Star Trek IV: The Voyage Home

According to the unwritten law of Trek films, all the odd numbered ones are poor, and all the even numbers are good. This rule apparently to some lasted all the way through until Nemesis. Well, for me, the rule was disproved by this fourth entry to the series. The first and third films were good, but not great, whilst the second was (to quote Khan himself, “The superior!” Re-visiting this fourth entry into the series it became apparent to me that I preferred Search for Spock over this whimsical diversion of a film.

Acting as the final act in the trilogy-arc that began with Wrath of Khan our crew are now in command of a Klingon Bird of Prey vessel, and returning to earth to face a tribunal over their actions regarding Genesis and the stealing of Enterprise to rescue Spock. However, Earth has come under attack from a block of graphite with a glowing ball sticking out of it, which appears to be making some strange noise (in space) which travels into the atmosphere and is directed at the oceans (let me just make this clear…the noise begins IN SPACE). Turns out it wants whales to answer it, but mankind wiped out the creatures sometime in the past. Cue a rather flippant use of time-travel, done so easily that it makes you ponder why Kirk didn’t utilise it to go back and stop Khan in his tracks. Back to the 1980s the crew go, in search of some whales. Why the 80s? Well, erm, it gives an excuse to have fun at the sensibilities, fashions, and politics of the time… which sadly means that it all looks so very quaint and dated now.

Trek has always, on occasion, delved into messages in the sub-text. However, the 80s saw a rise in the ‘save the planet’ and ‘save the marine life’ mentality that sadly permeates this film. The message that we must respect our animal companions is hammered home to as much effect as Free Willy 2, and whilst it provides for some entertaining moments, it feels extremely unsatisfying overall. The mocking of 80s society, from the cold war nods, to the ‘colourful’ language just feels forced. In not having a grand villain to fight, the final act of the trilogy feels more like a mid-point. In addition, the music is scored by Leonard Rosenman, with Horner having chosen not to return, and sadly the result is a bit of a mess. Taking cues from his score on Bakshi’s animation of Lord of the Rings, the soundtrack just feels cheap and light, and not at all fitting with the scores of the previous films.

It’s not all bad, however. The cast (despite any reports of problems and disputes off set) really gel together on screen, and they are still fun to watch in their exchanges. Having Spock being almost a blank-slate, starting to remember who he is and how he fits in with the rest of them, allows for some amusing and touching exchanges, especially between him and Kirk. But overall the feeling is that the film was made in the 80s, and should have stayed there. Whilst most Trek tales are timeless, this feels very much of a period and no longer seems relevant – even though the issues of earth preservation are actually still around.

One of the weaker entries in the franchise, but a far cry from the weakest. That was to follow…