The latest Trek film cleverly manages to be a sequel, a prequel and a re-boot. It achieves this through the most over-used plot device in the Trek library of time travel, but for once it's justified as the result is an interesting set-up to an adventure that's a great deal of fun. Bad guys from Picard's era go back in time seeking revenge. They return to a time before Kirk and co embarked on their five-year mission, but their arrival changes the time-line, which means the established history doesn't have to follow the same course as it did previously. This is a neat idea, which you can either accept or not. I did.
I'll lay my cards on the table as being a fully-fledged Trek geek. I've watched every version many times, and yet there was nothing within the established history that was changed here that caused me any problems, but then again to my mind there wasn't much in the way of an established history that was all that important anyway. I certainly don't want to see flower people, mini-skirted Romulans and all the other aspects of a quaint 60s look at the future maintained forever. Plus, every version of Trek re-invents itself. The original series and the characters of Kirk, McCoy etc were a re-invention after the studios rejected the original pilot featuring Captain Pike. The Next Generation made peace with the Klingons. Deep Space 9 rewrote the established history for Cardassia and Bajor. Enterprise played fast and loose to allow Borg and Ferengi to appear and the crimes against good story-telling committed by Voyager are long and painful. Frankly, if we Trek fans can swallow Janeway and Paris mating after going at Warp 10 and changing into giant lizards, then there is nothing, but nothing in here to give concern.
Even when something important changes, there's always a good reason behind it. Initially, a romance sub-plot feels wrong, but then again it's a logical aspect of the characters' journey. Clearly the makers cared enough to think about what made the characters tick, and they did their homework. The best example of this is the Kobayashi Maru scene, a sacred piece of Trek law that is played for laughs. At first this felt as if it were diminishing the significance that The Wrath of Khan placed on the incident, and yet it is a valid way for Kirk to behave, and it wasn't until later that I clicked that the apple-eating was a homage. It's things like this that make the movie work for rabid Trekkies like me, but it also works for the less committed fan because the story returns to the old-fashioned values of rip-roaring space adventure that the franchise had forgotten about delivering some years ago.
In the opening ten-minute prologue Trek re-boots itself with more non-stop movement, action, self-sacrifice and corny drama than in the entire previous two movies. Once the human drama has been presented as being as important as the space battles by raising Kirk's birth to mythological levels, we get to see how the original crew meets up. Some of the crew such as Spock look like the original actor, some like McCoy have the essence of the original, and some like Scotty owe nothing to the original. But in all cases the comparison is with the actor, not with the character, and after living with them for a while all the characters feel right.
The adventure itself is as nonsensical as they ever were, but it carries the day with speed, humour, and some well-filmed action scenes along with underplayed special effects. My only complaint is the flares in which bright lights are repeatedly shone at the screen, although I think they won't be so intrusive when seen on tv. Other than that this film gets everything right, especially the big surprise plot twist, one that those who know their Trek would never expect. The fact that it's there is a brave testament to the fact that these are a new set of adventures, and they're adventures I'll be looking forward to.