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Leonard Nimoy – Spock himself – took over as director this time around, delivering a somber, mournful installment of the Gene Roddenberry franchise. And when the defining trait of your series is dullness, this isn’t exactly the best strategy. Since Nimoy is busy behind the camera, Spock himself remains off-screen for much of the film,

“It’s back to boring basics for the Gene Roddenberry franchise…

“At this point, looking to juice the series with action scenes is the equivalent of applying a defibrillator to a cadaver.

“…Kirk has finally reached his full lounge lizard potential (it’s as if the comedy has freed him from his remaining inhibitions).

The best-received installment in the science-fiction franchise created by Gene Roddenberry is a much more conventionally structured action movie than its debut. Yet if this is the supposed high point for the Star Trek movie series, it’s still a low point for sci-fi. Despite phaser shoot-outs and starship battles, these pictures remain inert affairs, obsessed

In this first theatrical venture for the television series created by Gene Roddenberry, going boldly where no man has gone before mainly means floating … and floating … and floating through space, until you reach a state of Zen bliss or crushing boredom. If the endless interstellar vistas of 2001: A Space Odyssey tested your

“Did it really take William Shatner in the director’s chair to finally give us a decent Star Trek movie?

“Star Trek finally gets imaginative, exciting and – dare I say it? – kinky.