Customer Reviews

Star Trek

5 star:		(60)
4 star:		(22)
3 star:		(16)
2 star:		(9)
1 star:		(8)

 

 

After repeat listening, the score to the newest installment is catchy, action-packed, a little cheesy and not a bad 44 minutes or so of music.

Is it Goldsmith's Star Trek? No.

Is it Horner's Star Trek? Absolutely not.

Michael Giacchino writes mostly TV and video game scores (a fact I don't hold against him at all, he's a fantastic composer), and this is evident in "Star Trek". Was the opportunity to score an epic, more "film-appropriate" score squandered on J.J. Abrams best music buddy?

Maybe.

Giacchino is hit or miss for me. Some of his work is good, some of it not so much. (I wonder when everyone screams about the "Lost" scores. What's the appeal?) "Star Trek" is in the "good" category, even if "good" usually means "Most of the score is ok save for one or two tracks on EVERY Giacchino CD that are outstanding". Speed Racer had "Grand ol' Prix" and "Reboot". MI:3 had "Bridge Battle". "The Incredibles" had... well, ok, that whole album was great, but it's Pixar.

This CD is mostly "good", with a few "outstanding" tracks, specifically "Enterprising Young Men" and "Nero Death Experience". These two are perfect examples of what happens when Giacchino tries to stir up the listener and does it well. He manages to hit emotional cues and tense action themes and he carries it just long enough to be satisfying but not overwhelming. Other tracks on the CD stand out as well, and there's actually quite a wide variety of themes in this film, but this leads me to what everyone will be arguing about...

Whose Star Trek is this?

Is it Goldsmith? Or Horner, or Courage or Rosenman or any number of composers who have lent their considerable talents trying to create an audible identity for one of the more long-lived science fiction series out there? Depending on what your tastes and who you grew up with, that's going to be a big argument.

What I do know though is this:

"To Boldly Go" and "End Credits" is the reason this CD should be bought. It's Star Trek, plain and simple. If there's one thing Giacchino can do, it's take a theme, scrub it down, rinse it off, dress it up and put it out there for the screams of adoring fans. He's just that good at it, and ending the album with these tracks is the perfect way to reintroduce the old but familiar Star Trek back into cinema.

I don't understand all of the ho-hum reviews this score has received. A score for STAR TREK hasn't been this memorable in a while. I would rank it with Goldsmith's work. The main theme is very powerful and accents certain scenes in the film very well. Listen to it loud on a good system. This is one of my favorites from the past few years. I hope he is commissioned for the next feature. Bravo, Michael.

From the opening of Michael Giacchino's score, "Star Trek" reveals itself to be a bombastic musical journey.

As many of you already know "Star Trek" tells the story of the original crew's beginnings, depicting the coming together of James Kirk, Mr. Spock, Dr. McCoy and the other classic heroes of the Starship Enterprise. And with a 43-year history, "Star Trek" has a lot of reference material- including its music.

However, contemporary innovation is the mantra of this production. So, if you are expecting a scaled-up version of the classic series' music, you're going to have to wait until the very end to get your Alexander Courage dosage. But more on that later.

"Star Trek" is dominated by a heroic leitmotif, an arrangement which serves as young Jim Kirk's theme. On first listen, the theme stands out as being absolutely ubiquitous- almost to a fault. Is it a catchy hook or a musical crutch for Giacchino? Or is it both? That depends on your musical taste- but it is the overriding identity of the score. Your love or dislike of this theme will probably determine your overall opinion of the film's music.

The most pleasing version of this theme is the track titled "Labor of Love." Without having seen the film, there's no context for its use as of yet- but one can imagine the Starship Enterprise being pieced together with a teenage Jim Kirk looking on. It's not nearly as soaring as Jerry Goldsmith's legendary "The Enterprise" track from "Star Trek: The Motion Picture," but comparing anything to that composition may be unfair.

"Enterprising Young Men" is another standout piece- this likely playing around the time Kirk and McCoy make their way into outer space, approaching their eventual home for presumably the next several years. This track shares an emotional identity with former-Trek composer James Horner's "Apollo 13" score. It's all about adventure!

How's the action music? Very good. There are trace elements of Alexander Courage and Frank Steiner's original series-style in this new composition. While we (unfortunately) don't get a straight riff on the "Amok Time" fight music, the use of percussion and horns are stylistically in the same vein. The villain theme is reminiscent of John Williams' "Death Star" theme from the original "Star Wars"-- simple and old-Hollywood in style. And Giacchino adds what has become a common choice among composers of late- the "Apocalyptic Chorus." You know the kind of music- it's used in every single action movie trailer (close your eyes and you can see things exploding when you listen to it). You also get some quasi-Middle Eastern wailing found in 90% of Ridley Scott movies since "Gladiator." For "Star Trek" this isn't a bad choice, remember that the original theme song consists of some opera lady singing. But from a critical view, this use of a chorus is a tad trite. By the score's end we arrive at a musical high-point. "That New Car Smell" is a somber yet noble piece. It is quite emotional, progressing towards a rousing finish.

And that leads us to the wrap-up "To Boldly Go" and "End Credits" which finally delve into Alexander Courage's original theme with full force. What may be an unfortunate consequence of Giacchino saving the original theme to the very end is that it feels incongruous with the rest of the score. Sure, there are those elements mentioned above in the action music, but they are subtle and not used frequently. It feels as if there are two identities occupying the same space in this score- and they don't mesh well. Had Giacchino managed to stylize the new music to consistently match the original theme throughout, then this issue might have been avoided. Alternatively, if he had rearranged Courage's music to align with his own composition, the end product would have been more successful.

My expectations for this score were actually very high, which probably colors this review. Giacchino is a superb talent- his work on "The Incredibles," "Mission: Impossible III" and "Ratatouille" are among the best film scores of the last several years. He has imbued his orchestral work with jazz elements in the past, similar to Courage and Steiner from the original series. Giacchino's track record suggested a perfect fit for "Star Trek." While he fails to bridge the movie to the original series in a satisfying way, he has delivered a solid score. I look forward to his work on the inevitable sequel- where I think he will develop his "Trek" identity further. There is a good foundation here, but similar to Hans Zimmer and James Newton Howard's work on the Christopher Nolan "Batman" series, sometimes it takes two shots to make a real breakthrough on a property.

Score: 7/10.

I've never been a big Star Trek fan, but wanted to go see the new movie because JJ Abrahms and Zach Quinto were involved in it. I really enjoyed the movie.

One of things that stood out for me was the soundtrack. By the time the movie was done I've made a mental note that I just *had* to get the soundtrack. And so I did. I have been listening to it almost every day since I got it. This is a piece of art on its own.

As a long-time lover of the STMP score by Goldsmith, which to my mind is pretty much one of the most beautiful and integrally whole scores ever written, and an admirer of the main themes from Horner's scores for ST II and III, I have to say I was initially a little bit disappointed at this score. But, having seen the movie four times, and listened to the score multiple times, several of the tracks have grown to have a greater meaning for me since I know what's going on on screen at the time.

The severely beautiful opening track, a deceptively simple, short piece labeled "Star Trek", plays only while the producer credits show before the movie proper begins, and in some ways, it's a shame that it was "wasted" on this, since it's one of the most beguiling, memorable Star Trek tracks ever. The horns are so close to the listener, and the only real accompaniment are high-pitched tones that may or may not be choral, and, strangely enough, what sounds like Chinese chimes, playing quietly, and almost randomly, as if they are being rustled by the wind. It's a chilling effect.

The next great track, even without the cinematic context, would be considered a fine adagio almost hitting the elegiacal tones of Mahler's slow movements - say in the 10th, or even the 5th symphony. But it's the way it's used that leaves me a little bit teary every time I listen to it. It's played during the scene where Kirk's mother is in labor, and his father is flying the Kelvin to destruction against Nero's ship. For about half the track, the music plays alone, with no sound from the movie, intercutting between the two scenes. And towards the end, Kirk and his wife have their final, poignant discussion as Kirk faces his death. The track mixes tragedy, heroism and optimism in equal measure.

The only other track I unequivocally like is no. 5, "Enterprising Young Men". It begins as we see the fleet of shuttles leaving the scene of the Kelvin's destruction, after evacuation. There's an exciting, interestingly scored build-up to the main theme, with a twinkling piano, in the background, and some wonderful woodwind work. As the track hits its stride, with the first heroic statement of the soundtracks main theme, the scene fades out to black, and a gigantic, metallic Starfleet insignia slowly rotates, dominating the screen, while you dimly begin to see the words "Star Trek". It's such a grand, exciting moment, and declares quite simply "Star Trek is taking back its place as an icon of pop culture." Or, as I wrote in my blog, "I am Star Trek, here me roar!" It's a bold, confident statement that, yes, we've put one hell of a movie together, and it represents the best of Star Trek.

Unfortunately, the brilliance of these tracks is not matched in the rest of the score. The music associated with Nero sounds like a parody of a theme for a B-movie, while many of the other tracks sound like what they are - incidental music. You long for the coherence of the Goldsmith score for STMP, where each piece stood on its own as a work of art. There are a couple of Alexander Courage reprises, the only one of which I enjoyed was just prior to the end title, "To Boldly Go." But even that isn't all that I'd hope for. As for the much ballyhooed closing titles, with the amped up version of the original Star Trek theme, it leaves me unfulfilled. It almost sounds like a jazzed up version composed for introducing the movie at the Academy Awards or something. Or, once again, a parody. Giacchino really missed an opportunity with this track.

How do you follow stellar giants such as Jerry Goldsmith, James Horner, Alexander Courage, and yes even Leonard Rosenman and Cliff Eidelman in the "Star Trek" film score lexicon? Well, you really can't, but this is the situation that Michael Giacchino has inherited for his score for J.J. Abrams blockbuster film "Star Trek." The result is a more somber approach than expected (with perhaps some echoes of Eidelman's treatment for "Star Trek VI-The Undiscovered Country," and a hint of James Horner), but certainly not a bad effort at all, indeed, it all amounts to a fine soundtrack recording and a solid score for the screen. One suspects that the general complaint will be a missing fanfare opening in the style of the great Jerry Goldsmith, but this is a prequel...and big things have yet to happen. The main theme is solid and works as an emerging heroic theme for James Tiberius Kirk (and the Enterprise) and it appears in various forms throughout the essentially orchestral score including a surprisingly effective combination with the Alexander Courage theme at the very end. The antagonist, Nero, has a distinct motif reminiscent of the TV series, while Spock has a trademark motif as well. There is a good deal to like about what Giacchino has done here and he has left some musical development open, to be continued in a sequel? The best part of all is probably the "End Credits" which is a traditional overture beginning with that nice twist with Courage's theme (listen for a brief return to this at the very end) and continues with all of Giacchino's representative themes and motifs to a big conclusion...yes, big, now things have happened and, we suspect, more is to come. Nicely produced and packaged by Varese.

When people think about Star Trek, they generally think about the original score from Alexander Courage, or Goldsmith's Next Generation, or Horner's continually self-referential scores. People tend to expect more of the same- especially with a series as long-lived as Star Trek. And in the trailers, a 'temp track' was used that some people thought was part of the film. Some even hoped that the trailer music would be used. (It was so well received that the company who created it, and specializes in trailer music, retired it.) It is not, and that isn't a bad thing.

I can tell you straight up: this is not the same stuff in a fancy new package. Yes, there is a homage to the original Courage theme, but it is in the end credits. And there are echoes of both Goldsmith and Horners percussion-driven battle music as well. But overall this is a unique new 'sound' for the 'reboot' of Star Trek, and it works. Michael Giacchino creates music that goes with the slam-bang roller-coaster ride that is this movie, and he does a wonderful job. For soundtrack afficionados like me, it was refreshing to get a 'traditional' style soundtrack.

My fears were that with the 'reboot' we'd see a total redo of the soundscape- perhaps a McCreary-esque Battlestar Galactica style use of taiko drums and tons of ethnic instruments. Or perhaps a Hans Zimmer-esque electronic score. Thankfully, those fears were groundless. This is a traditional orchestral score- with minimal use of electronics and maximal use of the strings, brass, percussion and chorus. The new theme for the Enterprise/Kirk is muscular without being bombastic.

The film opens with a prelude- the story of Kirk's birth. Frantic battle-music covers the first part, and then there's a dreamily peaceful theme, "Labor of Love" that plays on top of the poignant remainder of the scene. It is a bit of musical cognitive dissonance that plays quite well. That leads in to the first 'sighting' of the main theme, signalled by a single note trumpet fanfare that leads into the main part of the film.

"Hella Bar Talk" sounds like a lushly romantic salute to John Barry's style of composition, and the title is a pun on Romantic composer Bela Bartok. In fact, the list of titles is full of delightful pun-tiffication, and is, in itself a fun puzzle to solve, if you're inclined to do so.

Standout tracks include "Enterprising Young Men", which plays under the shuttle trip to the brand-new Enterprise. The 'beauty shots' of the ship are well scored here, but not too long.

"Nero Sighted" gives us a theme more for Nero's nasty-looking ship Narada, than for Nero himself, who gets a nice brassy theme, complete with Apocalyptic Chorus towards the end.

Spock (and the Vulcans) are not left out- they are treated with a surprisingly emotional theme in "That New Car Smell", played on the only recognisably 'ethnic' instrument used in the score- a Chinese violin. Giacchino's use of scoring opposite of our expectations works here as it did with the destruction of the Kelvin in the opening scenes.

And in "To Boldly Go", the composer manages to 'stack' the old and the new themes together musically, making them a melded whole before breaking out into Courage's original theme in the closing credits.

All in all, the soundtrack 'fit' with the movie. There were uses of 'outside' music in the film, too, but these tracks were not included on the orchestral track, but are credited on the movie itself. The music served to amplify the overall emotional tone of the film, and give us something both familiar and brand-new at the same time.

While this soundtrack is simply the music from the movie, I can safely say (without giving away spoilers) that the sound design of this movie is one of the best I've heard in a very long time. The audio engineers take full advantage of the surround sound environment, and the sound has a dimensional vividness to it that ought to garner it an Oscar nod. Pay attention in the battle and bridge scenes- they sound very realistic.

Well, the Oscars are over and the soundtrack from the latest incarnation of the Star Trek franchise can only be called 'Academy Award nominated' instead of winning. But regardless, that doesn't detract from the deep brass and haunting strings that complete Michael Giacchino's rendition of the science fiction epic.

When I first watched the movie, it was the beautiful yet sad theme that now seems to represent the U.S.S. Enterprise herself that set up the epic and tragic end of the U.S.S. Kelvin. Its simple melodic highs and lows represents past ages of sailing, even though ships fly in space rather than oceans in the film. The second track softens and breathes of life and new experiences... while the brass literally screams 'Boldly Go' in the arias that pass.

It may only be Academy Award nominated, but don't forget that Michael Giacchino also won Best Original Score for Up. Maybe that's why - because they could only enter one nomination. Regardless, this is a great soundtrack to listen to while reading a thrilling novel or while shoveling snow - you know it has to be done but it doesn't have to be a chore.

J.Delzer is the author of The Buccaneer of Nemaris. The Buccaneer of Nemaris

The title says it all; the opening theme is quite beautiful, but almost all of the soundtrack is just disappointing. I'd hoped for something special after hearing the very lovely theme in the ads for the movie; it's utterly poignant, and very promising, but that's as far as this soundtrack goes. With the exception of "Labor of Love," this is only a mediocre work, and a huge letdown. The silly track names don't help much; it's as though the composer himself is telling us that he didn't take the job particularly seriously. I guess it's an "ok" CD, but that's the only recommendation I can give it.

I generally don't write definite reviews right after I have heard a score - only when it's obvious on first listen that a score missed completely or excells greatly.
And Michael Giacchino's Star Trek took me when two weeks had passed after I purchased it.

I will not even start commenting on heritage, on legacy, or on bars that have been set, since it would obviously be futile. Chronologically, Star Trek takes place before Star Trek The Motion Picture, even before the original TV series, so quite understandably, familiar themes are not to be heard - they simply don't exist at that point.
Giacchino's decision to not use Goldsmith's immortal Motion Picture theme was indeed a bold move, but both a logical, and correct one.
You must remember that the movie is starting an alternative timeline of the Star Trek universe.

But this doesn't mean he wasn't bound to any rules; there are themes that Star Trek music needs to encapsule. Awe, the noble spirit of exploring the unknown, a romantic sense of discovery, and not least of all an unashamed exposure of heroism.
Giacchino managed to squeeze all of that into his Enterprise theme, fully heard in "Enterprising Young Men". He did what very very few notable composers nowadays do: his theme is not a single line, it has parts and B-phrases that are being used all over the place, and that flavour the score with a very distinct overall style, not dissimilar to the way James Horner did Wrath Of Khan.

Michael Giacchino has been criticised for not developing his main theme in the movie. While that is true to an extent, I doubt it would bother any listener, especially since the theme occurs in many different disguises. Also, Goldsmith's First Contact main theme is rightfully considered a masterpiece by many - and where is the development in that theme?
Speaking of themes, there are two other notable ones, the music for Spock and the Vulcans, and Nero's brass- heavy motif. Here too Giacchino is criticised for essentially reusing Goldsmith's Romulan music from Star Trek X. Have you ever heard of cultural continuity?

Tracks 12, 13, 14, and 15 are perfectly able to give you chills, especially the end credits piece. Some say the original series' theme is woefully out of place. Well, *I* say you couldn't be more wrong. The moment when Giacchino counterpoints his Star Trek theme with the original one should bring tears of joy on any fan's face, for it is pure genius.

With all the praise, you should not expect an "old school" kind of score, even though this Star Trek sounds as fresh as nothing this summer. This is not a score that only serves the film, or a score that pleases the superficial listener with a load of power anthems. It is a musically skillful work, true to the Star Trek idea, and stands head to shoulder above anything this summer.
From the moment you hear the first strains of "Star Trek", you know you are at the right place, in good hands!

My wish is that for many Star Trek films to come, Giacchino is allowed to boldly go ...!