In spite of several action set pieces, Star Trek: Insurrection is, primarily, a slow moving, thoughtful, and contemplative film. By most accounts, it isn’t a typical Star Trek film – it plays a lot more like a ponderous mid-season, two-part episode. But the truth is, Insurrection is a largely underrated film. The problem is twofold: first, it loses the expectation game; second, it falls exceptionally flat by way of its oftentimes forced humor. Both elements tend to undercut what is, otherwise, a film that provokes deep moral and philosophical questions.

The film’s relatively slow pace is intentional. It allows the audience to experience the idyllic peace enjoyed by the inhabitants of a remote ringed planet . It’s important to establish the settlement as futuristic paradise, so that everyone knows and understands what is at stake once the conflict becomes established. But even after we learn that these people, called the Ba’ku, are going to be forcibly relocated, the film still takes its time. A good many movie-goers may ultimately decide that the pace was too slow – they certainly wouldn’t be wrong to do so – but I happen to appreciate the deliberate approach that the film took.

It’s important because of how the pacing of the film matches the underlying themes. This movie is about “slowing time down,” and being able to appreciate living in the moment. It’s about the Fountain of Youth. It’s about speaking truth to power and fighting against oppression. And ultimately, it is about reconciliation and redemption.

The fact is, the Ba’ku planet, with its miraculous ability to prolong life, repair the body, and imbue residents and visitors with a rejuvenated appreciation for life, is a tremendous temptation. And the forces of evil that descend upon it have a specific agenda, and vendetta. Without our ability to fully and completely empathize with the Ba’ku, a society of a mere 600 souls, the danger would not seem urgent, and, therefore, the film’s themes would not seem as vital. And I think this is where the film loses a great many fans.

Coming on the heels of Star Trek: First Contact, a very dark, almost apocalyptic film with the Borg, Insurrection is, without a doubt, a bit anti-climactic. And because it is slow and ponderous, many viewers may be itching for *something*to happen. And because the film takes its time, dwelling on relatively obscure ideas like the universe within a moment of time, there’s a chance for viewers to simply lose interest.

What ultimately happens, however, is that the episode’s villains, the So’na (why the need for silly apostrophes all over the place, anyway?), are actually the children of the Ba’ku, a race of people, hundreds of years old. They left their parents decades ago, and their bodies have begun to breakdown. So the So’na, and a few Federation conspirators, decide to “collect” the Fountain of Youth from the Ba’ku planet. But in order to do so, they will render the planet uninhabitable for generations. So the plan is hatched to forcibly remove the Ba’ku so that the So’na can be healed, and the billions of inhabitants in the Federation can enjoy the fruits of everlasting youth and vitality.

Of course, this sets up the film’s central morality lesson: do the needs (or wants) of the many outweigh the needs (or wants) of the few? Picard and the Enterprise crew seem to think that the Ba’ku are worth the fight, and so their insurrection begins when they defy the orders of the ranking Federation Admiral who is overseeing the project.

The conflict becomes the main focus of the final third of the film, but that doesn’t mean that all of the thematic elements are ignored. Picard shares a “frozen moment” with a woman, named Anij. Their interactions, and romance, are entirely plausible. But even more importantly, they symbolize what the film is all about: finding the Fountain of Youth *within* ourselves, and not through some scientific process.

Sprinkled throughout the film is a myriad of minor character revelations, all related to the idea of reclaiming a part of youth, or in some cases claiming a youth that never existed. Worf (in one of the worst attempts at humor in the film) is going through Klingon adolescence. Troi and Riker revisit their relationship — Riker even gets a shave. LaForge’s eyes completely regenerate. And Data learns a little bit about how to be a child.

Riker wonders if the changes will last when they leave the planet. But as Worf says, Riker’s feelings for Troi existed before they arrived. And indeed, the moment resonates for all of the characters, including Picard. The planet may have helped them replenish their own inner youth — but only because that inner youth was there to begin with. And so for characters, and a series, who are aging, it’s an appropriate, and essential revelation.

Ultimately, Star Trek: Insurrection is a film that will be enjoyed by fewer fans than it ought to have been. It’s a shame because the only real gaffes come at the expense of forced humor. The film does make you laugh on occasion, but oftentimes the humor just doesn’t work. Along with a relatively weak conflict and some cringeworthy moments, Insurrection doesn’t feel much like a film. But if you can go into it with the proper expectation, that this is a different kind of Star Trek film, you may be pleasantly surprised.

Filed under: Feature Films, TNG Reviews