Having left the X-Men after the death of Jean Grey (Famke Janssen), Logan (Hugh Jackman) is now living as a hermit in the Canadian wilderness. He is haunted by dreams of his past and visions of Jean. (In the X-Men comic books, Scott Summers was the one who went off to live as a hermit and was haunted by memories of Jean, but since Scott was killed off in X-Men: The Last Stand, Logan was the one who got this story and the visions of lingerie-clad Jean, despite never having been in a truly romantic relationship with her.) Logan is drawn out of hiding by Yukio (Rila Fukushima), a mutant who can predict when people are going to die. Yukio works for Ichiro Yashida (Haruhiko Yamanouchi), a Japanese industrialist who first met Logan during World War II. Logan saved Yashida’s life when Nagasaki was bombed.
Logan and Yukio return to Japan, where Logan discovers that Yashida is on the verge of death. Yashida and Dr. Green (Svetlana Khodchenkova) have apparently developed a way to transfer Logan’s self-healing powers to Yashida, but Logan refuses to cooperate, explaining that immortality is a curse. When Yashida dies, Logan finds himself at war with the Yakuza and also without his power of self-regeneration.
The Wolverine isn’t bad. Even though Logan is no longer as interesting a character as he was when he made his first film appearance in X-Men, the film features some of the best action sequences to be found in the entire X-Men franchise. The extended fight sequence that takes place on top of a bullet train is especially exciting, and it holds up even when you watch it a second time. Unlike the previous X-Men film, The Wolverine makes good use of its characters. The Silver Samurai may be a lesser villain in the comic books, but in this movie, he was one of the few opponents who seem able to match Logan’s combat skills. For the most part, the movie respects the lore of the comic books without getting bogged down in mythology.
Wolverine finally makes peace with himself at the end of this movie. Of course, as soon as he does, Ian McKellen and Patrick Stewart show up with a new mission for him. A hero’s work is never done.
Decades before he joins the X-Men, James “Logan” Howlett (Hugh Jackman) is just another mutant with retractable claws and a super-healing ability that essentially makes him immortal. With his half-brother Victor Creed (Liev Schreiber), Logan fights in wars throughout the centuries. When both Logan and Creed (who share Logan’s healing abilities) survive being executed by a firing squad, they are recruited by William Stryker (Danny Huston) to serve as members of Team X. Eventually, Logan tires of being an assassin and goes off on his own. However, both Stryker and Creed have plans for him and all the other mutants that they’ve captured or killed over the years. Several familiar characters appear—Scott Summers (Tim Pocock), Gambit (Taylor Kitsch), and the Blob (Kevin Durand) amongst others—but none of them have much of the personality that made them popular to comic book readers. (Just imagine including Gambit in an X-Men film but not Rogue.) Those who made it to the end of the film were given a Patrick Stewart cameo, albeit one that used CGI to de-age Stewart and make him look like an automaton.
With the majority of the X-Men either dead or cured at the end ofX-Men: The Last Stand, it only made sense to spin Hugh Jackman’s Wolverine off into his own series of films. Unfortunately, 20th Century Fox didn’t understand that the thing that made Wolverine so interesting as a character was that his past was shrouded in mystery. Their first Wolverine film revealed his origin and it turned out to be not that interesting. X2 had been filled with so many hints about Wolverine’s past that the origin story didn’t feel as if it was telling us anything that we hadn’t already figured out. Even the many fight scenes between Sabretooth and Wolverine felt dull because it was established that both of them were essentially immortal and impervious to pain.
Today, this movie is mostly remembered for featuring the first appearance of Wade Wilson, the mercenary who will eventually become Deadpool. There’s very little of Deadpool to be found in this film’s version of Wilson. He tells a few jokes before getting his lips sewn shut. Imagine introducing a character who is affectionately known as “the merc with a mouth” and then rendering him silent for the majority of the movie. In Deadpool 2, there’s a scene where Deadpool goes back in time and kills this earlier version of Wade Wilson (or Weapon XI as he’s called here). The audience I saw the film with cheered.
Just as the world seems to be finally on the verge of accepting mutants, industrialist Warren Worthington II (Michael Murphy) announces that he has developed a shot that will suppress the X-gene, therefore “curing” mutants of their mutation. Magneto (Ian McKellen), Mystique (Rebecca Romijn), and a host of other mutants break out of prison to try to stop Worthington from offering up his cure. Meanwhile, at Charles Xavier’s school, Rogue (Anna Paquin) wonders if maybe she should take the shot and become a “normal” person.
Professor Xavier (Patrick Stewart) and Logan (Hugh Jackman) have an even bigger concern than Magneto and the cure. Jean Grey (Famke Janssen), thought to have died at the end of the previous movie, has returned but has given in to her dark side, the so-called Phoenix. She’s already destroyed Scott (James Marsden), and it doesn’t take her long to disintegrate Professor X. Can Logan and the Beast (Kelsey Grammer) rally what’s left of the X-Men to defeat both Magneto and the Dark Phoenix?
I can still remember seeing X-Men: The Last Stand on the day that it was first released. As an X-Men fan, I was excited to see how the Dark Phoenix storyline would be adapted for the big screen. It’s difficult to put into words how disappointed I was when Jean killed Scott. That one scene told me that X-Men: The Last Stand was not going to do the story justice. In the comic books, Jean and Scott’s relationship was the heart of the X-Men. When Jean became the Dark Phoenix, she proved herself capable of destroying an entire planet, but she couldn’t bring herself to kill Scott. She chose to destroy herself rather than him. (Marvel being Marvel, Jean was resurrected a few years later.) The X-Men films never really knew what to do with the characters of Scott and Jean. They weren’t as flamboyant as Logan or even Rogue, but fans of the comic knew who Scott and Jean were and understood their importance to the series, and having Jean destroy Scott showed that, unlike the previous two films, the third X-Men film was not being made for the fans.
A large part of the problem was that director Brett Ratner didn’t seem to be interested in the characters. X-Men: The Last Stand is a collection of action scenes with none of the small character moments that made the first two films memorable. Kelsey Grammer is a welcome addition to the cast as the Beast. (The Beast always was basically Frasier Crane with blue fur.) Otherwise, this is the most forgettable of all the X-Men films.
Even though the Dark Phoenix saga is one of the key X-Men storylines, it’s never really been given its due onscreen. A second attempt to tell the story, in Dark Phoenix, also failed to capture the drama and emotion of Jean’s transformation. The X-Men are now officially a part of the MCU, so I imagine the story will probably be told again. Maybe the third time will be the charm.
After Nightcrawler (Alan Cumming) causes a national security crisis by teleporting into the White House, Colonel William Stryker (Brian Cox) is given the authority to invade Professor Xavier’s School and investigate its connection to the mutants. Stryker, who not only wants to investigate the mutants but also destroy them by manipulating the same technology that Xavier uses to find them, just happens to be an old enemy of Logan’s (Hugh Jackman). In fact, Stryker is responsible for Logan fusing the adamantium to his bones. That’s a hell of a coincidence.
A sequel to X-Men, X2 tells a bigger and more complex story than the first film. Professor Xavier’s students are spread out by the chaos. Rogue (Anna Paquin) sees prejudice firsthand when Bobby Drake (Shawn Ashmore) is betrayed by his own family. Pyro (Aaron Stanford) is tempted to reject the X-Men’s philosophy of coexistence. After being underused in the first film, both Scott (James Marsden) and Jean Grey (Famke Janssen) are key players here. Magneto (Ian McKellen) and Mystique (Rebecca Romijn-Stamos) return, this time temporarily allying with Professor X (Patrick Stewart) to stop Stryker. Logan has his own reasons to go after Stryker. Surprisingly, X2 is not only bigger than the first film but it’s also better. The actors are more convincing in their roles, the action is more exciting, and director Bryan Singer capably juggles all of the different parts without losing the plot. He even manages to ably set up the Dark Phoenix Saga. In the first film, the X-Men had it almost too easy when it came to battling opponents like Toad and Sabretooth. This film has not only Brian Cox’s William Stryker but also Kelly Hu’s Deathstrike.
Those of us who were shocked when X-Men turned out to be good were even more shocked when X2 turned out to be even better. For a little while, it seemed like there would never be a bad X-Men movie! Later, that’s the way a lot of us would also feel about the Marvel movies. Those were good days.
I saw X-Men on the first day that it opened in theaters. Actually, I saw it twice.
The first time I saw it was by myself. I had been planning on waiting to see it in the evening with my friends Johnny and Kyleigh, but I actually found myself with a few hours to spare, so I decided to go ahead and see it. I watched it in the later afternoon and, after that showing got out, I met up with Johnny and Kyleigh outside the theater and went straight back in.
It’s hard to describe what a big deal the X-Men movie was in 2000. This was before there was a new Marvel movie or show every three months. It was also at a time when comic book movies, following the failure of Batman and Robin, were no longer considered to be a sure thing. Johnny and I were lifelong Marvel fans and, having survived the trauma of The Phantom Menace, were very much looking forward to the X-Men movie. We knew that both Patrick Stewart and Ian McKellen were the perfect choices for Professor X and Magneto. Anna Paquin seemed like a good choice for Rogue. But would Hugh Jackman, an actor neither of us had heard of before, be able to bring Wolverine to life?
Even though we both rolled our eyes when we heard that Rogue’s name was apparently Marie, Johnny and I were shocked at how good X-Men was. Today, we take it for granted that comic books can be turned into movies, but in 2000, X-Men took us by surprise by being well-acted, well-directed, and surprisingly entertaining. Kyleigh was not a fan of comic books in general and she liked the movie considerably less than we did. (“Dr. Wheelchair” was her name for Charles Xavier.) But for Marvel fans, X-Men was the anti-Phantom Menace.
Looking back, the plot felt like it could have been lifted from the pages of the comic book. Sen. Robert Kelly (Bruce Davison) is leading a national political movement against the mutants. Magneto has created a machine that will induce mutations in human beings. (The movie opens with a flashback that establishes Magneto as a survivor of the Holocaust. Today, everyone knows his backstory, but in 2000, people were stunned that a comic book movie could also deal with reality.) Magneto and Professor X both try to recruit Rogue to their side, and Wolverine, as Rogue’s protector, reveals his claws and reluctantly becomes a member of the X-Men.
When X-Men was first released, Hugh Jackman was the big question mark, but he turned out to be the perfect choice for Wolverine, even if he did seem to be too tall for the role. Jackman was tough and surly and somehow, he looked credible with claws. He was everything that fans like me wanted out of Wolverine and, once he showed up, I knew it was going to be a good movie. Not surprisingly, Patrick Stewart and Ian McKellen were perfect for Xavier and Magneto, as was Anna Paquin as Rogue. Though they’re overshadowed by Stewart, McKellen, Jackman, and Paquin, the other members of the X-Men are played by James Marsden (Scott), Famke Janssen (Jean Grey), and Halle Berry (Storm). Ray Park plays Toad, Tyler Mane plays Sabretooth, and Rebecca Romijn-Stamos excited male viewers everywhere by playing the naked and blue Mystique.
A lot of time has passed since 2000. An entire Marvel Cinematic Universe was created that did not initially include the X-Men, though that has since changed. Bryan Singer is no longer on the A-list. But I still always look fondly on the day that I watched X-Men twice.
“The sleeper has awakened.” — Paul “Muad’Dib” Atreides
David Lynch’s Dune is one of those movies that somehow manages to be both a spectacular failure and a strangely hypnotic piece of cinema at the same time. It feels like a film willed into existence through pure creative tension: on one side, Frank Herbert’s dense, political, and spiritual sci‑fi novel; on the other, David Lynch’s surreal, psychological, dream‑logic sensibility. The result is a singular oddity—visually bold, dramatically uneven, and endlessly fascinating if you’re in the mood for something that feels more like a hallucination than a conventional space opera.
To call the adaptation ambitious is underselling it. After the collapse of Alejandro Jodorowsky’s infamous attempt to adapt Dune, the project eventually landed at Universal with producer Dino De Laurentiis, and Lynch—fresh off The Elephant Man—was brought in to turn Herbert’s galaxy‑spanning book into a two‑hour‑ish feature. On paper, it seems like inspired casting: Lynch had the visual imagination and emotional intensity to do something memorable with the material. But he was never a natural fit for streamlined blockbuster storytelling. His instincts live in mood, subconscious imagery, and uneasy psychological textures rather than clean plot mechanics. You can feel that clash all over the final film, and it’s part of what makes it so weirdly compelling.
Right from the opening, Dune doesn’t hold your hand. Princess Irulan’s floating head lays out a massive info‑dump about spice, the Imperium, and Arrakis that plays like someone reading you the glossary at the back of a sci‑fi novel. It’s dense, awkward, and kind of charming in its sincerity. The movie takes Herbert’s universe extremely seriously—no wink, no irony, no attempt to sand off the stranger edges. The Bene Gesserit, mentats, feudal houses, and prophecies are all presented straight, as if the audience will either keep up or be left behind. There’s something almost punk about that level of commitment.
Kyle MacLachlan, in his debut as Paul Atreides, is perfectly cast for Lynch’s take on the character. He’s got this earnest, slightly naive presence that gradually hardens as the story pushes him toward messiah status. Instead of leaning into a swashbuckling hero archetype, Lynch frames Paul’s evolution as something interior and dreamlike, almost like a spiritual awakening happening inside a hostile universe. Paul’s visions aren’t giant, crystal‑clear CGI prophecy sequences; they’re fragmented, flickering images, whispers, and flashes of desert and blood. You can feel Lynch trying to drag the sci‑fi epic into his own subconscious, even if the narrative doesn’t always keep up.
The supporting cast is packed with strong, sometimes delightfully bizarre performances. Francesca Annis gives Lady Jessica a sensual, haunted calm that fits the Bene Gesserit’s mix of discipline and manipulation. Jurgen Prochnow’s Duke Leto radiates dignified doom; he feels like a man who knows he’s walking into a trap but can’t step off the path. Then you get to the Harkonnens, where Lynch just lets his freak flag fly. Kenneth McMillan’s Baron is a grotesque comic‑book monster, oozing, cackling, floating on anti‑grav tech, and reveling in cruelty. It’s not subtle, but it is unforgettable. And of course Sting as Feyd‑Rautha, stalking around in barely‑there outfits and sneering like a rock star beamed in from another film entirely, just adds to the movie’s fever‑dream energy.
Visually, Dune is a feast and sometimes a bit of a choke. The production design leans into a kind of retro‑futurist baroque: cavernous sets, ornate technology, and spaces that feel less like functional environments and more like places out of a dark fantasy. Lynch and cinematographer Freddie Francis infuse everything with shadow, smoke, and texture, so even the quiet scenes feel heavy and loaded. The sandworms are huge, tactile, and worshipful in scale; the way they burst from the desert feels more like a religious manifestation than a monster attack. Even if you’re lost in the plot, the images stick with you—daggers, stillsuits, weirding whispers, blood on sand.
The sound and music do a ton of work in giving the film its identity. The score, primarily by Toto with contributions from Brian Eno, is this fusion of 80s rock sensibility and orchestral grandeur. It shouldn’t work, but it does; the main theme swells with tragic heroism, while other cues veer into eerie, synthy territory that matches Lynch’s off‑kilter tone. The sound design around the “weirding” abilities, the internal monologues, and the roar of the sandworms all help sell the world even when the script is sprinting past exposition. It’s one of those films where you might not fully grasp every detail, but the combined force of image and sound makes you feel like you’ve visited a real, deeply strange place.
The big structural problem, and the thing that most clearly separates Lynch’s adaptation from Denis Villeneuve’s two‑part version, is time and emphasis. Lynch is trying to cram the entire arc of Dune into a single film, and that means the plotting goes from methodical to breakneck halfway through. The first half lingers on the setup—Caladan, the move to Arrakis, the betrayal—while the second half rockets through Paul’s Fremen transformation, the guerrilla war, the sandworm riding, and the final confrontation. Subplots are hinted at and dropped, character arcs feel truncated, and the voiceover is forever trying to patch gaps the edits created. Themes like ecological transformation, the manipulation behind religious prophecy, and the long‑term horror of Paul’s rise are mostly reduced to gestures.
The best way to see Dune in Lynch’s version is actually through the extended cut, which adds a bit more context to certain scenes and lets the film breathe slightly more than the theatrical release. The theatrical cut is so aggressively compressed that pieces of motivation and setup just vanish, leaving the story feeling even more disjointed. The extended version restores some of the connective tissue—especially around Paul’s early time with the Fremen, the political maneuvering in the lead‑up to the final act, and the way certain characters orient themselves in the larger conflict. It doesn’t magically fix the studio‑driven structure or the inherent weirdness of Lynch’s choices, but it does make the film feel a little more complete, a little closer to the director’s original vision. It’s still messy, but less like a rushed homework assignment and more like a genuinely eccentric, if compromised, longform take on Herbert’s world.
Tonally, Lynch and Villeneuve are almost mirror images. Lynch’s film is cramped, loud in its weirdness, and often grotesque, playing like a baroque horror‑opera about destiny. Villeneuve’s is stately, slow‑burn, and solemn, more interested in the weight of empire, colonialism, and religious manipulation. Even their takes on Paul are distinct. In Lynch’s film, Paul ultimately plays more like a triumphant chosen one; whatever ambiguity is there gets overshadowed by the climactic victory and the literal act of making it rain as a grand, almost celebratory miracle. Villeneuve leans harder into the darker implications: Paul is framed as a potentially dangerous figure whose rise may unleash something terrible, and his two‑part arc emphasizes the holy war and fanaticism coalescing around him instead of treating his ascension as a clean win. Where Lynch’s ending lands somewhere between pulp myth and studio‑mandated uplift, Villeneuve’s execution feels closer to a tragedy about messianic power.
Knowing all that, Lynch’s Dune ends up feeling like a relic from an era when studios occasionally handed gigantic, unwieldy properties to filmmakers with intensely personal styles and just hoped for the best. It doesn’t “work” in a conventional plot sense, and if you’re coming to it after the sleek coherence of Villeneuve’s films, it can feel like a chaotic, cluttered alternate‑universe version of the same story. But that alternate universe has its own power. There’s a raw, handmade intensity to Lynch’s take—a sense that he’s trying to turn Dune into a waking dream about destiny, decay, and the seduction of power, even as the studio scissors are hacking away at his vision.
In the end, David Lynch’s Dune is a beautifully broken thing: a movie that fails as a straightforward adaptation but succeeds as a cinematic experience you can’t quite shake. Villeneuve gives you a clearer, more faithful, and philosophically aligned Dune, the one that explains itself and lets you sit with its implications. Lynch gives you the nightmare version, messy and compromised, but pulsing with strange life. If Villeneuve’s two‑part saga is the definitive modern telling, Lynch’s film—especially the extended cut—remains the haunting alternate path, a vision of Arrakis filtered through a very particular mind, sandblasted, grotesque, and unforgettable.
Hey, hey, wait just one second. Lifeforce is a movie everyone treasures. Here’s Arleigh’s take on the film. Check that out first and then double back here if you like.
Lifeforce (1985, dir by Tobe Hooper)
Tobe Hooper’s Lifeforce is one of those films that had a lot of play in my Grandmother’s house, primarily because of my younger Aunt, Puddin. Puddin was the other movie lover on my Dad’s side of the family, the youngest of his generation. While she couldn’t fully make the connections between actors or directors the way my father could, she loved films all the same. With films like Marnie, West Side Story, Conan the Barbarbian, she spent most of her free time immersed in movies. If you wanted to see her swoon, mention Sean Connery, Tyrone Power or Arnold Schwarzenegger in her presence. She had a habit of using movies she watched often as white noise when cleaning around the house. As a result, we saw Lifeforce a lot growing up. She adored the film mainly because the two heroes in it barely made any mistakes, but most importantly for Henry Mancini’s score. Besides, It’s a Cannon film. You know it’s good.
Lifeforce is the story of one of the greatest buddy pairings in of the 1980s. Yeah, Beck and Gallagher did awesome stuff in The Hidden. Riggs and Murtaugh solved the cases no matter how thin the leads were, and even with all his technology, Alex Murphy still needed Lewis for backup. These all pale in comparison to Lifeforce‘s Colonel Carlsen (Steve Railsback, Helter Skelter) and Colonel Caine (Peter Firth, The Hunt for Red October). The two characters’ laser focus and quick thinking help to keep the film moving, despite how crazy things can and do get. They also manage to have each other’s back in nearly every situation. They aren’t without troubles, however. Poor Carlsen is plagued with nightmares of making out with naked space vampires.
Halley’s Comet returns close to Earth. With it comes an incredibly large umbrella shaped ship that is discovered by the crew of the Churchill. Col. Carlsen, along with the other astronauts, find a series of sleeping humanoid bodies inside and bring 3 (two males and one female) on board. When the Churchill’s signal is lost, the Columbia is sent out to retrieve them. The crew is lost, Carlsen is missing, but the 3 alien bodies are brought back home to Earth for study. This goes about as well as one would hope, with the Space Girl (Mathilda May, Becoming Collette) waking up and causing havoc throughout the local Space Institute before walking away naked, into the night. Anyone she comes into contact with and kisses becomes an energy vampire, requiring a transfusion, else they shrivel and turn into dust.
Since we’re dealing with space vampires, I should inform you now that there’s quite a bit of nudity and maybe just a wee bit of sexual tension in Lifeforce. The lines between Rabid and Showgirls comes kind of close in all this. When Carlsen forces a possible suspect to divulge the location of the Space Girl, slapping her up a bit, he tells Caine he should leave. Caine’s response is that he’s “a natural voyeur”. Does much of it make sense? No. Was it entertaining? Sure. The third act of Lifeforce is the best part, with all of London just a mess. Despite all this, Carlsen & Caine split up to save the day.
The cast for the film is nice. In addition to Railsback and Firth, we’ve got a Dune crossover with both Freddie Jones and Patrick Stewart on hand. We also have a small cameo with Dragonslayer’s John Hallam as a nurse. The best role other than the leads go to Frank Finlay and to Mathilda May. Finley’s Doctor Fallada is kind of a Van Helsing like character, piecing together all of the clues so our heroes can take the proper action. May, though she’s not given a lot to say (or to wear, for that matter) makes for an impressive villain that talks with her eyes.
The effects for Lifeforce came by way of John Dykstra, who worked on Firefox and The Empire Strikes Back. He’d later go on to work on Invaders From Mars for Hooper. Musically, Henry Mancini’s score helps to carry the film along. Honestly, I’ve only ever known him from the Pink Panther scores, so I quite enjoyed it. I always let the end credits play through for the music. Overall, Lifeforce is a great watch if vampires are your thing and nudity isn’t too much of a problem. In my mind, The Adventures of Carlsen & Caine would rival some of the best supernatural tales.
In examining this, I also found that there are some connections between this and Hammer Films’ Five Million Years to Earth (a.k.a. Quatermass and the Pit). I’m still on the look out for that one.
In Tobe Hooper’s Lifeforce, Col. Carlsen & Col. Caine aren’t playing around.
59 years ago today, the first episode of Star Trek aired in America.
There’s been a lot of different StarTrek shows and crews over the decades. I have to admit that I’ve always preferred the Original Series, with Kirk sleeping with every alien he met, McCoy and Spock bickering about logic, and Scotty warning that the engines can’t take much more. The Next Generation was strong as well, especially in the later seasons. The subsequent series have been hit-and-miss for me.
I was born long after the Original Series went off the air so, like a lot of people, my real introduction to Star Trek came through watching the films. This weekend, I sat down and watched all fourteen of the Star Trek films in order, from The Motion Picture to Section 31. Here are my thoughts.
Star Trek: The Motion Picture (1979, directed by Robert Wise)
In the first Star Trek film, Voyager returns to Earth, now known as V’ger. James T. Kirk (William Shatner) returns to the Enterprise with his old crew and takes command from Decker (Stephen Collins). Spock (Leonard Nimoy) returns from Vulcan is not happy about it.
Directed by Robert Wise, the first Star Trek film feels out-of-place amongst the films that followed it. It’s long and slowly paced and it doesn’t have the sense of humor that runs through the best of the films featuring the original cast. The film favors Kirk and Spock, with the rest of the original cast being largely used as bit players. Even the costumes are different from the uniforms worn in the later films, making Star Trek: The Motion Picture feel like an entry from an alternate universe.
Despite mixed review, Star Trek: The Motion Picture made the most money of any of the pre-reboot films at the box office. Because the film itself was so expensive, it was still judged to be a box office disappointment. The Star Trek films would continue but in a new direction.
Star Trek II: The Wrath of Khan (1982, directed by Nicholas Meyer)
Featuring a character-driven script, exciting action, the best villain in the history of the franchise, and an ending that will bring tears to the eyes of the most cynical viewer, The Wrath of Khan is the film that set the standard for the Star Trek films that would follow.
Ricardo Montalban, recreating a character that he originally played in the television series, is a compelling villain as the vengeance-driven Khan. Montalban and William Shatner make for perfect rivals, two sides of the same coin. At the same time, the other members of the original cast all get their moments to shine, especially Walter Koenig as Chekhov. Kirstie Alley is the sexist Vulcan to ever appear in the franchise and even the revelation that Kirk has a son is handled effectively. Kirstie Alley, Bibi Besch, and Merritt Butrick all fit in with the original crew.
But the thing everyone remembers about The Wrath of Khan is the death of Spock. Even though the movie features plenty of hints that Spock will return (including his command of “Remember” to McCoy), it’s impossible not to get emotional when Spock sacrifices himself for the crew. “I have always been your friend.” To quote George Costanza, that was hell of a thing when Spock died. In that scene, Leonard Nimoy shows that he was the (logical) heart of the franchise. Just as Spock brought out the best in the rest of the crew, Nimoy brought out the best in his co-stars. Shatner was never better than when he was mourning Spock.
Star Trek III: The Search For Spock (1984, directed by Leonard Nimoy)
Spock’s back! It’s not a surprise. I think everyone knew, at the end of Wrath of Khan, that the Genesis Project would bring back Spock. Star Trek III isn’t bad. Christopher Lloyd reminds us of how brutal the Klingons were before their Next Generation makeover. The self-destruction of the Enterprise is a powerful moment. I just wish that a film about Spock being given a new life hadn’t featured so much death. Both the revelation that David Marcus tampered with the Genesis Project and his subsequent death feel like missteps. Robin Curtis takes over the role of Saavik and Kirstie Alley is very much missed. DeForest Kelley playing McCoy possessed by Spock was, for me, the highlight of the film.
Star Trek IV: The Voyage Home (1986, directed by Leonard Nimoy)
Returning home after rescuing Spock from the Genesis Planet, the Enterprise crew is instead sent back into the past so that they can bring two whales into the future. The Voyage Home might not be the best Star Trek film (that honor belongs to Wrath of Khan) but it is the most likable and the most entertaining. Every member of the cast gets something to do in 20th Century San Francisco. The film is full of classic moments, from Chekhov looking for the “nuclear wessels” to Scotty trying to speak to the computer. The moment with the punk on the bus is a crowd-pleaser. I always laugh at Spock’s “One damn minute, Admiral.” After the violence in The Search for Spock, The Voyage Home‘s humor, gentle sincerity, and emphasis on the efforts of the entire ensemble is a welcome development.
Star Trek V: The Final Frontier (1989, directed by William Shatner)
Leonard Nimoy got his chance to shine as the director of the previous two Star Trek films so William Shatner was allowed to direct The Final Frontier. The Enterprise crew is brainwashed by a religious fanatic (Laurence Luckinbill) who is also, improbably, Spock’s brother. Only Kirk is able to resist and confront the entity claiming to be God. “What does God need with a starship!?” Kirk demands. It’s such an obvious question that I can’t believe the entity didn’t already have an answer worked out.
The Final Frontier gets no respect and it was probably doomed as soon as Shatner was announced as director. Shatner also developed the story and it’s probably not surprising that the main theme is that Kirk was the only person on the Enterprise strong enough to not be brainwashed by the film’s fake God. Laurence Luckinbill gave a good performance as Sybok but this film really does feel like an unfortunate episode of the original television series.
Star Trek VI: The Undiscovered Country (1991, directed by Nicholas Meyer)
Star Trek VI featured the final appearance of the Original Series cast as a group and they get a send-off worthy of their legacy. Having been previously established as the Federation’s greatest enemies, the Klingons finally pursue peace. Just as only Nixon could go to China, only Kirk and the original Enterprise crew can go to the Klingons. This movie is what Star Trek was all about, with enough world-building and continuity for the hardcore fans and a story that was interesting enough to hold the attention of the casual viewers. By featuring the start of the era of peace between the Federation and the Klingons, this film also filled in some of the Next Generation‘s backstory. The Final Frontier was meant to be the final Star Trek film featuring any of the original cast and it would have been the perfect entry for Captain Kirk to go out on. Unfortunately, that didn’t happen.
Star Trek Generations (1994, directed by David Cason)
William Shatner meets Patrick Stewart as one Star Trek crew passes the torch to the new Star Trek crew. Malcolm McDowell is the latest villain with an ill-defined plan. Picard and Kirk team up to stop McDowell’s villain. They succeed but at the cost of Kirk’s life. As opposed to Spock’s death in Wrath of Khan, Kirk’s death feels pointless and tacked on for no reason other than to signify the arrival of The Next Generation to the films. Seeing Shatner and Stewart together is interesting. Stewart may have been the better actor but Shatner still dominates their scenes together. Not giving Kirk a better send-off was one of the franchise’s biggest sins.
Star Trek: First Contact (1996, directed by Jonathan Frakes)
After the disappointing Generations, Picard and his crew finally got a film worthy of them with First Contact. Not only do the Borg return but the crew goes back into their past and experience a key date in the history of the Federation. After being outshone by Shatner in Generations, Patrick Stewart takes control in this film, giving a multi-layered and commanding performance that still gives the rest of the cast room to shine. Director Jonathan Frakes not only handles the action well but he also shows that he understands what makes the characters click. This was, without a doubt, the best of the Next Generation films and one the best of the Star Trek films overall.
Star Trek: Insurrection (1998, directed by Jonathan Frakes)
Entertaining but forgettable, Insurrection features Picard pulling a Kirk and defying orders from from a superior officer (played by Anthony Zerbe) and going out of his way to save Data from being decommissioned. Insurrection feels like an extended episodes of the Next Generation television series and lacks the epic scale of First Contact. Under the direction of Jonathan Frakes, the ensemble is strong and watching them interact feels like spending time with a group of old friends. F. Murray Abraham and Anthony Zerbe make for effective villains.
Star Trek: Nemesis (2002, directed by Stuart Baird)
Just as the Original Series crew sought peace with the Klingons in The Undiscovered Country, the final Next Generation film finds Picard, Riker, and the rest seeking peace with the Romulan Empire. Tom Hardy plays a clone of Picard who is now the leader of the Romulans. Data sacrifices himself in a move that tries too hard to duplicate the death of Spock. Picard retires. Director Stuart Baird emphasizes action over the chemistry of the Next Generation cast and the end result is a disappointing finale that left critics and audiences underwhelmed.
Star Trek (2009, directed by J.J. Abrams)
I think people forget about what a big deal this Star Trek reboot was when it first came out. Today, people focus on things like Kirk being a Beastie Boys fan and they forget how exciting it was to see Chris Pine, Zachary Quinto, Karl Urban, Simon Pegg, Anton Yelchin, John Cho, and Zoe Saldana all effortlessly stepping into the roles of the younger versions of the original cast. The storyline is predictable and Eric Bana’s a bland villain but the scenes between Leonard Nimoy and Zachary Quinto were a reminder of how important Spock was and is to Star Trek.
Star Trek wasn’t perfect, of course. In retrospect, I think creating an alternate timeline was a mistake because it created a situation where, even if someone died, it was just an alternate version dying and not the version that audiences knew and cared about. The alternate timeline would also lead to one of the biggest missteps in the history of the franchise.
Star Trek Into The Darkness (2013, directed by J.J. Abrams)
After the surprising success, both critically and commercially, of his Star Trek reboot, J.J. Abrams. Robert Orci, Alex Kurtzman, and Damon Lindelof wasted most of that good will by messing around with one of the franchise’s most memorable characters.
There are some good things to be said about Star Trek Into The Darkness. I like the action sequences and the climatic battle in the film’s futuristic version of San Francisco. But casting Benedict Cumberbatch, of all people, as Khan is a misstep that can’t be overcome. That the movie brought back Khan instead of exploring “strange new worlds” exposed the weakness of Abrams entire reboot. For all the hype, did the Star Trek reboot actually have anything new or original to offer? The answer here seemed to be no.
Star Trek Beyond (2016, directed by Justin Linn)
The final (for now) Star Trek theatrical film featured a memorable villain in the form of Idris Elba and a plot that felt like it could have just as easily been an episode of the original series. In retrospect, the film is mostly memorable for featuring the announcement of the death of Ambassador Spock. (The film was released a year after the death of Leonard Nimoy.) The death of Spock, this time with no Genesis Project around to bring him back, makes this installment feel like right place to end the films. For many of us, Nimoy was Star Trek.
Stark Trek: Section 31 (2025, directed by Olatunde Osunsanmi)
Though there have been many subsequent televisions shows, there hasn’t been a Star Trek theatrical release since 2016. The next installment has been in pre-production limbo for nearly ten years. (Quentin Tarantino was supposedly attached at one time.) Instead of coming to theaters, the latest Star Trek movie came to Paramount Plus.
I debated whether or not to include Section 31 in this list, both because it was a “made-for-TV” movie and also because it was so bad that I think most Star Trek fans would rather forget about it. A mediocre heist film that wastes star Michelle Yeoh and which doesn’t feel like it belongs in the Star Trek universe, Section31 may still represent the way forward for the franchise. With theaters having never recovered from the COVID shut-downs and more and more people preferring to stream their entertainment at home, the future of the Star Trek films could very well be a collection of assembly line Paramount Plus movies.
Finally, Case turned me onto this short film:
765874: Unification (2024, directed by Carlos Baena)
A collaboration between Otoy, a VFX company, and The Roddenberry Archive, with support from Paramount, 765874: Unification is a 10-minute short film that imagines Kirk meeting Spock in the afterlife. Shatner returns as Kirk, de-aged with CGI. Just as Kirk and Spock were friends in the film, the same was true of Shatner and Nimoy in real life. (You only have to compare Nimoy’s comments about Shatner with George Takei’s endlessly bitter takes to see what true class actually is.) This short film gives both characters the finale that they deserved.
It’s possible that we may never see another true Star Trek film. Most of the original cast is gone now. Patrick Stewart will always be Picard but even he is now approaching 90. But whatever the future may hold, I’m happy for the films that Star Trek gave us.
Jerry (Mel Gibson) is the taxi driver that most people would dread getting stuck with. He’s obsessed with conspiracies, ranting and raving as he drives his passengers around New York City. The moon landing was fake, he says. The New World Order is real. Fluoridation in mind control. Freemasons control the world. Black helicopters patrol the skies. Implausibly, Justice Department lawyer Alice Sutton (Julia Roberts) enjoys listening to Jerry’s paranoid monologues but she finds them to be a lot less amusing when they turn out to be true. Soon, she and Jerry are being pursued by Dr. Jonas (Patrick Stewart), the head of MK-Ultra and the man who bred Jerry to eventually become an assassin.
Conspiracy Theory has a good premise and a great Mel Gibson performance and Patrick Stewart is entertaining as the main bad guy. Though it really is just a slightly above average 90s action film, Conspiracy Theory is still a movie that seems prophetic. Many of Jerry’s theories were obscure and not well-known when the movie was first released, nearly 30 years ago. Today, a lot of them have been popularized by social media and podcasts. Conspiracies have gone mainstream. Jerry would love listening to Joe Rogan today. In fact, Jerry would probably have a podcast of his own. Because the movie was released in 1997, a lot of the things that Jerry talks about feel quaint and almost old-fashioned when you compare them to what Jerry would be ranting about today. Compared to today’s anti-vaxxers and 9-11 truthers, Jerry’s fear of the black helicopters seems harmless. Or, at least, it does until the black helicopters suddenly show up in the middle of a chase scene, nearly invisible in the night sky.
ConspiracyTheory can’t really hold up to Richard Donner’s best films. There aren’t as many memorable lines as in LethalWeapon and it never finds the same balance between kitsch and art that Donner was able to find with both TheOmen and Superman. Donner still gets some good moments, like the opening montage where Jerry scares the Hell out of a yuppie passenger played by Alex McArthur. I wish ConspiracyTheory had followed its premise through to its natural conclusion instead of having Jerry suddenly turn into what was then a typical Mel Gibson action hero. (Today, of course, it would probably be much easier for audiences to accept the idea of Gibson playing a mentally ill, paranoid conspiracy theorist.) Overall, though, both the movie and the theories hold your interest.
During the Dark Ages, Britain is at war. King Uther Pendragon (Gabriel Byrne) leads his men against The Duke of Cornwall (Corin Redgrave). Uther and his men swear their allegiance to God and St. George but they trust in the magic of the mysterious Merlin (Nicol Williamson).
Merlin negotiates peace between Uther and Cornwall but Uther throws that peace away when he becomes obsessed with Cornwall’s beautiful wife, Igrayne (Katrine Boorman). Merlin uses his magic to disguise Uther as Cornwall so that Uther can spend one night with Igrayne. When Cornwall is killed in battle, Uther marries Igrayne and realizes it was never necesarry to use Merlin’s magic and that Merlin, who has the power to see the future, knew that. Merlin takes Uther and Igrayne’s infant son from them and then disappears. Later, Uther is killed by by three of Cornwall’s men. Before dying, Uther drives his magic sword, Excalibur, into a stone. On the true king of England will be able to remove it.
Uther’s son, Arthur (Nigel Terry), grows up with no knowledge about his parentage. When he accidentally draws Excalibur out of the rock, Merlin returns to counsel the new king. And the new king has much to learn, as not all of the nobleman are willing to accept him as their ruler. Arthur proves himself worthy to be king while his half-sister, Morgan (Helen Mirren), waits for her chance to get revenge.
Excalibur is one of the most ambitious films made about King Arthur. John Boorman fits the entire legend of Arthur, Lancelot (Nicholas Clay), Percevel (Paul Geoffrey), Guinevere (Cherie Lunghi), and the search for the Holy Grail into one movie and, as a result, there’s not a dull moment. Boorman presents the reign of King Arthur as a conflict between England’s pagan past and the new era of man. Merlin and Morgan’s magic is powerful but, in the end, power is determined by bloody battles fought by men encased in clunky armor. Arthur, Lancelot, and the other knights claim to live by the honorable, chivalric code but only one of them is able to live up to the ideal. The others become consumed by lust, jealousy, and a thirst for power.
In my opinion, Excalibur is the best movie made about King Arthur, mostly because John Boorman takes the story seriously and makes us feel like we are watching people who truly are living in different world and a different time. The chivalric code is necessary to keep the peace in a time when there are multiple pretenders-to-throne. Mordred (Robert Addie) is not just a villain because he seeks to overthrow his father but also because he is the one person to have no respect for the code or the mystic power of the Holy Grail.
Excalibur has a large cast with many familiar faces. Keep an eye out for Patrick Stewart as one of Arthur’s earliest supporters and also Liam Neeson as a surly Sir Gawain. Of all the Lancelots who have appeared in the movies, Nicolas Clay is the best and Helen Mirren is the perfect Morgan. Nicol Williamson steals the movie as the mysterious Merlin. And while Nigel Terry was too old for the scenes where Arthur is supposed to be a callow teenager, he grows into the role just as Arthur grew into being king of the Britons.
Monty Python and The Holy Grail will always make me laugh but John Boorman’s big, beautiful, and bloody Excalibur is the best film about Camelot.
Having left the X-Men after the death of Jean Grey (Famke Janssen), Logan (Hugh Jackman) is now living as a hermit in the Canadian wilderness. He is haunted by dreams of his past and visions of Jean. (In the X-Men comic books, Scott Summers was the one who went off to live as a hermit and was haunted by memories of Jean, but since Scott was killed off in X-Men: The Last Stand, Logan was the one who got this story and the visions of lingerie-clad Jean, despite never having been in a truly romantic relationship with her.) Logan is drawn out of hiding by Yukio (Rila Fukushima), a mutant who can predict when people are going to die. Yukio works for Ichiro Yashida (Haruhiko Yamanouchi), a Japanese industrialist who first met Logan during World War II. Logan saved Yashida’s life when Nagasaki was bombed.
