Star Trek III The Search For Spock Movie Free Download Hd
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In the wake of Spock's ultimate deed of sacrifice, Admiral Kirk and the Enterprise crew return to Earth for some essential repairs to their ship. When they arrive at Spacedock, they are shocked to discover that the Enterprise is to be decommissioned. Even worse, Dr. McCoy begins acting strangely and Scotty has been reassigned to another ship. Kirk is forced to steal back the Enterprise and head across space to the Genesis Planet to save Spock and bring him to Vulcan. Unknown to them, the Klingons are planning to steal the secrets of the Genesis Device for their own deadly purpose.
Admiral Kirk's defeat of Khan Noonien Singh and the creation of the Genesis Planet are empty victories. Mr. Spock is dead and Dr. McCoy is, seemingly inexplicably, being driven insane. Then an unexpected visit from Spock's father provides a startling revelation: McCoy is harboring Spock's living essence. With one friend alive and one not, but both in pain, Kirk attempts to help his friends by stealing the Enterprise and defying Starfleet's Genesis quarantine. However, the Klingons have also learned of the Genesis Device and race to meet Kirk in a deadly rendezvous.
Having been one of the shows that was part of my childhood and growing up, the original 'Star Trek' still holds up as great and ground-breaking, even if not perfect.
'The Search for Spock' is not the 'Star Trek' franchise at its worst (marginally better than 'The Motion Picture' and much better than 'Final Frontier' for the films based on the original series). However, considering that it came after one of the best (perhaps even the best) 'Star Trek' films 'The Wrath of Khan', it was a disappointment and could have been so much more. It is not as bad as has been said by some but has too many faults to be in the passionate defence camp. Am in the camp that was mixed on the film.
Starting with the faults with 'The Search for Spock', like 'The Motion Picture' the pacing is pedestrian, again taking a while to get going, and parts could easily have been trimmed and gotten to the point more. The whole Grissom and crew stuff could have been better explored (like being lost suddenly and then their fate being ambiguous).
Leonard Nimoy takes the director's helm and while he does a competent job it is somewhat workmanlike and his experience in TV and not-so-much-experience in feature films shows, loved the focus on the characters and their relationships but it could have been more expansive. While 'Wrath of Khan' took a darker approach it wasn't consistently so and had themes that many could relate to, with the pacing being as dull as it was the tone often feels bleak and funereal which takes away from any excitement. The final scene is emotional, but the lead up is somewhat self-indulgent, while Robin Curtis is as stiff as a board and with the emotion of a corpse.
However, for all its flaws 'The Search for Spock' has a lot to recommend too. The visuals, like 'Wrath of Khan', are a marked improvement over the original series. The sets are more elaborate, the photography is moody and stylish and the special effects (and there's plenty of them) are amazing and have a real sense of wonder and emotional charge. The music by James Horner is even more clever than in 'Wrath of Khan' and him returning was effective for continuity reasons. It is bombastic and rousing at times but also swelling in romance and sensitivity and beautiful orchestration, the heavy representation of the percussive and dissonant theme for the Klingons was also effective.
'The Search for Spock' does have an intelligent script that develops the characters very well indeed, it also doesn't feel too talky like 'The Motion Picture' did. The story is not perfect and the search could have been more exciting and had more point to it, but that it focused on the characters and allowed them and their relationships to drive the story proved to be a good move, plus the characters that were underused before have more to do and the characters are interesting apart from the underdeveloped villain. The stealing and destruction of the Enterprise are a lot of fun and also very tense and the Kirk and David relationship does bring some emotional wallop.
Acting-wise, 'The Search for Spock' is just fine. Nimoy proves why Spock is such an interesting and well-loved character, while William Shatner is more understated than usual and the rest of the original series crew have expanded screen time and make good impressions, DeForest Kelley having some really meaty moments. Consensus on Christopher Lloyd has been mixed, to me he did a really good job with what he was given to work with (the character itself could have been better written and was the problem, not Lloyd), bringing a sinister approach and also an enjoyably over-the-top one.
In conclusion, watchable but disappointing at the same time. 6/10 Bethany Cox
Although Star Trek 3 lacked the action that packed Star Trek 2 and 6, it made up for it in the almost poetic dialogue. The lines uttered by the crew are not something you would hear in real life, but they rival the works of some of the best poets and playwrites.
The other wonderful aspect of this movie were the brand new effects. The number of new starships presented in this movie (including my all time favorite, the Grissom), and the incredible view of Spacedock are worth the price of admission alone. I remember when I first saw the previews for this movie years ago on television. I sat in front of my 15" TV and drooled. Unfortunately, I was 8 at the time, and my parents wouldn't allow me to go to the theater. Well, such is life...
Star Trek III or The Search for Schlock: a mission that renders the eyelids heavy. What else can you say about a movie whose mechanically inept, gelatinous monsters out-act everyone on the screen and whose poignant moments are simply guffawful. Not to put too fine a Vulcan point on it, it was ba-a-a-d. [2 June 1984]
Admiral James T Kirk (William Shatner) commandeers the newly repaired USS Enterprise in order to return to the Genesis and retrieve Spock's body after Spock's father Sarek (Mark Lenard) informs him that the body must be returned to Vulcan so that it can be re-united with Spock's katra (eternal soul), which Spock has conveniently stored in the body of Dr Leonard McCoy (DeForest Kelley). Meanwhile, on Genesis, Saavik (Robin Curtis) and David (Merritt Butrick) have located a youthful Spock, but the three of them are marooned on the planet's unstable surface when a Klingon warbird in search of the Genesis device destroys their ship, the USS Grissom, before they can be beamed aboard. The Enterprise must contend with ruthless Klingon commander Kruge (Christopher Lloyd) while attempting to rescue the survivors before the Genesis planet collapses. The crew is all here. Kirk, McCoy, Spock (Leonard Nimoy), chief engineer Montgomery "Scotty" Scott (James Doohan), communications officer Lt Uhura (Nichelle Nichols), first officer Pavel Chekov (Walter Koenig), helmsman Hikaru Sulu (George Takei), Lt Saavik and Kirk's son David. In the year 2285 A.D., about three months after the events of the previous film The Wrath of Khan. In fact, the movie opens with the final scenes from The Wrath of Khan. Possibly, but there was no guarantee that they would have gotten all the Klingons before at least one of their own number was lost, since the Klingons outnumbered them and were likely have better firearms training. In the novelization, Kirk actually does consider the possibility of trying to shoot the Klingons as they beam in, but quickly dismisses it on the grounds that they'd likely damage the transporter in the process, which would have stranded him and his crew on the Enterprise since Starfleet had already removed all the shuttlecraft (escape pods had not been conceived of at this point in the franchise's history, first being mentioned in the first season of Star Trek: The Next Generation). The real problem was that the Enterprise's control system had burned out during the battle with the Klingons, meaning that after killing the landing party, Kirk and his crew would have had no other way of defending themselves. After realizing that his landing party was dead, Kruge may well have beamed Kirk and his crew into his brig or dumped them on the Genesis planet, after which he would have been free to steal the valuable Federation data in the Enterprise's computer banks (which is what the self-destruct was really intended to prevent). The decision was likely also affected by the knowledge that this allowed the Enterprise a "noble death" rather than the decommissioning she faced when returned to Earth. The Star Trek series didn't really get its timeline sorted out until the late 1980s and early '90s (and even then TOS era dates are still a bit muddled); the 20 years figure is a rough guess based on the fact that the Trek series had been going for just under 20 years when the movie was made. The closest on-screen explanation we have is that either Morrow is simply wrong about the figure, or he means that 20 years have passed since the Enterprise was refitted in Star Trek: The Motion Picture. There are other issues. In the first pilot (which was non-canonical before any "regular" series episodes had been created), Spock was shown as first officer under Christopher Pike, 5 to 10 years earlier. Clearly, the Enterprise is more than 20 years old. The Federation would not build expensive "wessels" with such a short service life. ["The Menagerie"/"The Cage" were non-canonical from the get-go, as they describe interstellar travel using conventional propulsion systems, a gross improbability. If such a ship could reach 0.9c, and Talos IV were 200 light-years away, the trip would have had to begun in the early 21st century, at the latest. Enterprise (the series) rendered the implicit non-canonicity explicit. There was no room in the Enterprise universe for Christopher Pike and his ship.] It was slightly redressed to serve as the bridge of the Grissom, with the seat covers and a few of the screen details being changed. The lighting of the set might also have been adjusted to give it a different color than we'd seen before. The Excelsior got a new, albeit very rudimentary, bridge set that was scrapped after this movie. The next time we see it in Star Trek VI, it has a redressed version of the Enterprise-A bridge. The novelization answers this (though it's technically non-canon and certain parts of the novelization don't match up perfectly with the film). Uhura stayed behind to scramble Federation communications and make it impossible for anyone to catch up with the Enterprise until it was too late to stop them from completing their mission. At the last moment, with authorities banging on the door of the transporter room, Uhura beamed herself to the gate of the Vulcan embassy to attempt to gain an audience with Ambassador Sarek. Just as a Federation security team was almost upon her, she finally negotiated her way past the gate and ran through the grounds to the front door of the embassy. Knocking, she received no answer, and the security team's leader began leading her back outside the embassy grounds before Sarek appeared and demanded to know why the Federation was invading Vulcan sovereign territory. The security team leader, realizing she'd overstepped her grounds, stated that Starfleet believed the Enterprise crew to be sick and were trying to get them to treatment, but Sarek denied her permission to leave the embassy grounds with Uhura, stating that the commander had asked for, and been granted, sanctuary. Declining the security officer's offer of 10 minutes alone with Sarek followed by incarceration, Uhura accepted his offer of sanctuary. The security officer said that the Federation would be asking for extradition. "That is up to your government," Sarek replies. "Good day."
However, for the sake of the story & it's pacing, it can likely be assumed that Uhura has plenty of connections and resources that would allow for her to find some sort of transport to Vulcan. If you watch the way she handles her fellow officer ("Mr Adventure") just as Kirk & his team enter the transporter room, it's reasonable to assume she can handle the problem of getting to Vulcan without the script saying so. As Genesis explodes, Kirk and his skeleton crew fly the Klingon warbird to Vulcan, where the Vulcan high priestess T'Lar (Judith Anderson) performs the dangerous ritual, fal tor pan, that reunites Spock's katra with his body. The procedure is successful, but Spock's memory is slow to return, and Sarek isn't sure when or if it will come back. "Only time will tell," he tells Kirk. As Spock, clad in a white robe, T'Lar, and a number of attending Vulcans leave the ceremonial platform, Spock walks past Kirk, not recognizing his presence at first. Suddenly, Spock turns to Kirk and asks if the ship is out of danger, to which Kirk replies that he (Spock) saved them all. In the final scene, Spock says, 'Jim. Your name is Jim, while the crew of the Enterprise gather around him, pleased that his memory is beginning to return. Yes. Star Trek III: The Search for Spock, a novelization of the movie by American science fiction writer Vonda N. McIntyre, was released in 1984. So far, there are 13. Star Trek: The Search for Spock was preceded by Star Trek: The Motion Picture (1979) (1979) and Star Trek: The Wrath of Khan (1982) (1982). It was followed by Star Trek IV: The Voyage Home (1986) (1986), Star Trek V: The Final Frontier (1989) (1989), and Star Trek VI: The Undiscovered Country (1991) (1991), all of which featured the Enterprise captained by James T Kirk. Star Trek: Generations (1994) (1994) united Kirk's crew with the crew of the Enterprise captained by Jean-Luc Picard. The Star Trek movies featuring Picard as captain include: Star Trek: First Contact (1996) (1996), Star Trek: Insurrection (1998) (1998), and Star Trek: Nemesis (2002) (2002). Star Trek (2009) (2009), Star Trek: Into Darkness (2013) (2013), and Star Trek: Beyond (2016) (2016) harken to an alternate reality in which Kirk was just beginning his career with Starfleet Academy. While we never actually see it the answer seems almost certainly yes. Spock is experiencing the "Pon-Farr", the Vulcan mating drive which it is established in the original series will kill him if he does not have sex with a Vulcan female. We then see Saavik touch their hands together in the first phase of the mating ritual. In the script for Star Trek IV: The Voyage Home, the matter is verified by revealing that Saavik's reason for staying on Vulcan is that she is pregnant with Spock's child but the line was cut from the final film. It was an experimental warp drive that was to be tested on the Excelsior, the first Federation ship outfitted with it. Simply put, it was a warp drive that was faster than any warp drive in use up to that point. The Star Trek lore says that the experiment was a failure, not because of Scotty's sabotage but because Federation scientists couldn't make it work. David Marcus admits to Saavik that he'd used a substance called protomatter in his engineering of the Genesis device. Saavik tells him that he knew himself that protomatter was a highly unstable substance. Like he says, it "helped solve certain fundamental problems" but it also doomed the Genesis experiment to fail—since it caused the rapid development and aging of Genesis itself and the planet destroyed itself. Furthermore, the device was not used as originally intended. It was supposed to have been used on an existing lifeless planet but in this case it created a planet out of the light elements present in the Mutara Nebula, which would not have have the necessary heavy elements needed for planet formation. a5c7b9f00b
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