Star Trek Beyond is the kind of movie that knows what it wants to be. It wants to be a summer blockbuster, a space adventure, and a character study all at once. It mostly succeeds, but it never quite becomes the epic that the trailers suggested. Instead, it settles into a comfortable middle ground, trading spectacle for substance and occasionally losing both.
The film picks up after the events of Star Trek Into Darkness, with the crew of the USS Enterprise floating through deep space, bored and restless. That premise is a clever one. It lets director Justin Lin and writers Simon Pegg and Doug Jung slow down the franchise’s usual breakneck pace and focus on the people aboard the ship. The result is a quieter, more reflective entry that still manages to deliver action when it needs to.
Trailer, via Paramount Pictures.
The Crew Runs Out Of Patience
The Enterprise has been on a routine mission for months, and the strain shows. Chekov (Antonio Banderas) and Uhura (Zoe Saldana) are tired of the endless travel. Scotty (Simon Pegg) is frustrated that he can’t fix the ship’s problems. Kirk (Chris Hemsworth) is restless, and the film spends its early scenes letting that tension simmer. It’s a smart way to start, because it makes the later plot twists feel earned rather than dumped in.
The problem is that the film doesn’t fully commit to that slow-burn approach. Once Jaylah (Sofia Boutella), a scavenger from a desolate planet, crashes onto the ship and leads the crew to her home world, the tone shifts. The film stops being about boredom and starts being about fighting. That shift is jarring, and it takes the movie away from the character work it had built up.
Jaylah herself is a strong addition. Boutella brings physicality and wit to the role, and her scenes with Kirk are some of the funniest in the film. She’s a scavenger who has spent her life alone, building her own version of the Enterprise from scrap. Her presence gives the movie a fresh perspective, even if her arc feels rushed.
Jaylah’s World And Its Villain
Jaylah’s home world is a harsh, desert planet, and the film uses it well. The landscape is dry and unforgiving, which suits the story’s themes of isolation and survival. The villain, Krall (Idris Elba), is a former Starfleet officer who has turned against the Federation. His motivations are murky, but the film leans into his anger and pain rather than explaining him. That’s a bold choice, and it pays off in the final act, where his backstory adds weight to his actions.
Elba is excellent in the role. He plays Krall as a man who believes he’s doing the right thing, even when his methods are brutal. That ambiguity makes him a more interesting antagonist than the typical Star Trek villain. The film also gives him a moment of humanity, showing his past as a soldier, which adds depth to his later actions.
The Action And Its Limits
The action sequences are the film’s weakest link. The chase through the alien city is thrilling, but it’s overlong and messy. The ship-to-ship combat is better, thanks to Lin’s background in fast-paced filmmaking. But even there, the film struggles with scale. The Enterprise looks small against the vastness of space, and the battles don’t have the grandeur that the franchise’s earlier films promised.
The film also leans heavily on its practical effects. The alien city is built as a physical set, which gives the action a tactile quality that CGI can’t always match. That choice pays off in the final chase sequence, where the streets feel real and dangerous. But it’s a double-edged sword. The film can’t afford to go too far out into space, because its sets are limited. So the scope stays grounded, and the movie never reaches the heights of The Wrath of Khan or Star Trek: First Contact.
The Comedy And Its Limits
The comedy is hit-and-miss. Some jokes land well, especially those involving Jaylah’s interactions with the crew. Others fall flat, particularly the ones aimed at Scotty. The film tries to balance humor with drama, but the tone often wobbles. It’s a shame, because the cast has the chemistry to pull off both sides.
The film’s biggest strength is its cast. Chris Hemsworth brings a warmth to Kirk that previous films lacked, and his scenes with Boutella are genuinely funny. Zoe Saldana gives Uhura a quiet dignity, and her relationship with Spock is tender. Idris Elba brings a menace to Krall that elevates the villain role. The ensemble works, even when the script doesn’t.
The Music And Its Mood
The score, composed by Michael Giacchino, is a highlight. It’s melodic and propulsive, and it carries the emotional weight that the visuals sometimes lack. Giacchino has a gift for writing themes that stick, and his work here is no exception. The main theme is instantly recognizable, and it gives the film a sense of continuity with the franchise’s history.
The film also includes a cover of Fleetwood Mac’s “The Chain,” performed by the surviving members of the band. It’s a bold choice, and it works. The song fits the film’s themes of legacy and endurance, and it gives the ending a melancholic note that the visuals alone couldn’t achieve.
The Film’s Weak Points
The film’s biggest flaw is its pacing. The middle section drags, and the final act rushes. There are moments where the film feels like it’s running on autopilot, and that’s a problem for a movie that’s trying to be thoughtful. The film also leans on its predecessor’s plot points, which means some viewers might find the setup familiar rather than fresh.
The film’s handling of its characters is uneven. Some get arcs, others get scenes. Uhura’s arc is thin, and Spock’s is almost nonexistent. The film is better at introducing new characters than it is at developing the ones we already know. That’s a missed opportunity, because the original series’ characters have a rich history that the film could have tapped into.
| Element | Strength | Weakness |
|---|---|---|
| Character work | Strong cast chemistry, focused early scenes | Uneven arcs, underdeveloped supporting roles |
| Action | Practical effects, kinetic ship battles | Overlong chase sequences, muted scale |
| Comedy | Funny Jaylah scenes, warm Kirk-Uhura interactions | Flat Scotty jokes, inconsistent tone |
| Music | Memorable score, effective cover song | Scores are lifted from earlier films |
The Final Word
Star Trek Beyond is a solid, if uneven, entry in the franchise. It’s a film that knows what it wants to be, but it struggles to fully realize that vision. The character work is strong, the action is competent, and the score is excellent. But the pacing drags, the tone wobbles, and the plot leans on familiar territory. It’s a good movie, not a great one.
The film’s best moments come from its actors and its practical approach. Its worst moments come from its script and its reliance on formula. It’s a mixed bag, but it’s a mixed bag with a heart. The film cares about its characters, even when it doesn’t know what to do with them. That care is enough to recommend it, but it’s not enough to make it essential viewing.
The film ends with a cliffhanger, setting up a future that the franchise may never reach. That’s a shame, because the film hints at a larger story about the Federation’s future. But the film never fully commits to that story, and the ending feels more like a tease than a conclusion. Still, it’s a tease with a strong final image, and that counts for something.
Star Trek Beyond is a film that will satisfy fans of the franchise and frustrate critics. It’s a film that rewards attention to its characters and punishes attention to its plotting. It’s a film that’s worth seeing, but it’s not a film that demands to be seen.
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