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Star Trek IV: The Voyage Home

To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.
The most acclaimed Star Trek adventure of all time with an important message. It is the 23rd century, and a mysterious alien probe is threatening Earth by evaporating the oceans and destroying the atmosphere. In their frantic attempt to save mankind, Admiral Kirk and his crew must time travel back to 1986 San Francisco where they find a world of punk, pizza and exact-change buses that are as alien to them as anything they have ever encountered in the far-off reaches of the galaxy. William Shatner and Leonard Nimoy return as Kirk and Spock, along with the entire Star Trek crew. — Robert Lynch <[email protected]>
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. — Colin Tinto <[email protected]>
In 2286, an enormous cylindrical probe moves through space, sending out an indecipherable signal and disabling the power of ships it passes. As it takes up orbit around Earth, its signal disables the global power grid and generates planetary storms, creating catastrophic, sun-blocking cloud cover. Starfleet Command sends out a planetary distress call and warns star ships not to approach Earth. On the planet Vulcan, the former officers of the USS Enterprise are living in exile, after the events of Star Trek III: The Search for Spock. Accompanied by the Vulcan Spock, still recovering from his resurrection, the crew - except for Saavik, who remains on Vulcan - take their captured Klingon Bird of Prey vessel (renamed the Bounty, after the Royal Navy ship) and return to Earth to face trial for their actions. Hearing Starfleet's warning, Spock (Leonard Nimoy) determines that the probe's signal matches the song of extinct humpback whales, and that the object will continue to wreak havoc until its call is answered by the whales. The crew uses their ship to travel back in time via a slingshot maneuver around the Sun, planning to return with a whale to answer the alien signal. Other officers include Leonard McCoy (DeForest Kelley), Medical officer, Montgomery Scott (James Doohan) engineer, helmsman Hikaru Sulu (George Takei), Pavel Chekov (Walter Koenig), Uhura (Nichelle Nichols) Arriving in 1986, the crew finds their ship's power drained. Hiding their ship in San Francisco's Golden Gate Park using its cloaking device, the crew split up to accomplish several tasks: Admiral James T. Kirk (William Shatner) and Spock attempt to locate humpback whales, while Montgomery Scott, Leonard McCoy, and Hikaru Sulu construct a tank to hold the whales they need for a return to the 23rd century. Uhura and Pavel Chekov are tasked to find a nuclear reactor, whose energy output will enable their ship's power to be restored. Kirk and Spock discover a pair of whales in the care of Dr. Gillian Taylor (Catherine Hicks) at a Sausalito Museum and learn they will soon be released into the wild. Spock does a mind meld with a whale and figures out that it is preggers. Gillian is suspicious of Kirk and Spock, but Kirk manages to charm her and take her out to dinner. Kirk tells her of his mission and asks for the tracking frequency for the whales, but she refuses to cooperate. Meanwhile, Scott, McCoy, and Sulu trade the formula of transparent aluminum for the materials needed for the whale tank. Uhura and Chekov locate a nuclear-powered ship, the aircraft carrier Enterprise. They collect the power they need but are discovered on board. Uhura is beamed back but Chekov is captured and severely injured in an escape attempt. Taylor learns the whales have been released early and goes to Kirk for assistance. Taylor, Kirk, and McCoy rescue Chekov and return to the now recharged Bird of Prey. After transporting the whales aboard the ship, the crew returns with Taylor to their own time. On approaching Earth, the ship loses power and comes down in San Francisco Bay. Once released, the whales respond to the probe's signal, causing the object to reverse its effects on Earth and return to the depths of space. All charges against the Enterprise crew are dropped, save one for insubordination: for disobeying a superior officer, Kirk is demoted from Admiral and back the rank of Captain where he is returned to command of a star ship. The crew departs on their ship, the newly christened USS Enterprise (NCC-1701-A), and leaves on a new mission.

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Walter Koenig, Leonard Nimoy, William Shatner, James Doohan, DeForest Kelley, George Takei, and Nichelle Nichols in Star Trek IV: The Voyage Home (1986)

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“They are not the hell your whales.”

In 1986, Star Trek pushed a Greenpeace agenda as a blockbuster movie. It worked.

The legacy of 'Star Trek IV: The Voyage' is more than just a goofy movie time travel movie. Here's how it changed our world for the better.

After James T. Kirk stole Doc Brown’s ride, he decided to go back in time and save the whales.

You might think I’m describing some quirky fanfiction or a deleted scene from Ready Player One . But, the truth is, the Klingon ship Kirk and company commandeered in Star Trek IV to travel back in time to 1986, was owned by Klingon Commander Kruge, who, in 1984’s Star Trek III , was played by Christopher Lloyd (who went on to become much more famous as Doc Brown in 1985’s Back to the Future ).

By stealing that specific craft, the crew of the late Starship Enterprise was destined to go on a time-travel adventure. But unlike any other time-travel romp dating to the 1980s, this journey is a creative piece of commentary on a nascent environmentalism movement that put endangered species at its heart. In the fall of 1986, one year after Back to the Future , Star Trek IV: The Voyage Home not only became a transtemporal box-office hit, it also propelled climate change and concern for endangered species into the mainstream.

In short, Star Trek tried to literally save the whales in 1986, and it basically worked.

Welcome to FUTURE EARTH , where Inverse forecasts 100 years of possibilities, challenges, and who will lead the way.

Prior to J.J. Abrams’ Star Trek reboot in 2009, Star Trek IV: The Voyage Home held the record for the Star Trek feature film with the most successful box office, ever . The movie opened over Thanksgiving weekend in 1986 and went on to gross $109,713,132. To put this in perspective, Top Gun , which was the number one movie of 1986, made $176,781,728. Yes, Top Gun was the top gun, but The Voyage Home was right up there. Until J.J. Abrams, it was Star Trek’s most popular crossover film, which is saying something considering the film lacks both violence and sex. In 1986, the Trek franchise went toe-to-toe with the horror of Aliens and the sexy action of Top Gun and, while it didn’t quite win, it came out as a serious contender.

A view on Earth in "Star Trek IV: The Voyage Home" movie

The mysterious probe in The Voyage Home . All it wants to do is to talk to some whales...

Co-written by Wrath of Khan maestro Nicholas Meyer , and directed by Leonard Nimoy, The Voyage Home was a political film imbued with environmental activism masquerading as a fish-out-of-water comedy. So, it turns out, humpback whales are just as intelligent as humans, and, at some point in the past, communicated only in whale song to this particular alien probe that looks like a smoother version of ʻOumuamua.

The movie sets out a humbling idea: If aliens were to make contact with Earth, they might not necessarily want to talk to humans. As Spock (Leonard Nimoy, directing himself) puts it “Only human arrogance would assume the message must be meant for man.” When this alien probe rolls up on Earth, hoping to talk to some whales, the probe’s transmission sounds one way from the air, but totally different underwater. These signals are also destructive and require an answer that can’t be given because, in the Star Trek universe, humpback whales are extinct.

Once Spock and Uhura realize that the probe’s signals sound different underwater, there’s only one option; get some whales and hope those whales, as Bones says, “tell this probe what the hell to go do with itself.” Kirk decides time-travel to 1986 is the only possible solution. So, not only is their mission to find humpback whales in the past but also to bring them forward in time to the future. No one has ever called this movie Star Trek Some Whales Back to the Future , but that’s what happens.

The Voyage Home starts with this tough talk, and then, less than 15-minutes later, dumps the famous Starfleet crew into a comedy of errors on the streets of San Francisco in 1986. During the trip back in time, the stolen Klingon ship is broken (of course) and the crew has to figure out how to build a whale tank that can fit inside of their (broken) spaceship.

William Shatner as Kirk and Leonard Nimoy as Spock in Star Trek

Kirk (William Shatner) and Spock (Leonard Nimoy) in a pawn shop, selling some antique glasses to have enough cash to get around in the 20th Century.

This means Kirk, Spock, Sulu, Bones, Uhura, Scotty, and Chekov are super busy. Sulu flies a helicopter expertly but forgets how to use windshield wipers. Chekov gets mistaken for a quirky Russian spy. And, best of all, Spock tries out profanity for the first time, referring to swear words as “colorful metaphors.” There’s never been a science-fiction time-travel romp quite like The Voyage Home , probably best exemplified by the moment Spock uses a Vulcan nerve pinch to silence a rowdy punk’s boom box on a city bus.

But The Voyage Home’s overarching message comes to the fore in an over-the-top scene in which Spock literally connects his mind with that of a whale. The idea is elegant: If human beings possessed Spock’s telepathic powers, we too might connect with other creatures and, in turn, have a greater understanding and compassion for the other, defenseless denizens of our world. The heart of the movie is when Spock jumps into a giant whale tank and mind-melds with a humpback whale named Gracie. Later, when cetacean biologist Gillian Taylor (Catherine Hicks) accuses Spock of “messing with my whales,” Spock fires back “They like you very much, but they are not the hell your whales.” The whales own themselves and Spock respects that.

The Star Trek characters come from a more enlightened future, and they’re ashamed of the actions of humankind in the “past” — the present for moviegoers of the ‘80s. In 1986, humpback whales really were on the endangered species list. In the movie’s final scenes, Kirk puts his stolen Klingon spaceship directly between a whaler’s harpoon and Spock’s new whale friends, saving them from humanity. For an audience unaware of environmental activism, it was a wake-up call.

“Greenpeace used to go out in rubber rafts in front of the Russian ships to try to prevent them from firing their harpoons, and that’s where that idea came from.”

“There’s a homage to Greenpeace in the movie because the idea of putting the spaceship between the whaling ship and the whales and being hit by the harpoon has Greenpeace roots,” Leonard Nimoy said in a 1986 interview. “Greenpeace used to go out in rubber rafts in front of the Russian ships to try to prevent them from firing their harpoons, and that’s where that idea came from.”

In 1986, Greenpeace representatives noted that while The Voyage Home played fast and loose with the truth, “the message is right on the money.″ After the movie’s release, there was an uptick in donations to Greenpeace, according to the organization. In fact, Greenpeace went so far as to say that the film “subtly reinforces why Greenpeace exists.”

Appropriately, Star Trek IV did not employ real whales in filming. Other than some stock footage toward the end of the film, the vast majority of the whales in the film were animatronic; a special effect so good that nobody noticed.

Star Trek IV’s influence on real conservation efforts in the 1980s is hard to quantify today. In 2016, the humpback whale was removed from a federal endangered species list, and the National Oceanic and Atmospheric Administration called the humpback whale comeback “an ecological success story.” When that happened, several publications pointed out a link between Star Trek IV and the resurgence of humpback whales. Quite literally, Star Trek’s cautionary tale seemed to usher in a better future in which whales didn’t go extinct in the 21st century.

It is impossible to prove a direct link between The Voyage Home and the de-escalation of whale hunting in the ‘80s and ‘90s. Correlation and causation are two different things, after all. In truth, years of dedicated environmental activism, political action, and education did the hard work. But it’s also true that Star Trek IV opened up a lot of people’s eyes to humanity’s cruelty toward whales and the perilous state of their survival.

At one point in the film, Bones quips that the 20th century is like “the Dark Ages” to his future, enlightened eyes. But, perhaps because of a quirky and bold Star Trek movie, some of us started to see the light.

Star Trek IV: The Voyage Home is streaming for free on Pluto TV . It’s also streaming on Paramount+.

This article was originally published on April 20, 2021

Environment
Science Fiction

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Star Trek IV: The Voyage Home

Where to watch.

Watch Star Trek IV: The Voyage Home with a subscription on Paramount+, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Star Trek IV: The Voyage Home is perhaps the lightest and most purely enjoyable entry of the long-running series, emphasizing the eccentricities of the Enterprise's crew.

Critics Reviews

Audience reviews, cast & crew.

Leonard Nimoy

William Shatner

Captain Spock

Catherine Hicks

Dr. Gillian Taylor

DeForest Kelley

Commander Leonard H. McCoy, M.D.

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There Be Whales Here: ‘The Voyage Home’ at 30

| November 25, 2016 | By: Steve Vivona 93 comments so far

On November 26, 1986 Star Trek IV: The Voyage Home debuted on movie screens across the United States. The film’s lighthearted tone and environmental message struck a chord with moviegoers, and became the first Star Trek film to have crossover appeal with mainstream audiences who normally wouldn’t be interested in the adventures of the Enterprise crew. The movie often referred to as “the one with the whales” continues to charm audiences today, and we wanted to mark its 30th anniversary with a remembrance not only of the film, but of the time it was made in. We hope you enjoy it.

“It’s going to have whales.”

Sitting in a dimly lit Knights of Columbus hall in Mineola, N.Y., sometime in 1985 I heard those words from Adam Malin, the co-founder of Creation Entertainment, during a slide presentation about the following year’s highly anticipated Star Trek IV.

“Whales and Eddie Murphy.”

My Star Trek fever had reached its apex after devouring Star Trek II and III, as well as all 79 episodes of the Original Series in very rapid succession between 1983-85. After years of denying how awesome Star Trek was, now I couldn’t get enough.

But whales and Eddie Murphy? Are you guys high? Try to picture a time with no Internet, no YouTube, when fandom was held together by conventions, fanzines , and genre magazines like Starlog and Cinefantastique . Creation Entertainment were the purveyors of said conventions since the early 70s, and as luck would have it , they decided to open a comic shop mere blocks from my home.

I had yet to attend one of their bigger shows in New York City, but they would host local “mini-cons,” that were bare bones affairs (no celebs, no dealers, etc.) but they were fun nonetheless, and there they would share morsels of information they had gleaned from their contacts in fandom and I imagine, at Paramount.

I was less concerned about the whale thing as I was the presence of Eddie Murphy. Don’t get me wrong: I loved him. Beverly Hills Cop and 48 Hours are still favorites of mine. But with his name attached, Star Trek IV became akin to Superman III , a disaster that shoehorned Richard Pryor together with the Man of Steel. The wounds were still fresh.

In this information stone age that was as much as we got. We knew Leonard Nimoy would direct, having earned his stripes on Trek III. I remember seeing William Shatner on Merv Griffin saying he wanted “a little” more money. Salary negotiations and his T.J. Hooker schedule were holding up production.

Fast forward to fall of 1986. I was feeling better about Trek IV. Eddie Murphy dropped out, and made The Golden Child. His character morphed into Gillian Taylor, the cetacean biologist played with pluck and zest by Catherine Hicks. Everything I saw and read made me confident this would be a winner.

More than anything, I was confident Leonard Nimoy would deliver. And deliver he did.

Star Trek IV could’ve been an unmitigated disaster. In lesser hands, it would’ve been.

Nimoy and producer Harve Bennett felt as though a lighter touch was in order. After all the death, destruction (and resurrection) of the prior two films, it was time to lighten the mood. With a script assist from Trek II director Nicholas Meyer they balanced the lighter tone with a grand sense of adventure and excitement, with no moustache twirling villain in sight (if there was a villain it was the human race hunting a noble species to extinction).

The story, that of a n alien probe reigning destruction upon earth in a vain attempt to contact humpback whales , was a cautionary tale about our short sighted tendencies as a race, one that was never preachy or overbearing. The light moment s sprouted organically from our intrepid 23 rd century crew ’s desperate attempts to fit into 1986 San Francisco while fighting a ticking clock in their attempt to bring two humpbacks forward in time to answer the probe.

Nimoy had proven his worth as a director with Trek III. As he often said, the training wheels came off with Trek IV. He was allowed to make his movie. He delivered a film that pleased fans and the general public in equal measure, and the crossover appeal led to huge box office returns, making The Voyage Home easily the most successful of the TOS films to date. My Mom saw it .

Leonard was particularly sensitive to the needs of his castmates, all of whom railed against the perfunctory dialogue they were often given , as well as their marginalized roles. Already well respected by his colleagues, Nimoy made sure each of them had their moment in the sun. Taking them out of their familiar roles on the bridge (or the engine room) , each had an integral part to pl ay in completing this most critical mission, and it was wonderful to see t hem stretch acting muscles left to atrophy . What a talented group of performers!

Nimoy elicited wonderful performances from his actors (and himself!) and got the best from his talented crew. Not enough can be said about the man’s professionalism, ravenous intellectual curiosity , and human decency . In all my years as a fan, I have never heard anyone criticize him, and one need only seek out his son Adam’s recent documentary, “For the Love of Spock,” to understand the esteem with which he was held by all who knew him. Seriously, seek it out!

As much as I loved James Horner’s previous scores for Trek II and III, Nimoy hired his friend Leonard Rosenman to write the music for The Voyage Home , and he delivered a buoyant, joyful soundtrack that perfectly matched the film’s tonal shift from heavy and operatic to light and fun. It remains one of my favorite Trek scores.

The Voyage Home represents perhaps the apex of my Star Trek fandom. That isn’t to say it ever waned or wavered, but we were in the midst of an era when we still had new TOS movies on the horizon, and as much as I loved certain further iterations, nothing has ever eclipsed my love for the original crew. I was immersing myself in fandom, and meeting people who shared my love for Trek. I was devouring books and ancillary material like mad.

It took almost a year for Trek IV to be released on VHS (let that sink in). Repeating their prior strategy with Trek III , Paramount shrewdly released Trek IV at the sell through price of $29.99 and it was well within my 17-year old grasp. I watched it twice the day I bought it and daily for weeks afterward . In the thirty subsequent years, I have upgraded to laserdisc, DVD, and blu ray, from standard to special editions, from pan and scan to widescreen.

It’s a film that richl y rewards repeated viewings, and hasn’t lost a step. It’s the film that made the mainstream sit up and take notice. It is proof positive you don’t need a scener y chewing villain for our intrepid crew to oppose, merely a heroic quest for the good of all mankind.

At the end of the day , it’s a love letter to the fans from Leonard Nimoy, executed with technical brilliance, but more importantly, with great reverence and intimate understanding of that which we all love so much.

Thanks, Leonard. We love you too.

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‘Star Trek IV: The Voyage Home’ Returns To Theaters In August For 2 Nights; Tickets Available Now

I watched the movie on DVD a few nights ago! It is still one of the best Star Trek movies ever made!

Wow, what a great tribute to this cozy, feels-like-home kind of movie. Mr. Vivona you have certainly succeeded in communicating your affection for this movie.

“… you don’t need a scenery chewing villain for our intrepid crew to oppose, merely a heroic quest for the good of all mankind.”

Boom! Exactly! This is precisely what we haven’t been getting in the last ST movies and what we need so much. Well said sir!

I agree 100% Stop the “villain” casting in the next ST movie. It’s all been just too repetitive. I understand the economics of Chris Pine stating you can’t make a cerebral ST movie in 2016 but the generalization he made too much. ST is not Marvel Comics! It never was. ST IV is a movie of heart, soul with comedy overtones and great intentions. Look at the success of “The Martian”. It’s got all that.

Right on. “The Martian” proved again you don’t always need a scowling, growling villain delivering speeches and megaweapons to make an entertaining movie. A survival tale and a race against time works too.

Arrival was a very good example too of sci-fi without a traditional villain. Great movie BTW.

Except Arrival had multiple villains that made the situation much more difficult.

We should really ask this: Either make a Star Trek movie, or make another movie! Call it Star Warfare or something!

Unfortunately, audiences want a Star Wars influenced Star Trek. Hopefully,the new show will be continue in the tradition of the good Trek shows.

http://trekcore.com/blog/2016/11/musical-surprises-fill-la-la-lands-trek-50th-soundtrack/

I fine Trek film and ending to the Genesis / Accidental Trilogy, shame about the music score tho. Finally watched Beyond a couple of times this week, that doesn’t get any better the more you watch it.

Respectfully disagree

Which, Beyond being average or the score to Voyage?

Nice article, but one nit-pick: “script assist” from Nicholas Meyer? How about “he wrote the dialogue for the entire body of the movie?”

He did acts two and three. From ‘judging by the pollution content in the atmosphere, we’ve arrived in the twentieth century’ before going out on the poem about the whales

Yes–what I”m loosely calling “the body/middle,” i.e. Acts 2 & 3. Harve wrote 1 & 4. In any case, writing half the movie and dubbing that an “assist” feels a bit understated here.

Let’s also give credit to Steve Meerson and Peter Krikes who wrote the original script that Harve and Nick Meyer added to.

I am tempted to say that this is the best Trek movie. The decisions to down play “Treknobabble”, traditional villains, and space travel were wise ones. My only complaint is the flaccid score. I know Horner would not have worked here but what about Alan Silvestri ? He would been terrific.

Great article about a wonderful film and probably my favourite of the original cast movies. I recall first seeing it on release in the UK in Spring 1987. Tears of joy for me at the end when NCC-1701-A leaves space dock accompanied by a majestic rendition of the Original Series Main Title/End Title credits music, before warping off-screen. Movie magic.

You just reminded me of another horrid thing. After we just sat through this terrible movie the neat and trite way they wrapped up the trial was nauseating. And then it seems they just happened to have a Constitution Class starship lying around they repainted and added an “A”. Pathetic. This was Trek at it’s absolute worst. It makes “The Final Frontier” look like Citizen Kane and “Encounter at Farpoint” a laugh a minute action packed adventure.

Dare I say sir, your opinion is in the minority.

Popularity does not = good.

I agree wholeheartedly with your comments, Steve.

This film, above all the others, IMO, really captures the essence of “Star Trek” in all its wonder. The humor, humanity and love that the crew and actors feel for the material and for the whales is quite palpable.

If there will be another JJ Abrams universe Trek – I would advise him to watch this film….”Shore Leave” and “Mirror Mirror”. Those 3 elements would make for a great kind of big screen experience.

Its time for the JJ-verse to stop looking for its next “black hat”.

I wouldn’t hold my breath. The guy doesn’t care about Trek. He just wants a Star Wars clone. Hell, he can’t even direct a genuine Star Wars movie.

Maybe you would do well to watch The Doomsday Machine too

I was 31 when I saw Star Trek IV on opening night. After the wonderful drama of II and III, it was a HUGE disappointment. That’s when Star Trek “jumped the shark”for me and never fully recovered. What a piece of crap!

I’ve never heard anyone dump on Voyage Home before. You sir, are an idiot!

Well, I never ‘dumped’ on it per se, but I remember not being particularly impressed by it when I saw it in theaters. I thought it was just okay. It has grown on me since then, but it isn’t my favorite at all.

Harry… The movie was (and still is) garbage. Just because you disagree with opinions doesn’t make those people “idiots”.

Although I don’t think Trek jumped the shark then. It was in a pretty deep hole it didn’t crawl out of until “The Undiscovered Country”.

ML31 – It’s true, people who disagree with my opinion are idiots. I’ve gathered a large group of Scottish bagpipe singers and Vegas showgirls and spent a year researching my opinions and cross referenced them with the opinions of others and the data was clear – those who disagree with me are idiots and sometimes morons.

Voyage Home = Greatest Trek movie ever! Undiscovered Country was ok but come on, funny jokes and whales trump boring cold war references and bad cgi floating purple blood every time.

I was 31 when I saw STIV and loved it. So did my wife, mom and friends.

BTW: Great article and tribute to the film and Leonard Nimoy. Saw Nimoy at a speaking appearance at UNCC a few weeks before the film opened. He finished by saying he recently saw the final cut and said, “I think you will like it.”

Leonard Rosenman scored the COMBAT! TV series among his many noteworthy efforts. Vic Morrow, one of COMBAT!’s co-stars (along with Rick Jason) was a friend of Nimoy and may have helped Nimoy get cast for at least 3 episodes as a guest star. I wonder if this was how Nimoy met Rosenman.

Totally get the jumped the shark feeling. Having to go get whales IS a bit hokey. For me Trek 4 was always more a comfort food while TWOK was epic entertainment.

not hokey as the concept of the whales and probe are centre stage where as the genesis device a mere mgguffin to allow for a lot of space battles.

proper ‘trek’ concept used well.

There is definitely some suspension of disbelief in how easy it is to time travel. And ofcourse TVH makes the entire Orci-inspired Bad Robot crap fest moot as far as time travel.

But TVH was very enjoyable. They fought whatever urge might exist to make it completely stand alone and continued the story of II & III. Spock still learning to be himself led to some wonderful moments that sprung organically from the evolution of the character.

My favourite scene is still where Hicks asks them out for pizza and they do a yes, no, yes, no routine ending with Kirk saying “I love Pizza. And so do you”. Shatner got to be funny, showing off skills that would earn him awards years later. And he was good.

Little things like using the eye glasses Bones gave him Kirk in WoK…and ofcourse he got less money for them because he had carelessly broken the lenses.

And ofcourse, the chickens finally came home to roost as the crew faced judgement for their prior actions and it turned into a good news scenario.

@Harry Ballz

re: Star Trek “jumped the shark”for me and never fully recovered.

I agree completely, though there were some moments I enjoyed. The worst thing is the horrid music score, muddy/smoky/hazy cinematography, terrible optical shots (the bird of prey appearing/hovering over the whaling vessel for example), and of course the moronic floating CGI heads sequence. Oh, and uh…John Schuck. The worst of the original TOS-cast movies.

‘I love Italian. and so do you’ ‘yes’

shame paramount has not learned the lesson from this great film. not every ‘trek’ movie has to be a clone of ‘wrath/khan’.

Yes! That was the line (i wrote it as “pizza” above). Great scene. Great comedic timing by both Nimoy and Shatner.

Not funny. Lame. And out of character for both of them.

Hands down, Voyage Home is my favorite Trek movie. Yep it beats WOK, which is a close second.

I don’t think it’s right that Trek III was priced “sell through”. At least …not initially. It was the first movie I ever bought…and I KNOW I paid 80 dollars for it. That was a lot for me when I was 14 years old! I cherished it.

Trek 3 absolutely was priced sell through. I bought it the day it came out and was 14 also.

I was robbed!

Did you buy it on half-inch videotape or LaserDisc? In my area I found it strange that the LD was cheaper than the VHS or SuperBeta.

BTW the ad is from March, 1985.

http://www.terapeak.com/worth/store-display-shelf-talker-87-vtg-star-trek-iv-voyage-home-kirk-spock-vhs-8/311504398846/

Also, I remember Trek III coming out on video in early 1985, certainly not a year later (which would have been May-June.) I clearly remember walking in a K-Mart around late January and seeing Star Trek III running on all the TVs in the TV area.

Trek IV came out on home video in Sept. 1987 and had a preview for TNG. Trek III came out on home video in Feb. 1985.

I really enjoyed TVH because it was outside the box, not the usual round of space battles and bad guys. It was clever, with a great message. Only Star Trek could have pulled this one off. That was the greatness of Trek.

http://www.hollywoodreporter.com/heat-vision/star-trek-iv-voyage-home-writer-eddie-murphys-lost-role-950551

One really has to wonder how Eddie Murohy starring in a Trek film would have changed the franchise. This would have hands down been the highest grossing Trek film of all time, including the Abrams films …

This I have long argued is the thing that holds Trek back, the lack of star power. Abrams and Paramount gambled that their inexpensive up-and-coming cast would catapult them into super-stardom and thus Trek along with them, but sadly that gamble failed. None of them have really achieved that kind of status. It’s just so disappointing they don’t treat Trek like the Marvel and the DC universe franchises. Even Star Wars gets better treatment as they brought the original stars back, who if they didn’t achieve super stardom, they earned legendary status.

Had Eddie Murphy been in the film, it would have watered down the “Star Trek” part of the story. Did you notice that there was only like 1 or 1 1/2 scenes that tell Gillian’s (Catherine Hicks) backstory. With Eddie, he would have commanded a lot more screen time and rightfully so… The Star Trek cast was royalty and they didn’t need a heavyweight guest star that would take away from their screen time.

I would say Zoe Saldana is doing nicely

Eddie would have over-shadowed everyone and everything. It would certainly have tested Nimoy’s efforts. Shatner would have felt the need to out-shine Eddie and the race would have been on.

Regarding no big names in the JJ films, again, you wonder where all the money went. They paid for a big name producer and didnt get the results. Could have had big name guest stars and didnt. Although Peter Weller was great, but under-utilized by Orci’s self-serving script. And clearly, they didnt have any money for a big name actor. Then again, they did try to get Del Toro which would have helped…

Huh? Benedict Cumberbatch and Idris Elba? (To say nothing of Eric Bana and Peter Weller.) Those are certainly big names. Cumberbatch was miscast, IMO, but you can’t say they went small on the names.

I was there that first Friday night. It was and still is a great Star Trek film! I still have my Star Trek 4 poster magazine, movie magazine and a newspaper ad for the film!!!

It is the best of the Star Trek movies, but Star Trek Beyond is more than a competitive second place, even with the mustache twirling villain. I hope Simon Pegg gets to take a hand in another soon, he has it all down, a fun movie that rollicked from start to finish.

I hate when people say that the movie had no villain. It most certainly did! When I watched it growing up, that probe was a scary thing and very villainous. Hence the urgent need to stop it from… you know… destroying Earth.

it is man who is the real villain according to mr meyer.

short sightedness in the past led to this but can we say that the probe is attacking earth or its signal to the whales absent from the 23rd century merely causing unintended mayhem?

They never specify for sure that it is unintended though. Just random speculation.

i heard mr meyer say it in a featurette about the movie villains on the ‘trek’ TNG movie boxset

Aaron (Naysayers are gonna nay),

Re: that probe was a scary thing and very villainous

I hate when people watch STAR TREK and fail to pickup on its most basic precept: that because some other entity’s alienness and strangeness frightens you, it doesn’t automatically mean that it therefore has evil motives which are requisite to it actually being a villain.

If you go out for a morning jog listening to tunes and obliviously step on an anthill on your circuit, your oblivious action makes you a danger to the ant colony but not a villain.

I love The Voyage Home. It has all of the quirks necessary to make it fun all these years later. My Grandpa wasn’t a sci-fi guy – but he actually watched this one with me and enjoyed it. Good memories. Plus, my step-dad was on the Enterprise when they filmed this movie, so even more good memories.

Not to burst your bubble, but as I recall, the aircraft carrier posing as the Enterprise was actually the USS Ranger…

I have avoided the film for years. When the blu ray set came out the thing that gave me pause was the inclusion of this film in the set. I bought it anyway and gave the movie another chance since I hadn’t seen it in so very very long. Maybe seeing it decades later will give me a different perspective than the negative one I got when I watched it in the theater that one time. I have to say it. This film is STILL by far the worst Trek ever. I can appreciate the lighter tone but unlike “The Trouble with Tribbles” the jokes in this one NEVER worked and the characters were so far away from themselves they all were barely recognizable. The script was terrible and the story line was worse. The whale thing was so monumentally dumb words cannot accurately describe it. The message was so in your face it made “Let That be Your Last Battlefield” look nuanced by comparison. And then there was the time travel thing. A tool that had already become tired even then. Plus the way they did it made it seem like traveling through time was about as difficult as catching the 7:15 train to downtown.

There is so very much wrong with this movie from Nimoys sub par directing to the the awful Rosenman score to the afore mentioned plot. I found myself wishing they did a similar story but place it on Vulcan. Thought it would be a fun twist to see the humans need to blend in with the Vulcans instead of the other way around. Or they could have… Wait… There was far too much wrong with the film to list all the things they could have done to make it better.

And I thought I was the only one who doesn’t care for this film! After 3 films with amazing scores, I couldn’t stomach this one. And though I really appreciate the tone and lack of a villain, the film itself just comes off as schmaltzy to me. From the dialog, to the acting, to the half-assed composite shots… I would put this film at the bottom of trek films, only remarkable for it’s nostalgia and whatever merit you give for cross-over appeal.

The fact that this is the Trek film that actually has crossover appeal pretty much cements the concept that Trek will never be a popular movie series. The worst and most non-Trekish movie of all is the one that non Trek people flocked to.

And yes… You are not alone in your opinion of “The Voyage Home”.

How was time travel a tool that had become tired by then? It hadnt been used in the previous films and TNG hadnt even come out yet.

Characters were not far removed from themselves at all. They were ‘fish out of water’. I think its not that TVH was bad, its that it went over your head.

So you are saying that Scotty was too stupid to realize he was in the 1980’s. A time when one could not talk to a computer. And that it was quite normal for McCoy to run around a hospital screaming about what barbarians the doctors of 1986 are. Sorta like when he was when he was pumped full of cordrazine. This was hardly “fish out of water”. It was just full on stupidity on the part of our intrepid crew. It was quite embarrassing to see them act like children. Maybe if it were actually funny or clever. But it didn’t even have THAT going for it. It was just sad to see. As far as time travel is concerned, there were a number of time travel movies in the 80’s already. It was just a tired concept by then not just for Trek but in general.

Again, you’re so angry about making your point, you’re failing to use common sense. I dont recall if they knew they were in 1986. I do know they knew they were in “late 20th century”.

Bones wasnt running around screaming until he was actually exposed to the medical knowledge of the time. He didnt arrive with that knowledge. In fact he seemed quite surprised.

If Scotty had gone back to early 20th century, I could see your point. But your judging Scotty’s knowledge of events YOU know about a time YOU live in. If you were plopped in the “late 18th century”, you might not have intimately knowledge of the technology of the time. Especially of technology that was readily available within a few years.

Re: I dont recall if they knew they were in 1986

If their computer knew of humpback whales but not of this, “WWVB: A Half Century of Delivering Accurate Frequency and Time by Radio “:

https://www.nist.gov/sites/default/files/documents/pml/div688/grp40/Bin-2702.pdf

and how to decode it to determine exactly that, I’d have been curious. Not to mention Uhura monitoring standard radio transmissions and not stumbling across it even if they didn’t know. The broadcast also has an audio component that identifies what it is etc. in plain English.

Re: A time when one could not talk to a computer.

I don’t think the fictional Scotty was the one being too stupid:

http://www-03.ibm.com/ibm/history/ibm100/us/en/icons/speechreco/

“By 1971, IBM had developed its next experimental application of speech recognition. The Automatic Call Identification system enabled engineers anywhere in the US to talk to and receive “spoken” answers from a computer in Raleigh, NC. It was IBM’s first speech recognition system to operate over telephone lines and respond to a range of different voices and accents.”

A great time travel plot, a smart take on the alien culture theme, superb performances all round and plenty of excitement. There’s literally nothing in that movie that doesn’t work. Well, apart from the score, obviously. And so many quotable lines! ‘Just one damn minute, Admiral.’ ‘Computer…hello computer!’ ‘Everyone remember where we parked.’ ‘How will playing cards help?’ ‘I think he took a little too much LDS.’… Oh and lest we forget, this is the first time in the franchise when we saw a female starship captain. And (quite wonderfully) African-American, no less. Take that modern Diversity Police!

Rosenman’s score did get nominated for an Oscar so it can’t be that bad. His music for all the space scenes is just fine in my opinion. Some of the music during the earth bound scenes are more average…but his best work is the music where our crew’s Klingon ship goes into time warp…and the post verdict music.

Thanks for reminding me…

“‘Computer…hello computer!’”

That was the proverbial straw that broke the camels back for me. After that weak joke (calling it weak is an insult to weak jokes everywhere) that made Scotty look like a blithering idiot I checked out of the movie. I finished it just because I already invested time so I might as well see where that tire fire would go. But that was point when all hope for an enjoyable or worthwhile time at the movies was gone.

In the hands of another actor that line may have seemed silly rather than funny, but I think Doohan’s delivery made it work. In any case, as a Trek joke i’ll take that over the ‘hilarity’ of Keenser sneezing on a doorknob any day of the week.

I’m sorry but it didn’t work because it made Scotty look like a moron. In fact, pretty much everyone forgot they were 300 years in the past. Except for Sulu who somehow knew how to operate a 300 year old flying machine. That’s quite a stretch. The jokes in “The Final Frontier” ALL worked better. For all the other problems with that movie at least the scenes with Kirk, Spock and McCoy around the campfire were excellent. “I’m sorry Doctor. Were we having a good time?”

Firstly, Scotty bumped his head in TFF and knocked himself out. That was stupid.

He didnt look like a moron in TVH. He looked like a genius working with technology that was very dated to him. Can we extrapolate that unlike most Star Trek character, Scotty was not an expert of late 20th century technology? Not sure where he was in the technology timeline…

He then began typing at lightening speed and within seconds had written the formula for transparent aluminum. Yup, moron.

Except… Bumping his head was actually funny because of the timing of it. “I know this ship like the back of me hand.” KLANG! Not a great joke but light years better than talking into a mouse like an ignorant fool. Twice. One does not need to be an expert in 300 year old tech to know that there were no automobiles around in 1500. What Scotty did was equivalent one of us knowingly being whisked back to 1517 and then waiting for a streetcar on a London corner. If he was THAT unfamiliar with I/O devices of early computers how is it he could whip up the complex formula on that ancient keyboard? I seriously doubt any newspaper printers could just whip up a page on a 1500’s printing press just like that. So yeah… Talking to an ancient computer… Moron. One of a number of instances that were completely out of character for our gang. Perhaps you loved it because it was geared for the lowest common denominator of non-Trek audiences. Aimed low enough for you?

You’re equating not knowing the computer couldnt respond to a microphone in the late 80’s to cars existing in the 1500’s? If you want your point to be taken seriously, compare apples and apples.

Scotty knowing he’s in the late 20th century, coming from 300 years in the future and he’s supposed to know? Come on…You act like computers couldnt handle voice commands for another 500 years. Which is clearly untrue. Use some common sense.

Re: not knowing the computer couldn’t respond to a microphone in the late 80’s

Actually, ML31’s making a fundamental mistake, and you are going right along with it, that because voice recognition didn’t exist in home computer models that it didn’t exist back then or that Mr. Scott would know that in an industrial setting the computer he was going to use was of such a home model with such a limited capability.

It’s the equivalent of assuming that because that Apple computer had no internet access that therefore the internet backbone didn’t exist and therefore it would be ridiculous if Scotty had instead used “the internet”, which I was using in 1980 to access a Cray supercomputer back then, in looking for answers to some problem back then as well.

Here’s that actual “history” that ML31 mucked up in ignorance:

‘how quaint’.

‘gentlemen, we’ve come home’

or “My friends (since Uhura was there), we’ve come home”.

…and because I thought the movie was so good…I felt like this was Shatner saying…the series had come full circle and we were back to the 2nd season where “Star Trek” was great.

damn it, knew I got it wrong.

I forgot. ‘Tell her…I feel FINE.’ Not a funny line, but still the best of the movie. The perfect end to the Spock arc begun in Khan. You know when I think back to the day I first saw that film, on a 20 inch tv on pan and scan vhs (sadly, the first Trek I ever saw in the theatre was The Final Frontier-yes, your sympathy is welcome) well, it’s just pure nostalgia. I almost wish I could go back to the eighties and live there. But at the same time, it makes me a little sad. If you’d have told my thirteen year old self, sitting there in blissful ignorance watching Spock swimming with whales and calculating impossible odds, that twenty years hence when I was all ‘grown up’, my favourite Vulcan would be beating the shit out of people and diddling Uhura-i’d never have believed you. Not in a million years. Say what you like about your perceptions of the film’s flaws. We didn’t know when we were lucky.

actually TMP gifted that spock character arc to the trilogy. melding with v’ger chilled him out about his heritage.

You are quite correct.

I’ve always wondered if Shatner’s involvement with Greenpeace in the ’70s had anything to do with the “save the whales” message of STIV. I saw him at a convention in ’78 and he spent most of his time talking about the importance of saving the whales, but then also talked about a movie idea with an environmental message: something about the ship being out of resources and finding a planet that could replenish their supplies — but doing so would wreak havoc on the environment of the planet. I’m not sure that’s the right plot, but I’ve always liked the idea of a movie where the crew is forced to make a really difficult decision.

Trek IV’s concept was all Nimoy. Bill was still busy with “TJ Hooker” at that time, but I do recall Shatner being interviewed on his horse ranch by Merv Griffin and Bill just being elated when he said how unique the storyline was for “Star Trek IV” which was already in production at the time of the interview.

I need guidance with something. After 4’s initial release on vhs..years Later a Director’s Edition was issued. I recall this vhs version had a making of featurette I believe never was ported over to the dvd/BD issues. It was a fair sized featurette on the fake whales/animatronics aspect. Am I correct and did this never again appear on future releases of this film?

I got the only copy I could find in mail yesterday. The cover was correct..however the vhs inside was NOT The Paramount Director’s Series release w/ Nimoy’s segment. Paramount only did 2 such releases…the other was “Fatal Attraction”. I have searched google, Amazon, ebay. Only a handful of the standard theatrical release version is out there. Help! This segment NEVER got ported over to dvd or Bluray! Need this!

but then the OS was known for silly humour.

Free Willy 2: The Adventure Home

In the heart of the sea.

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The 20 Best Movies With Whales, Ranked By Fans

Whales have long captured the human imagination, their majestic presence and sheer size making them perfect subjects for the silver screen. The best movies with whales often tap into our primal fascination with the unknown, blending nature's grandeur with human drama, and highlighting the critical importance of marine conservation.

From heartwarming tales of friendship shown in the Free Willy franchise to thrilling adventures on the high seas as seen in In the Heart of the Sea and Avatar: The Way of Water , movies with whales offer a unique blend of wonder and excitement. As the best movies with whales masterfully depict, these oceanic behemoths are more than just animals; they are symbols of nature’s grandeur and resilience

The allure of whale movies is a testament to their majestic presence and sheer size, often acting as powerful motifs in storytelling. Whether it's an animated classic or a gripping documentary, each film provides a different perspective on these incredible marine mammals. Take a journey through cinema's most memorable whale moments and vote for your favorite movie to help shape this ultimate collection.

uploaded by peter-pirč

How Whales Make Waves:

The timeless clash between Captain Ahab and the enigmatic white whale, Moby Dick, sets the stage for an unparalleled maritime adventure. The whale in this classic is more than just a creature; it represents nature’s uncontrollable force and the obsession it can ignite in humans. Moby Dick elevates the whale to a symbol of mystique and power, a perfect exploration for those intrigued by literary whales.

Plot Summary:

Actors : Orson Welles, Gregory Peck, John Huston, Harry Andrews, Richard Basehart
Released : 1956
Directed by : John Huston

Free Willy captivates audiences with the touching bond between a young boy and a captive orca, Willy. As the emotional centerpiece of Free Willy , this majestic whale symbolizes freedom, hope, and the fight against captivity. Through daring adventures and heartfelt moments, Willy's journey from confinement to liberation raises vital awareness about animal rights and the sanctity of marine life, making it an essential watch for those passionate about whales.

Actors : Jason James Richter, Lori Petty, Jayne Atkinson, Michael Madsen, Michael Ironside
Released : 1993
Directed by : Simon Wincer

The Loneliest Whale

This documentary explores the captivating quest to find the elusive “52-Hertz Whale,” considered the world’s loneliest due to its unique frequency call. The Loneliest Whale uses this mystery to delve into themes of communication, isolation, and our connection to nature. The Loneliest Whale offers a poignant and thought-provoking look at the enigmatic lives of whales, capturing the imagination and curiosity of audiences drawn to marine life mysteries.

Released : 2021
Directed by : Joshua Zeman

Orca presents a compelling revenge narrative featuring a vengeful orca who seeks retribution for his mate’s death at the hands of humans. This intense drama shifts the perspective, allowing audiences to empathize deeply with the whale’s plight. The orca's intelligence and emotional depth drive the storyline, making it an essential watch for those interested in the profound emotional connections and moral dilemmas faced by whales.

Actors : Bo Derek, Richard Harris, Charlotte Rampling, Keenan Wynn, Robert Carradine
Released : 1977
Directed by : Michael Anderson

As a hard-hitting documentary, Blackfish scrutinizes the ethical and psychological complexities of keeping orcas in captivity. Blackfish’s central focus on Tilikum, a captive orca involved in several tragic incidents, presents whales as emotionally complex beings. By diving into the dark realities of marine parks, Blackfish provides an unflinching look at the consequences of captivity, making it essential for those advocating for marine animal rights.

Actors : Tilikum, Dave Duffus, Samantha Berg
Released : 2013
Directed by : Gabriela Cowperthwaite

Public domain

The Cove takes a deep, investigative dive into the heart-wrenching world of dolphin and small whale hunting in Taiji, Japan. The Cove’s use of covert operations to expose the brutal killings of these intelligent marine creatures becomes its most compelling feature. It underscores the harsh realities faced by whales and dolphins, urging viewers to reconsider their role in marine conservation and activism, making it a crucial film for those committed to animal welfare.

Actors : Richard O'Barry, Louie Psihoyos, Hardy Jones
Released : 2009
Directed by : Louie Psihoyos

20th Century Fox

The breathtaking scenes involving whales in Life of Pi captivate with their sheer beauty and the ethereal experiences of the protagonist. The whale in this visually stunning film symbolizes the sublime and often spiritual connection between humans and nature, adding to the protagonist’s journey of survival and self-discovery. It's a must-watch for those drawn to mystical and visually compelling interpretations of whales.

Actors : Suraj Sharma, Irrfan Khan, Tabu, Rafe Spall, Gérard Depardieu
Released : 2012
Directed by : Ang Lee

Pinocchio/ Walt Disney Pictures

The iconic sequence featuring Monstro the whale in Pinocchio stands as one of the most thrilling moments in animation history. Monstro represents a formidable force of nature, adding tension and excitement to the narrative. This classic tale uses the whale's grandeur and might to convey the perils and adventurous spirit of its story, making it a timeless experience for whale enthusiasts and Disney aficionados.

Actors : Don Brodie, Walter Catlett, Frankie Darro, Cliff Edwards, Dickie Jones
Released : 1940
Directed by : Ben Sharpsteen, Hamilton Luske

This historical epic revolves around the tragic true story inspiring Herman Melville’s Moby Dick , with a massive sperm whale as the pivotal antagonist. The whale’s profound impact on the plot underscores the relentless power of nature and humanity’s vulnerability. In the Heart of the Sea portrays the whale not just as an adversary but as a majestic, almost mythic creature, offering a thrilling exploration of man versus beast.

Actors : Chris Hemsworth, Benjamin Walker, Cillian Murphy, Brendan Gleeson, Ben Whishaw
Released : 2015
Directed by : Ron Howard

Free Willy: Escape From Pirate's Cove

Free Willy: Escape from Pirate's Cove

Adventure meets conservation in Free Willy: Escape from Pirate's Cove , where a new young protagonist forms a bond with a captive orca. The narrative uses the grandeur of whales to showcase themes of rescue and release, reflecting the ongoing conflict between captivity and the natural world. Free Willy: Escape from Pirate's Cove's inspiring message about conservation and animal empathy ensures its relevance for whale enthusiasts.

Actors : Beau Bridges, Bindi Irwin, Darron Meyer, Jeanne Neilson, Kevin Otto
Released : 2010
Directed by : Will Geiger

Whale Rider

Whale Rider intertwines cultural heritage with the awe-inspiring presence of whales, focusing on a young Maori girl destined to lead her tribe. The whales in Whale Rider , particularly the titular whale she rides, symbolize ancient wisdom, spiritual connection, and the protagonist’s coming of age. This film provides an enriching experience for those interested in how human narratives can harmoniously intertwine with whale symbolism.

Actors : Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Grant Roa
Released : 2002
Directed by : Niki Caro

The unmatched saga of Captain Ahab's obsession with the great white whale, Moby Dick, remains a cornerstone of maritime literature and film. This adaptation captures the whale’s symbolic fight between man and nature, fate, and vengeance. The colossal presence of Moby Dick in the narrative serves as a powerful emblem of the sea's mystique and peril, solidifying its relevance for anyone absorbed by legendary and literary depictions of whales.

Actors : John Barrymore, Joan Bennett, Noble Johnson, Nigel De Brulier, Walter Long
Released : 1930
Directed by : Lloyd Bacon

Big Miracle

Based on a true story, Big Miracle brings attention to the rescue involved in saving three gray whales trapped under Arctic ice. The whales drive the plot, igniting a rare collaboration between governments, activists, and locals. Their struggle and ultimate salvation underscore the universal dedication to these gentle giants, making it a heartwarming narrative for whale lovers and conservationists alike.

Actors : John Krasinski, Drew Barrymore, Kristen Bell, Vinessa Shaw, Dermot Mulroney
Directed by : Ken Kwapis

Avatar: The Way of Water

James Cameron’s sequel to Avatar promises a deeper exploration of Pandora’s aquatic ecosystems, introducing new whale-like creatures called Tulkun. These majestic beings are integral to the plot’s exploration of interconnected ecosystems and the Na'vi’s relationship with their environment. Avatar: The Way of Water combines groundbreaking visuals with an environmental narrative, ensuring a captivating experience for those fascinated by extraterrestrial interpretations of whales.

Actors : Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Cliff Curtis
Released : 2022
Directed by : James Cameron

The Island at the Top of the World

This adventure tale features a journey to an uncharted island inhabited by a lost Viking civilization and whales. The presence of these majestic creatures emphasizes the uncharted, mystical aspects of the unknown world. The whales enhance The Island at the Top of the World's exotic and adventurous atmosphere, making it a unique exploration for viewers fascinated by the mysterious and majestic nature of the ocean's giants.

Actors : David Hartman, Donald Sinden, Jacques Marin, Mako, David Gwillim
Released : 1974
Directed by : Robert Stevenson

Walt Disney Studios Motion Pictures

Finding Dory

In Pixar's enchanting sequel, Bailey the beluga whale and Destiny the whale shark add depth and humor to the underwater adventure. Whales play a crucial role in aiding Dory, demonstrating their importance in marine ecosystems and highlighting their friendly, cooperative nature. This heartwarming tale is perfect for families and animation lovers who appreciate the blend of education and entertainment centered around whales.

Actors : Ellen DeGeneres, Albert Brooks, Ed O'Neill, Kaitlin Olson, Diane Keaton
Released : 2016
Directed by : Andrew Stanton

Namu, the Killer Whale

Namu, the Killer Whale , serves as a pioneering film in portraying orcas as intelligent, misunderstood creatures rather than menacing predators. The relationship between a marine biologist and an injured orca, Namu, reveals the deep emotional and social bonds these whales form. This heartfelt narrative encourages viewers to shift their perceptions, appreciating the intricacies and beauty of whales in their natural environment.

Actors : Lee Meriwether, John Anderson, Robert Lansing, Richard Erdman, Michael Sheard
Released : 1966
Directed by : László Benedek

Star Trek IV: The Voyage Home

In this sci-fi saga, whales are pivotal to the plot’s resolution, where extinct humpback whales are resurrected to communicate with an alien probe threatening Earth. The importance of whales underscores the narrative's environmental message, advocating for the protection of endangered species. Star Trek IV uses futuristic technology and space travel to highlight whales' irreplaceable ecological and cosmic significance, appealing to environmentalists and sci-fi fans alike.

Actors : William Shatner, Leonard Nimoy, Catherine Hicks, DeForest Kelley, James Doohan
Released : 1986
Directed by : Leonard Nimoy

The sequel brings back Willy in a tale where environmental themes take center stage. Free Willy 2: The Adventure Home highlights the impact of oil spills on marine ecosystems through the eyes of the beloved orca and his human friends. Whales in their natural habitat take prominence, emphasizing the peril they face due to human activities, making it a compelling narrative for viewers interested in marine preservation and the resilience of whales.

Actors : Jason James Richter, August Schellenberg, Michael Madsen, Jayne Atkinson, Mary Kate Schellhardt
Released : 1995
Directed by : Dwight H. Little

Free Willy 3: The Rescue

Continuing the franchise’s devotion to environmentalism and animal welfare, Free Willy 3 delves into the harrowing world of whale poaching. Willy, now free in the wild, becomes a key figure in the crusade against illegal hunting. This installment serves as an urgent call to action, presenting whales as sentient beings deserving protection, thereby deepening the audience’s empathy and understanding.

Actors : Jason James Richter, August Schellenberg, Annie Corley, Vincent Berry, Patrick Kilpatrick
Released : 1997
Directed by : Sam Pillsbury
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Star Trek IV's Greatest Feat Wasn’t Sci-Fi - It Was Saving the Whales

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The Next Star Trek Series Has Officially Started Production

10 weak films with great endings that justify the watch, wolf man promo poster reveals official logo and first look at blumhouse reboot.

Star Trek IV: The Voyage Home achieved a lot of amazing things. It made the most money of any of the Star Trek films at the box office at that point, made room for the series to start its sequel, The Next Generation, and gave fans a fun romp with the crew of the Enterprise finally getting home. But its greatest accomplishment may have been the reason Leonard Nimoy agreed to make the film in the first place: the chance to, as the characters do, save the endangered humpback whale species.

The Voyage Home follows the Enterprise crew attempting to return home after the events of Star Trek III with the newly restored but still slightly amnesiac Spock (Nimoy). But in order to save the galaxy, they must return to the late 1980s to locate humpback whales to communicate with an unknown alien entity. On a quest to steal some whales and potentially restore the species, Kirk (William Shatner) and the gang meet a marine biologist (Catherine Hicks) who assists them in their heist .

RELATED: Star Trek: Prodigy Bosses Tease a New Ship, More Familiar Faces in Season 2

How Star Trek IV Helped Save the Whales

The film's legacy is bigger than its simple, funny story of space friends out of time might indicate. At the time of the film's release, 1984, the humpback whale species in the real world really was in danger of being hunted to extinction. Given that Star Trek had been conceived in the idealistic 1960s under the idea of a utopian future, the fact that the real future was going to doom such an innocent species must have been rather poignant to the crew. Nimoy, agreeing to do the film in hopes of spreading the message about whales , must have hit on that feeling the 1980s had of nostalgia for the more visionary past, which allowed Trek to return in the first place.

And The Voyage Home achieved its goal. There was an uptick in donations to Greenpeace following the film's release, and by 2016, the humpback whale was removed from the endangered species list following a downtick in hunting in the '80s and '90s. While the outcome may not just be because of this one film, many still look to The Voyage Home as the model of how to integrate social issues with action. Indeed, beyond helping encourage activism in saving the whales, the film showed how environmental and socially conscious messages could be placed in a big-budget action sci-fi franchise movie and do well at the box office while inspiring viewers to try to better the world.

RELATED: Star Trek: Prodigy's Saviour is a Voyager Deep Cut

How Star Trek IV Changed Sci-Fi Movies

While real subtext certainly exists in action films before The Voyage Home, such as the appearance of the Empire in Star Wars , actual political discourse in this kind of film was generally unheard of. Nowadays, the idea of a big-budget action franchise having overtly environmental ( Avatar) , political ( Captain America: The Winter Soldier) or feminist ( Captain Marvel) messages is pretty standard. But in the '80s, action films generally did not touch social problems, at least not in blockbuster series . But Star Trek had always been a series willing to confront political issues, and it had to bring that to the movies eventually.

The Voyage Home opened the door for more action films to incorporate a socially conscious message into their stories. Environmental action films were popular in the 1990s -- Jurassic Park, for instance -- and The Way of Water and Avatar probably wouldn't exist without Star Trek to blaze the path. The uprise in environmental films has also helped to encourage real-world activism, at the very least spreading awareness of the issues and adding depth and power to the often dismissed action genre. Much like how bands in the '60s, like The Beatles, brought social messages to the music they knew the world would be listening to, Star Trek had the power for good and chose to use it.

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Movie quotes
Star Trek IV: The Voyage Home

“Star Trek IV: The Voyage Home” quotes

“- Kirk: This is good-bye? - Dr. Gillian Taylor: Why does it have to be good-bye? - Kirk: Well, like they say in your century, I don't even have your telephone number.” William Shatner - James T. Kirk Catherine Hicks - Gillian

“Admiral, if we were to assume these whales were ours to do with as we pleased, we would be as guilty as those who caused their extinction.” Leonard Nimoy - Spock

“- Dr. Gillian Taylor: Wait a minute. How did you know Gracie's pregnant ? Nobody knows that. - Spock: Gracie does.” Catherine Hicks - Gillian Leonard Nimoy - Spock

“- FBI agent interrogating Chekov: Name . - Chekov: My name ? - FBI agent interrogating Chekov:No, my name ! - Chekov: I do not know your name . - FBI agent interrogating Chekov: You play games with me, Mister, and you're through. - Chekov: I am? May I go now?” Jeff Lester - FBI Agent Walter Koenig - Chekov

“They say the sea is cold, but the sea contains the hottest blood of all.” William Shatner - James T. Kirk

“This is an extremely primitive and paranoid culture.” William Shatner - James T. Kirk

“- Doctor #1: A simple evacuation of the epidural hematoma will relieve the pressure! - McCoy: My God man, drilling holes in his head is not the answer ! The artery must be repaired! Now, put away your butcher 's knives and let me save this patient before it's too late !” David Ellenstein - Doctor #1 DeForest Kelley - McCoy

“May fortune favor the foolish .” William Shatner - James T. Kirk

“- Dr. Gillian Taylor: Sure you won't change your mind? - Spock: Is there something wrong with the one I have?” Catherine Hicks - Gillian Leonard Nimoy - Spock

“- Ambassador Sarek: Do you have a message for your mother? - Spock: Yes. Tell her I feel fine.” Mark Lenard - Sarek Leonard Nimoy - Spock

“- Vulcan Computer: What was Kiri-Kin-Tha's first law of metaphysics? - Spock: Nothing unreal exists.” Leonard Nimoy - Spock

“- Spock: To hunt a species to extinction is not logical . - Dr. Gillian Taylor: Whoever said the human race was logical ?” Leonard Nimoy - Spock Catherine Hicks - Gillian

“It is difficult to answer , when one does not understand the question.” Mark Lenard - Sarek

“- Ambassador Sarek: Your vessel did destroy the USS Grissom, your men did kill Kirk's son. Do you deny these events? - Klingon Ambassador: We deny nothing. We have the right to preserve our race. - Ambassador Sarek: You have the right to commit murder?” Mark Lenard - Sarek John Schuck - Klingon Ambassador

“Our mission? Spock, you're talking about the end of every life on Earth! You're half human. Haven't you got any goddamn feelings about that?” William Shatner - James T. Kirk

“Damage control is easy. Reading Klingon - that's hard.” James Doohan - Scotty

“- McCoy: You realize of course that if we give him the formula we're altering the future. - Scotty: Why? How do we know he didn't invent the thing?” DeForest Kelley - McCoy James Doohan - Scotty

“- Scotty: Hello , computer. - Dr. Nichols: Just use the keyboard. - Scotty: Keyboard. How quaint.” James Doohan - Scotty Alex Henteloff - Nichols

“- Amanda: Spock, does the good of the many outweigh the good of the one? - Spock: I would accept that as an axiom. - Amanda: Then you stand here alive because of a mistake made by your flawed, feeling, human friends. They have sacrificed their futures because they believed that the good of the one - you - was more important to them. - Spock:...” (continue) (continue reading) Jane Wyatt - Amanda Leonard Nimoy - Spock

“- McCoy: This woman has immediate postprandial, upper-abdominal distention. Now, out of the way! Get out of the way! - Kirk: What did you say she has? - McCoy: Cramps.” DeForest Kelley - McCoy William Shatner - James T. Kirk

“- Dr. Gillian Taylor: Don't tell me! You're from outer space. - Kirk: No, I'm from Iowa. I only work in outer space.” Catherine Hicks - Gillian William Shatner - James T. Kirk

- Spock: Your use of language has altered since our arrival. It is currently laced with, shall we say, more colorful metaphors , "double dumb-ass on you" and so forth. - Kirk: Oh, you mean the profanity ? - Spock: Yes. - Kirk: Well that's simply the way they talk here . Nobody pays any attention to you unless you swear every other word . Leonard Nimoy - Spock William Shatner - James T. Kirk

“- Shore Patrolman: How's the patient, doctor? - Kirk: He's gonna make it. - Shore Patrolman: He? You came in with a she. - Kirk: One little mistake...” Joe Lando - Shore Patrolman William Shatner - James T. Kirk

- McCoy: This is the probe 's way of saying, " Hello " to the people of Earth? - Spock: There are other species on earth. Only human arrogance would assume the signal must be meant for mankind. DeForest Kelley - McCoy Leonard Nimoy - Spock

“- Kirk: If we play our cards right, we may be able to find out when those whales are being released. - Spock: How will playing cards help?” William Shatner - James T. Kirk Leonard Nimoy - Spock

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Product Description

Spock, Kirk and the Enterprise crew come to San Francisco to save humpback whales for the 23rd century.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ PG (Parental Guidance Suggested)
Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.05 ounces
Item model number ‏ : ‎ MFR097360719048#VG
Media Format ‏ : ‎ AC-3, Color, Dolby, Multiple Formats, Dubbed, NTSC, Subtitled, Widescreen, Original recording remastered
Run time ‏ : ‎ 2 hours and 2 minutes
Release date ‏ : ‎ September 22, 2009
Actors ‏ : ‎ William Shatner, Leonard Nimoy, James Doohan, DeForest Kelley, Walter Koenig
Dubbed: ‏ : ‎ French, Portuguese, Spanish
Subtitles: ‏ : ‎ French, English, Spanish, Portuguese
Studio ‏ : ‎ Paramount Pictures Home Entertainment
ASIN ‏ : ‎ B002I9Z8BM
Number of discs ‏ : ‎ 1
#207 in Science Fiction DVDs

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Published Nov 26, 2021

The Biggest Lesson From Star Trek IV: The Voyage Home Isn't Talked About Enough

George and Gracie have a lot to say about what it means to be a good ally.

StarTrek.com

This article was originally published on July 9, 2019

When a giant space log comes to Earth and demands to speak to only whales, Captain Kirk and the crew of the U.S.S. Enterprise (who are temporarily the crew of the H.M.S. Bounty ) must travel back in time to before humpback whales went extinct, in order to bring two of them back to the future to talk to the alien log and tell it to please stop sucking up all our oceans.

This is the bonkers premise of Star Trek IV: The Voyage Home (or as I like to call it, The One With the Whales ), a film which was intended to be a lighthearted departure from the serious nature of the previous Star Trek films, and has aged remarkably well considering the time in which it was made. Yes, the technology is dated, and there are a few cringe-worthy lines that would never make it into a Star Trek script today, but for the most part, The One With the Whales still holds up as an entertaining romp through time with an earnest conservationist message. “Save the whales,” The One With the Whales urges, “so that one day, the whales may save us.”

This is often where analysis of Star Trek IV begins and ends, and it’s not wrong to conclude that the intended takeaway from this film is that we need to be better stewards of our planet. Even the year in which the film is set — 1986, the same year in which it was released — drives home the idea that Kirk and his crew aren’t merely addressing some symbolic future versions of humanity, but us, the very people watching the movie. "Save the whales" isn’t the subtext of The Voyage Home . It’s just… the text. Sitting right there on the surface, like a humpback whale coming up for a breath.

However, watching Star Trek IV over three decades later, I can’t help but notice another, subtler thread running through this whaletastic adventure; one which I don’t think was intended, but which resonates particularly strongly in the times we find ourselves in today. You see, in a world of seemingly limitless technology, Kirk and Spock quickly decide that it is easier to attempt time travel than to try to speak for a group they don't understand.

As soon as Spock identifies that the probe is attempting to communicate in whalesong, Kirk’s first question is whether they can artificially create similar sounds to answer back. Spock immediately shuts that idea down, saying that while he might be able to replicate the noises, he can’t even begin to understand the language. “We’d be responding in gibberish,” he tells Kirk.

While it’s understandable that the film doesn’t want to spend a lot of time attempting to decipher the linguistic intricacies of whalesong — this is Star Trek IV: The One With the Whales , after all, not Arrival — it’s still worth noting just how quickly Spock shoots down the possibility of faking their way through an important conversation in a language they don’t speak. Surely, with the technology available to them, Spock and Uhura could’ve eventually figured out a way to crack the whale code. Maybe they wouldn’t have had a perfect grasp of whale syntax and grammar, but c’mon, they’re whales, how hard can it be?

But Spock refuses to even try, leaving Kirk no other choice than to risk his entire ship and crew, slingshot around the sun, and time warp back to 1986 to liberate two humpback whales named George and Gracie from the Cetacean Institute in Sausalito, California. The rest of the movie is spent building massive water tanks in the cargo bay, plotting a whale heist, and stealing nuclear reactors. You know, normal stuff.

But let’s get back to the idea that this convoluted plot to steal whales from 300 years in the past is somehow a simpler solution than trying to communicate with a space probe. At first glance, it seems like it should require some massive suspension of disbelief to buy into this premise, but I don’t think it does, if you’re willing to embrace some deeper social themes (and really, this is Star Trek; deeper social themes are its bread and butter). Unlike, say, Armageddon , the plot of Star Trek IV really isn’t trying to pull a fast one on us by trying to convince us that an incredibly complex task is easier than the simpler option. Instead, it’s suggesting that communication is the complex task, and that to oversimplify it only contributes to — quite literally — our own destruction.

Think about it. What would’ve happened if Kirk had ordered Spock to try to program the computer to mimic whalesong? If they’d been so confident in their own humanoid superiority to assume that their voices, simulating a language and culture they didn’t understand, were the ones that most needed to be heard? Maybe they would’ve lucked into accidentally saying the right thing, but more likely, despite their good intentions, their ignorant fumbling of the microphone would have resulted in irreparable harm.

Still, it would’ve been understandable for Kirk and his crew to have taken this approach, devastating as it might have been. After all, it’s not uncommon among humans — both in 1986, and in 2019 — for the privileged to assume they know what’s best for the marginalized. We see it today all over the news cycles, as the wealthy make decisions for the working class , men speak with presumed authority on issues affecting women , and white people attempt to explain away the racism experienced by people of color . Many times, no harm is intended, but that doesn’t prevent it from occurring anyway.

A lot has been written in recent years about what it means to be a good ally . At the top of every list of tips, no matter which group it’s aimed at supporting, is a plea to listen. Listen to the voices of the marginalized, give them a platform to speak, and consider their perspective above your own when considering what sorts of actions need to be taken.

Of course, “listening” in the context of Star Trek IV doesn’t necessarily mean understanding, since the crew of the Enterprise has no way to know what either the whales or the space probe are saying. Interestingly, in an earlier version of the film, the mournful wailing of the space probe was actually subtitled , allowing audiences to see what it was asking: “Where are you? Can you hear us?” The subtitles were eventually deemed unnecessary and cut from the finished film, which was fortunate, since allowing the audience to understand something the characters never could, would have probably only undermined the film’s message.

Still, underneath all its Vulcan neck pinches, nuclear "wessels," and transparent aluminum, The One With the Whales isn’t so much about whales at all, but about the crew of the Enterprise being the best allies they can possibly be when faced with a problem that is significantly outside their lane. They may not be able to understand the words that are being said, but that doesn’t mean they can’t still amplify them. Star Trek IV is a film about an advanced group of people using every last ounce of their privilege to ensure that the mic gets passed to those whose lived experience and knowledge uniquely qualifies them to speak to a specific situation, and trusting that they’ll know what’s best going forward.

Yes, the marginalized group in Star Trek IV is whales, and they’re not so much marginalized as they are completely extinct. Yes, I get that that’s a very weird parallel to draw, and that no one really wants to be compared to a whale (although, in all fairness, George and Gracie are Very Good Whales). But the focus of The Voyage Home isn’t actually George and Gracie themselves, but rather, what they represent: hope for the future. And while I can only speak for myself, lifting up the marginalized as a path toward hope is a parallel I can get behind.

The end of Star Trek IV sees the H.M.S. Bounty return to the year 2286, now heavier with two whales and one rogue marine biologist. They land the ship in the ocean, release George and Gracie, and hope for the best. They have no way of telling the two whales what to say; they can only trust that they’ve done everything in their power to present the right voices with a chance to speak. They’ve provided the platform, they’ve handed over the mic, and now there’s nothing left to do other than take a seat and let their cetacean passengers do their thing.

George and Gracie speak. And the world changes for the better. The Enterprise crew’s decision proves to be the right call. And it still is today.

Lauren Thoman is a freelance writer and pop culture enthusiast who lives in Nashville, TN, with her husband, two daughters, and a perpetually confused dog. Her writing has appeared on Vulture, Collider, Looper, and Mic, among other places. Would happily eat tacos for every meal.

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Star Trek IV: The Voyage Home is pure, joyful cinema

Entertainment Geekly's 'Star Trek' series looks at the best whale movie ever made

2016 marks the 50th anniversary of the Star Trek franchise – and the release of Star Trek Beyond , the 13th feature film in the series. To celebrate this big year, and ponder the deeper meanings of Trek ’s first half-century, the Entertainment Geekly column will look at a different Star Trek film each week from now till Beyond . This week: The only Trek film that feels like a Howard Hawks comedy. Last week: The Trek film about the clashing egos of William Shatner and Leonard Nimoy . Next week: Shatner unleashed .

In 1965, Leonard Nimoy said the first words ever uttered in the Star Trek universe. “Check the circuit!” says Spock at the start of “The Cage,” the original pilot for Star Trek and the first time Star Trek was boring. To modern eyes, Spock doesn’t look like Spock: Eyebrows too big, hair too mussed, a noose-collar atop a too-baggy uniform, flanking an un-Kirk Captain who looks too much like Jay Leno’s chin chest-bursting out of Ray Liotta’s face.

NBC didn’t like Star Trek , didn’t like Spock. A year later, Gene Roddenberry filmed a new pilot. He fired everybody — he fired his mistress! — but he kept Nimoy.

Twenty years later, Roddenberry was gone — to Next Generation , not for long — and Nimoy was in control. Tricky thing, applying words like “control” or “authorship” to anything Star Trek . Nimoy directed Star Trek IV: The Voyage Home , and received a “Story By” credit. So did Harve Bennett, the producer of Movie Two through Movie Five, making him another Man Who Saved Star Trek and another Man Who Almost Destroyed Star Trek . Bennett shares screenplay credit alongside three other men. One of those writers later wrote Double Impact , the movie where Jean-Claude Van Damme headbutts Jean-Claude Van Damme.

And one of those writers was Nicholas Meyer, the man who made Wrath of Khan . Meyer’s generally credited with writing the film’s 20th Century-set Act 2. Perhaps not coincidentally, The Voyage Home has one of the greatest and daffiest Act 2’s of any film ever. Here is a movie that begins as A Race Against Time To Save The Earth and then takes a sharp detour into aquarium etiquette and Bay Area geography; a movie where the stakes are global, and there’s plenty of time for Kirk to take a marine biologist out for an Italian dinner; a movie where Kirk is a noble romantic protagonist who makes his date foot the bill. There’s a wonderful lack of seriousness powering The Voyage Home , recalling Howard Hawks’ loopy genre exercises To Have and Have Not or The Big Sleep . It is the kind of movie where characters spend the whole movie taking a break from the movie.

So it was a team effort, in front of the camera and behind the scenes. But it was a team effort with a leader. And the leader wanted to make a different kind of film. Nimoy later explained the core concept: “No dying, no fighting, no shooting, no photon torpedoes, no phaser blasts, no stereotypical bad guy.” His previous Star Trek film had all those things, and outer space, and aliens, and sets. Nimoy wanted to make a movie about Earth, right now, shot on location, with human people.

Nimoy was an actor, a director, a photographer, a memoirist, a musician, a cameo cartoon voice, a face in advertisements that baited your nostalgia and dared you not to smile. In all things he was Spock. Sometimes that bothered him: He wrote I Am Spock , but also I Am Not Spock . Nimoy was never a dilettante, a preening highbrow — never the Alan Rickman character from Galaxy Quest, that self-loathing Shakespearean slumming for fanboy dollars and residual fame. Nimoy liked Spock, truthfully. He liked the work, occasionally. He liked the money, naturally: $2.5 million for Trek IV . (That’s more than Hemsworth made on Avengers — and that’s mid-’80s dollars, unadjusted.) Nimoy was frustrated with Spock, but it wasn’t merely the frustration of typecasting or of repetition. It was the internal struggle, the human condition: Nimoy struggled with Spock the way Hamlet struggles with Hamlet.

And Nimoy loved people. That sounds like a simple thing to say, until you watch The Voyage Home , one of the loveliest and strangest and lightest comedies ever made, and you realize that “loving people” can be something tangible, like an added filter on the camera. Nimoy loved the supporting players, and his film bestows each of them with a Hall of Fame moment. Scotty: “A keyboard. How quaint .” Chekov: “Nuclear wessels .” Uhura: “But where is Alameda ?” McCoy, undercover as a surgeon, asks an old lady in a hospital what’s wrong with her. Kidney dialysis, she says. “Dialysis!” McCoy sputters — an actual honest-to-god sputter, DeForest Kelley’s voice like an old engine cackling. “What is this, the Dark Ages ?”

Sulu was supposed to get a showcase scene meeting his own great-great-great-grand-something. It didn’t work out — the kid got scared — and Nimoy was still bummed about it a decade later when he wrote I Am Spock . But oh, how I treasure Takei, in his baritone voice, narrating the Enterprise’s warpspeed run into the center of our solar system: “Nine point five! Nine point six! Nine point seven! NINE POINT EIGHT! ” (And The Voyage Home continues one of the great embedded subplots in Trek history: The love story between Sulu and the Excelsior .)

Did I mention that they’re warping straight into the sun so they can travel through time? There’s an energy-sapping probe destroying Earth, apparently because no one can respond to the probe’s message. Is the probe saying “hello” to humanity? “Only human arrogance would assume the message must be meant for man,” Spock chastises.

It’s been said there are no villains in Star Trek IV. In the future, the probe hails from some unknown intelligence that almost destroys Earth by accident. In the past, every hint of antagonism is quickly undercut. At one point, Chekov is captured by the FBI, and there’s a much simpler, more on-the-nose version of this movie where the FBI becomes the bad guys. Maybe that wouldn’t be terrible; maybe it would be sharp, playing the utopian sensibility of the Federation against Cold War paranoia. But in The Voyage Home , it’s an opportunity for a “Who’s On First” routine:

FBI AGENT: Let’s take it from the top.

CHEKOV: The top of what?

FBI AGENT: Name?

CHEKOV: My name?

FBI AGENT: No, my name.

CHEKOV: I do not know your name!

FBI AGENT: You play games with me, mister, and you’re through.

CHEKOV: I am? Can I go now?

At this point, the FBI agent — who looks like the uncanny valley between Paul Rudd and Armie Hammer — whispers to his partner, “What do you think?” His partner says, “He’s a Russkie.” The FBI agent, completely deadpan, missing a beat: “That is the stupidest thing I have ever heard in my life.” Every one-scene character in The Voyage Home is smarter than they should be, wittier than they have to be. Chekov grabs his phaser and tries to fire it, but it’s run low on batteries. He tosses it to the FBI agent, and watch closely here.

The actor is Jeff Lester — who naturally played both “Lane Brody” and “Lance Jarvis” on Baywatch — and he catches the phaser with a look of weary amusement. Here’s a film where the shady FBI guys feel tired, and a bit embarrassed, about being shady FBI guys.

The Voyage Home reminds me of something Dan Harmon told Vulture regarding Cheers : “The characters were so distinct. As with Peanuts , you could put them in outer space and still know which one was Charlie Brown.” The Voyage Home is the inverse of that theorem: It takes its characters from outer space and sets them down on the streets of San Francisco, in the halls of the Monterey Bay Aquarium, in the front seat of a truck. And here’s something strange. You’ve seen Kirk and Spock on alien planets production designed like pop art comic strips, in cosmic mountain ranges battling aliens beyond our ken; you’ve seen them battle gods and monsters.

Yet I don’t think there is any single moment in Star Trek history where Kirk and Spock look better — at once grander and more approachable, like statues of the Founding Fathers buying rounds at sports bar — than the moment when they walk along Marina Boulevard. Behind them: The bay, the Bridge, the fog.

Kirk’s still wearing his magenta-maroon disco suit, looking like the communist dictator of Studio 54; Spock’s wearing a karate bathrobe. You can giggle at the buried joke of the movie — they fit right into pre-digital San Francisco — but you can also appreciate how the movie makes them seem so much bigger by bringing them down to Earth.

No other Star Trek film has done location shooting like this; maybe The Voyage Home is Trek as neo-realism. Legend holds that the “nuclear wessels” scene was shot in secret, with Walter Koenig and Nichelle Nichols talking to random passers-by. That’s maybe not true — counter-legend holds that those are all paid extras — but in the most memorable part of the scene, Russian Chekov asks a nearby policeman for directions to the closest nuclear reactor. The cop says nothing, doesn’t even move; he was an actual San Francisco, working with the production crew in an official capacity. So, actually, hang the neo-realism: The Voyage Home is as close as Trek ever gets to the start of “Duck Amuck,” when Daffy walks off his own film strip.

The humor of The Voyage Home is playful without ever becoming sarcastic, self-aware without ever feeling like self-loathing. The characters feel engaged — watch how Takei is constantly looking around San Francisco, a great grin on his face. Think of how this movie shifts from Act One to Act Two: Spock says they need to save the whales; Kirk says “Let’s time travel!”; and then they aim their ship right into the sun. Think, too, of Catherine Hicks, in a tricky role. She plays Gillian, the whale-loving marine biologist. She thinks Kirk and Spock are crazy, but intriguing; she doesn’t really believe they’re from the future, but she intuitively understands that they’re people she should hang out with.

A lesser film might try to architect this interaction somehow. (Maybe Gillian is an FBI agent; maybe the wrong thing for America circa 1986 is the right thing for the world .) Hell, one of the greatest hours of television ever is a Star Trek time travel episode where Kirk goes to the past and falls in love with the most important woman in history. The Voyage Home has no time for such pretensions. Gillian’s an obvious love interest, but they never really have a “romantic” scene. Gillian thinks Kirk is interesting; Kirk likes how much she cares. And Gillian is allowed to come to the future — where she promptly says goodbye to Kirk, because there’s just so much more to see.

Their final scene together is one of the most graceful light-comedic romance moments in any movie I can think of. “How will I find you?” he asks her — kidding but not quite, Shatner’s laugh a bit too forced. “Don’t worry,” she says. “I’ll find you.” Nimoy holds his camera for two long moments, first of Gillian saying farewell:

Then of Kirk, astonished. What do you think is going through his mind?

Is he amazed that, for once, he’s the one left behind? Is he bemused at the grand divine comedy of existence? Maybe I’m a shameless romantic, but I can’t help but imagine his thought bubble in Shatnerian overspeak: “My god, Bones! I think I’m in love!”

Shatner! My god, Shatner! Another one of the graceful jokes powering The Voyage Home is that, here in the past, Captain Kirk remains the most confident man in the galaxy, despite all indications that he doesn’t know what the hell he’s doing. Needing money, he pawns McCoy’s birthday glasses at an antique shop. The owner will pay a hundred dollars for them. “Is that a lot?” Kirk asks, smiling wide like a con man.

Later, at the aquarium, Kirk spots Spock swimming with the whales, and his wild overreactions belong in a silent movie museum:

Of course, Kirk is a con man in The Voyage Home . To his crew, he pretends to know everything about the past. (“Double dumb ass on you!”) To people in the past, he offers one BS line after another. (“I think he had a little too much LDS.”) The joke of his brimming confidence paired against Spock’s Holy Fool confusion reaches Chico-and-Harpo levels:

But the film isn’t some shallow self-parody of Kirk, or Star Trek . It has heart, and passion — Save the Whales! — and a tremendous sense of fun. When the crew crash-lands into the Bay, they need to climb out of their sinking ship. The whales start singing; the probe is vanquished. Another film might cut away, but Nimoy’s camera lingers, and we watch the crew of the Enterprise cheerfully jump into the water. The line between character and actor falls away, phasered into nonexistence. James Doohan does a bellyflopping dive into the water; Nichelle Nichols splashes water toward DeForest Kelley. At one point, Kirk pulls Spock into the water — or maybe that’s Shatner and Nimoy, fooling around.

And yet, there is a seriousness to the wonderful, exuberant silliness of The Voyage Home . At the film’s beginning, the resurrected Spock is asked a question: “How do you feel?” At the end of the film, Spock has traveled across space and time, has rescued a dead great species from the dustbin of existence, has saved the Earth one more time. And none of that plot stuff matters half so much as Spock saying, nonchalant: “I feel fine.” To feel “fine” is not to feel “perfect” or even “happy,” does not imply tremendous success nor some massive personal change.

To feel “fine” in The Voyage Home is to be aware of your place in the great scheme of existence, content in your place among your fellow creatures. There is such optimism in this movie, and perhaps that optimism is residual from Roddenberry — but Roddenberry preferred grand statements, not whimsy. The Voyage Home needed Nimoy, a thoughtful man with a sense of humor, a leader who loved his people, and loved people in general, and damn it, who loved the whales, and Earth, and the Golden Gate Bridge, and the nightmare intersection where Columbus and Kearny and Jackson hit each other right in front of the Zoetrope Building.

Nimoy died last year, age 82: A long life, and prosperous. Spock will live forever, of course — and The Voyage Home is his magnum opus. Quickly, listen to the theme music for Voyage Home by Leonard Rosenman.

Can you hear the festive melody? Aren’t those bells ringing vaguely yuletidal? There’s no obvious comparison in movie history for Star Trek: the Voyage Home , not many time travel message movies about family and friends and the fear that we’re all doomed because of sins in the past, and how that fear will always crash like waves against the shore of the eternal human hope that it’s not too late, that we can change.

But there is that famous story about heavenly visitors and time travel, a myth about how any person can change a dark-sad future into a happy-better one, a parable that argues that the great heroic act of existence is being an engaged part of a community. So maybe The Voyage Home is our new A Christmas Carol . Maybe Ebenezer Scrooge can save Tiny Tim; maybe the Earth isn’t doomed; maybe, in 2286, whales will still be swimming through oceans unrisen; maybe our descendants will be here, too, in this world someone saved for them. Probe bless us, every one.

THE WHOLE MOVIE IN ONE SHOT:

Star Trek IV: The Voyage Home's Whales Left Fans Furious - But Shouldn't Have

In the movie "Star Trek IV: The Voyage Home," the now-former crew of the Starship Enterprise travels back in time to 1986 — the year of the film's release — in hopes of capturing a humpback whale and transporting it to their present. According to Spock (Leonard Nimoy), a probe causing havoc on Earth is doing so via a signal that resembles a humpback whale's cry. Since the species is extinct as of the film's present day, they require the use of time travel to obtain a whale that can counteract the signal.

Meanwhile, in the past, Kirk (William Shatner) and his crew helps defend some of the humpback whales they encounter from whalers. As detailed in a retrospective about "Star Trek IV" on the official "Star Trek website" based on primary documents archived by its writer Nicholas Meyer, several of the film's viewers sent in angry letters protesting its whale scenes. These people, it turns out, thought that the production must have disrupted its whale subjects' natural habitats, contrary to its pro-environmental message.

Those whales, however, were not real. They were models designed and supervised by Michael Lanteri, who won an Oscar for "Jurassic Park" and even helped create the "Pirates of the Caribbean" ride at Disneyland. While the film does feature some limited footage of real-life whales, those shots are all from afar. The close-ups that inspired angry letters, notably, are all artificial.

Fans are impressed by the artificial whales to this day

After the official "Star Trek" website published this account of the letters that falsely alleged mistreatment of whales, the info served as the subject of a popular thread on the Today I Learned subreddit . Its top comment, by u/KeithCarter4897 , reads, "They were fake? TIL..." Based on upvotes from more than 1,000 users, it seems apparent that plenty of others familiar with the film were also surprised by the fact that its whales were fabricated.

Meanwhile, in response to a comment linking to a now-deleted clip of some of the film's fake whale footage, u/illBro wrote, "Those are some good looking animatronics." This received 200 upvotes, indicating that many additional users appreciated the quality of the special effects. The contingent of the film's original viewership unintentionally deceived by the whale models, then, is at least backed by plenty of present-day viewers who have found the artificial whales to hold up even to today's higher VFX standards.

Star Trek IV Was Originally About Saving Something Much Smaller Than Whales

After the release of "Star Trek VI: The Undiscovered Country" in 1991, a consensus began to form among Trekkies as to which Trek movie was the best. Most fans agreed that the even-numbered films — "Star Trek II: The Wrath of Khan," "Star Trek IV: The Voyage Home," and "Country" — were the good ones, while the odd-numbered film — "Star Trek: The Motion Picture," "Star Trek III: The Search for Spock," and "Star Trek V: The Final Frontier" — were the bad ones. This is arguably an unfair assessment, although "Final Frontier" is still often considered the worst in the series, and "Voyage Home" remains one of the most popular.

Indeed, "Voyage Home," even when not adjusted for inflation, remains the most financially successful "Star Trek" movie released before 2009 . This might seem unusual to a 21st-century eye, as "Voyage Home" was a fish-out-of-water time travel comedy and not a revenge-motivated action flick.

In the film, Admiral Kirk (William Shatner), the recently resurrected Spock (Leonard Nimoy, who also directed), and the rest of the crew of the now-destroyed U.S.S. Enterprise return to Earth to face the consequences of their actions committed in "Star Trek III." They find the Earth's oceans are being drained by an unknown alien probe looking for humpback whales, a species hunted to extinction a century ago. Using a broken-down Klingon ship, Kirk and co. travel back in time to retrieve whales from the year 1986.

In the book "The Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History of Star Trek: The First 25 Years," edited by Mark A. Altman and Edward Gross, the makers of "Star Trek IV" revealed that they initially thought of a different endangered species to rescue, namely: the snail darter, a recently discovered fish that was about three inches long.

There be whales here

Nimoy noted that he and producer Harve Bennett initially thought up a time-travel story for "Star Trek IV" and that "we should lighten up. The picture should be fun in comparison to the previous three." Nimoy also wanted the film to be centered on ecology and visited several universities to talk to environmental scientists and futurists to get their immediate concerns about the future. Ultimately, Nimoy said, those conversations spun off into philosophy and theory , leading to some deep consideration about how human contact with extraterrestrials might potentially change notions of religion and sociology. Fun conversations, to be sure, but not quite what Nimoy needed to form a story for a "Star Trek" script.

It wasn't until he met with a particular author that notions of biodiversity — as a direct story element — began to enter Nimoy's mind in earnest. The director said:

"In [Edward O. Wilson's] book Biophilia, he tells us we could be losing as many as ten thousand species off this planet per year—many of them having gone unrecorded. We won't even have known what they were and they will be gone. He touches on the concept of a keystone species. If you set up a house of cards you may be able to pull away one card successfully and another card successfully. But at some point you are going to get a card that is a keystone card. When that one is pulled away, the whole thing will collapse."

Wilson's book is easy enough to find online .

The "keystone," Nimoy pointed out, could be any species on Earth, and that it was wise to protect them. Throughout the 1980s, the slogan "Save the Whales" was largely touted on bumper stickers and by environmental activists.

Lo, there was Nimoy's "hook."

The snail darter

Nimoy liked the idea of saving the whales, but there was a bit of a creative difference. Harve Bennett had the idea, according to StarTrek.com , to make the small snail darter the object of the time traveler's hunt. Bennett felt that it would be more poetic if the fate of the Earth rested in the hands (fins?) of an overlooked, seemingly insignificant species. In "The Fifty-Year Mission," executive producer Ralph Winter recalls hearing Nimoy talking about the snail darter, and how it was kind of a terrible idea. Winter said:

"It was Leonard's idea about saving the whales as opposed to, as he famously said, 'trying to save the snail darter.' Saving whales made it a bigger movie."

Indeed, saving whales made for a more dramatic story, as gathering them up and transporting them onto a starship required far more elaborate logistics. A small fry could merely be carried in a glass bowl.

Importantly, though, Leonard Nimoy wanted a lighter tone than the previous movies. He found an efficient ecology story, but he wanted to eschew the headiness of the first film, the action of the second, and the tragedy of the third. Nimoy said:

"I just felt it was time to lighten up and have some fun. That meant that if we were going to do time travel, the best thing we could do was come back to contemporary Earth, where we could have some fun with our people. They would more or less be a fish out of water on the streets."

Nimoy's instincts were correct. Audiences loved "The Voyage Home."

20 Things You Didn't Know About Star Trek IV: The Voyage Home

Everything you ever needed to know about The One With The Whales.

Leonard Nimoy William Shatner Star Trek Iv The Voyage Home

Star Trek IV: The Voyage Home is easily one of the more fun films in the Original Series-era. After the contemplative Star Trek: The Motion Picture, action-heavy Wrath Of Khan, and slightly bonkers Search For Spock, the One With The Whales, as it's lovingly been nicknamed, is the crew having the time of their lives, while they are completely out of time.

Leonard Nimoy returned as director on Star Trek IV, something that benefitted this movie greatly, while may possibly have spelled doom for its sequel. The tone of the film is entirely different from those that had come before, leaning into comedy and lightness. Time Travel is used to great effect, giving the audience the Enterprise crew in their most fish out of water scenario yet.

Yet how did the film achieve the contrast in styles between the 23rd and 20th centuries? Were the producers worried that the film's pro-environmental message would alienate audiences? Was there a place for Robin Curtis anymore? And, how on Earth were they going to fit Eddie Murphy into an already packed adventure?

The One With The Whales is many Trekkie's favourite film. Here are 20 things to bear in mind about the fun.

20. The Models Were So Good, Animal Rights Groups Complained

It must be so gratifying, as a model maker, to know that your creation is so effective that people believe you are being cruel to animals, just to get that perfect shot. This is exactly what happened after the release of Star Trek IV.

As there was no opportunity of filming Humpback Whales in the wild, or at least not to the extent needed for the film, Nimoy decided that animatronic whales would have to be used instead. These would consist of several models, and part thereof, which could be manipulated with relative ease.

The models used for the long-shots of George and Gracie were roughly four feet long, fully animated, and covered in a rubber skin. The manufacturers of this rubber advised the film crew not to push it too far. For example, on a flexibility scale, underwater, of 1 - 100, they advised not to go beyond 15. The crew, to their delight, pushed it 70, and the models worked perfectly.

For the scenes showing the massive tails of the Humpback's breaking the water, these were fitted to a rig that rose and sunk into the tank, which lift the tail and allowed it to slap down, giving it that sense of power you can see in the film.

Writer. Reader. Host. I'm Seán, I live in Ireland and I'm the poster child for dangerous obsessions with Star Trek. Check me out on Twitter @seanferrick

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Tottenham 4-0 Everton: Player ratings to the theme of Star Trek movies

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Last night, while lying on the couch watching Pluto TV because the chemotherapy symptoms were kicking my ass and I couldn’t find the energy to move much, I caught the last 45 minutes of Star Trek: Generations, the cross-over movie intended to hand the torch over from the Kirk era to the Picard era. I remember liking this movie a lot when it came out as an 18 year old, but watching it back boy howdy was this a bang-average 1990s Star Trek film. But it did get me thinking, how the hell have I not ranked Tottenham players to Star Trek movies yet? So here I am to rectify this mistake.

Y’all, I’m a huge nerd. You know this, and it’s not the first (or even fourth) time I’ve used Trek as a theme. Maybe it’s a weird time to do it since there hasn’t been a Trek movie since 2016, there are no forthcoming movies in the pipeline, and the franchise is in a bit of a state of flux at the moment, but dammit it’s my blog and sometimes it’s just good to write what you know. So that’s what we’re doing.

Here are your Tottenham player ratings to the theme of Star Trek movies. As always, there are too many movies for the available categories so you’re getting a representative sample.

5 stars: Star Trek II: The Wrath of Khan

I mean, it was always going to be this, right? Of course it was. WoK is just a damn good action movie pitting two evenly-matched rivals against each other in space. It addressed the glaring weakness of the original Star Trek film (grandiose but boring and overly intellectual) by bringing back a back a classic and fantastically charismatic villain, had some incredibly tense starship battle sequences, plus resulted in some some incredibly meaningful consequences in the literal death of Spock. It’s not just the best Trek movie, it’s a damn good movie in general terms.

Micky van de Ven (Community — 4.5): Used his speed well on numerous occasions to cut out dangerous Everton counters, and defended well. Haven’t seen a box-to-box run with the ball that good since Sonny vs. Burnley. Wonderful stuff.

Son Heung-Min (Community — 4.5): Fine, I’ll take my medicine for asking if Son was cooked last week (though at age 32 it’s still a valid question). I’ve got thick skin and can take it. Two goals from three shots and 1.1 xG on his own is a pretty fantastic haul against a Dycheball side, and picking Pickford’s pocket for his second ruled.

4.5 stars: Star Trek: First Contact

A surprise? It shoudn’t be. The Next Generation’s film offerings were all over the place, but it was never better than in First Contact, a film both about the Borg and the founding of the Federation. Time travel is an overused trope in Trek, but it’s done very effectively here. The acting is also as good as you’ll get in Trek, with standout performances from Alfre Woodard, James Cromwell, and a (seriously buff) Patrick Stewart who for the first time is forced to really deal with the trauma he experienced by being temporarily assimilated by the Borg in “Best of Both Worlds.” This is a Picard-centric movie, but there’s a good balance between Stewart and the supporting cast, all of which get a chance to shine. Just a fun, well-executed sci-fi film.

Cuti Romero (Community — 4.5): Cuti had a weird and somewhat rocky first half with a couple of direct giveaways and somewhat relaxed play out of the back, but was imperious in the second half, set up Maddison a couple of times with deep passing, and added a thumping headed goal off the bar. Not a perfect performance but a very very good one.

Ange Postecoglou (Community — 4.5): Much, much better. Shifted the starting lineup with Solanke out — a brave, if necessary decision — and used his subs early and effectively. Does he read this blog? (He doesn’t read this blog)

4 stars: Star Trek VI: The Undiscovered Country

The last ride for the original series cast, I’ve always felt this movie was a little underrated. It brings back the Klingons as villains in a big way (Christopher Plummer!), forces Kirk and the rest of the cast to acknowledge and deal with their advancing age (and the death of Kirk’s son), and even brings back Sulu and the Excelsior, something I wish we had a lot more of in that era of Trek. A fitting, high-energy way to round out the TOS era of Trek.

Yves Bissouma (Community — 4.0): Welcome back, buddy. Fired a thunderbastard of a shot off the underside of the bar to put Spurs up and put in a very disciplined defensive performance in his first match of the season. Also notably more progressive with his passing, with several good and long balls forward.

Pedro Porro (Community — 4.0): One of Spurs’ strongest performers against Leicester and had another very good match on Saturday. Superb defending on the day and while not as effective from the wing did have a shot saved.

James Maddison (Community — 4.0): Another strong creative performance from a free-8 position with a second assist in two matches. He’s looking solid, and it’s lovely to see. Could’ve done better with his goal attempt in space, but hard to criticize him too much for this match.

3.5 stars: Star Trek (2009)

If you’re going to create an entirely separate universe and reimagine TOS with a fresher, younger cast, you damn well better make it fun. And shockingly, J.J. Abrams did just that, lens flares and all. I thought the Kelvin Universe idea was brilliant, even if they did hedge by including Leonard Nemoy as elderly time-traveling Spock. The freedom to take things in a new direction while adhering to the general strokes of existing Trek canon resulted in an exciting and entertaining Trek film, even if it pissed off some of the fans of the original series. Shame he never made a Trek movie better than this one.

Destiny Udogie (Community — 3.5): Worked well in combination with Odobert on the left side. Still not as dynamic as I remember him but he looks like he’s starting to round back into form.

Guglielmo Vicario (Community — 4.0): Not a ton to do in this one as Everton were pretty hapless but did have a couple of good saves. Still looks a little hesitant on corners but at least he didn’t have to scream at any youngsters this match.

Dejan Kulusevski (Community — 4.0): A solid performance, worked well in tight spaces and opened up the midfield with his movement. But it does feel like no matter where he’s supposed to play he always ends up playing as a right midfielder.

Wilson Odobert (Community — 4.0): My word, is Wilson saucy! Dynamic and dribbly, he looked like the real deal. Was let down by his end product in and around the box, but you can certainly see why Tottenham were so keen to bring him in and he worked well with Udogie. I’d like to see what he does on the right with a healthy Solanke.

Djed Spence (Community — 3.0): Not an extensive highlight reel but used his speed effectively and had a couple of very nice defensive moments late.

3 stars: Star Trek IV: The Voyage Home

I know Trek fans who absolutely love this movie and for good reasons. I’ve never found it to be THAT compelling. Another time-travel romp back to California in the 1980s where the cast has to Save the Whales (!!) so they can communicate with a visiting space probe that threatens to destroy the planet in the future is the epitome of the Environmental Theme Movies™ that popped up over and over again in that decade. Sorry, but it’s corny. That said, the cast clearly had a hell of a lot of fun in this one and there are some genuinely great moments of comedy, while Shatner chews scenery like a maniac. It’s fun. I get while people like it. I maintain that in the context of the entire series, it’s merely FINE.

Richarlison (Community — 3.0): I was hoping to see more from him but at this point just getting meaningful match minutes is important, and he had some good moments in and around Everton’s box.

Pape Sarr (Community — 3.0): Was mostly just a decent midfield presence at a time when Spurs had already taken their foot off the gas.

Archie Gray (Community — 3.0): I’m still a little nervous relying on Archie too much right now as a six, but unlike in preseason he didn’t look out of place and was tidy enough with the ball.

Lucas Bergvall (Community — 3.0): Didn’t do a ton, didn’t HAVE to do a ton. Snapped nicely into a few tackles, continues to learn on the job.

2.5 stars: Star Trek: Generations

I referenced it in the opening paragraphs, but Generations — the passing of the torch from TOS to TNG in the film franchise — just doesn’t hold up that well 30 years later. It’s not a surprise, I suppose and there are some super fun set pieces (including the crash-landing and destruction of the Enterprise-D), but the entire premise felt more like a way to let angry Trek fans say goodbye to Shatner’s Kirk in a way that ended up being kinda hackneyed. At least Malcolm MacDowell got to chew scenery and upstage Shatner. Supposedly the original cut of the film had MacDowell killing Kirk by shooting him in the back, and I maintain that’d have been a much more appropriate way for Kirk to exit this mortal coil than what ended up in the final film.

Brennan Johnson (Community — 3.0): OK yes, he had some good defensive contributions, but that’s not why he’s in this Spurs team! A couple of small moments going forward but otherwise quiet and passive. Had one moment where he was in a good position to finish off a (bad) Odobert cross. I don’t hate BJ, and think he’s a good option as a late game sub, but he’s now had two lackluster matches in a row as a starter and I’d like to see Odobert start in his place.

2 stars: Star Trek: Insurrection

I don’t think I’ve ever been as sadly disappointed with a Star Trek film as I was with this one after leaving the theater. There are movies I hate more (see below!) but this one just made me sad. The movie was basically an expanded Next Generation episode, which in theory isn’t a bad thing, but the central concept was that of a *middling* TNG episode, not one of the tense, compelling ones that you remember so well. In fact, I honestly have a hard time remembering what it’s about, except something about the Prime Directive, a Starfleet admiral wanting to exploit natural resources, flying the Enterprise via joystick, and Data having a floating butt. I would’ve had a much better time watching an expanded movie version of something like “Cause & Effect,” “Yesterday’s Enterprise,” or even “Schisms” than... whatever this was.

1 star: Star Trek: Into Darkness

You thought I was going to go with Star Trek V, the one where they meet “God,” didn’t you? Nope! That movie sucked, but this one was even worse. J.J. Abrams had an incredible opportunity to take the Kelvin Universe Trek into uncharted waters and just do whatever the hell he wanted that was fun and cool — that’s the whole point of alternate universes! Instead he concocted and made the dumbest, most asinine attempt at remaking Wrath of Khan possible. There were a lot of ill-advised attempts to hide the fact that Benedict Cumberbatch was actually Khan (when it was obvious from the beginning) plus equally ridiculous attempts to make Spock into an action hero. The reverse-death scene where (spoiler) Kirk dies saving the world instead of Spock was just awful and dumb. I’m convinced this movie set the franchise back years.

No Tottenham players were as bad as Star Trek: Into Darkness

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STAR TREK IV: The One With the Whales
Star Trek IV: The Voyage Home
Star Trek Iv The Voyage Home Whales
After Avatar: The Way Of Water, It's Time To Revisit One Of The
Admiral, there be whales here!
Review: ‘Star Trek: Discovery’ Has A Whale Of A Good Time In ‘Magic to

COMMENTS

Star Trek IV: The Voyage Home
Star Trek IV: The Voyage Home is a 1986 American science fiction film, the fourth installment in the Star Trek film franchise based on the television series Star Trek.The second film directed by Leonard Nimoy, it completes the story arc begun in Star Trek II: The Wrath of Khan (1982), and continued in Star Trek III: The Search for Spock (1984). Intent on returning home to Earth to face trial ...
Star Trek IV: The Voyage Home (1986)
Marine Lieutenant (as 1st Lt Donald W. Zautcke USMC) Rest of cast listed alphabetically: Joe Adamson. ... Doctor (uncredited) Gregory J. Barnett. ... Starfleet Technician (uncredited) Cynthia Brian.
Star Trek IV: The Voyage Home (1986)
The most acclaimed Star Trek adventure of all time with an important message. It is the 23rd century, and a mysterious alien probe is threatening Earth by evaporating the oceans and destroying the atmosphere. In their frantic attempt to save mankind, Admiral Kirk and his crew must time travel back to 1986 San Francisco where they find a world ...
In 1986, Star Trek pushed a Greenpeace agenda as a blockbuster movie
Prior to J.J. Abrams' Star Trek reboot in 2009, Star Trek IV: The Voyage Home held the record for the Star Trek feature film with the most successful box office, ever.The movie opened over ...
Star Trek IV: The Voyage Home
Just as dumb as the first star Trek movie. Two whales save the earth because it calls back. ... 4/5 Stars • Rated 4 out of 5 stars 08/14/24 Full Review Albert W Probably my favorite/most enjoyed ...
The One About the Whales
What resulted was the both the least "Star Trek" Star Trek movie but also the most "Star Trek" Star Trek movie in terms of values and ethos. And it paid off, in Hollywood terms and for fans. The Voyage Home was the fifth-highest grossing movie of 1986 and remained the highest-grossing Star Trek film until 2009's J.J. Abrams reboot. It ...
There Be Whales Here: 'The Voyage Home' at 30
Sitting in a dimly lit Knights of Columbus hall in Mineola, N.Y., sometime in 1985 I heard those words from Adam Malin, the co-founder of Creation Entertainment, during a slide presentation about ...
Star Trek IV: The Voyage Home
Synopsis. 1986 • PG. Using a Klingon ship, the crew of the Enterprise returns to 1980s Earth to retrieve two whales that may save the planet from destruction in their own era.
star trek
When transporting the two whales and seawater into the tank in the Star Trek movie The Voyage Home, what happened to the air in the tank? I've read the question and answers about regular transportation. One suggestion is that during the time it takes for rematerialization, the air is pushed aside.
This Star Trek movie literally helped save planet Earth
By 2286, humpback whales were extinct on Earth, with the Star Trek movie painting a grim picture of what the future might hold for the species at the time of the best '80s movie's release. Back in 1986, humpback whales were classified as an endangered species, but this all changed when the science fiction movie came out.
The 20 Best Movies With Whales, Ranked By Fans
In Star Trek IV: The Voyage Home, the crew of the USS Enterprise, led by Captain James T. Kirk (William Shatner) and Commander Spock (Leonard Nimoy), face a dire ecological crisis threatening Earth. In response, they embark on a daring time-travel mission to 20th-century San Francisco to retrieve two humpback whales‚ species extinct in their ...
The Voyage Home: 30 Facts for 30 Years
Star Trek IV: The Voyage Home marks its 30th anniversary on November 26th. To celebrate, we are sharing 30 favorite facts from the production we learned while researching the film's co-writer Nicholas Meyer's library archives at the University of Iowa. Let's sling shot around the sun, pick up enough speed, and time warp back to the 1980s for a ...
Star Trek -- Humpback Whales
Star Trek IV: The Voyage HomeAn alien probe of great power has entered Earth orbit, focusing its unintelligible transmissions not to the people of Earth, but...
How Star Trek IV: The Voyage Home Helped Save the Whales
How Star Trek IV Helped Save the Whales. The film's legacy is bigger than its simple, funny story of space friends out of time might indicate. At the time of the film's release, 1984, the humpback whale species in the real world really was in danger of being hunted to extinction. Given that Star Trek had been conceived in the idealistic 1960s ...
"Star Trek IV: The Voyage Home" quotes
Plot - In the 23rd century, Admiral James T. Kirk desperately needs to capture two whales to solve serious ecologic and energetic issues on his planet. Since whales extinguished, Kirk and his crew travel back through time and space to California, in 1986. Their target is Sausalito's aquarium, but the responsible for the animals' safeguard, the scientist Gillian Taylor, stops them.
Star Trek Iv: The Voyage Home whales are back on Earth
To save Earth from an alien probe, Admiral Kirk and his fugitive crew go back in time to 20th century Earth to retrieve the only beings who can communicate w...
Watch Star Trek IV: The Voyage Home
Star Trek IV: The Voyage Home. The crew of the 'Enterprise' travels back in time on a mission to save the Earth in this 'Star Trek' adventure. 4,221 IMDb 7.3 1 h 58 min 1986. X-Ray HDR UHD PG. Action · Fantasy · Cerebral · Stunning.
Star Trek IV: The Voyage Home
Star Trek II had the epic battle between Khan and Kirk as well as the (supposed) death of Mr. Spock. Star Trek VI had a great whodunit mystery and the final sendoff of the original crew. Star Trek VIII: First Contact had the inspiring story of how the Next Generation crew saved postwar Earth from the Borg and thus helped humankind begin its ...
The Biggest Lesson From Star Trek IV: The Voyage Home Isn't Talked
This article was originally published on July 9, 2019. When a giant space log comes to Earth and demands to speak to only whales, Captain Kirk and the crew of the U.S.S. Enterprise (who are temporarily the crew of the H.M.S. Bounty) must travel back in time to before humpback whales went extinct, in order to bring two of them back to the future to talk to the alien log and tell it to please ...
Star Trek IV: The Voyage Home is pure, joyful cinema
Star Trek IV: The Voyage Home is pure, joyful cinema. Entertainment Geekly's 'Star Trek' series looks at the best whale movie ever made. By. Darren Franich. Published on May 20, 2016 12:00PM EDT ...
Star Trek IV: The Voyage Home's Whales Left Fans Furious
By Sam Skopp / Dec. 11, 2023 8:30 am EST. In the movie "Star Trek IV: The Voyage Home," the now-former crew of the Starship Enterprise travels back in time to 1986 — the year of the film's ...
Star Trek IV Was Originally About Saving Something Much Smaller Than Whales
Star Trek IV Was Originally About Saving Something Much Smaller Than Whales. Paramount. By Witney Seibold March 30, 2024 11:00 pm EST. After the release of "Star Trek VI: The Undiscovered Country ...
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The whales in the movie were animatronic, not real. The film was originally supposed to have 'Murphy, Eddie' instead of Catherine Hicks. Murphy was supposed to be a professor concerned with UFO's who spots the de-cloaking Klingon ship at the Super Bowl. ... The Voyage Home is the only Star Trek movie in which no one is killed. ...
20 Things You Didn't Know About Star Trek IV: The Voyage Home
20. The Models Were So Good, Animal Rights Groups Complained. CBS. It must be so gratifying, as a model maker, to know that your creation is so effective that people believe you are being cruel to ...
Tottenham 4-0 Everton: Player ratings to the theme of Star Trek movies
If you're going to create an entirely separate universe and reimagine TOS with a fresher, younger cast, you damn well better make it fun. And shockingly, J.J. Abrams did just that, lens flares ...
This 1995 'Star Trek' episode predicted San Francisco in 2024
"Star Trek: Deep Space Nine" released the episode "Past Tense" set on Aug. 30, 2024, that explored the city's struggles with housing and wealth disparity.

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The Biggest Lesson From Star Trek IV: The Voyage Home Isn't Talked About Enough

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Star Trek IV: The Voyage Home is pure, joyful cinema

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Star Trek IV: The Voyage Home's Whales Left Fans Furious - But Shouldn't Have

Fans are impressed by the artificial whales to this day

Star Trek IV Was Originally About Saving Something Much Smaller Than Whales

There be whales here

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20 Things You Didn't Know About Star Trek IV: The Voyage Home

20. The Models Were So Good, Animal Rights Groups Complained

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