Star Trek Blu-ray Review

Does the Blu-ray boldly go where no man has gone before?

LIGHT:  
Star Trek is one of the few Blu-ray releases to be docked points not on the merits of its transfer, which is strong, but because all the transfer does is magnify some very poor cinematography.

The film features a startling amount of lens glare – and it’s awful. And not only is it awful, it’s in every, single scene. Apparently, director of photography Dan Mindel does not believe there are tinted windows in space.

And it is not a simple nitpick either, but rather a serious distraction throughout the entire film. Paramount would better serve fans by including a pair of shades and some sun block with the disc.

Abrams also adds fuel to the lens glare-induced fire by repeating a gaffe I had hoped he had ended with his gig on Mission: Impossible III; mainly shooting the picture like a television show instead of a film. The director often pulls the camera in too close and ends up betraying the epic scale of his supposedly larger-than-life space opera.

If you ever wanted to see the Enterprise shot as if you were watching a UPN show, this is the Trek for you.

The actual image quality is pristine – a 1080p, 2.39:1-framed transfer that is virtually absent of grain and boasts a clean, sharp picture. Abrams’ re-imagining of Star Trek is colorful and clean; the bridge of the Enterprise looks like the Genius Bar at the Apple Store. This aesthetic lends itself well to high-definition, and long-time fans will be astonished by the high production values.

Blacks are deep, contrast is superb, print anomalies are negligible and the picture is crisp. It’s a darling transfer, it just happens to showcase a poorly shot film.

VIBRATION:  
Star Trek sports a Dolby TrueHD 5.1 lossless track that barrels along with an intensity that is unexpected, but welcome, from a Trek flick.

The film is host to imaginative and varied sound design that cleverly uses the acoustics of space, filling every channel of the sound stage. From warp engines to photon lasers, everything is audible and the clarity is exemplary. Trek also touts exceptional directional audio; often using all speakers for optimum effect.

Abrams standby Michael Giacchino creates a score that is understated, utilizing his distinct retro style to compose a suite reminiscent of the original ’60s television show. That said, Giacchino rarely flexes his creativity, and the soundtrack often times sounds derivative as a result.

The upside is that Giacchino’s score never overpowers the dialogue, and neither does the symphony of explosions and futuristic sound effects. The lossless audio is crisp and clear, even in the midst of some of the film’s more aggressive action sequences.

Other than an underwhelming score from an extremely talented composer, Star Trek is a sonic delight.

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