The starship Enterprise and its crew is pulled back into action when old nemesis, Khan, steals a top secret device called Project Genesis.
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I'm not a real fan of Star Trek; I saw a few episodes of the 1960's television series and found them amusing, which was the idea. The show was not a comedy or parody as such, but it kept the tone interesting. My favorite part when there was a shore leave fight between the Enterprise crew and some Klingons, and when Captain Kirk asks if the fight was over his being insulted, he is dismayed to be told no.I picked this one up because I heard it was supposed to be the best of the 1980's Star Trek movies, but found it disappointing and didn't finish it. It drags on, makes its points about Kirk being in a midlife crisis early on and goes on too long with the idea, and the villain Khan is not frightening like he should have been, I remember all the fuss by fans when the original movie came out and how that turned out to be nothing special. I had high hopes for this one because it was supposed to be the best, and learned the lesson that the other movies must have been even worse.
This is one of the high points of the Star Trek movie series. After the disappointing Star Trek: The Motion Picture, this was a massive improvement in both story telling and character development. The story revolves around a device called Genesis which creates habitable life from desolate planets. However an old nemesis, Khan, wants the device after his planet is nearly subject to the device's effect.Ricardo Montalban is excellent as Khan and is one of the strongest villains in the series. The cast of the original series has much more to work with this time round and their performances are just as great as they were in the show. Kirk is given lots of character development as we learn how he tries to escape death, which ties into the film's theme of sacrifice. It's also much more fast paced and action oriented, but it still maintains the intelligence that the series is known for. The battle sequences aren't stylised but rather they show the brutal effects of combat as we see crew members bloodied bodies after the ship has been hit by phasers and ion torpedos. This is an excellent entry into the series and remains a fan favourite for a reason.
This a great movie. Star Trek the motion picture is a good movie. This is better. This is better the the TV show. This has a great story line. It also has great acting. Star Trek III the search for Spoke is better. This a great movie. See it.
Movie Review: "Star Trek: The Wrath of Khan" (1982)After initial television visionary producer Gene Roddenberry (1921-1991) departing from producing the metaphysical, ultra-high-budgeted "Star Trek: The Motion Picture" directed by four-times-Academy-Award-winning director Robert Wise (1914-2005), Harve Bennett (1930-2015) takes over with less than a third of the original production budget in season 1981/1982 to grant Academy-Award-nominated screenwriter Nicholas Meyer the chance to create a high-stake poker game of a Hollywood entertainment powerhouse Movie by revisiting the title-given nemesis character "Khan" in reprising portrayal by actor Ricardo Mantalban (1920-2009) after the Kirk-challenging character's first appearance in Episode 22 of "Star Trek" Season 1 in 1966/1967.Captain James T. Kirk, performed by now in full-bloom action-beats-sharing actor William Shatner, put on an astoinishing tense confrontation between to spaceship commanding characters in thrilling scenes of a screenplay written by Jack B. Sowards (1929-2007), who together with the director Nicholas Meyer bring a fast-paced science-fiction-action opera into motion that any spectator, who has the chance to watch in a restorated color-graded as 5.1 dolby digital sound certified entertainment system to further witness a never-seen-before twisted thriller-movie set in infinite space of friendship, teamplay, faith, betrayal and ultimate sacrifice to drop to the knees to, because boldness of that kind in story-telling remains hardly missed in an over-populated comic book action operettes of contemporary 2010s event movie cinema. © 2018 Felix Alexander Dausend (Cinemajesty Entertainments LLC)