MARGIN CALL

I saw Margin Call and I want someone politically savvy to see Margin Call and explain to me what happened in Margin Call so that I can understand what happened in Margin Call. Still, excellent performances all around.

BEST FILM OF 2009

You know a film has its hooks in you – and should therefore be on your Top-whatever list at the end of the year – when your body is sore from tensed-up muscles and your cheeks are chapped from endless tears within the first ten minutes of said film’s running time. Star Trek, J.J. Abrams’ re-boot of the classic television and film series, is such a film. In just the opening scene, Abrams and his creative team have not only solidified their right to be synonymous with one of the greatest titles in pop-culture history, they have, simply, produced an amazing motion picture, one rife with thrilling action, superb performances and unexpected emotional intensity. On top of that, they have taken what used to be regarded as a waste of celluloid by all but fanatically die-hard fans and morphed it into something hip, stylish and, for all intents and purposes, very, very cool.

Not to hold a candle to a flame, but the faces of the film are the greatest selling point here. Chris Pine’s portrayal of James Tiberius Kirk, the rebellious cadet who would eventually become captain of the U.S.S. Enterprise, is filled with fiery conviction and a child-like sense of humor while Zachary Quinto’s portrayal of the troubled, half-Vulcan/half-human commander Spock is delicately controlled and explosively affecting. Zoe Saldana is poignant and feisty as communications officer Uhura. Karl Urban is pitch-perfect as the fretting, voice-of-the-audience medical officer, “Bones.” Anton Yelchin shines brightly as navigator Checkov, and Simon Pegg, though briefly, brings the comedic house down as Scotty, the ship’s engineer. Ultimately, any film that puts John Cho, playing the ship’s pilot, Sulu, in a spacesuit and then propels him from a space shuttle onto a drilling platform to have him valiantly remove his helmet, broadsword in hand, is pretty freakin’ cool in my book.

Sure, the script, penned by sci-fi go-to’s Alex Kurtzman and Roberto Orci, has a couple of holes, but who gives a flip? They more than make up for an occasional lack of logic with insanely well-drawn characters and a virtuous knack for storytelling. Dan Mindel’s cinematography is sparkling and engaging, even with the constant array of lens flares glimmering just off-camera, and Michael Giacchino’s score sings with veracity. Abrams’ direction is impeccable. There is a certain rhythm to his work here, one that allows the film to breathe during softer, gentler moments but also giving the film the grandest scope imaginable. Star Trek is a film that is a fun, soaring ride laden with thematic material, but not enough to beat you over the head. As much as it’s about flying spaceships and shooting lasers, it’s about fathers and sons. Through Kirk and Spock’s transgressions and eventual faith in each other, it’s about foes setting aside differences to become friends. At its heartiest of hearts, Star Trek is a tale of hope about shunning what the world thinks of you and showing them what you’re really made of. Don’t leave it to the geeks – this one is a true winner for anyone.