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There is not much for anyone to like the movie Star Trek: Section 31

It is, in a word, horrible. Which is really a shame!

Put the “TV” on “TV MOVIE”

Sam Richardson as quasi, a change of form. Comedy and melodrama coexists restlessly at all times Section 31.


Credit: Michael Gibson/Paramount+

The film explains its premise with sufficiently clear, although in a clumsy section of voiceover of the heavy exhibition near the beginning: Philippa Georgiou (Michelle Yeoh) was once the ruler of the bloodstream thirst for blood, an evil mirror of the United Federation of Utopian Planets of Star Trek. She crossed “our” universe and was gradually reformed, more or less, before disappearing. Now, section 31, the Starfleet version of the CIA, more or less, it is necessary to track and recruit it to help them save the galaxy of another threat that has crossed the evil universe to ours.

Emperor Georgiou originated in Star Trek: DiscoveryAnd she was a constantly fun presence in a very unequal show. Yeoah clearly had fun playing a sadistic and horny version of the kind and honest captain Georgiou who died in DiscoveryPremiere.

But that fun is mostly absent here. To the extent that something about Section 31 It works, it is like a kind of generic science fiction action film, Star Trek’s Stab in a Suicide squad-Sight antihero history. Things happen in space, sometimes in a spacecraft. There are some fights, although almost everything involves hitting instead of phasers or photon torpedoes. There is an important element that must be pursued, since the destiny of the universe is at stake.

But the film also feels more like a failed spin-off pilot who never came to the series, and suffers for it; It is cut into four Episodes “Chapters” and must establish the value of an entire crew of extravagant misfits within a 10 -minute assembly.

That could work if the script or artists could make any of the characters endearing, but it is not, and they do not. The actions are almost uniformly bad, from inert to unbearable until “not particularly effort” (respectively: Omari Hardwick’s Alok, a genetically genetically increased humor Vulkan form; Detroiters and I think you should go but it is distracted mainly here). Every time one of these characters ends dead, you feel a feeling of relief because there is a single note character to having to pay attention.

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