Embarrassment from Start to Finish: A Complete Guide

When a group of Star Trek enthusiasts gathers, it’s almost guaranteed that the debate will arise regarding which films from the beloved franchise are considered the least successful. The prevailing opinion often highlights The Final Frontier, Insurrection, and Nemesis as contenders for this dubious title. Each of these films has its own dedicated supporters who passionately defend their respective campy charm, bold storytelling choices, and unique tones. Personally, I find myself revisiting The Final Frontier every few years, primarily to indulge in the brilliance of Jerry Goldsmith’s score. However, all discussions about the franchise’s cinematic missteps may become obsolete on January 24, 2024, with the highly anticipated release of Star Trek: Section 31 on Paramount+.

This upcoming film is poised to be the most disappointing project associated with the Star Trek name in recent memory.

Warning: Spoilers Ahead for Star Trek: Section 31.

Star Trek: Section 31 is a streaming film centered around Philipa Georgiou, portrayed by Michelle Yeoh, following her exit from Star Trek: Discovery. Initially approved as a series back in 2019, the project faced multiple challenges and delays, remaining in development limbo until 2022. During this time, showrunners Bo Yeon Kim and Erika Lippoldt, alongside screenwriter Craig Sweeny, diligently refined the concept. Director Olatunde Osunsanmi revealed to SFX Magazine that Sweeny rewrote the script seven times, transforming it from a planned series into a feature film. The urgency to begin production was fueled by Yeoh’s remarkable Academy Award win for Everything Everywhere All At Once in 2022.

The end product feels disjointed; even if you’re unaware of its troubled production history, it resembles a series hastily condensed into a film format. While the narrative is not entirely incoherent, it shares a significant flaw with Discovery: it often feels more like a dramatized summary than a fully fleshed-out script. There are thematic elements and plot points that resonate, yet the substantial connections between them seem lacking, resulting in a series of disjointed events rather than a coherent story.

The film’s plot, credited to Kim and Lippoldt, embodies the cliché of the “and then this happens” structure that film students are cautioned against in their studies. Many pivotal moments lack the necessary emotional groundwork, compelling the audience to invest in characters that are introduced only moments before their arcs unfold. A particularly awkward scene occurs towards the film’s conclusion, where two characters, who have shown no genuine romantic interest, are suddenly forced to hold hands as they confront their imminent peril. Although they share their personal histories, the film provides no basis for viewing them as anything beyond mere colleagues.

Subpar material can sometimes be salvaged by a talented cast; however, it pains me to say that Michelle Yeoh does not manage to elevate the script. Yeoh is an incredibly talented actress with a legacy of remarkable and often underrated performances throughout her career. Yet, her strength lies in portraying characters with profound depth, not in over-the-top, campy villains. Even in her character’s transformative moments, it’s challenging to view Yeoh as the type of antagonist that Star Trek requires Georgiou to embody. Instead of tailoring the narrative and stakes to suit her abilities, the film unnecessarily expands its scope, expecting Yeoh to fill a role that does not play to her strengths.

The supporting cast also suffers from insufficient character development amid the overwhelming clutter of the film’s narrative. Introducing a six-member Section 31 team before even bringing Georgiou into the fold leaves each character as little more than a sketch. We encounter the brooding character, the “humorous” one, the uptight individual, the robotic presence, the attractive figure, and the one sporting a questionable Irish accent—all lacking depth and distinction.

Had Section 31 been developed as a series, the brief character introductions would be forgivable, knowing that there would be time to explore and develop these personalities over subsequent episodes. However, as a standalone movie, this approach falls flat. The shocking twists—such as an early character’s unexpected demise to raise the stakes or a sudden betrayal in a moment of crisis—fail to resonate. Even more frustrating is the dialogue, which often feels like convoluted improvisation rather than meaningful characterization. Much of it consists of characters reiterating basic plot points, such as reminding the audience of Georgiou’s past as a villain.

Olatunde Osunsanmi’s directorial style has a tendency to draw attention to itself through flashy camera movements and angles. However, during moments that require straightforward dialogue exchanges, his direction disappointingly resorts to standard television shooting. This is particularly evident in action sequences, which lack spatial coherence and fail to convey the story effectively. For instance, a climactic fight scene relies on the audience’s awareness of a crucial object, yet the chaotic execution leaves viewers confused and disengaged.

One notable misstep in the film’s cinematography is Osunsanmi’s choice to film all of Michelle Yeoh’s fight scenes in close-up. When Yeoh is in motion, the audience deserves to see her full range of skills, allowing her and her co-stars to showcase their talents. Instead, the camera remains tightly focused, which diminishes the excitement of these action sequences and obscures Yeoh’s abilities, draining energy from the fight scenes.

Prior to diving into Section 31, I revisited key narratives from Deep Space Nine to reflect on their ethical dilemmas. That series frequently explored how far individuals would go to uphold their beliefs and values. While the Federation was often depicted as an idealistic utopia, one must question whether such a paradise necessitates its own extrajudicial enforcement unit. This wasn’t merely an exciting plotline; it served as a thought-provoking inquiry into what Starfleet and its members represent when their core principles are under threat. Unfortunately, Section 31 lacks any semblance of coolness, and if anyone believes it does, their values may conflict with the foundational principles of Star Trek.

Sadly, Alex Kurtzman, who oversees the franchise, seems to embrace the idea of a Starfleet with its own covert operations team, suggesting a troubling alignment with narratives from the War on Terror era that have been unwelcome in previous installments like Star Trek: Into Darkness. Ultimately, Section 31 embodies a stark departure from the spirit of Star Trek. It’s not an enjoyable viewing experience, marred by numerous shortcomings in its execution as a cinematic piece.

One of the earliest signs that Section 31 would not succeed came when Rob Kazinsky, who portrays Zeph, began preparing fans for potential disappointment. He expressed concerns that the film might not be well-received, noting that many fans simply crave “just 1,000 more episodes of TNG.” While some members of the fanbase may seek a constant stream of nostalgic content, others, including myself, yearn for a thoughtful, entertaining, and well-crafted experience. Unfortunately, Section 31 fails to deliver on any of these fronts.

As I sift through my notes in search of something positive to highlight, I can only muster that the costumes, which were co-created with Balenciaga, are visually appealing. Although they may lean slightly towards a Star Wars aesthetic, I appreciate the emphasis on texture and tailoring, a refreshing change from the current athleisure trend seen in Star Trek. Additionally, the CGI quality meets the standards set by Strange New Worlds, which is a small victory amidst the film’s many flaws.

Ultimately, it remains unclear who the target audience for Section 31 is. It’s too simplistic for viewers who appreciate the more intellectually stimulating aspects of Star Trek. It doesn’t cater to the fan service that might appeal to those eager for Star Trek: Legacy. It lacks the intensity desired by audiences who wish to see the franchise take on a darker tone akin to 24. And it certainly doesn’t provide the high camp that would engage fans who adore Michelle Yeoh in stunning costumes. One can only hope that Paramount’s decision-makers will exercise more rigor in future projects.