Our heroes travel back through time to San Francisco in 1986 so they can commune with aliens threatening future Earth – it’s preposterously good fun
Star Trek IV: The Voyage Home review – Kirk, Spock and co on semi-intentionally hilarious save-the-whale mission
Our heroes travel back through time to San Francisco in 1986 so they can commune with aliens threatening future Earth – it’s preposterously good fun Here is the fourth and silliest movie in the Star Trek franchise, now...
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Our heroes travel back through time to San Francisco in 1986 so they can commune with aliens threatening future Earth – it’s preposterously good fun Here is the fourth and silliest movie in the Star Trek franchise, now on rerelease for its 40th anniversary. Directed by Leonard Nimoy, it’s a film of pure shark-jumping or rather whale-jumping absurdity. The...
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- Our heroes travel back through time to San Francisco in 1986 so they can commune with aliens threatening future Earth – it’s preposterously good fun Here is the fourth and silliest movie in...
- Directed by Leonard Nimoy, it’s a film of pure shark-jumping or rather whale-jumping absurdity.
- The film’s opening credits proclaim, with sublime confidence in its own unquestioned pop-cultural importance in the field of space travel, that Star Trek IV is dedicated to the crew of the...
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This story is part of the Movies coverage. The original reporting source identified by the page is The Guardian. Publication date: September 3, 2026 at 04:00.
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Here is the fourth and silliest movie in the Star Trek franchise, now on rerelease for its 40th anniversary. Directed by Leonard Nimoy, it’s a film of pure shark-jumping or rather whale-jumping absurdity. The film’s opening credits proclaim, with sublime confidence in its own unquestioned pop-cultural importance in the field of space travel, that Star Trek IV is dedicated to the crew of the space shuttle Challenger, which had that year catastrophically exploded midair, killing all seven of them.
Spock has been brought back to life, as the apparent end result of all the bizarre metempsychotic plot contortions of the previous film. But the permanent and irrevocable death of Kirk’s son seems to be passed over remarkably casually. The eerie boyishness of Shatner’s Kirk, with that beaming smile, almost makes you forget that he has been through an agonising bereavement. Hasn’t he?
Source: The Guardian
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