Star Trek V: The Final Frontier

The one where Kirk and crew do God. There is more than the odd moment in this fifth instalment of Star Trek films with the original crew when you might be tempted to think the title is The Last Straw rather than The Final Frontier: the ‘desert siren’ scene, perhaps. Although the crumb of comfort to be had from that is that there are minds infinitely darker and more disturbed than one’s own out there. Kirk (William Shatner, not only partly responsible for the story but directing the film as well) now Captain Kirk once more and in command of his beloved Enterprise, along with Spock (Leonard Nimoy) and McCoy (DeForest Kelley) are enjoying shore leave in Yosemite Park, complete with campfire, singalongs and a warning to Spock about the explosive combination that is bourbon and beans. Their idyll is disturbed when they are called to rescue hostages from the desolate settlement planet Nimbus III. Terran, Romulan and Klingon ambassadors there are pawns in the greater plans of the cunning and charismatic Vulcan Sybok (Laurence Luckinbill), purportedly based by Shatner on televangelists. Meanwhile, unbeknown to Kirk, a bored young Klingon captain is trawling space to find the scalp of a worthy adversary with which to make his warrior name and the legendary Captain James T Kirk’s is just the scalp he needs.

Shatner’s more serious concept was leavened with humour which at times sits uneasily with the search for Sha Ka Ree, a mythical Eden lying beyond The Great Barrier in space (the 'Final Frontier') and reputed source of The Lord Almighty himself. Considerations of franchise first and foremost here go too far and weaken what they set out to shore up: the film’s box office appeal. You can’t have Uhura cavorting under moonlight in the desert with nothing but a palm frond to protect her naked Can-Canning modesty and then in the next breath expect the audience to swallow stuff of lighter import, such as Life, God, The Universe and Everything. Or to be truly moved by the message this time round that the needs of the one outweigh the needs of the many. The film has some good moments but you are never at your ease with them because the tone fluctuates so drastically. That the writing follows the cardinal rule of show-don’t-tell in revealing McCoy’s personal pain, but has less emotional impact than if he had simply told it to Kirk and Spock, is typical of the misfires caused by this uncertainty. The idea of following the galactic Yellow Brick Road in a quest for the ultimate Wizard of Oz is a good one; but if, from the outset, the writers themselves are not as willing and open-minded, to run with it, Dorothy-like, it’s no wonder The Final Frontier lacks the brains, heart and courage of the previous films.

For all that, it has its moments, a sniff early on of Mad Max: Beyond Thunderdome notwithstanding. It doesn’t have Industrial Light and Magic special effects and visually is often tinpot in comparison with previous outings, never mind the genius that was Douglas Trumbull in the first film. But it does have another fine Jerry Goldsmith score, and it does have the ensemble cast once again given more than just the Enterprise bridge and engine room consoles to decorate. Not to mention Kirk raising a dissenting schoolboy-like finger in the face of The Almighty’s pronouncements with a questioning: “Excuse me?” and Spice Williams-Crosby’s Klingon First Officer Vixis, deep, dark and very disturbing, as one of Star Trek’s sexiest screen icons.

Star Trek V: The Final Frontier, Dir. William Shatner 1989. Sold as part of six-disc boxset Star Trek: Original Motion Picture Collection, Paramount Home Entertainment DVD £44.99, Blu-ray £99.99