Avatar (James Cameron, 2009)

Sigourney Weaver in Avatar

Jake Sully: Sam Worthington
Neytiri: Zoe Saldana
Dr. Grace Augustine: Sigourney Weaver
Col. Miles Quaritch: Stephen Lang
Trudy Chacón: Michelle Rodriguez
Parker Selfridge: Giovanni Ribisi
Norm Spellman: Joel David Moore
Moat: CCH Pounder
Eytukan: Wes Studi
Dr. Max Patel: Dileep Rao

Director: James Cameron
Screenplay: James Cameron
Cinematography: Mauro Fiore
Production design: Rick Carter, Martin Stromberg
Film editing: James Cameron, John Refoua, Stephen E. Rivkin
Music: James Horner

When it first appeared, James Cameron's Avatar was as much an event as a movie. People flocked to see its groundbreaking 3D and motion-capture CGI effects and to marvel at its colorful creation of a distant world. Even most of the critics raved, caught off-guard yet again by Cameron's expensive audacity, as they had been with Titanic in 1997. But as with Titanic, the passing of time has taken some of the glamour off of the film. Cameron had certainly excelled his contemporaries as a technological innovator, but 3D is beginning to become passé (as it did in its first insurgence in the 1950s) and motion-capture has become a standard technique. So it's possible to concentrate on Avatar as movie, and thus to find it wanting. For one thing, it's shamelessly derivative. The central plot, of a soldier "going native," is that of Kevin Costner's Dances With Wolves (1990). The Na'vi belief in the mystical unity of all things is identical to the Force from the Star Wars movies. And the gung-ho Marines and villainous representatives of the military-industrial complex are borrowed by Cameron from his own Aliens (1986). Even the Na'vi, with their elongated torsos, big eyes, flat noses, and long round tails, remind me oddly of the Pink Panther. Except blue. The characters are stock: Sigourney Weaver is again playing the tough, adversary whom the exploitative bad guys underestimate. Sam Worthington's Jake Sully is the white man savior of the native peoples. And Stephen Lang's bull-headed Col. Quaritch is the hissable villain with no apparent redeeming qualities. Cameron even calls the material being sought by the earthlings in the movie "unobtanium," a variant spelling of the impossible substance that has been called "unobtainium" by engineers since the 1950s. The Marvel Studios screenwriters at least have the wit to call their minerals "adamantium"  and "vibranium." But maybe that's quibbling: Avatar remains an influential and extremely watchable movie, even if it's predictable and overlong -- cuts of the film range from 162 to 178 minutes.

Guardians of the Galaxy Vol. 2 (James Gunn, 2017)

Peter Quill / Star-lord: Chris Pratt
Gamora: Zoe Saldana
Drax: Dave Bautista
Baby Groot (voice): Vin Diesel
Rocket (voice): Bradley Cooper
Ego: Kurt Russell
Yondu: Michael Rooker
Nebula: Karen Gillan
Mantis: Pom Klementieff
Stakar Ogord: Sylvester Stallone
Ayesha: Elizabeth Debicki
Taserface: Chris Sullivan
Kraglin: Sean Gunn

Director: James Gunn
Screenplay: James Gunn
Cinematography: Henry Braham
Production design: Scott Chambliss
Film editing: Fred Raskin, Craig Wood
Music: Tyler Bates

What can I say? There's lots of swooping and zooming and crashing, some spectacularly weird computerized sets and characters, cameos by David Hasselhoff and Howard the Duck (voiced by Seth Green), some good jokes and some duds, some cheeky music cues (e.g., George Harrison's "My Sweet Lord"), Chris Pratt takes his shirt off, and everything moves along efficiently to set up the next sequel. The movie doesn't dally too long on its Oedipal subplot -- Peter kills his father because he (the father) killed his (Peter's) mother. There were times, as when the only characters on screen are CGI ones like Rocket and Groot, when I wondered if a new Oscar category for semi-animated film shouldn't be considered. So I had as much fun as the latent 14-year-old boy in me is capable of having. I actually enjoyed Vol. 2 more than the first film in the series (James Gunn, 2014) because I didn't have to sit through exposition about who and what these characters are and could get right to the swooping and zooming and crashing.

Star Trek Beyond (Justin Lin, 2016)

Chris Pine and Zachary Quinto in Star Trek Beyond

Captain James T. Kirk: Chris Pine
Commander Spock: Zachary Quinto
Dr. McCoy: Karl Urban
Lieutenant Uhura: Zoe Saldana
Montgomery Scott: Simon Pegg
Sulu: John Cho
Chekov: Anton Yelchin
Krall: Idris Elba
Jaylah: Sofia Boutella

Director: Justin Lin
Screenplay: Simon Pegg, Doug Jung
Cinematography: Stephen F. Windon
Production design: Andrew Murdock, Thomas E. Sanders
Music: Michael Giacchino
Costume design: Sanja Milkovic Hays

Writing a screenplay for a Star Trek reboot film must be something of a confining job. You have to provide a worthy adversary for the Enterprise crew, who eat worthy adversaries for lunch, so you need to create a role for an actor who doesn't mind hamming it up, like Eric Bana, Benedict Cumberbatch, or Idris Elba, and keep the role distinct from all the other villains who have threatened the Enterprise. You have to provide the requisite familiar shtick for the characters: Bones and Spock must squabble, but good naturedly; Bones has to say something like "I'm not a doctor, I'm a...." at least once; Scotty has to fuss about the limitations of his engines; Chekov has to have a charming occasion to pronounce his v's like w's, and so on. You also have to provide a few surprises about the characters: Spock and Uhura are a couple! Sulu's gay! You have to have a pretty female newcomer who can wear elaborate alien makeup but still look pretty. You have to set up the plot to accommodate spectacular special effects. So no wonder that each successive reboot movie feels a little overfamiliar, and that there are shortcuts in the narrative that don't bear close inspection. In Star Trek Beyond, for example, we leave Scotty hanging from a cliff by the fingertips of one hand, but not too much later he shows up alive and well with no explanation of how someone with the average musculature of a Simon Pegg hoisted himself over the edge. And no wonder that Star Trek Beyond went through heavy rewriting, with Pegg and Doug Jung taking over the script after a first draft by Roberto Orci, Patrick McKay, and John D. Payne was turned down by the producers. There are some touches of wit in the script, such as the opening sequence in which Kirk faces down a crowd of what appear to be fearsome monsters but turn out to be about the size of schnauzers, and a clever use of an antique boom box -- perhaps a nod to the one carried by the punk in Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), whom Spock incapacitated with a Vulcan nerve pinch -- as a lethally disorienting weapon against Krall's forces. The box booms out the Beastie Boys' "Sabotage," a track that would be several centuries old, and Bones asks Spock, "Is that classical music I'm hearing?" to which Spock replies, "Yes, doctor, I believe it is." The cast does its usual best, with Pine nicely suggesting some of the old Shatnerian swagger as Kirk without resorting to caricature, and Elba, for much of the film unrecognizable under the makeup, giving his villain real menacing weight. But in the end, the reboot itself has lost freshness. It's time to give the shtick a rest and to provide a threat to the crew that isn't so dependent on an actor going over the top. Perhaps it's time to come up with a science fiction plot that relies more on science than on fiction.

Watched on Hulu

Star Trek Into Darkness (J.J. Abrams, 2013)

I'm not a Trekkie. I never watched TOS* when it was first on TV, and only got hooked on TNG* when it went into re-runs. I don't speak a word of Klingon. But I can do the "Live long and prosper" hand sign, so I guess I can pass among those who aren't really hardcore. In fact, when I learned that J.J. Abrams, the rebooter of moribund franchises, was going to make his first Star Trek film (2009), I was neither appalled nor intrigued, as a real Trekkie would be. Only one of the movies featuring the cast of TOS was really very good: Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), aka "the one with the whales." And even then, it was the script that made William Shatner in rug and corset trying to recapture the old Capt. Kirk swagger even plausible. Fortunately, it will take a few more years before the new cast -- Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, and Anton Yelchin -- need their own reboot. The great charm of Star Trek has always been its ensemble work. No one watching the series either on TV or in movies really cares that much about the story. It's the interplay of characters -- the bromance of Kirk and Spock (heightened to near-homoeroticism in the Pine-Quinto version), the grumpiness of Bones McCoy, the devotion of Scotty to his engines, and so on -- that makes the creaky old sci-fi clichés come to life. Throw in some in-jokes for longtime fans, such as the Tribble in this film, and you've got a surefire hit. The remarkable thing about the cast of the Abrams films is that they so far have transcended the paint-by-numbers quality of the plots and managed to make the CGI effects secondary to the humanity. Benedict Cumberbatch is a far more terrifying Khan than Ricardo Montalban with his rubber pecs ever was. And I admit that I teared up a bit seeing Leonard Nimoy in what turned out to be his farewell cameo. No, this is not a great movie, but there is great shrewdness in its casting.

*If you're reading this entry, I assume you don't have to be told that this is Trekkiese for Star Trek: The Original Series and Star Trek: The Next Generation. But if you're reading this footnote, I guess you do.