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    Star Trek Iv

    Review of: Star Trek Iv

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    5
    On 17.01.2020
    Last modified:17.01.2020

    Summary:

    Enthlt ziemlich egal, wie sehr geizt in der Eimer, in deutscher Schauspieler, ebenso schnell den Job als Pflegehelferin in Paradise. Und dann zu genieen.

    Star Trek Iv

    Die DVD Star Trek IV: Zurück in die Gegenwart jetzt für 5,99 Euro kaufen. Teil IV ist von der Action her wohl der gemütlichste. Und genau dies schreibe ich dem Film auch zu Gute. Denn Weltraumschlachten und Kämpfe auf fremden. Die Enterprise befindet sich gerade auf dem Rückweg von Vulkan, da erreicht sie eine Botschaft der Erde: Eine außerirdische Sonde bedroht den Planeten, gibt unverständliche Signale ab und sorgt für verheerendes Unwetter. Die Crew findet heraus.

    Star Trek Iv Top-Themen

    Die Enterprise befindet sich gerade auf dem Rückweg von Vulkan, da erreicht sie eine Botschaft der Erde: Eine außerirdische Sonde bedroht den Planeten, gibt unverständliche Signale ab und sorgt für verheerendes Unwetter. Die Crew findet heraus. Das von der Enterprise-Crew verwendete Raumschiff ist daher ein in Star Trek III gekaperter klingonischer Bird of Prey, der auf den Namen Bounty getauft wurde. Teil IV ist von der Action her wohl der gemütlichste. Und genau dies schreibe ich dem Film auch zu Gute. Denn Weltraumschlachten und Kämpfe auf fremden. Star Trek IV: Zurück in Die Gegenwart [dt./OV]. ()1 Std. 58 Min Ein riesiges Flugobjekt im All droht, mit seinem Kraftfeld die Erde zu vernichten, und​. Nach Monaten im Exil auf Vulkan reist die Crew der Enterprise mit der HMS Bounty (einem von den. Neben Regisseur Noah Hawley ("Fargo") wurde nun auch der Cast und damit die Crew der Enterprise des vierten "Star Trek"-Films bestätigt. Star Trek IV – Zurück in die Gegenwart: Sendetermine · Streams · DVDs · Cast & Crew.

    Star Trek Iv

    Star Trek IV: Zurück in Die Gegenwart [dt./OV]. ()1 Std. 58 Min Ein riesiges Flugobjekt im All droht, mit seinem Kraftfeld die Erde zu vernichten, und​. Die DVD Star Trek IV: Zurück in die Gegenwart jetzt für 5,99 Euro kaufen. Das von der Enterprise-Crew verwendete Raumschiff ist daher ein in Star Trek III gekaperter klingonischer Bird of Prey, der auf den Namen Bounty getauft wurde. Nun wurde diese Information zusammen mit dem Cast des Films offiziell bestätigt, und überraschender- wie erfreulicherweise soll sogar Chris Pine als Captain der Enterprise zurückkehren. Das Skript musste darauhin mit dem Wegfall von George Kirk nochmals überarbeitet Sex Mit Zwei Männer. Enterprise NCCA. Quelle: Moviepilot. Wenn nun aber alles gut geht, dürfen sich die Fans von "Star Trek" auf freuen, denn da soll der vierte Teil in die Kinos kommen. Die Sonde sendet hochenergetische Signale aus, die alle irdischen Energiesysteme zusammenbrechen lassen. Obwohl sie als Abtrünnige gelten, kehrt Mediathek Günther Jauch Mannschaft der U. Legende Film Stream Zukunft von "Star Trek 4" sah ja lange nicht sehr rosig aus. Diese stellt ihre Ausstrahlungen ein und entfernt sich, worauf die irdischen Systeme wieder einwandfrei funktionieren. Über Filme auf DVD bei Thalia ✓»Star Trek 4 - Zurück in die Gegenwart​«und weitere DVD Filme jetzt online bestellen! Die DVD Star Trek IV: Zurück in die Gegenwart jetzt für 5,99 Euro kaufen. Original. Star Trek IV: The Voyage Home. Studio. Paramount Pictures (). Verleih. Paramount Home Entertainment (). Laufzeit. min. Regie.

    Star Trek Iv - Streams und Mediatheken

    Um die Erde zu retten benötigen Kirk und seine Crew Buckelwale, diese sind jedoch längst ausgestorben. Science Fiction. Spick versteckt seine Ohren. Die Zukunft von "Star Trek 4" sah ja lange nicht sehr rosig aus.

    Star Trek Iv News & Updates Video

    Star Trek IV The Voyage Home - Admiral Kirk Becomes Captain Principal photography began in October Serien Stream Alle Serien, in and around Los Angeles, California. Star Trek Database. Kirk and crew are called upon once again to save mankind. Titan Books. Saavik's role is minimal in Netflix Kürzlich Hinzugefügt film—originally, she was intended to remain behind on Vulcan because she was pregnant after she had mated with the younger Spock in Star Trek III: The Search for Spock. Fischer, Dennis

    Star Trek Iv Contribute to This Page Video

    Star Trek IV The Voyage Home - Part 5 Wir erhalten für einen Kauf über unseren Link eine kleine Provision und können so die kostenlos nutzbare Webseite teilweise mit diesen Einnahmen finanzieren. Urteilen Sie selbst weniger. Alle Kommentare Forum. Obwohl sie als Abtrünnige gelten, kehrt die Mannschaft der U. Gillian Taylor, die ihren beiden Walen sehr zugetan ist und sie bald auswildern möchte. Bestie Von Gévaudan Lucatus Erfahrener Benutzer. Sehen Sie selbst. Schon beinahe ein Klassiker aus dem Star Trek Universum! Freigegeben ab 12 Jahren.

    It is the 23rd century, and a space probe appears over Earth, emanating strange sounds towards the planet, and apparently waiting for something. As time goes on, the probe starts to cause major storms on Earth and threaten its destruction.

    Admiral James T. Kirk and crew are called upon once again to save mankind. They discover the strange sounds are actually the songs of the humpback whale - which has been hunted to extinction.

    They have only one choice - to attempt to time travel back into the 20th century, locate two whales, and bring them back to 23rd century Earth to respond to the probe.

    Sign In. Jump to: Summaries 3 Synopsis 1. The synopsis below may give away important plot points. Production was smoother on set, and the crew shot scenes ahead of schedule.

    The crew fabricated a stand-in set for the God planet location, where additional scenes were filmed to combine with the location footage.

    Shatner scheduled the campfire scenes to be the last ones shot, after which the cast and crew had a small celebration before a traditional wrap party later.

    Shatner returned to Paramount Studios a few days after principal photography had wrapped to organize the film's post-production schedule. Shatner recalled that the film received praise and left the screening "reveling" in its reception; it turned out to be a "momentary victory" once he saw the special effects.

    During the writers' strike, producer Ralph Winter confronted what writer Paul Mandell termed an "unenviable" effects situation.

    With a stretched budget and short timeframe, Winter had to look elsewhere. The producers solicited test footage from various effects houses to judge which was best able to create the film's main effects, including the planet Sha Ka Ree and the godlike being which resided there.

    Bran Ferren 's effects company Associates and Ferren was picked. Associates and Ferren had three months to complete the effects work—around half the usual industry timeframe.

    Shatner insisted on viewing much test footage before he proceeded with each shot, requesting time-consuming changes if he did not like an effect.

    The studio called a meeting with executives and began cutting out effects shots. To reduce the optical effects workload, Ferren rejected bluescreen compositing, opting instead for rear projection.

    This cheaper process, he reasoned, would save time, and would make sense for elements such as the Enterprise ' s bridge viewer, where compositing would lack the softness of a real transmitted image.

    The rock monster climax of the film was ultimately dropped due to difficulties during filming. Effects personnel smoked cigarettes and blew smoke into the suit's tubing, [75] loading it with smoke that it would slowly emit, obscuring some obvious rubber parts.

    On the last day of location shooting, the Rockman began suffering mechanical problems; the suit stopped breathing fire, and the desert wind dissipated the smoke.

    The result, Shatner wrote, was that "our guy in the silly rubber suit ultimately just looked like Once back at the studio for non-location filming, Shatner and Ferren met to discuss how to replace the Rockman.

    The agreed-upon idea was an "amorphous blob of light and energy" that would rise up and chase after Kirk, shape-shifting while in pursuit.

    When Shatner saw the effects, however, he was extremely disappointed with the low quality. Bennett and Shatner attempted to get money to reshoot the final scenes of the film, but Paramount turned them down.

    While production wrapped, Ferren continued work on the miniatures and other optical effects at his New Jersey studio. The opticals were completed in Manhattan before being sent west; [77] for example, bluescreen footage of the motion controlled miniatures was filmed in Hoboken, New Jersey.

    In New York, the blue screen was replaced by a moving starfield—a single finished shot of a ship moving through space required as many as fifty pieces of film.

    The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.

    The "God column", in which the false god appeared, was created by a rapidly rotating cylinder through which light was shone; the result appeared on film as a column of light.

    Ferren used a beam splitter to project actor George Murdock's head into the cylinder, giving the appearance that the false god resided within the column.

    Days after filming was completed, Shatner returned to Paramount to supervise the film's edit, soundscape creation and score, and integration of optical effects.

    Editor Peter E. Berger had already assembled rough cuts of various sequences, [79] and with only weeks before the film's scheduled completion, the production team set about the task of salvaging the film's ending through editing.

    The false god's screen time was reduced, and Ferren's "god blob" effect was replaced with a closeup of the actor's face, along with shots of lightning and smoke.

    At the time, Shatner felt that the edits "pulled a rabbit out of a hat", solving many of the film's problems. Shatner's cut ran slightly over two hours not including end credits or the opticals , [81] which Paramount thought was too long.

    Their target runtime was one hour forty-five minutes, which would guarantee twice-nightly theatrical screenings. Bennett was handed the task of shortening the film's running time, despite Shatner's view that nothing could possibly be removed.

    Shatner was horrified by Bennett's edit, and the two haggled over what parts to restore or cut. In early test screenings, the film received negative reviews.

    Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed.

    Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier ; beyond choosing Luckinbill as Sybok, he hired Jerry Goldsmith to compose the film's score.

    Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Picture , and the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.

    He focused on the God planet as his most difficult task. Goldsmith's main theme begins with the traditional opening notes from Alexander Courage 's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture.

    Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture.

    Goldsmith also added a crying ram's horn. The breadth of The Final Frontier ' s locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs , recurring music used for locations and characters.

    Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.

    The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition.

    Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend ; "the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond.

    The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.

    When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.

    The original soundtrack for the film was originally released by Epic Records, and included nine score tracks mostly out of film order and the song "The Moon Is a Window to Heaven" by Hiroshima.

    On Tuesday November 30, , La-La Land Records reissued the soundtrack in a two-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.

    Because Mangini was concerned about creating continuity within Star Trek ' s sounds, he decided to reuse some effects rather than create new and different-sounding ones—as such, the Bird-of-Prey's cloak effect, beaming sounds, and the Enterprise engines sound similar to that of past movies.

    Mangini collaborated with Shatner to work out how the completely new effects would sound. For Sybok's mind melds, Shatner wanted the sounds of beating hearts and breathing.

    Mangini was also responsible for the film's foley and dialogue replacement ; foley editors created background audio in sync with actions on screen to enrich the soundscape.

    The sound of Klingons walking, for example, was conveyed with chains and leather for a "rough" sound. The Final Frontier appeared amidst several other films that grappled with quests for God and spiritual meaning; [93] author Peter Hansenberg regarded the film as part of an "almost fashionable" trend of s science fiction movies with religious motifs.

    Schultes agrees, pointing out that the idea of paradise has been seen many times in the series, but almost always illusory or deadened.

    While many Star Trek episodes dealt with false deities, The Final Frontier is one of the few that, in the words of religious scholar Ross Shepard Kraemer, "intentionally confronted and explored theological questions, including the existence of God.

    Moreover, the view of God is homogenized—no one disputes Sybok's references to God as a "he". Maybe He's right here, in the human heart.

    The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last Crusade , Ghostbusters II , and Batman.

    In its first week, The Final Frontier was number one at the domestic box office. The Final Frontier was the season's tenth-best-grossing film, although it failed to make expected returns.

    The site's critics' consensus reads: "Filled with dull action sequences and an underdeveloped storyline, this fifth Trek movie is probably the worst of the series.

    Rob Lowing of The Sun Herald called the film "likeable but average". Critics such as Newsweek ' s David Ansen judged the principal characters' performances satisfactory; "these veterans know each other's moves so well they've found a neat comic shorthand that gets more laughs out of the lines than they deserve", Ansen wrote.

    The special effects were generally considered poor. Murphy wrote that the film fell apart after the arrival at Sha Ka Ree, where the "great special effects that graced parts I through IV are nowhere to be seen".

    Bennett blamed part of The Final Frontier ' s failure on the change from a traditional Thanksgiving-season Star Trek opening, to the sequel-stuffed summer release period, and the diffusion of Star Trek fan viewership following the premiere of The Next Generation.

    In the morning after the opening night, he woke Nimoy up to tell him that the Los Angeles Times had given The Final Frontier a positive review. Soon after a local television reporter also gave the film a good review, and Shatner recalled that he incorrectly "began sensing a [positive] trend".

    Nevertheless, the film is considered canon. Considered a critical and commercial failure, the poor performance of The Final Frontier jeopardized the production of further Star Trek features.

    Loughery worked with Bennett on a story inspired by Santa Fe Trail. It was re-released on DVD as a 2-Disc Special Collector's Edition on October 14, , with bonus extras added, including footage of the principal photography wrap press conference, an interview with Shatner the day before filming began, a retrospective documentary and a commentary track by Shatner and his daughter Liz.

    All six films in the set have new 7. The disc features a new commentary track by renowned Star Trek authors and contributors Michael and Denise Okuda , Judith and Garfield Reeves-Stevens , and Daren Dochterman , [] [] as well as the previously recorded commentary track by Shatner and his daughter.

    Shatner wanted to produce a director's cut of the movie similar to Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan with improved special effects and scenes omitted from the original release; however, he stated in an interview that Paramount would not support the venture.

    From Wikipedia, the free encyclopedia. For other uses, see STV disambiguation. Theatrical release poster art by Bob Peak. Release date. Running time.

    Since this leader is identified as having been badly treated by the Klingons in his retirement, how did he suddenly regain the authority to negotiate a truce?

    And do we really want to see the mighty Klingons reduced to the status of guests at a cocktail party?

    British Board of Film Classification. July 6, Retrieved May 22, Los Angeles Times. Retrieved May 21, The Star Trek Encyclopedia, 4th ed. Pocket Books.

    The Washington Post. Daily Variety. CBS Entertainment. Retrieved April 12, USA Today. Sunday Tasmanian. The Advertiser. Archived from the original on July 29, Retrieved May 28, The Sunday Mail.

    The Globe and Mail. Petersburg Times. Archived from the original on December 17, Retrieved January 6, The New York Times. July 9, The Miami Herald.

    December 5, Retrieved June 1, Retrieved March 23, Retrieved April 11, Associated Press. September 6, Rotten Tomatoes.

    Retrieved May 18, Retrieved December 19, Archived from the original on July 24, The Sun Herald. Chicago Sun-Times. Retrieved December 13, Retrieved December 30, Deseret News.

    Retrieved January 5, Christian Science Monitor. Retrieved March 13, May 30, Retrieved May 15, The Gazette. Ziff Davis. Archived from the original on February 23, Retrieved January 16, Altman, Mark April Bond, Jeff The Music of Star Trek.

    Lone Eagle Publishing Company.

    Star Trek Iv

    Star Trek Iv Inhaltsverzeichnis

    Weitere Artikel finden Sie in:. Robin Curtis. Sie entdecken dabei Pets Movie4k wahre Bedeutung von Freundschaft wieder. Schon beinahe ein Klassiker aus dem Star Trek Universum! Freigegeben ab 12 Jahren. Der gute Captain Kirk, der Albtraum der tAbteilung für temporale Ermittlungen, macht was er am besten kann: Sich über Regeln hinwegsetzen und damit die Menschheit retten. Leonard Nimoy. Weitere Bewertungen einblenden Weniger Bewertungen einblenden. Gert Günther Hoffmann.

    Star Trek Iv Navigation menu Video

    Star Trek IV The Voyage Home - Part 1

    After one of the production's camera trucks exploded in the studio parking lot, the non-union drivers headed to Yosemite National Park under cover of darkness with a police escort.

    The film's Yosemite scenes were all shot on location. The overhead shot gave the impression Kirk was climbing at a great height, while unnatural background features such as swimming pools were camouflaged.

    In the scene, Spock watches Kirk's ascent, levitates up behind him as a pest giving suggestions with the outcome that Kirk slips and Spock has to saves him using levitating boots.

    Bluescreen footage of Shatner falling was shot later at Paramount and composited, while stuntman Ken Bates set a record for the highest American descender fall by plummeting off El Capitan —with a wire support rig—for long shots.

    The scenes had to be reshot later. After the Yosemite shots, location shooting moved to desert locales. The town was created as a haphazard collection of spaceship parts and futuristic scrap.

    Shatner called the resulting half-jogging pace of the dehydrated extras "the Sybok shuffle". The production spent three more weeks filming the rest of the desert scenes, finishing the last night scene shortly before sunrise and the trip back to Los Angeles.

    At Paramount, the crew filmed all the scenes that would take place on soundstages, including the Enterprise and Bird-of-Prey sets, the Paradise City interiors, and the campfire location.

    Production was smoother on set, and the crew shot scenes ahead of schedule. The crew fabricated a stand-in set for the God planet location, where additional scenes were filmed to combine with the location footage.

    Shatner scheduled the campfire scenes to be the last ones shot, after which the cast and crew had a small celebration before a traditional wrap party later.

    Shatner returned to Paramount Studios a few days after principal photography had wrapped to organize the film's post-production schedule.

    Shatner recalled that the film received praise and left the screening "reveling" in its reception; it turned out to be a "momentary victory" once he saw the special effects.

    During the writers' strike, producer Ralph Winter confronted what writer Paul Mandell termed an "unenviable" effects situation.

    With a stretched budget and short timeframe, Winter had to look elsewhere. The producers solicited test footage from various effects houses to judge which was best able to create the film's main effects, including the planet Sha Ka Ree and the godlike being which resided there.

    Bran Ferren 's effects company Associates and Ferren was picked. Associates and Ferren had three months to complete the effects work—around half the usual industry timeframe.

    Shatner insisted on viewing much test footage before he proceeded with each shot, requesting time-consuming changes if he did not like an effect.

    The studio called a meeting with executives and began cutting out effects shots. To reduce the optical effects workload, Ferren rejected bluescreen compositing, opting instead for rear projection.

    This cheaper process, he reasoned, would save time, and would make sense for elements such as the Enterprise ' s bridge viewer, where compositing would lack the softness of a real transmitted image.

    The rock monster climax of the film was ultimately dropped due to difficulties during filming. Effects personnel smoked cigarettes and blew smoke into the suit's tubing, [75] loading it with smoke that it would slowly emit, obscuring some obvious rubber parts.

    On the last day of location shooting, the Rockman began suffering mechanical problems; the suit stopped breathing fire, and the desert wind dissipated the smoke.

    The result, Shatner wrote, was that "our guy in the silly rubber suit ultimately just looked like Once back at the studio for non-location filming, Shatner and Ferren met to discuss how to replace the Rockman.

    The agreed-upon idea was an "amorphous blob of light and energy" that would rise up and chase after Kirk, shape-shifting while in pursuit.

    When Shatner saw the effects, however, he was extremely disappointed with the low quality. Bennett and Shatner attempted to get money to reshoot the final scenes of the film, but Paramount turned them down.

    While production wrapped, Ferren continued work on the miniatures and other optical effects at his New Jersey studio. The opticals were completed in Manhattan before being sent west; [77] for example, bluescreen footage of the motion controlled miniatures was filmed in Hoboken, New Jersey.

    In New York, the blue screen was replaced by a moving starfield—a single finished shot of a ship moving through space required as many as fifty pieces of film.

    The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.

    The "God column", in which the false god appeared, was created by a rapidly rotating cylinder through which light was shone; the result appeared on film as a column of light.

    Ferren used a beam splitter to project actor George Murdock's head into the cylinder, giving the appearance that the false god resided within the column.

    Days after filming was completed, Shatner returned to Paramount to supervise the film's edit, soundscape creation and score, and integration of optical effects.

    Editor Peter E. Berger had already assembled rough cuts of various sequences, [79] and with only weeks before the film's scheduled completion, the production team set about the task of salvaging the film's ending through editing.

    The false god's screen time was reduced, and Ferren's "god blob" effect was replaced with a closeup of the actor's face, along with shots of lightning and smoke.

    At the time, Shatner felt that the edits "pulled a rabbit out of a hat", solving many of the film's problems. Shatner's cut ran slightly over two hours not including end credits or the opticals , [81] which Paramount thought was too long.

    Their target runtime was one hour forty-five minutes, which would guarantee twice-nightly theatrical screenings.

    Bennett was handed the task of shortening the film's running time, despite Shatner's view that nothing could possibly be removed. Shatner was horrified by Bennett's edit, and the two haggled over what parts to restore or cut.

    In early test screenings, the film received negative reviews. Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed.

    Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier ; beyond choosing Luckinbill as Sybok, he hired Jerry Goldsmith to compose the film's score.

    Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Picture , and the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.

    He focused on the God planet as his most difficult task. Goldsmith's main theme begins with the traditional opening notes from Alexander Courage 's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture.

    Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture.

    Goldsmith also added a crying ram's horn. The breadth of The Final Frontier ' s locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs , recurring music used for locations and characters.

    Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.

    The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages.

    The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition. Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend ; "the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond.

    The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.

    When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.

    The original soundtrack for the film was originally released by Epic Records, and included nine score tracks mostly out of film order and the song "The Moon Is a Window to Heaven" by Hiroshima.

    On Tuesday November 30, , La-La Land Records reissued the soundtrack in a two-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.

    Because Mangini was concerned about creating continuity within Star Trek ' s sounds, he decided to reuse some effects rather than create new and different-sounding ones—as such, the Bird-of-Prey's cloak effect, beaming sounds, and the Enterprise engines sound similar to that of past movies.

    Mangini collaborated with Shatner to work out how the completely new effects would sound. For Sybok's mind melds, Shatner wanted the sounds of beating hearts and breathing.

    Mangini was also responsible for the film's foley and dialogue replacement ; foley editors created background audio in sync with actions on screen to enrich the soundscape.

    The sound of Klingons walking, for example, was conveyed with chains and leather for a "rough" sound. The Final Frontier appeared amidst several other films that grappled with quests for God and spiritual meaning; [93] author Peter Hansenberg regarded the film as part of an "almost fashionable" trend of s science fiction movies with religious motifs.

    Schultes agrees, pointing out that the idea of paradise has been seen many times in the series, but almost always illusory or deadened. While many Star Trek episodes dealt with false deities, The Final Frontier is one of the few that, in the words of religious scholar Ross Shepard Kraemer, "intentionally confronted and explored theological questions, including the existence of God.

    Moreover, the view of God is homogenized—no one disputes Sybok's references to God as a "he". Maybe He's right here, in the human heart.

    The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last Crusade , Ghostbusters II , and Batman.

    In its first week, The Final Frontier was number one at the domestic box office. The Final Frontier was the season's tenth-best-grossing film, although it failed to make expected returns.

    The site's critics' consensus reads: "Filled with dull action sequences and an underdeveloped storyline, this fifth Trek movie is probably the worst of the series.

    Rob Lowing of The Sun Herald called the film "likeable but average". Critics such as Newsweek ' s David Ansen judged the principal characters' performances satisfactory; "these veterans know each other's moves so well they've found a neat comic shorthand that gets more laughs out of the lines than they deserve", Ansen wrote.

    The special effects were generally considered poor. Murphy wrote that the film fell apart after the arrival at Sha Ka Ree, where the "great special effects that graced parts I through IV are nowhere to be seen".

    Bennett blamed part of The Final Frontier ' s failure on the change from a traditional Thanksgiving-season Star Trek opening, to the sequel-stuffed summer release period, and the diffusion of Star Trek fan viewership following the premiere of The Next Generation.

    In the morning after the opening night, he woke Nimoy up to tell him that the Los Angeles Times had given The Final Frontier a positive review.

    Soon after a local television reporter also gave the film a good review, and Shatner recalled that he incorrectly "began sensing a [positive] trend".

    Nevertheless, the film is considered canon. Considered a critical and commercial failure, the poor performance of The Final Frontier jeopardized the production of further Star Trek features.

    Loughery worked with Bennett on a story inspired by Santa Fe Trail. It was re-released on DVD as a 2-Disc Special Collector's Edition on October 14, , with bonus extras added, including footage of the principal photography wrap press conference, an interview with Shatner the day before filming began, a retrospective documentary and a commentary track by Shatner and his daughter Liz.

    All six films in the set have new 7. The disc features a new commentary track by renowned Star Trek authors and contributors Michael and Denise Okuda , Judith and Garfield Reeves-Stevens , and Daren Dochterman , [] [] as well as the previously recorded commentary track by Shatner and his daughter.

    Shatner wanted to produce a director's cut of the movie similar to Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan with improved special effects and scenes omitted from the original release; however, he stated in an interview that Paramount would not support the venture.

    From Wikipedia, the free encyclopedia. For other uses, see STV disambiguation. Theatrical release poster art by Bob Peak.

    Release date. Running time. Since this leader is identified as having been badly treated by the Klingons in his retirement, how did he suddenly regain the authority to negotiate a truce?

    And do we really want to see the mighty Klingons reduced to the status of guests at a cocktail party? British Board of Film Classification.

    July 6, Retrieved May 22, Los Angeles Times. Retrieved May 21, The Star Trek Encyclopedia, 4th ed. Pocket Books. The Washington Post.

    Daily Variety. CBS Entertainment. Retrieved April 12, USA Today. Sunday Tasmanian. The Advertiser. Archived from the original on July 29, Retrieved May 28, The Sunday Mail.

    The Globe and Mail. Petersburg Times. Archived from the original on December 17, Retrieved January 6, The New York Times.

    July 9, The Miami Herald. December 5, Retrieved June 1, Retrieved March 23, Retrieved April 11, Associated Press. September 6, Rotten Tomatoes.

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