are told, an uneasy peace has been kept along the border between Klingon and Federation space. A Federation ship is warned by the Klingon High Command to "Obey treaty stipulations and remain outside the Neutral Zone!" Later, when the Enterprise zooms to Kirk's rescue, it scoots into Klingon space at top speed with big coloured zoom lines trailing behind it and a loud stereophonic Swoooooosh! on the soundtrack. The Klingon's response? A bored and sleepy guard hails them and asks them who they are. He hails them in voice only mind you - the first time ever in the history of the Trekyverse that I can remember that people haven't communicated via wall to wall TV - because if they had communicated via the usual wall to wall TV, the bored and sleepy Klingon guard would have seen he was talking to humans and pushed the panic button - how convenient for our heroes was that! On board the Enterprise Uhura and company frantically page through old Klingon glossaries, manuals and dictionaries they just happen to have lying around and bluff their way past the Evil Empire's borders by mumbling "We art delivering food... things to Rura Penthe... over...". Okay, says the guard, on you go. And that's it! No passwords, no words of the day, no sign of any basic military security measures at all. Nothing. So much for the mighty warlike and evil Klingon empire. It's pathetic.

    At least once during every movie I watch, I seem to end up thinking "Why did they just do that?" only to have to remind myself "It's only a movie". Watching this turkey I asked myself the question far more often than I usually do. Too often. There come a point when "It's only a movie" mutates into "Because it's crap". This is crap. Another dumb Star Trek movie only partially redeemed by an excellent score.
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    Up to this point in the Star Trek movie series, each film harkened back to a specific aspect of the Star Trek: Original Series television show. "Wrath of Khan" was an action/adventure story, "Search For Spock" pulled at the heartstrings, "Voyage Home" was a comedic romp, and "Final Frontier" was a philosophical endeavor (albeit a failure). In "The Undiscovered Country", however, the Star Trek writers/producers focused on an area that had also been a solid part of the original TV series: politics.

    Without delving too deeply into plot details, this film uses the Federation/Klingon relationship to almost exactly parallel the U.S/U.S.S.R relationship. This symbiosis is successful in two ways: First, the similarities are not cheesy (like in Rocky IV, which went way over the top in depicting the U.S./Russia relationship). Second, the reason that the similarities do not stray into silliness is the acting of William Shatner as Captain Kirk. Throughout the earlier movies, Kirk's relationship with the Klingons went from mistrust to out and out hatred, as they were involved in the death of his son. Thus, in this film Kirk must also comes to terms with his prejudice, or risk being labelled a "dinosaur" and considered past his prime.

    If you were disenfranchised by the sub-par Star Trek V, this movie represents a step forward again. It dwells too much on already-covered themes to truly be great but it is watchable and enjoyable.
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    Despite disappointing box office returns for Star Trek V, Paramount was originally looking to develop a Star Trek Prequel concept for veteran producer Harve Bennett to direct. However pressure to give the original series cast an opportunity for a (moderately budgeted) sign off led to Bennett departing the franchise to return to TV producing, and gave Leonard Nimoy, as executive producer, the opportunity to steer this film to completion.

    He made a reasonably sensible decision to hire Nicholas Meyer, who had wrote and directed Star Trek II, and helped re-write the script for Star Trek IV. The addition of producers Steven Charles Jaffe (long term Meyer collaborator from both Time After Time, The Day After, and Volunteers) and previous Trek movie's effects producer Ralph Winter meant that a very focused team was formed. This was crucial when trying to get the maximum production value out of an outer space set movie on very limited $30 million budget. The team wisely brought back visual effects houses ILM and VCE (the same two companies who had worked on Star Trek II), and supplemented by further good work from companies run by ex-ILM workers Matte World and PDI. Like Trek II, some effective recycling took place – the re-use of the venerable Klingon Bird of Prey miniature (from Treks III, IV and V), a dusted off and modified USS Excelsior(from Treks III and IV), the the veteran K'Tinga class cruiser and the USS Enterprise miniatures, which had been originally constructed back for the first movie back in 1978!

    However this recycling would count for nothing if it wasn't for an interesting, solid, but not without its flaws storyline. The story idea, was at is heart, very good and typical Trek, but while it helps sustain an exciting journey, like some previous it glosses over some key plot holes. There are some excellent set pieces – the assassination sequence, and the Rura Pente break out sequence are well done, aided significantly by Hiro Narita's solid photography, and 2nd unit photographer Christopher Fante's work. Narita really brings some great atmosphere to the USS Enterprise bridge – which has not looked as good since Star Trek The Motion Picture. However, the limited budget does show and some of the sets do look, despite the strenuous efforts of Narita, cheap and cheerful and get dangerously close to pulling you out of the picture. This failing, together with some dubious plotting regarding the solving of the assassination crime, some decidedly uneven direction by Meyer (the action finale on-set scenes being very poorly choreographed) and uneven editing by Ron Roose, does mean the film feels a little cheap and dated compared with more slickly made original series cast films such as Star Trek IV and Star Trek The Motion Picture.

    However, these flaws are more than compensated for by some great acting performances. Shatner's grounded, slyly amusing, introspective, and world- weary performance as Kirk sets a great tone for the movie, and both Nimoy and Deforest Kelley know exactly how to riff off him and are themselves both great. The guest cast interacts with these three very well: Michael Dorn in a charismatic if too brief role, Kim Cattrall as Vulcan Enterprise science officer Valeris, the returning David Warner as Klingon Chancellor Gorkon, a very interesting return performance by Star Trek IV's Brock Peters, replaying Admiral Carthwright, and a terrifically amusing and moustache twirling performance by Chris Plummer as Klingon Military leader Chang. It is the interplay between the core three Trek crew characters, and the guests that is the highlight of the film, and gets you to overlook the plot flaws, and some decidedly broad and OTT performances by the supporting Trek cast, and simply allows you to get drawn in and follow these characters through to the end of the film. This journey is hugely assisted by newcomer Cliff Eidelman's thunderous score. Like Horner's work on Trek II, this score is a real surprise and elevates the visceral impact of the film far above its relatively small budget. It is an entirely appropriate musical journey; complements the story brilliantly, and leads you through the climax and end credits leaving you with an overriding sense of nostalgia and a feeling of gratitude for Paramount allowing the original series actors to go out on a high. The music also invokes sense of completeness to the journey and a very subtle hint as to what the future (at the time) cinematic adventures of the USS Enterprise might hold.

    In summary a solid and satisfying way to sign off this series with the original cast.
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    (Credit IMDb) After an explosion on their moon, the Klingons have an estimated 50 years before their ozone layer is completely depleted, and they all die. They have only 1 choice - to join the Federation, which will mean an end to 70 years of wars. Admiral James T. Kirk and crew are called upon to help in the negotiations because of their "experience" of the Klingon race. Peace talks don't quite go to plan, and eventually Kirk and McCoy are tried and convicted of assassination, and sent to Rura Penthe, a snowy hard-labour prison camp. Will they manage to escape ? And will there ever be peace with the Klingons ?

    I enjoyed bits and pieces of this, it really revved up the in intensity level from the woeful part 5, but it's still not to what I had liked. Too many dull moments, and talky scenes for my liking to fully succeed. Many questionable moments as well, especially regarding the ending. What it does do well is establish the characters well, and helps set up the series for even bigger things.

    Performances. William Shatner is good as our fearless leader once again. The rest of the crew do good as well, while familiar faces such as Christian Slater, Kim Cattrall, Etc.

    Bottom line. Above average Star Trek film, that should appeal to the die-hards. I enjoy Star-Trek, but am not a die-hard. Could have done without the inconsistent pacing, but hey, it beats part 5. Worth a look.

    6 ½ /10
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    All in all, a modestly satisfying movie. But at times ST VI treads very close to the line of mediocrity. The issue is that it tries to do two things at once: be a serious drama while serving as a send-off of the original crew. That doesn't have to be a difficult task and generally it does work, but barely for me.

    The problem is that it takes the campy fun too far. Mixed within serious drama it looked too contrived and sometimes only to be cute; the struggling with Klingon translations scene being the most wince-inducing. It goes back to ST IV, an entertaining movie that became a borderline screwball comedy almost because it knew it couldn't avoid self parody. The movies seemed to run out of compelling reasons to exist other than to just bring back the old crew. And that's a pretty flimsy excuse for a series that was so compelling.

    But Trek fans would have none of this nay saying. We were going to get ST films even if we could not suspend disbelief that retiree-age star fleet officers could be on the front line battling Klingons.