Far out, man.

“The Way To Eden” is the way to madness – if you try and take the episode seriously, that is. I mean, there is at least some attempt at a message and a purpose. But the episode is simply all over the place in its attempts to convey any meaning or significance. And the sheer ridiculousness of the characters, and caricatures, is, simply, embarrassing. It’s a shame because the notions of a utopian society, free from the corrupting influence of high technology, is certainly worth exploring. Too bad this episode is presented as poorly as it is.

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“Requiem For Methuselah” stumbles at the very moment it should have been a marginal success. The result is an episode that just barely avoids being both a failure and an embarrassment. Truth be told, the episode skirts along the edge of disaster right from the start. It throws all manner of bizarre notions at the screen. But at the very moment when it makes its revelations – and finally gets to the point of the story – it becomes so ludicrously preposterous that one simply has no choice but to cringe and shake one’s head in bewilderment.

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“The Lights of Zetar” is yet another in a string of barely competent, unremarkable episodes. It’s as if the production were so focused on avoiding an embarrassment that very little was done to take chances and reach for something much grander – let alone realize such an achievement. The result is plain to be seen in an episode such as this one which, by all counts, is constructed well enough but ends up being a bit like watching paint dry.

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“That Which Survives” is a middling episode filled with a by-the-numbers plot that is never able to transcend a pedestrian story. It certainly isn’t a total loss, however. In fact, there are a number of intriguing concepts and amusing moments. But they don’t add up to anything special. Indeed, this is about as average an episode as you can possibly get from Star Trek.

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Following a trend that was proven to be quite lucrative with the release of The Dark Knight, on May 8, 2009 the upcoming J.J. Abrams version of Star Trek will be released simultaneously in traditional theaters and in IMAX format.  Given the teaser trailers we’ve seen thus far, one thing about the film is certain: it’s sure to be a visual feast — so the IMAX format makes perfect sense.  Read below for the official press release and details.

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“The Mark of Gideon” starts off strongly enough to keep the audience interested at least through its midway point. But as the episode approaches its specific messages and ideas, it stumbles mightily, ending with a whimper, rather than finishing with a bang (puns somewhat intentional). In truth, the episode’s primary commentary, on overpopulation and, of all things, birth control, are just too awkwardly presented. The result is an episode which ends up being slightly less than average.

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“Let That Be Your Last Battlefield” is a remarkable episode on a number of levels. Only a rather clumsy execution of the resolution holds this back from being a truly exceptional installment. Otherwise, this is one of the better episodes of the entire series. The allegory here is blatant and ridiculous, but I suspect that’s because the writers wanted to demonstrate how blatant and ridiculous the notions of abject prejudice and hatred are, in general, and racism, specifically. The “black and white” characters are so overly simplistic that it cannot be seen simply as a mistake, but rather as a deliberate production idea. As a result, what we get is a rendition of the Sneeches, with much greater, and profound, consequences for the prejudice.

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What’s with the penchant of Star Trek to give us guest stars who push the limits of melodrama and overacting to new and preposterous heights? “Whom Gods Destroy” is yet another in this series of nonsense, ruining what might otherwise have been a moderately successful episode. Instead, this ends up being little more than a cartoon of amateurish proportions. Once again, over-indulgence ruins any possibility of success.

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“Elaan of Troyius” is a mess. From start to finish this episode has no idea what it wants to be. And it swings wildly from one extreme to the next trying to accomplish several goals all at once. At its heart, there is a story of forbidden love and the conflict between love and duty. On that level, the episode is worthwhile. But the concept is buried under over-acting, a wayward, confused plot and an all-round poor production.

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Watching “The Empath” is a bit like watching paint dry, grass grow, and … well, you get the point. The story itself isn’t bad, from either a premise or execution standpoint. But everything is so incredibly unremarkable, so pedestrian, so aimless that regardless of whatever strengths there are to the characters and plot, the episode as a whole just doesn’t function particularly well. It’s a shame because the interactions between Spock, Kirk and McCoy are certainly worthwhile.

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