Showing posts with label Cliff Bole. Show all posts
Showing posts with label Cliff Bole. Show all posts

Friday, February 8, 2013

6-18. Starship Mine.

An Army of One: Picard fights for his ship - alone.
THE PLOT

The Enterprise is docked at Arkaria Base for a routine procedure to remove space asbestos ("accumulated baryon particles," if you want to be picky), which requires the evacuation of the ship's crew. When Picard hears that the planet where they are docked has horses, he takes a quick trip back to the now-empty ship to pick up his saddle... only to discover that the maintenance crew prepping for the baryon sweep is actually sabotaging ship's systems!

The maintenance crew is actually a group of clever criminals, who are executing a heist they had planned for years: Draining trilithium resin from the Enterprise's engines to sell as a weapon. With the ship's power cut in advance of the sweep, Picard is left with only his training and his knowledge of the Enterprise to stop the group and their ruthless leader, Kelsey (Marie Marshall). And he has only about thirty minutes in which to do it, before the deadly sweep envelopes the entire ship!


CHARACTERS

Capt. Picard: Patrick Stewart was pushing as early as Season Three for Picard to be more of an "action hero." Attempts to indulge him in this yielded mixed results, but writer Morgan Gendel gets the mix just right. Picard is formidable, but mainly because of his wits. He outthinks the criminals, using his superior knowledge of the Enterprise to set up traps and ambushes. He is also not invulnerable. For all of his competence, he is nevertheless captured twice. If Kelsey had been just a touch more ruthless and had killed him when he was first captured, he would have been little more than an inconvenience to her plans.

Riker: In the "B" plot, Riker and most of the supporting crew are taken hostage at Arkaria Base, presumably to keep them from interfering with Kelsey's heist. Riker has evidently learned well from Picard, as he listens to options from Data, Dr. Crusher, and Troi, then makes a plan based on their suggestions. When a distraction is needed at a key point, he provides it himself in classic Kirk fashion - by instigating a fistfight with the lead hostage-taker.

Data: The first part of the episode sees him in "obnoxious comedy" mode, imitating the mannerisms of the boorish Commander Hutchinson (David Spielberg) in an attempt to master "small talk." Thankfully, this would-be comedy routine is put to a merciful end by the hostage situation, and Data returns to his normal personality. His ability to function in conditions that are debilitating to everyone else plays a key role at the episode's climax.

Hot Space Villain of the Week: Kelsey (Marie Marshall) is clever and ruthless... though bizarrely, not ruthless enough to kill Picard at two different points at which she has the chance (perhaps she fancies older bald men?). She is a solid foil for Picard. Both are smart, quick-thinking people, both able to command respect from others. But while Picard's respect for life makes him show regret even at the deaths of these criminals, Kelsey has no respect for life at all. Picard will do anything in his power to safeguard the welfare of his crew; Kelsey regards her crew as entirely expendable, to the point of killing one inconvenient crewman herself. Marshall gives a credible performance, and the Kelsey/Picard interactions are definitely the high points of the episode.


THOUGHTS

Die Hard on a starship!

Though writer Morgan Grendel downplayed any connection, that tagline really does sum up the basic concept of Starship Mine. To the episode's credit, it pulls it off. This attempt to do a Star Trek action movie in 45 minutes works for many of the same reasons the original Die Hard worked (back when Bruce Willis was playing the everyman instead of the superhero) - The script is well-crafted and tightly-structured, and its hero is a thinking man's action star, far from invulnerable and fighting with his mind as much as with fists and weapons.

As with most action movies, there are plenty of holes to poke in the script. If Kelsey's plan is to drain the trilithium resin from the engines and leave on a small ship while the Enterprise is empty, why is there a need to take the crew hostage back on the base? Surely the best plan is one that involves the Enterprise crew never knowing that anything had happened at all. The "A" and "B" plots are never adequately tied together in any case, with the entire hostage situation seeming to exist solely to give the rest of the regular cast something to do.

This is easy to forgive, though, given the episode's fantastic pace. Once Picard discovers the criminals, there is no dead space at all. It's a given that the Picard scenes are stronger than the Riker ones, but both "A" and "B" plots move quickly and show the regulars on fine form. The Enterprise decks are also made genuinely atmospheric - a rarity - thanks to the dim lighting left by the power cut. Director Cliff Bole is able to maintain a tense atmosphere throughout.

The episode is anchored by Patrick Stewart, who clearly relishes the chance to be a full-fledged action star. He is fully convincing in the role, the intelligence in his eyes making us believe that this man can devise effective plans on the fly, improvising with what tools are available. Two moments that stand out are him holding a gun on Devor (Tim Russ), and him telling Kelsey over a comm link that he intends to take her ship and will "send (her) regrets," even as he preps a bow to take out another of the criminals. Moments worthy of any action star, played to the hilt by Stewart.

Plus, he gets to do the Vulcan nerve pinch on Tuvok. What more can you ask?


Overall Rating: 8/10. Sure, there are better episodes... But this was a huge amount of fun.





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Friday, December 28, 2012

6-13. Aquiel.

Geordi falls for the prime suspect in a murder!

THE PLOT:

The 
Enterprise arrives at a communication station near the Klingon border. They are there to deliver supplies, but discover that the station is deserted. Neither station officer is anywhere to be seen, and some organic residue on the floor indicates some kind of violent confrontation.

Geordi accesses the logs of Aquiel Uhnari (Renee Jones), the station's communications officer. Her entries indicate conflict between the station's senior officer, Lt. Rocha, and herself. She also mentions trouble with Commander Morag (Reg E. Cathey), an aggressive Klingon officer who harrasses the station regularly. 

When Picard contacts the Klingons, they insist that they had nothing to do with whatever befell the station. They do have one thing to contribute to the investigation, though - a surprise for the Enterprise crew: Aquiel Uhnari, alive and well... and now the prime suspect in the death of Lt. Rocha!


CHARACTERS

Capt. Picard: Gets one decent scene early in the episode, as he faces down the Klingon governor, Torak (Wayne Grace). Torak tries to establish dominance through belligerence. Picard responds by being pleasant and polite - and by pleasantly and politely invoking his relationship with Gowron to intimidate the Klingon into cooperating. All very obvious stuff (as with everything in this script), but it is at least entertaining, which raises this one moment above everything else in the episode.

Riker: A look at the respective records of Aquiel and the missing Lt. Rocha is enough to make Riker suspect the young woman of murder. Rocha has a spotless record, Aquiel a very bad one. As we've seen in his previous dealings with Ensign Ro, Riker has a tendency to equate "bad officer" with "bad person," and does not believe a thing the young woman says from that point on, instead shifting into prosecutorial mode.

Geordi: Another Geordi-centric episode that reduces this likable and competent character to little more than a hormone-driven boy with a crush. In an attempted nod to Otto Preminger's excellent Laura, Geordi begins falling for Aquiel even when she's presumed dead, smitten by the young woman he sees in her logs and correspondence. This fails to convince, as does Geordi's borderline insubordinate behavior when Riker points out (gruffly, but not unreasonably) that Aquiel might be a suspect and that it might not be good for the engineer to get too close to her. 

Hot Space Babe of the Week: Though this is a weak script to start with, the episode is doomed by the casting of Renee Jones as Aquiel. Jones gives a flat performance, devoid of any hint of the humor Geordi tells us she displays in her logs. Her entire personality is told to us. Geordi informs us that she is quirky and complicated, but these traits are completely absent from the woman we actually see on screen. Levar Burton struggles gamely, but neither Jones nor the script ever convince me that this woman is worth Geordi's time - or ours, for that matter.


THOUGHTS

Writers Ronald D. Moore and Brannon Braga have been individually responsible for many enjoyable to outright excellent hours of Star Trek. It's fair to say that, in TNG terms at least, seeing either name on the credits of an episode is good news. Which makes it all the more disappointing that Aquiel is such an utterly worthless piece of television.

This was apparently intended as a departure into film noir.  This could work with a sharp script, a good guest cast, and atmospheric direction. Aquiel possesses none of these qualities. The script is competently structured but bland, Moore and Braga obviously finding no inspiration in the story. Even the Klingon scenes, usually Moore's strong suit, come across as requisite posturing with little of interest.  Nor does Cliff Bole's static direction provide anything visually interesting to make up for the other shortcomings.  Everything is just... flat.

It isn't even bad enough to be funny. The series' early days saw some horrible episodes, but I could at least enjoy tearing into the likes of The Last Outpost, Angel One, and Justice. They were horrible television, but I wasn't truly bored by them - I was too shocked at the blazing ineptitude on display to find them boring.

Aquiel is one of the dullest hours of Star Trek I've seen. If some of the Season One stinkers were TNG's answer to Spock's Brain, so bad that you just had to sit back and laugh... Well, this is TNG's The Lights of Zetar - an episode so tedious and lifeless that no one can even bother to remember it.


Overall Rating: 1/10.

Previous Episode: Ship in a Bottle
Next Episode: Face of the Enemy


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Saturday, August 27, 2011

4-15. First Contact

Making first contact.

THE PLOT

Picard chases the Borg back through time... No wait, wrong First Contact.

The Enterprise is on a First Contact mission to Malcor III, a planet on the cusp of developing warp technology. Before making contact, it is standard procedure to gather as much information about the civilization as possible. To that end, Enterprise studies broadcasts from the planet. There are also Starfleet personnel who have been cosmetically altered to resemble the Malcorians. Riker is superficially altered to resemble them in order to coordinate efforts with them, as Picard prepares to personally contact the Malcorian Chancellor (George Coe).

When Riker gets caught in a riot, he is injured and loses contact with his ship. He is taken to a local hospital, where the doctors quickly realize that he is not a Malcorian. Now he must find a way to escape before the state security forces are contacted - something which could complicate Picard's First Contact, and make it impossible for Riker to ever escape alive!


CHARACTERS

Capt. Picard: This episode sees him in full diplomat mode. He deals with Mirasta (Carolyn Seymour) and the Chancellor pleasantly and with as much openness as is pragmatic. When Mirasta warns him against telling the Chancellor of Riker's situation, Picard heeds her warning - something he later admits was a mistake. He is frank in taking responsibility for the error, and he and Chancellor Durken seem like ready-made friends. He is also understanding of the Chancellor's decision at the end. Patrick Stewart is at his best in episodes like this, showing Picard's intelligence and diplomatic skill, and it's refreshing to see the meat of the episode devoted to Picard interacting in this way with equally intelligent guest characters.

Riker: Gets the Kirk treatment, as he catches the eye of a nurse (Bebe Neuwirth) who is effectively a UFO nut, and who demands that Riker make love to her in order for her to help him escape. Riker - if you're actually attempting to dissuade her, talking about how "there are differences... in the way we make love," probably was not a good choice. Outside of adding another notch to his belt (no wonder he gained weight - He needed a bigger belt for storage), Riker has a pretty good episode. He remains calm, attempting at first to brazen out his situation by pretending that all of his biological differences from the Malcorians are simple birth defects before finally attempting escape.


THOUGHTS

First Contact is a surprisingly good episode. Parts of it almost seem to be the flip-side of Season Three's Who Watches the Watchers, particularly when Picard takes Mirasta aboard Enterprise to introduce himself and his technology to her. The scenes in which Picard interacts with her and with Chancellor Durken showcase some thoughtful, intelligent writing and also some very good acting by Patrick Stewart, Carolyn Seymour, and George Coe.

These scenes are so good, I almost regret the need for the "Riker-in-jeopardy" subplot. Not that the Riker scenes are at all bad. Frakes is on good form, and Riker's attempts to stick to his (weak) cover story while trying to escape are believable in context. But the intelligent drama centering around Picard and the Chancellor is simply much more interesting. I can't help but wonder how this episode might have played with the entire show from the point of view of the Chancellor and his inner circle, with no Riker subplot, just the drama of the first contact situation itself to fuel the episode. But that would probably have been too much of a departure for TNG to attempt, even in a period in which the show has become much more experimental than in its early days.

An enjoyable departure from the norm, in any case, with at least as much time devoted to the well-developed and well-acted guest characters as to the main cast. A good episode that falls just short of being a great one.


Overall Rating: 8/10





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Sunday, June 12, 2011

3-26, 4-01. The Best of Both Worlds

The Enterprise is caught by the Borg.

THE PLOT

The Enterprise responds to a distress signal from one of the Federation's outermost colonies. Riker leads an Away Team, beaming down to the center of town... only to find himself standing at the edge of a giant crater where the colony should be. An investigation of the wreckage confirms what they already suspect. This was the work of the Borg. They have arrived in Federation space - years before anyone could have projected, leaving Starfleet all but completely unprepared for the fight to come!


CHARACTERS

Capt. Picard: Tries to push Riker into taking the profferred command of the Melbourne, telling his first officer that "Starfleet needs good captains," and that he is ready to "work without a net." As they prepare to face the Borg, he indulges in a moment of reflection, touring the ship on the eve of the hopeless battle. When talking with Guinan, he refuses to aknowledge the situation as hopeless, insisting that they might yet win. "It may be conceit," he allows, "but it's a healthy one." Comparisons are drawn to Nelson at Trafalgar, with Guinan pointing out that Nelson did not return from that campaign and Picard countering that despite Nelson's death, the fight was won. This was clearly designed as foreshadowing in the event that Patrick Stewart chose not to return for Season Four (a distinct possibility, at the time of filming).

Riker: Given the possibility of losing Patrick Stewart, the writers make sure to give Riker a meaty role so that it would feel natural for him to take over as lead. The first portion of Part 1 deals with Riker's lack of career advancement. He has been offerred command of the Melbourne, marking the third time he has been offered his own ship. Riker remains indecisive about moving on, even as it becomes clear that his hesitance is now hurting his career. The bulk of the 2-parter then puts Riker in command after the Borg take Picard. Riker is preparing an Away Team when Troi must tell him the same thing he once told Picard: As acting captain, it is inappropriate for him to lead an Away Team. His place is on the bridge, commanding the ship.

Commander Shelby: Part One establishes Commander Shelby (Elizabeth Dennehy) as a potential replacement for Riker. Had Patrick Stewart bowed out, she would presumably have taken over as first officer to Riker for the remainder of the series. Assuming writing as sharp as what's on display here, it might even have worked. She bristles under Riker, accusing him of knowing only how to "play it safe." Though Riker finds her reckless and lacking respect for chain-of-command, he acknowledges that she "knows her stuff," and is willing to put up with her aggressiveness for the sake of her genuine skill.

The Borg: The design of the Borg interiors is noticeably more polished than in Q Who, though the producers wisely chose to keep all the design elements consistent with that first appearance. The Borg took note of Picard and, seeing him speak for humanity, have decided that he will be the perfect "human voice" to speak for them as they "improve themselves." The Borg's collective mind ends up also acting as its weakness at the end - though the amount of damage they inflict up to that point is such that they are defeated here without it affecting their status as a genuine threat.


THOUGHTS

Long before Star Trek: Generations hit the big screen, The Best of Both Worlds had already delivered what that film promised (and largely failed) to deliver: Star Trek: The Next Generation - The Movie. The fantastic teaser sets the tone right off. This is going to be something big. The Best of Both Worlds had a lot riding on it. The Borg made a real impact on their first appearance, the first original TNG villain to really do so. They were established as a threat Picard and his crew simply could not stop. It took Q snapping his fingers and whisking them away to save them.

This time, the Borg are here. Q isn't around to blink away the danger. Our heroes have to genuinely stop them. And, as the opening hammers home for us... Starfleet isn't ready. The Borg are too powerful. Obviously, the Enterprise will stop them. The trick for this 2-parter is to stop them in a way that still leaves them feeling like a legitimate threat, something that doesn't feel like a letdown after all the buildup.

Part 1 has to pull double-duty, as well. Given the uncertainty about Patrick Stewart's return for Season Four, the writers had to construct the first part of what might have effectively been a second pilot, setting up a new crew dynamic for the potential Picard-less series. A part of me can't help but wonder what that series would have been like, with the leader established in more than 70 episodes suddenly removed and Riker having to take his place. It might have been interesting, particularly given the tension between Riker and Shelby. Then again, without Patrick Stewart's strong presence anchoring even the weakest episodes, it might just have resulted in the Star Trek franchise getting a much earlier rest than ended up being the case.

Thankfully, Patrick Stewart decided to stay on… leaving Part 2 to also pull double-duty. It has to resolve the cliffhanger in a way that doesn't feel like a cheat, while ending in such a way that both Picard and Riker can convincingly return to their previous roles. Though Part 2 isn't quite at the level of Part 1 (building a threat is always more dramatic than resolving it), it still succeeds admirably. The notion of Riker having to defeat the thing that was Picard by deliberately doing things in a way that differs from Picard's methods is an interesting one. Meanwhile, the visual of the graveyard of starships left in the Borg's wake at Wolf 359 hammers home how powerful a foe Riker's Enterprise is facing. The look on Riker's face at the destruction of the Melbourne - the ship that might have been his - is a nice touch.

There aren't many Star Trek episodes of any series that have achieved iconic status. This is one of them, and it's fully deserving. A two-part action movie with a driving pace, which nevertheless finds time to do some excellent character work. A piece that revolves around the characters of Picard, Riker, and Shelby, but which also allows every member of the ensemble something to do. Mix in the best special effects the series had seen up to this point and an outstanding music score by Ron Jones, and what you have is a better Star Trek movie for the small screen than well over half of the actual bigscreen entries. In just about every significant respect, The Best of Both Worlds is a triumph - and on a level that in the dismal days of Season One would have seemed frankly unimaginable.


Overall Rating: 10/10.


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Sunday, April 3, 2011

3-14. A Matter of Perspective

THE PLOT

The Enterprise is picking up Riker and Geordi from a scientific research station, where the two had been checking on Dr. Apgar (Mark Margolis)'s progress in generating Krieger waves. What Krieger waves are really isn't important. Suffice it to say that Riker is only too happy to beam back to the Enterprise. But even as Riker beams out, there's a sudden power drain on the station - which explodes, even before Riker materializes on the ship.

As Picard initiates an investigation of the explosion, prosecutor Krag (Craig Richard Nelson) arrives from the planet. Krag is charging Riker with the murder of Dr. Apgar, and demands Picard immediately surrender Riker to his custody. Picard insists on an extradition hearing, with witnesses programming the holodeck to show their versions of the events on the station. As each of these versions wildly differs from the others, it seems impossible to determine what the truth might be. But with motive and opportunity established - meeting Starfleet's requirements for extradition - it seems almost certain that Picard will have to rule against Riker!


CHARACTERS

Capt. Picard: Stands up to Krag in insisting that Riker's extradition hearing be held on the Enterprise, in order to protect his first officer from a legal system where the accused is "guilty until proved innocent." But once the situation is established, he shows no favoritism toward Riker. He refuses Riker's request for a private word, stating that under the circumstances it would be "inappropriate," and is firm in trying to judge objectively whether or not there is enough evidence against Riker to warrant extradition.

Riker: Will just can't seem to go anywhere without having the nearest being in a skirt make a pass at him. Riker need only materialize in the general vicinity of the bored and lonely Manua (Gina Hecht) in order to be pulled into a triangle involving her and her jealous scientist husband (Mark Margolis). Riker would have us believe that he acted like a perfect gentleman, while Manua insists he behaved like a rapacious pirate. Based on previous episodes, Riker was likely guilty of a little flirting, but nothing more inappropriate than that. Ironically, for an episode focused so heavily on Riker, the episode gives him little enough of interest to play - which may be one of the show's biggest problems.

Data: Is responsible for programming the holodeck to recreate the space station in every detail, and programs in the various depositions. Brent Spiner and the character get their best moment in the teaser, though, in a moment entirely unrelated to the "plot." As Picard encourages Data to evaluate the work of the various students in his art class, Data has praise for the work of every student... and then stops and tries to diplomatically declare Picard's piece "interesting." There's about a 2-second look of "Oh, crap" on Spiner's face just before Data allows himself to be pushed into an honest (damning) analysis that is just priceless.


SHUT UP, WESLEY

"Well, it WASN'T the commander's PHASER, it COULDN'T have been. There's ANOTHER answer!" Cringe. Wince. Ouch. Director Cliff Bole really needed to pull Wil Wheaton aside, tell him to stop "acting," and do a retake, because that line delivery is among Wheaton's worst in the entire series. Or maybe it was Cliff Bole's fault - it's not like Wheaton's been typically guilty of such poor, oddly emphasized line deliveries. Perhaps he told Wheaton to "bring some emotion." Whatever the case, it's a horrible moment, one which makes it a relief that Wesley is otherwise kept far in the background this episode.


THOUGHTS

TNG puts the "Rash" in Rashomon. Not only does the Kurosawa film have nothing to worry about, neither does the old M*A*S*H episode with Frank Burns court martialing Hawkeye. There is no suspense here. We know full well Riker cannot be guilty, and that he cannot be extradited - meaning that the entire episode is a question of waiting for the characters to discover his innocence. If this had centered around a recurring guest character whom the audience knows well enough to care about but not well enough to consider "untouchable" (say... O'Brien?), then there might be a bit of tension to be had. With Riker, it's obvious that he has to be cleared, and it doesn't take too long to figure out more or less how.

It doesn't help that when the moment of revelation comes, it comes wrapped in a cloak of Technobabble. Picard also has no explanation to offer as to how Riker's and Manua's stories could differ so wildly when both believe they are telling the truth. We're not talking minor variations here - What we see is the difference between an attempted seduction and an attempted rape, and the only explanation for how Manua could believe her story was true would seem to be active insanity. This point... is left totally unaddressed.

A Matter of Perspective is a competent episode, and it's no chore to watch. But with a fairly flat delivery of what has long since become a stock plot, this is not one of the stronger Season Three episodes... though I'll cheerfully admit that this exact episode would have looked a lot better alongside the weaker offerings of the first two seasons.


Overall Rating: 5/10.


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