Star Trek Beyond — film assessment: ‘Brisk and fun’

Chris Pine, centre, as Captain Kirk in 'Star Trek Beyond'

Chris Pine, centre, as Captain Kirk in ‘Star Trek Beyond’

In a dark corner of space — let’s get in touch with it the final frontier — resentment has taken hold. There is a feeling of obtaining been left behind by a distant centralising power, whose agenda of peace and unity is noticed as an affront. The name of this power is the Federation, spat out in calls to seize back the galaxy and make it the spot it as soon as was. “The Federation has constantly pushed at the frontier,” goes one. “This is where the frontier pushes back!”

Yep. The pleasures of Star Trek Beyond are a lot of. Its digitally magicked action sequences, overseen by director Justin Lin, are loudly spectacular. The mood is brisk and enjoyable. Yet for lots of viewers, particularly British ones, there may not be much in the way of escapism in Simon Pegg’s script, which opens with the slapstick botching of a treaty prior to going ever far more boldly the way of Trexit.

Far more

IN Film &amp Tv

Nevertheless, the film is jauntily at ease with itself. Comfortable also is Captain Kirk (Chris Pine). Beginning his 966th day in deep space, probably too a lot so. “Things have started,” he muses, “to feel a tiny episodic.” The best moment, then, for Kirk and the crew of the Enterprise to visit Starbase Yorktown, a vast floating city state. Its individuals could hardly be a lot more cosmopolitan: industrious, harmonious, occasionally lime green.

Quickly Kirk has all the adventure he could want. Initial a false pretext lures the Enterprise into uncharted space then enter a villain, Krall (Idris Elba), hunting like walking seafood. Mayhem ensues, his actual purpose quickly clear. Enraged by its pleased alliance, Krall plans to destroy the Federation — beginning with the metropolitan ways of Yorktown where, he sneers, “Millions of souls hold hands.”

Although its sense of peril would barely raise a sweat in a kindergarten, the film has surprising vim for the third component in a franchise inspired by a 50-year-old Tv show. Deft in accommodating the wants of fans, Lin offers the creak of the old a spot in a symphony of high-end effects. The latter brings warships massed like starlings, the former an ongoing reliance on sudden beamings up.

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Section: Arts

&#039Black Gods Of The Asphalt&#039 Requires Basketball Beyond The Court

Onaje X. O. Woodbine's book, Black Gods of the Asphalt, has also been adapted into a play by the same name. He appears here on that play's set at Phillips Academy in Andover, Mass.

Onaje X. O. Woodbine’s book, Black Gods of the Asphalt, has also been adapted into a play by the identical name. He appears right here on that play’s set at Phillips Academy in Andover, Mass. Brendan C. Hall/Courtesy of DeChant-Hughes &amp Associates hide caption

toggle caption Brendan C. Hall/Courtesy of DeChant-Hughes &amp Associates

Black Gods of the Asphalt

Onaje X.O. Woodbine grew up in inner city Boston and was on the path to his personal NBA dreams — as a sophomore at Yale he was the team’s highest scorer. He was voted 1 of the best Ivy League players, but in a move that provoked the ire of his coach, he quit — to devote more time to his research. He wanted to turn out to be, as he wrote in a letter to his coach, “the individual I was meant to be.”

His new book Black Gods of the Asphalt invites readers to look at basketball differently, not just as a distraction from racism or as a path out of poverty, but as a sacred space where young black boys and males go “to reclaim their humanity.”

Woodbine spoke with NPR’s Michel Martin about his partnership with the game and why he decided to cease playing at Yale.

Click the audio link above to hear the full conversation.

Arts &amp Life : NPR