On 8th September 1966, the first episode of Star Trek (1966 to 1969), “The Man Trap” (Daniels, 1966), first aired. Since then, Star Trek has become a massive cultural phenomenon, spawning numerous continuations and spin-offs to become, perhaps, the most influential science-fiction franchise of all time. Accordingly, the 8th of September has been deemed “Star Trek Day”, the perfect excuse to celebrate this massive sci-fi franchise.
Released: 9 June 1989
Director: William Shatner
Distributor: Paramount Pictures
Budget: $26 million
Stars: William Shatner, Laurence Luckinbill, Leonard Nimoy, DeForest Kelley, George Takei, and James Doohan
The Plot:
When Mister Spock’s (Nimoy) hitherto-unknown half-brother Sybok (Luckinbill) takes the USS Enterprise hostage with his empathic powers, Captain James T. Kirk (Shatner) must prevent him from a seemingly suicidal mission to find God at the centre of the universe.
The Background:
Despite a worldwide gross of almost $140 million, Star Trek: The Motion Picture (Wise, 1979) was a critical disappointment that Paramount blamed on Star Trek creator Gene Roddenberry. Thankfully, the franchise recovered with Star Trek II: The Wrath of Khan (Meyer, 1982), commonly considered one of the best Star Trek movies, and Paramount eagerly capitalised with what became the then-lowest-grossing third entry, Star Trek III: The Search for Spock (Nimoy, 1984). Still, positive reviews justified a fourth film, which saw star and director Leonard craft a light-hearted time travel romp, Star Trek IV: The Voyage Home (ibid, 1986), which proved a critical and commercial success. Thanks to his contract, star William Shatner was promised the chance to direct the next Star Trek film and took inspiration from charismatic, but misguided, televangelists for the story. In his initial drafts, Sybok was known as Zar and the biblical elements were further emphasised in the conclusion when “God” transformed into a more Satanic form. Producer Harve Bennett insisted on changing the script, which Roddenberry also had issues with, and subsequent redrafts and budgetary concerns excised the rock monsters planned for the finale. Shatner allegedly favoured a grittier and more realistic aesthetic and the production team apparently redesigned many sets, including the Enterprise bridge. The film’s effects were handled by Associates and Ferren, with the budget increasing due to Shatner’s insistence on viewing much of the test footage. Sean Connery turned down an offer to star as Sybok so the role went to Laurence Luckinbill when Shatner was impressed by his portrayal of President Lyndon B. Johnson. Star Trek V: The Final Frontier’s $63 million box office fell way short of Star Trek IV’s and made it the lowest-grossing of all the feature films! This was reflected in the overwhelmingly negative reviews that criticised Shatner’s direction, the inconsistent tone, and the poor special effects. Luckinbill’s performance was praised, however, but even Shatner expressed dissatisfaction with the finished product, which is often considered one of the worst in the franchise. That didn’t stop Paramount greenlighting a sixth film the following year, though it did lead to a brief scramble to recover from The Final Frontier’s poor reception.
The Review:
The Enterprise-A crew starts The Final Frontier in the midst of a well-deserved shore leave. Well, except for poor Commander Montgomery “Scotty” Scott (Doohan), who misses out on a vacation with blossoming love interest Commander Nyota Uhura (Nichelle Nichols) to help get the comically malfunctioning Enterprise-A up to scratch. The state of the Enterprise-A is a recurring issue throughout the film and primarily serves as both a comical situation (Kirk struggles with the turbolift doors), an obstacle to be overcome (Scotty works tirelessly to fix the inoperable transporters), and as a convenient way to handicap the crew for dramatic impact. Kirk and his away team cannot be beamed out, for example, and rely on shuttlecraft to journey to and from the Enterprise-A and the questionable nature of the ship’s weapons and shields means even Klingon Captain Klaa’s (Todd Bryant) outclassed Bird of Prey is a potential threat. Unfortunately, this threat remains a secondary concern; we never see the Enterprise-A battle Klaa so it’s a moot point. The ship’s also more than capable of travelling at warp speed and all its sensor systems are operational, so it’s only systems that would limit the film’s action that erupt in a shower of sparks. The film also, surprisingly, hand waves the recurring trope of the Enterprise constantly being called to dangerous situations, no matter their condition. When Kirk mentions the “mess” that the Enterprise-A is in, Fleet Admiral Bob (Harve Bennett) states he has “no experienced Captains” in close proximity to Nimbus III and “needs Jim Kirk”.
Though in a far better place, mentally, than in previous films, age is still taking its toll on Captain Kirk. Whereas “other men” have families to spend shore leave with, he spends his camping in Yosemite National Park with Spock and the miserly Doctor Leonard “Bones” McCoy (Kelley) since they don’t have anyone else. While Kirk fills his time with unnecessary risk-taking and Bones chastises Kirk’s foolhardy disrespect for life, Spock prefers to test his hoverboots and contemplate the lyrics of “Row, Row, Row Your Boat”. It’s while subtly mocking Spock’s misunderstanding of Earth customs that Kirk reveals a morbid belief that he’s destined to die alone, something which has left him somewhat emotionally empty and fearless. Despite his protestations about taking the malfunctioning Enterprise-A to address the hostage situation on Nimbus III, Kirk follows orders and finds new ways to get around the limitations of the script ship. He leads the away team in infiltrating the capital, only to find the hostages – the bitter St. John Talbot (David Warner), the disgraced General Korrd (Charles Cooper), and the alluring Caithlin Dar (Cynthia Gouw)) – have fallen under Sybok’s sway. Outmanned and outgunned, Kirk has no choice but to allow Sybok and the entranced diplomats safe passage to the Enterprise-A, where Sybok demonstrates his unique empathetic abilities. Even when faced with Sybok’s power, which causes visions of a person’s “hidden pain” to manifest visually, Kirk remains defiant. In one of the film’s best scenes (and of Shatner’s Star Trek career), Kirk launches into an impassioned tirade and vehemently rejects Sybok’s offer: “I don’t want my pain taken away! I need my pain!” Convinced that Sybok is a “con man”, at best, and “mad” at worst, Kirk both refuses to join him or co-operate and adamantly tries to talk him out of breaching the “Great Barrier” since Sybok claims to be on a mission from “God”. Kirk’s scepticism is briefly rocked when the Enterprise-A breaches the Great Barrier, but only for a moment. Just as he shrugged off Sybok’s allure, Kirk questions the authority and legitimacy of the “God” (George Murdock) they find on Sha Ka Ree. Again, Kirk feels untouchable, even when faced with a supposed deity, simply because he has not only seen more than enough to make him fearless and also because he’s “not alone” and therefore cannot die.
The Final Frontier is pretty significant for Spock since it not only explores aspects of his childhood he actively chooses not to discuss but also revolves around the complex relationship between him and his hitherto-unknown brother. Unfortunately, these elements aren’t as developed as I’d like and it’s telling that Sybok has never been mentioned again in Star Trek lore (as far as I know). What little we learn of their past is told through vague exposition and a surprisingly emotional confrontation when, after being forced to relive the pain of his father’s (Jonathan Simpson) disapproval of his half-human nature, Spock also rejects Sybok’s repeated offers to join him. Though he condemns Sybok for betraying the logical principals of Vulcan culture and violating Federation law, Spock still hesitates when ordered to kill his half-brother, showing he’s not at completely above emotion, and clearly grieves for Sybok in the finale. Bones is mostly played as the comic relief and peacekeeper of the three, scolding Kirk for reprimanding Spock’s hesitation and offering bitter commentary on their poor social lives. However, Sybok reveals that Bones’ cantankerous personality stems from a tragic and horrific event in his past where his sick father (Bill Quinn) begged to be spared of his slow, painful death. Though conflicted, Bones ultimately disregarded his Hippocratic Oath, only for a cure to be found shortly after. It’s a harrowing scene that explains a lot about McCoy’s curmudgeonly disposition, and is effectively related, especially when Sybok criticises Kirk for not realising the dark pain residing in his friends. We also get a recurring sub-plot where Scotty avoids Sybok’s influence and helps Kirk and the others escape from the brig, and a fun moment where Commander Pavel Chekov (Walter Koenig) commands the Enterprise-A. Otherwise, beyond Uhura showing her naked allure and suddenly being hot for Scotty and Lieutenant Commander Hikaru Sulu (George Takei) acting as Sybok’s right-hand once the charismatic Vulcan gets his claws into him, the rest of the crew assume their usual roles and get slightly less to do as the film’s geared more towards philosophical and moral debates rather than space battles.
Sybok has an alluring charisma, for sure. Even without his empathic abilities, the Vulcan has a silver tongue and easily talks down armed foes with his captivating words. Influencing individuals on an emotional level, Sybok encourages them to “share their pain” in what’s essentially an extension of the traditional Vulcan mind meld. Using his empathic abilities, Sybok brings out a person’s deepest pain and encourages them to face it, share it, and be free of it, leaving them so grateful to be free of their burden that they pledge themselves to his mad cause, abandoning loved ones and principals in the process (but, crucially, retaining their core personalities). Seen as a renegade, Sybok was cast out from Vulcan for embracing emotion and has embarked on a lifelong quest for Sha Ka Ree (what we would call “Eden”). Having been sent visions and instructions from “God”, Sybok recruits followers to breach the Great Barrier and commune with the All-Mighty to understand the meaning of life, and then spread that wisdom to others. Thus, Sybok is not a traditional villain or a violent man; he chastises Chekov for inciting violence in Nimbus III, practically begs Kirk and the others to follow him, and uses reason and words rather than weapons. Sybok is no less dangerous in Kirk’s eyes, however, since the sceptical Captain believes they’re heading for disaster following Sybok’s mad ambition. Because Sybok represents a more philosophical and moral villain, The Final Frontier once again relies on the Klingons as a more traditional threat. Unfortunately, the upstart Klass is a far cry from the cold menace of Captain Kruge (Christopher Lloyd). Bored of destroying space debris, Klaa intercepts the Enterprise-A to test his mettle against a real opponent. Klaa’s threat adds a time limit to most scenes, forcing Sulu to manually dock the shuttlecraft so the Enterprise-A can escape to warp, but the two ships don’t engage in a space battle and Klaa’s threat is easily neutralised once Spock demands Koord reprimand his arrogant subordinate.
The Nitty-Gritty:
It’s tiresome to mention it, but there’s a popular notion that odd-numbered Star Trek movies are worse than the even-numbered one. While I mostly agree, I disagree in this case. It’s definitely not as good as the last three movies, but I’d much rather watch it than the next two and I’ve always had a soft spot for it. Part of this is Laurence Luckinbill magnetic performance (he makes for a charming and loquacious antagonist), part of it is the melancholy, haunting score courtesy of Jerry Goldsmith, and part of it is the relationship between Kirk, Spock, and Bones. The Final Frontier offers some of their best filmic moments, from Bones worrying over Kirk’s safety to Spock being weighed down because of the “marshmelons” they ate, to the anger Kirk throws towards Sybok when Bones is tempted by the Vulcan’s power. I’m glad they spend most of the film as a bickering threesome as it really emphasises how they’re like family.Kirk even refers to Spock as his “brother” by the end and acknowledges that they’ve become a substitute family. I love how they’re so familiar with each other that they disregard rank (though Spock does this reluctantly) and that Bones uncharacteristically defends Spock when he refuses to kill Sybok. The scenes of the three locked in the brig and escaping up the turbolift shaft are both light-hearted fun and an engaging glimpse at their relationship since Kirk is personally upset that Spock never told him about his half-brother. While we get some insight into Spock and Sybok’s past, with the implication that Sybok had always been a manipulative influence who bullied Spock, we don’t get as much detail as I’d like. A flashback or two over Nimoy’s narration would’ve been nice, but much of this relationship is tainted by the fact that it’s never brought up again, as though Star Trek would rather we forget about Sybok and this film. The best evidence of this is that the Enterprise-A travels to the centre of the universe in just under eight hours, something we know is impossible based on the perilous and lengthy journey of the USS Voyager, lending credibility that much of The Final Frontier are open to interpretation.
The Final Frontier’s reputation probably isn’t helped by some questionable effects. While the models all look great, they are recycled from the previous movies and it’s tiresome seeing the Enterprise-A threatened by another Klingon Bird of Prey (and that the well-seasoned crew are continually stumped when the ship cloaks). The composition effects are woefully subpar so it’s probably a good thing we don’t really get a space battle. Even Spock’s hoverboots are a laughable effect, used alongside an obviously slanted camera angle or a suspicious turbolift shaft that’s clearly hiding cables to move the actors. There is a big action set piece on Nimbus II, however, where Kirk and the away team storm the city and get into a firefight with Sybok’s acolytes (on horseback, no less). Kirk even tangles with a bizarre cat woman (Linda Howard) to give Shatner a fight scene, though is just kinda ends when he tosses her into a water tank. Sybok captures Kirk and the others with ridiculous ease since he has more men and weapons, encounters no resistance on the Enterprise-A (as it conveniently has a skeleton crew), and isn’t involved in any physical altercations with the crew due to his pacifist nature. Instead, he and Kirk (and Spock, to a degree) debate their beliefs, with Kirk disputing the fantasy of Sha Ka Ree and Sybok talking to Kirk as though he were a confused and naïve child. Though incensed at having his ship taken from him, Kirk is powerless to intervene beyond defiantly escaping the brig and trying to alert Starfleet Command. However, his undeniable curiosity and desire to “boldly go where no man has gone before” sees him willingly return to the bridge once the Enterprise-A reaches the Great Barrier where, ironically, Sybok gratefully returns command of the ship to him, if only so Kirk can see that the unreasonable Vulcan was right all along.
To the amazement of the crew, the raging cosmic storm at the Great Barrier proves to be an illusion and, upon breaching it, the Enterprise-A reaches Sha Ka Ree, a fabled holy land where creation is said to have originated. Curious, Kirk has Spock, Bones, and Sybok travel with him to the surface, discovering a barren wasteland. Just as even Sybok begins to doubt his journey, the earth quakes and a gigantic, semi-holographic visage appears bathed in an ethereal light. “God” assumes the guise of kindly old manto to “meet their expectations”. While Bones is stunned by the All-Mighty and Spock is quietly fascinated, Sybok is overjoyed to see that God is not only real, but everything he expected Him to be. As “God” compliments Sybok, it asks how the group penetrated the Great Barrier and becomes intrigued by their starship. Blinded by his faith, Sybok promises that the Enterprise-A will serve as the deity’s “chariot”, so that “God” spread wisdom to the galaxy, however their jubilation is interrupted by Kirk’s simple question: “What does God need with a starship?” When “God” questions Kirk’s identity, Kirk’s cynicism increases and, angered by the mortal’s disbelief, the deity blasts Kirk with its eyebeams. Shocked at this cruelty, both Bones and Spock repeat Kirk’s question, earning similar reprisals and leaving Sybok horrified that his God would act so callously. The being reveals that it’s some unknowable, eldritch creature that’s been trapped on Sha Ka Ree for an eternity and yearns to be free. Assuming Sybok’s form, mirroring the Vulcan’s arrogance and blind ambition, the creature threatens to kill them all unless the Enterprise-A is brought closer. Dejected by his mistakes and desperate to make amends, Sybok begs his brother for forgiveness and embraces the creature, sacrificing himself to overwhelm it with his pain. This is only a temporary reprieve for the shellshocked crew, however, as is the barrage of phaser fire from the Enterprise-A, as the creature returns and turns its wrath on Kirk after he has Bones and Spock beamed out. Luckily, General Koord orders Klaa to stand down, saving Kirk’s life when he was sure he would die, and leaving the three to ruminate on the true nature of God and return to their shore leave.
The Summary:
I’m fully aware that I’m in the minority of people who like Star Trek V: The Final Frontier, and I’m okay with that. It’s definitely better than the first and sixth movies, for me, and probably about on par with the third, honestly. Like The Voyage Home, it’s a bit more of a light-hearted adventure for the most part, with an emphasis on the banter and bickering between Kirk, Bones, and Spock to emphasise that the Enterprise-A crew (especially these three) are a tight-knit surrogate family. Yet, for all the pratfalls with Spock’s hoverboots and Scotty bashing his head, there are some deep ruminations on mortality and what it means to be human. Kirk’s dour outlook on his inevitable, lonesome end really speaks to the life he’s chosen for himself. I personally find it very inspiring that he chooses to live with his pain rather than take an easy fix since all his experiences, good and bad, have shaped his personality. Sadly, this theme is somewhat underbaked, as are many aspects of The Final Frontier, specifically Spock’s relationship with his random half-brother. I’d love to see this explored further somewhere so if there’s a book or something that delves into their past a bit more, please let me know, as Sybok was a fantastic character. I loved his enthusiastic and exuberant presence, his boastful confidence and pacifist nature, and the idea that he’s riding a fine line between confidence and madness. I do think the Klingon threat could’ve been removed, perhaps in favour of the Romulans or additional screen time showing Kirk and the others trying to overthrow Sybok’s control of the Enterprise-A. It’s a bit suspicious how easily they reach and breach the Great Barrier but I’ve always enjoyed the showdown with “God”, Kirk’s fearless defiance of the creature, and the endlessly quotable script in this horribly under-rated Star Trek movie. It could’ve been better, for sure, but it’s a personal favourite of mine and I do think it needs a bit more love for the positives and that the negatives need to be better explained to me as I just don’t think it’s as bad as people say!
My Rating:
Pretty Good
Are you also a fan of Star Trek V: The Final Frontier? What did you think to Kirk’s bleak outlook on his inevitable death? Did you enjoy the additional focus on the Kirk/Spock/Bones dynamic? What did you think to Sybok and the snippets of exposition we get into his past with Spock? Were you also frustrated to see another Klingon threat? What does God need with a starship? Which Star Trek captain, crew, show, or movie is your favourite and why? How are you celebrating Star Trek Day today? No matter what you think, leave your thoughts down below, support me on Ko-Fi, and go check out my other Star Trek content.
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