In some ways it wasn’t as awful as I’d heard, and in some ways it was worse. On the plus side, it had giant robots blowing stuff up, and they put more thought into the story than I expected them to. And there were certainly good moments spread throughout the film. On the minus side, the visuals were so complex that they were hard to follow. That’s a problem I had with the Transformers’ designs in the first film, too — they look insanely cool in still shots, but start them moving and you end up with two clouds of shrapnel fighting each other. Plus Michael Bay has a very different sense of humor than I do, which didn’t help. And amazingly enough, the movie was tedious. I don’t know how you can possibly take a movie about giant robots and explosions and make it dull enough that I checked my watch at least five times during the film.
In summary, I’m glad I waited for the second-run showing and only spent $1.75.
During Comic-Con we stayed at the Holiday Inn on the Bay (not to be confused with the Holiday Inn Bayside). It’s sort of in walking distance of the San Diego Convention Center (we did it one morning…and I did it again one evening after an incident with the shuttle that deserves its own write-up), but at more than a mile it’s not a distance you’d want to walk with a heavy backpack, or in a costume, or carrying bags, or on a hot afternoon, or after a long day of trudging around the convention center.
It’s located on the bay (of course), near the San Diego Maritime Museum where they have several classic ships permanently anchored and available for tours. If you happen to have an upper-floor room, the views are quite nice. (We were on the second floor, so our view was of the roof of the hotel’s conference center. It’s funny how quickly we got used to the sound of the air conditioner.)
It’s an easy walk to Little Italy (we went out to one of our favorite San Diego restaurants, Indigo Grill, on Wednesday) or the trolley, and on the convention shuttle route.
The rooms were nice, clean and spacious (absolutely huge, compared to the last few places we’ve stayed in San Diego). The bed was comfortable, and they had pillows with two different levels of firmness, so neither of us had any trouble getting to sleep. The hotel restaurant/pub, the Elephant and Castle, is quite good. There’s also a Ruth’s Chris Steakhouse in one tower, and a deli next door. And for those looking to save money on breakfast, the in-room coffee service is a single-cup disposable-basket setup, so that if you want plain hot water for tea or oatmeal, it won’t taste like coffee! Wireless internet access is complimentary, and easy to set up. Our room had locked doors to adjoining rooms on both sides, so a large group could presumably link together at least three rooms into a suite.
The only annoyances were:
Internet access during the convention was absolutely swamped. Sometimes pages just wouldn’t load, and the Flickr uploader actually gave up several times. This would have been less of a problem if I hadn’t been so determined to post photos and blog during the con, though at least with photos it turned out I could (usually) start them before going to bed and let them run overnight. The one night that it just gave up, I tried when we got up at 6 AM and they posted extremely quickly.
The bathroom had a sliding door that didn’t seal. Like the room at the Omni, it blocked light but not sound or airflow. On the plus side, it was actually big enough that we could brush our teeth at the same time.
Overall, though, we really liked it, and agreed that it would be near the top of our list when it came to hotels on the shuttle route. Though if possible I’d really prefer something close enough that we wouldn’t have to rely on the shuttle or other transportation.
I went with a friend to watch a screening of Ghostbusters. It really holds up! The jokes are still funny, the story still works, and even the effects hold up pretty well. (The main exception would be the stop-motion version of the terror dogs, which is probably a combination of compositing and lack of motion blur).
One thing I noticed was that the story itself is treated 100% seriously. The humor is in the characters, the dialogue, the attitude. The Stay-Puft Marshmallow man, for instance, is incredibly silly — but because there’s a logical in-story reason for it, and the characters treat it as a real threat, it works.
The friend I saw it with was remarking about how tightly the movie is put together. It starts with their breakthrough, goes their first case, and then right onto the main plot, with montages serving to fill in the gaps.
I won’t say much about the plot, because it’s better without spoilers, but…I hated the first hour of the movie. Just couldn’t stand it. The two leads were just acting so stupid and self-destructive that I couldn’t sympathize with anyone except the police inspector, and even that was probably in part because he was effectively narrating the story.
If it had been a two-part TV miniseries, I wouldn’t have bothered with part two.
But I stuck through with it, and the tone changed significantly in the second half…and then the ending was so good that it completely made up for everything that had bothered me about the beginning.
Yeah, I was watching Star Trek during the earthquake. Right at the point that they open a huge, loud, grinding door to a remote outpost. Fortunately it was small, the movie kept playing, and we all kept watching.
Judging by audience reaction (to the movie, not the quake), there were definitely lots of people seeing it for the first time today, so I’ll keep this non-spoilery as much as possible.
What I Liked
The film manages to recapture the Kirk, Spock and McCoy dynamic that gave the original show its heart.
Each character gets at least something to do, even if it does focus heavily on Kirk and Spock.
The actors really manage to convey the same characters, rather than new characters with the same names. Especially McCoy and Spock. Karl Urban in particular seems to be channeling DeForest Kelley the way Ewan MacGregor channeled Alec Guinness in the Star Wars prequels. (And yes, Kirk is different, but there’s a reason for it, and that reason is critical to the story and his character’s journey.)
The plot moves and holds together (mostly).
The effects of course are incredible.
They remembered that Trek can have humor – something that ST: TNG and later shows seemed to avoid as if it would somehow taint their artistic value (except when Q was around).
The nods to established elements of the series, from character quirks to design elements to music cues, that are there if you know what to look for, but don’t bog down the story if you don’t.
What I Didn’t
I had no problems with the obvious canon changes, and thought that the huge event 1/3 of the way in was probably the best way they could recapture dramatic suspense and establish the idea that anything can happen.
In fact, the things that bothered me have very little to do with other versions of Star Trek. Again, trying to be as non-spoilery as I can for the people who haven’t seen it.
Supernovas are not that dangerous unless you’re in the same solar system. For planet X to be destroyed, it would have to have been that planet’s sun that went supernova.
Another planet, to provide the view that it offered of a significant event, would have to have been a moon of the planet on which that event took place.
Engineering doesn’t look like a spaceship. It looks like a brewery.
It relies heavily on the same dead-relative-as-motivation trope that’s bothering me so much in Flash: Rebirth. But I can see what they were going for and why they did it.
A piece of miracle technology is invented which would revolutionize space travel to the point that it would make any further voyages irrelevant, and will most likely be ignored because of this. (Of course, the TV series did the same thing all the time.)
Music
Also, while I liked Michael Giacchino’s music in context, it’s very repetitive. The theater was playing the score while we waited for the film to start, and an awful lot of it is the same theme, over and over, in different arrangements.
My favorite Star Trek music is a toss-up between James Horner’s scores for The Wrath of Khan and The Search for Spock, and Cliff Eidelman’s score for The Undiscovered Country. We were talking about the music before the movie, and neither of us could think of anything else Eidelman had done, so I looked him up on IMDB. It turns out that he’s written music for about 20 films since Star Trek VI, and I recognized almost all of them…I just hadn’t actually seen any of them.
