a5c7b9f00b In the wake of Spock's ultimate deed of sacrifice, Admiral Kirk and the Enterprise crew return to Earth for some essential repairs to their ship. When they arrive at Spacedock, they are shocked to discover that the Enterprise is to be decommissioned. Even worse, Dr. McCoy begins acting strangely and Scotty has been reassigned to another ship. Kirk is forced to steal back the Enterprise and head across space to the Genesis Planet to save Spock and bring him to Vulcan. Unknown to them, the Klingons are planning to steal the secrets of the Genesis Device for their own deadly purpose.
Admiral Kirk and his bridge crew risk their careers stealing the decommissioned Enterprise to return to the restricted Genesis planet to recover Spock's body.
Star Trek III takes place right after the events of Star Trek II. The crew of the Enterprise defeated Khan but at a very high price. This film deals with loss and rebirth in that Kirk has lost his best friend and part of himself and finds that he must risk everything to save McCoy's sanity and Spock's soul. Kirk truly has the weight of the world on him and fate is not too kind to the man who cheats death. He must deal with the loss of his son and his ship, the Enterprise. Still he beats the odds and the film shows that Genesis truly means "life from lifelessness." This film also clearly shows that Leonard Nimoy is a fantastic director. He goes on to direct "Three Men and a Baby" and Star Trek IV: The Voyage Home both outstanding films.
I remember being disappointed after leaving the theater because expectations were so high from 'The Wrath of Khan'. But on looking back in hindsight, this IS a huge movie for any 1st time director.<br/><br/>On the plus side, the acting by Bill Shatner ranks right up there amoung his best in the series, with hardly a false note (especially when he receives the bad news). The other regulars all have their moments, some are a little over the top…but ALL of them are better in #4 (and perfect in #6, just like they were perfect in #2). The non-series supporting roles are a little spotty, Kristie Alley is sorely missed (a tough act for any actress to follow). And Spock's clumsy metamorphosis was a story snag that was deemed necessary because 'learning while directing' AND acting in a larger role would have been too much for any performer. Too many closeups that was so 'in your face' on the big theater screen (did we really need to be so close to Sarek's upper lip? good thing the guy flossed); but it was a lesson Nimoy obviously learned because those distracting TV style closeups are absent from 'The Voyage Home'.<br/><br/>The music by the returning James Horner elevates the film to a grand type space opera that contain alot of epic set pieces (and explosions) and tries to camouflage some of the sillier moments. Too bad he didn't return for one or two more installments for continuity's sake because his music is phenomenal.<br/><br/>After #4 came out, I re-saw #3 and appreciated the movie's finer moments (there are many). At the very least the story actually MOVES (unlike #1 'The Motionless Picture'). And #3 prep'ed director Nimoy to free himself from the studio shackles and make the next installment his more personal film; and accomplish what many thought would never happen: to bring the Trekkers and general public together in an audience pleasing 'laugh out loud' adventure; #4 is a fond memory of one of the best times I ever had at the movies.<br/><br/>6 out of 10<br/><br/>Note: And lucky Spock even gets to break his cherry!
This is a good but not great Star Trek movie, a sort of compromise between the first two.
Admiral James T Kirk (<a href="/name/nm0000638/">William Shatner</a>) commandeers the newly repaired USS Enterprise in order to return to the Genesis and retrieve Spock's body after Spock's father Sarek (<a href="/name/nm0501697/">Mark Lenard</a>) informs him that the body must be returned to Vulcan so that it can be re-united with Spock's katra (eternal soul), which Spock has conveniently stored in the body of Dr Leonard McCoy (<a href="/name/nm0001420/">DeForest Kelley</a>). Meanwhile, on Genesis, Saavik (<a href="/name/nm0193495/">Robin Curtis</a>) and David (<a href="/name/nm0125190/">Merritt Butrick</a>) have located a youthful Spock, but the three of them are marooned on the planet's unstable surface when a Klingon warbird in search of the Genesis device destroys their ship, the USS Grissom, before they can be beamed aboard. The Enterprise must contend with ruthless Klingon commander Kruge (<a href="/name/nm0000502/">Christopher Lloyd</a>) while attempting to rescue the survivors before the Genesis planet collapses. The crew is all here. Kirk, McCoy, Spock (<a href="/name/nm0000559/">Leonard Nimoy</a>), chief engineer Montgomery "Scotty" Scott (<a href="/name/nm0001150/">James Doohan</a>), communications officer Lt Uhura (<a href="/name/nm0629667/">Nichelle Nichols</a>), first officer Pavel Chekov (<a href="/name/nm0000479/">Walter Koenig</a>), helmsman Hikaru Sulu (<a href="/name/nm0001786/">George Takei</a>), Lt Saavik and Kirk's son David. In the year 2285 A.D., about three months after the events of the previous film The Wrath of Khan. In fact, the movie opens with the final scenes from The Wrath of Khan. Possibly, but there was no guarantee that they would have gotten all the Klingons before at least one of their own number was lost, since the Klingons outnumbered them and were likely have better firearms training. In the novelization, Kirk actually does consider the possibility of trying to shoot the Klingonsthey beam in, but quickly dismisses it on the grounds that they'd likely damage the transporter in the process, which would have stranded him and his crew on the Enterprise since Starfleet had already removed all the shuttlecraft (escape pods had not been conceived of at this point in the franchise's history, first being mentioned in the first season of Star Trek: The Next Generation). The real problem was that the Enterprise's control system had burned out during the battle with the Klingons, meaning that after killing the landing party, Kirk and his crew would have had no other way of defending themselves. After realizing that his landing party was dead, Kruge may well have beamed Kirk and his crew into his brig or dumped them on the Genesis planet, after which he would have been free to steal the valuable Federation data in the Enterprise's computer banks (which is what the self-destruct was really intended to prevent). The decision was likely also affected by the knowledge that this allowed the Enterprise a "noble death" rather than the decommissioning she faced when returned to Earth. The Star Trek series didn't really get its timeline sorted out until the late 1980s and early '90s (and even then TOS era dates are still a bit muddled); the 20 years figure is a rough guess based on the fact that the Trek series had been going for just under 20 years when the movie was made. The closest on-screen explanation we have is that either Morrow is simply wrong about the figure, or he means that 20 years have passed since the Enterprise was refitted in Star Trek: The Motion Picture. There are other issues. In the first pilot (which was non-canonical before any "regular" series episodes had been created), Spock was shownfirst officer under Christopher Pike, 5 to 10 years earlier. Clearly, the Enterprise is more than 20 years old. The Federation would not build expensive "wessels" with such a short service life. ["The Menagerie"/"The Cage" were non-canonical from the get-go,they describe interstellar travel using conventional propulsion systems, a gross improbability. If such a ship could reach 0.9c, and Talos IV were 200 light-years away, the trip would have had to begun in the early 21st century, at the latest. Enterprise (the series) rendered the implicit non-canonicity explicit. There was no room in the Enterprise universe for Christopher Pike and his ship.] It was slightly redressed to servethe bridge of the Grissom, with the seat covers and a few of the screen details being changed. The lighting of the set might also have been adjusted to give it a different color than we'd seen before. The Excelsior got a new, albeit very rudimentary, bridge set that was scrapped after this movie. The next time we see it in Star Trek VI, it has a redressed version of the Enterprise-A bridge. The novelization answers this (though it's technically non-canon and certain parts of the novelization don't match up perfectly with the film). Uhura stayed behind to scramble Federation communications and make it impossible for anyone to catch up with the Enterprise until it was too late to stop them from completing their mission. At the last moment, with authorities banging on the door of the transporter room, Uhura beamed herself to the gate of the Vulcan embassy to attempt to gain an audience with Ambassador Sarek. Justa Federation security team was almost upon her, she finally negotiated her way past the gate and ran through the grounds to the front door of the embassy. Knocking, she received no answer, and the security team's leader began leading her back outside the embassy grounds before Sarek appeared and demanded to know why the Federation was invading Vulcan sovereign territory. The security team leader, realizing she'd overstepped her grounds, stated that Starfleet believed the Enterprise crew to be sick and were trying to get them to treatment, but Sarek denied her permission to leave the embassy grounds with Uhura, stating that the commander had asked for, and been granted, sanctuary. Declining the security officer's offer of 10 minutes alone with Sarek followed by incarceration, Uhura accepted his offer of sanctuary. The security officer said that the Federation would be asking for extradition. "That is up to your government," Sarek replies. "Good day."<br/><br/>However, for the sake of the story & it's pacing, it can likely be assumed that Uhura has plenty of connections and resources that would allow for her to find some sort of transport to Vulcan. If you watch the way she handles her fellow officer ("Mr Adventure") justKirk & his team enter the transporter room, it's reasonable to assume she can handle the problem of getting to Vulcan without the script saying so. As Genesis explodes, Kirk and his skeleton crew fly the Klingon warbird to Vulcan, where the Vulcan high priestess T'Lar (<a href="/name/nm0000752/">Judith Anderson</a>) performs the dangerous ritual, fal tor pan, that reunites Spock's katra with his body. The procedure is successful, but Spock's memory is slow to return, and Sarek isn't sure when or if it will come back. "Only time will tell," he tells Kirk. As Spock, clad in a white robe, T'Lar, and a number of attending Vulcans leave the ceremonial platform, Spock walks past Kirk, not recognizing his presence at first. Suddenly, Spock turns to Kirk and asks if the ship is out of danger, to which Kirk replies that he (Spock) saved them all. In the final scene, Spock says, 'Jim. Your name is Jim, while the crew of the Enterprise gather around him, pleased that his memory is beginning to return. Yes. Star Trek III: The Search for Spock, a novelization of the movie by American science fiction writer Vonda N. McIntyre, was released in 1984. So far, there are 13. Star Trek: The Search for Spock was preceded by <a href="/title/tt0079945/">Star Trek: The Motion Picture (1979)</a> (1979) and <a href="/title/tt0084726/">Star Trek: The Wrath of Khan (1982)</a> (1982). It was followed by <a href="/title/tt0092007/">Star Trek IV: The Voyage Home (1986)</a> (1986), <a href="/title/tt0098382/">Star Trek V: The Final Frontier (1989)</a> (1989), and <a href="/title/tt0102975/">Star Trek VI: The Undiscovered Country (1991)</a> (1991), all of which featured the Enterprise captained by James T Kirk. <a href="/title/tt0111280/">Star Trek: Generations (1994)</a> (1994) united Kirk's crew with the crew of the Enterprise captained by Jean-Luc Picard. The Star Trek movies featuring Picardcaptain include: <a href="/title/tt0117731/">Star Trek: First Contact (1996)</a> (1996), <a href="/title/tt0120844/">Star Trek: Insurrection (1998)</a> (1998), and <a href="/title/tt0253754/">Star Trek: Nemesis (2002)</a> (2002). <a href="/title/tt0796366/">Star Trek (2009)</a> (2009), <a href="/title/tt1408101/">Star Trek: Into Darkness (2013)</a> (2013), and <a href="/title/tt2660888/">Star Trek: Beyond (2016)</a> (2016) harken to an alternate reality in which Kirk was just beginning his career with Starfleet Academy. While we never actually see it the answer seems almost certainly yes. Spock is experiencing the "Pon-Farr", the Vulcan mating drive which it is established in the original series will kill him if he does not have sex with a Vulcan female. We then see Saavik touch their hands together in the first phase of the mating ritual. In the script for Star Trek IV: The Voyage Home, the matter is verified by revealing that Saavik's reason for staying on Vulcan is that she is pregnant with Spock's child but the line was cut from the final film. It was an experimental warp drive that was to be tested on the Excelsior, the first Federation ship outfitted with it. Simply put, it was a warp drive that was faster than any warp drive in use up to that point. The Star Trek lore says that the experiment was a failure, not because of Scotty's sabotage but because Federation scientists couldn't make it work. David Marcus admits to Saavik that he'd used a substance called protomatter in his engineering of the Genesis device. Saavik tells him that he knew himself that protomatter was a highly unstable substance. Like he says, it "helped solve certain fundamental problems" but it also doomed the Genesis experiment to fail—since it caused the rapid development and aging of Genesis itself and the planet destroyed itself. Furthermore, the device was not usedoriginally intended. It was supposed to have been used on an existing lifeless planet but in this case it created a planet out of the light elements present in the Mutara Nebula, which would not have have the necessary heavy elements needed for planet formation.
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