Star Trek Beyond

The Kelvin timeline trilogy that began with Star Trek remains one of the most entertaining modern revivals of a classic franchise, and I genuinely love all three entries. That said, Star Trek Beyond is comfortably my least favourite of the trio. That isn’t meant as a criticism of the film’s quality, far from it. There’s still plenty here to admire and enjoy. However, compared with its predecessors, particularly Star Trek Into Darkness, a few elements simply don’t land with quite the same impact. The setting, the villain, and even the narrative momentum feel slightly less compelling this time around, which ultimately places it third in what is still a very strong trilogy.

One of the most notable differences behind the scenes is the absence of J. J. Abrams in the director’s chair. With Abrams busy bringing the galaxy far, far away back to cinemas with Star Wars: The Force Awakens, the reins were handed to Justin Lin. Lin had already proven himself to be an accomplished action director through his work on the Fast & Furious series, so the choice certainly made sense on paper. Yet while the action in Beyond is undeniably polished and energetic, the film occasionally feels like it leans more toward a conventional blockbuster rhythm rather than the adventurous sci fi spirit that Abrams brought to the previous two instalments.

The writing team also changed for this chapter. Instead of returning writers Roberto Orci and Alex Kurtzman, the script was penned by Simon Pegg and Doug Jung. Pegg, of course, already played Scotty, so his involvement behind the scenes felt like an exciting creative evolution. Still, the screenplay occasionally relies on coincidences that stretch plausibility even by sci fi standards. The central example is the ancient artefact known as the Abronath, which just so happens to be aboard the USS Enterprise at the exact moment it becomes the one object the villain desperately needs.

Another structural choice that surprised me is how much of the film takes place on a single planet after the destruction of the Enterprise. While the crash sequence itself is spectacular, I had hoped the film would spend more time exploring the crew’s five year mission across the stars. Being stranded planetside limits the sense of cosmic exploration that defines Star Trek. Thankfully, the introduction of Starbase Yorktown injects the film with some visual wonder. Its impossible architecture, folding gravity and sprawling futuristic design make it one of the most visually imaginative locations the modern films have given us.

The villain, Krall, played by Idris Elba, is another area where the film does not quite match the standard set before. Elba is always a commanding screen presence, and he certainly brings intensity to the role. However, Krall never becomes as fascinating or memorable as previous antagonists like Nero, portrayed by Eric Bana, or the iconic Khan Noonien Singh as played by Benedict Cumberbatch. Krall’s belief that unity makes humanity weak stands in direct contrast to the Federation’s ideals, reinforcing the long standing Star Trek message that cooperation and diversity are strengths rather than weaknesses. The final confrontation between Kirk and Krall, drifting through zero gravity, is visually cool but ultimately feels a little anticlimactic compared with the dramatic showdowns of the earlier films.

Despite those criticisms, the heart of the movie, the crew, remains its greatest strength. By this point in the trilogy, the characters truly feel like family. Kirk, Spock, Bones, Uhura, Scotty, Sulu and Chekov all slip effortlessly back into their roles, and the chemistry between the cast is as strong as ever. One of the film’s best decisions is pairing up characters who did not previously share much screen time, particularly Spock and Bones. Their unlikely partnership results in some genuinely entertaining moments, blending humour with character development in a way that feels very true to the spirit of Star Trek. It’s also bittersweet watching Anton Yelchin once again as Pavel Chekov, knowing this would sadly be his final appearance in the role.

New addition Jaylah brings fresh energy to the film, with Sofia Boutella giving the character both toughness and humour. When the film leans into large scale action, it absolutely delivers. The standout sequence comes during the attack on Yorktown when a vast swarm of drone ships closes in on the station. In a moment that perfectly embraces the franchise’s playful side, the crew disrupts the swarm’s coordination by blasting Sabotage by the Beastie Boys through a transmission signal. Watching the drones spiral out of control and smash into each other is chaotic, inventive and hugely entertaining, exactly the kind of bold spectacle this series excels at.

As always, the musical score from Michael Giacchino ties everything together beautifully, sweeping us back into this universe with the same sense of adventure that defined the earlier films. It has now been nearly a decade since Beyond was released and the absence of a fourth film has become increasingly noticeable. Over the years we have heard countless rumours, from an R rated entry directed by Quentin Tarantino to the return of George Kirk with Chris Hemsworth, yet none of those ideas have materialised. Whether another instalment ever happens remains uncertain. But if this trilogy ends up being the final chapter for this cast, at least we can appreciate that we were given three hugely enjoyable Star Trek adventures that I will happily return to time and time again.