Star Trek V Film-Datenbank
Der Planet Nimubs III gilt als neutrale Freihandelszone, in der sich die Botschafter der verfeindeten Romulaner, Klingonen und der Föderation aufhalten. Als der Vulkanier Sybok einen Aufstand anzettelt, begibt sich die Enterprise sogleich dorthin. Star Trek V: Am Rande des Universums. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Film. Die USS Enterprise NCCA soll zum Planeten Nimbus III fliegen, um dort den Botschaftern der. Ich bin der Meinung, dass Star Trek 5 - Am Rande des Universums sehr spannend, aber auch sehr emotional (wie eigentlich alle ungeraden Teile der Star. Star Trek V - Am Rande des Universums [dt./OV]. ()1 Std. 46 MinX-Ray Die Enterprise, die sich nicht gerade im allerbesten Zustand befindet, wird. Die Regie des fünften Kinoabenteuers der U.S.S. Enterprise übernahm Captain James T. Kirk höchstpersönlich. Und die "Videowoche" urteilte: "'Star Trek', das ist. In Star Trek V - Am Rande des Universums begibt sich die Crew der Enterprise auf die Suche nach Gott.
Star Trek V A voir aussi Video
Star Trek V The Final Frontier - Let's see what she's got
This event also attracts the attention of a Klingon captain who wants to make a name for himself and sets out to pursue the Enterprise.
Sybok's ragtag army captures the Enterprise and takes her on a journey to the center of the galaxy in search of the Supreme Being.
I've never figured out why ST V gets so much criticism. It's really not that bad, if you're a true trekkie. First off, sure the effects are a little low-fi I don't know about you, but I care more about story than effects.
The main reason that I like this film because it's very episodic in nature. If you are a fan of the original Star Trek series, sit down and watch this movie as if you were watching one of the original episodes and it will be much more enjoyable.
For one, it starts out like an episode with a prologue before the opening credits start. Secondly, the theme music for the movie is similar to that of the original series.
Third, there are some lines from the film that sound like they would be right out of one of the older episodes. Lastly, this movie is loosely based on the storyline of an original episode.
If you've seen The Way to Eden, the actual plot of the episode is not bad, it's just the hippie stuff that makes it so awful. This film kildly leaves out the awful hippie music of the original episode and focuses solely on the plot instead.
I often wonder if Shatner wrote this film to make up for how bad The Way to Eden was. So, to sum up, watch this movie as you would watch an old episode and you'll enjoy it much more.
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Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy.
Director: William Shatner. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. Everything Coming to Hulu in August Carmike Cinemas TV Chart.
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Myers discussed the sketches with Shatner and made casts of actors' faces using dental alginate. Shatner hired Herman Zimmerman as production designer.
At one point, he was building five sets at once. Zimmerman created a sketch of the town's layout over three days, drawing inspiration from a circular Moroccan fortress.
Tim Downs scouted possible areas for location filming. He looked for a location that could stand in for three different venues without the production having to move or change hotels: the film's opening scene; the God planet's establishing shots; and the Nimbus III Paradise City.
Downs was familiar with the Mojave desert and thought that locations near Ridgecrest, California , would serve the production's needs, so he took photos based on sketches Rodis had provided of what the locations might look like.
Downs also shot photos with filters and tried to accomplish dust effects with his car to replicate ideas for how some sequences would be shot.
Principal photography began in October , in and around Los Angeles, California. After one of the production's camera trucks exploded in the studio parking lot, the non-union drivers headed to Yosemite National Park under cover of darkness with a police escort.
The film's Yosemite scenes were all shot on location. The overhead shot gave the impression Kirk was climbing at a great height, while unnatural background features such as swimming pools were camouflaged.
In the scene, Spock watches Kirk's ascent, levitates up behind him as a pest giving suggestions with the outcome that Kirk slips and Spock has to saves him using levitating boots.
Bluescreen footage of Shatner falling was shot later at Paramount and composited, while stuntman Ken Bates set a record for the highest American descender fall by plummeting off El Capitan —with a wire support rig—for long shots.
The scenes had to be reshot later. After the Yosemite shots, location shooting moved to desert locales. The town was created as a haphazard collection of spaceship parts and futuristic scrap.
Shatner called the resulting half-jogging pace of the dehydrated extras "the Sybok shuffle". The production spent three more weeks filming the rest of the desert scenes, finishing the last night scene shortly before sunrise and the trip back to Los Angeles.
At Paramount, the crew filmed all the scenes that would take place on soundstages, including the Enterprise and Bird-of-Prey sets, the Paradise City interiors, and the campfire location.
Production was smoother on set, and the crew shot scenes ahead of schedule. The crew fabricated a stand-in set for the God planet location, where additional scenes were filmed to combine with the location footage.
Shatner scheduled the campfire scenes to be the last ones shot, after which the cast and crew had a small celebration before a traditional wrap party later.
Shatner returned to Paramount Studios a few days after principal photography had wrapped to organize the film's post-production schedule.
Shatner recalled that the film received praise and left the screening "reveling" in its reception; it turned out to be a "momentary victory" once he saw the special effects.
During the writers' strike, producer Ralph Winter confronted what writer Paul Mandell termed an "unenviable" effects situation.
With a stretched budget and short timeframe, Winter had to look elsewhere. The producers solicited test footage from various effects houses to judge which was best able to create the film's main effects, including the planet Sha Ka Ree and the godlike being which resided there.
Bran Ferren 's effects company Associates and Ferren was picked. Associates and Ferren had three months to complete the effects work—around half the usual industry timeframe.
Shatner insisted on viewing much test footage before he proceeded with each shot, requesting time-consuming changes if he did not like an effect. The studio called a meeting with executives and began cutting out effects shots.
To reduce the optical effects workload, Ferren rejected bluescreen compositing, opting instead for rear projection.
This cheaper process, he reasoned, would save time, and would make sense for elements such as the Enterprise ' s bridge viewer, where compositing would lack the softness of a real transmitted image.
The rock monster climax of the film was ultimately dropped due to difficulties during filming. Effects personnel smoked cigarettes and blew smoke into the suit's tubing, [75] loading it with smoke that it would slowly emit, obscuring some obvious rubber parts.
On the last day of location shooting, the Rockman began suffering mechanical problems; the suit stopped breathing fire, and the desert wind dissipated the smoke.
The result, Shatner wrote, was that "our guy in the silly rubber suit ultimately just looked like Once back at the studio for non-location filming, Shatner and Ferren met to discuss how to replace the Rockman.
The agreed-upon idea was an "amorphous blob of light and energy" that would rise up and chase after Kirk, shape-shifting while in pursuit.
When Shatner saw the effects, however, he was extremely disappointed with the low quality. Bennett and Shatner attempted to get money to reshoot the final scenes of the film, but Paramount turned them down.
While production wrapped, Ferren continued work on the miniatures and other optical effects at his New Jersey studio.
The opticals were completed in Manhattan before being sent west; [77] for example, bluescreen footage of the motion controlled miniatures was filmed in Hoboken, New Jersey.
In New York, the blue screen was replaced by a moving starfield—a single finished shot of a ship moving through space required as many as fifty pieces of film.
The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.
The "God column", in which the false god appeared, was created by a rapidly rotating cylinder through which light was shone; the result appeared on film as a column of light.
Ferren used a beam splitter to project actor George Murdock's head into the cylinder, giving the appearance that the false god resided within the column.
Days after filming was completed, Shatner returned to Paramount to supervise the film's edit, soundscape creation and score, and integration of optical effects.
Editor Peter E. Berger had already assembled rough cuts of various sequences, [79] and with only weeks before the film's scheduled completion, the production team set about the task of salvaging the film's ending through editing.
The false god's screen time was reduced, and Ferren's "god blob" effect was replaced with a closeup of the actor's face, along with shots of lightning and smoke.
At the time, Shatner felt that the edits "pulled a rabbit out of a hat", solving many of the film's problems. Shatner's cut ran slightly over two hours not including end credits or the opticals , [81] which Paramount thought was too long.
Their target runtime was one hour forty-five minutes, which would guarantee twice-nightly theatrical screenings.
Bennett was handed the task of shortening the film's running time, despite Shatner's view that nothing could possibly be removed.
Shatner was horrified by Bennett's edit, and the two haggled over what parts to restore or cut. In early test screenings, the film received negative reviews.
Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed.
Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier ; beyond choosing Luckinbill as Sybok, he hired Jerry Goldsmith to compose the film's score.
Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Picture , and the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.
He focused on the God planet as his most difficult task. Goldsmith's main theme begins with the traditional opening notes from Alexander Courage 's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture.
Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture.
Goldsmith also added a crying ram's horn. The breadth of The Final Frontier ' s locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs , recurring music used for locations and characters.
Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.
The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition.
Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend ; "the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond.
The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.
When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.
The original soundtrack for the film was originally released by Epic Records, and included nine score tracks mostly out of film order and the song "The Moon Is a Window to Heaven" by Hiroshima.
On Tuesday November 30, , La-La Land Records reissued the soundtrack in a two-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.
Because Mangini was concerned about creating continuity within Star Trek ' s sounds, he decided to reuse some effects rather than create new and different-sounding ones—as such, the Bird-of-Prey's cloak effect, beaming sounds, and the Enterprise engines sound similar to that of past movies.
Mangini collaborated with Shatner to work out how the completely new effects would sound. For Sybok's mind melds, Shatner wanted the sounds of beating hearts and breathing.
Mangini was also responsible for the film's foley and dialogue replacement ; foley editors created background audio in sync with actions on screen to enrich the soundscape.
The sound of Klingons walking, for example, was conveyed with chains and leather for a "rough" sound. The Final Frontier appeared amidst several other films that grappled with quests for God and spiritual meaning; [93] author Peter Hansenberg regarded the film as part of an "almost fashionable" trend of s science fiction movies with religious motifs.
Schultes agrees, pointing out that the idea of paradise has been seen many times in the series, but almost always illusory or deadened.
While many Star Trek episodes dealt with false deities, The Final Frontier is one of the few that, in the words of religious scholar Ross Shepard Kraemer, "intentionally confronted and explored theological questions, including the existence of God.
Moreover, the view of God is homogenized—no one disputes Sybok's references to God as a "he". Maybe He's right here, in the human heart.
The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last Crusade , Ghostbusters II , and Batman.
In its first week, The Final Frontier was number one at the domestic box office. The Final Frontier was the season's tenth-best-grossing film, although it failed to make expected returns.
The site's critics' consensus reads: "Filled with dull action sequences and an underdeveloped storyline, this fifth Trek movie is probably the worst of the series.
Rob Lowing of The Sun Herald called the film "likeable but average". Critics such as Newsweek ' s David Ansen judged the principal characters' performances satisfactory; "these veterans know each other's moves so well they've found a neat comic shorthand that gets more laughs out of the lines than they deserve", Ansen wrote.
The special effects were generally considered poor. Murphy wrote that the film fell apart after the arrival at Sha Ka Ree, where the "great special effects that graced parts I through IV are nowhere to be seen".
Bennett blamed part of The Final Frontier ' s failure on the change from a traditional Thanksgiving-season Star Trek opening, to the sequel-stuffed summer release period, and the diffusion of Star Trek fan viewership following the premiere of The Next Generation.
In the morning after the opening night, he woke Nimoy up to tell him that the Los Angeles Times had given The Final Frontier a positive review.
Soon after a local television reporter also gave the film a good review, and Shatner recalled that he incorrectly "began sensing a [positive] trend".
Nevertheless, the film is considered canon. Considered a critical and commercial failure, the poor performance of The Final Frontier jeopardized the production of further Star Trek features.
Loughery worked with Bennett on a story inspired by Santa Fe Trail. It was re-released on DVD as a 2-Disc Special Collector's Edition on October 14, , with bonus extras added, including footage of the principal photography wrap press conference, an interview with Shatner the day before filming began, a retrospective documentary and a commentary track by Shatner and his daughter Liz.
All six films in the set have new 7. The disc features a new commentary track by renowned Star Trek authors and contributors Michael and Denise Okuda , Judith and Garfield Reeves-Stevens , and Daren Dochterman , [] [] as well as the previously recorded commentary track by Shatner and his daughter.
Shatner wanted to produce a director's cut of the movie similar to Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan with improved special effects and scenes omitted from the original release; however, he stated in an interview that Paramount would not support the venture.
From Wikipedia, the free encyclopedia. For other uses, see STV disambiguation. Theatrical release poster art by Bob Peak. Release date.
Running time. Since this leader is identified as having been badly treated by the Klingons in his retirement, how did he suddenly regain the authority to negotiate a truce?
And do we really want to see the mighty Klingons reduced to the status of guests at a cocktail party? British Board of Film Classification.
July 6, Retrieved May 22, Los Angeles Times. Retrieved May 21, The Star Trek Encyclopedia, 4th ed. Pocket Books. The Washington Post. Daily Variety.
CBS Entertainment. Retrieved April 12, USA Today. Sunday Tasmanian. The Advertiser. Archived from the original on July 29, Retrieved May 28, The Sunday Mail.
The Globe and Mail. Petersburg Times. Archived from the original on December 17, Retrieved January 6, The New York Times. July 9, The Miami Herald.
December 5, Retrieved June 1, Retrieved March 23, Retrieved April 11, Associated Press. September 6, Rotten Tomatoes.
Retrieved May 18,
Schultes, John S October Principal photography began in Octoberin and around Los Angeles, California. Their leave is interrupted when the Enterprise is ordered by Starfleet Command to rescue the human, Klingonand Romulan diplomats taken hostage on Nimbus III, a planet set aside as a neutral location to advance dialogue between the FederationKlingon Empire, and Romulan Star Empire. Goofs The Mahler Ulm has a different bridge layout in this film from others in the series. The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last CrusadeRiddick 1 Stream IIand Batman. Sound Mix: 70 mm 6-Track 70 mm prints Dolby Stereo 35 mm prints. He looked for a location that could Mühlheim Am Main in for three different venues without the production having to move or change hotels: the film's Conan Exiles Sex Mod scene; the God planet's establishing shots; and the The Incredibles Stream Deutsch III Paradise City. Intent on stopping the entity, Kirk Arrival Online Enterprise to fire a photon torpedo at their location, to little effect. Retrieved January 5,Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Captain Kirk and his crew must deal with Mr.
Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy.
Director: William Shatner. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. Everything Coming to Hulu in August Carmike Cinemas TV Chart.
James Berardinelli's Reelviews. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty Walter Koenig Chekov Nichelle Nichols Uhura George Takei Sulu David Warner John Talbot Laurence Luckinbill Sybok Charles Cooper Korrd Cynthia Gouw Caithlin Dar Todd Bryant Captain Klaa Spice Williams-Crosby Vixis as Spice Williams Rex Holman J'onn George Murdock Edit Storyline When the newly-christened starship Enterprise's shakedown cruise goes poorly, Captain Kirk and crew put her into Spacedock for repairs.
Taglines: The Enterprise is back. This time, have they gone too far? Edit Did You Know? Trivia As a result of the critical failure and commercial underperformance, along with its unpopularity among the fanbase, the film's continuity came to be widely ignored within Star Trek canon.
References to this film within non-canonical Star Trek stories have been largely noted with derision, and one of the few elements that survived in official Star Trek lore is the presence of Starfleet Marines, who subsequently resurfaced in the third season of the TV series Star Trek: Enterprise Goofs The Enterprise-A has a different bridge layout in this film from others in the series.
Stargazer bridge in Star Trek: The Next Generation: The Battle , was left in storage outdoors and essentially destroyed by the elements.
Subsequent non-canon Star Trek publications have attempted to explain the very different appearance of the new bridge by suggesting that Starfleet ships have bridge modules which can be easily swapped out and replaced with new ones, but this is unconvincing.
In practical terms it seems unlikely because the turbolift doors are farther apart 2 stations between them in the new bridge than the old 1 station between them , which would require ripping out and replacing the entire vertical shaft below the bridge deck.
Quotes [ first lines ] Sybok : I thought weapons were forbidden on this planet. Besides, I can't believe you'd kill me for a field of empty holes.
J'Onn : It's all I have. User Reviews This film is not as bad as they say. Was this review helpful to you? Yes No Report this.
Q: What year does this movie take place in? Q: Has 'The Final Frontier' been novelized? Edit Details Official Sites: Startrek. In New York, the blue screen was replaced by a moving starfield—a single finished shot of a ship moving through space required as many as fifty pieces of film.
The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.
The "God column", in which the false god appeared, was created by a rapidly rotating cylinder through which light was shone; the result appeared on film as a column of light.
Ferren used a beam splitter to project actor George Murdock's head into the cylinder, giving the appearance that the false god resided within the column.
Days after filming was completed, Shatner returned to Paramount to supervise the film's edit, soundscape creation and score, and integration of optical effects.
Editor Peter E. Berger had already assembled rough cuts of various sequences, [79] and with only weeks before the film's scheduled completion, the production team set about the task of salvaging the film's ending through editing.
The false god's screen time was reduced, and Ferren's "god blob" effect was replaced with a closeup of the actor's face, along with shots of lightning and smoke.
At the time, Shatner felt that the edits "pulled a rabbit out of a hat", solving many of the film's problems.
Shatner's cut ran slightly over two hours not including end credits or the opticals , [81] which Paramount thought was too long.
Their target runtime was one hour forty-five minutes, which would guarantee twice-nightly theatrical screenings. Bennett was handed the task of shortening the film's running time, despite Shatner's view that nothing could possibly be removed.
Shatner was horrified by Bennett's edit, and the two haggled over what parts to restore or cut. In early test screenings, the film received negative reviews.
Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed.
Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier ; beyond choosing Luckinbill as Sybok, he hired Jerry Goldsmith to compose the film's score.
Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Picture , and the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.
He focused on the God planet as his most difficult task. Goldsmith's main theme begins with the traditional opening notes from Alexander Courage 's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture.
Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture.
Goldsmith also added a crying ram's horn. The breadth of The Final Frontier ' s locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs , recurring music used for locations and characters.
Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.
The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition.
Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend ; "the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond.
The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.
When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.
The original soundtrack for the film was originally released by Epic Records, and included nine score tracks mostly out of film order and the song "The Moon Is a Window to Heaven" by Hiroshima.
On Tuesday November 30, , La-La Land Records reissued the soundtrack in a two-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.
Because Mangini was concerned about creating continuity within Star Trek ' s sounds, he decided to reuse some effects rather than create new and different-sounding ones—as such, the Bird-of-Prey's cloak effect, beaming sounds, and the Enterprise engines sound similar to that of past movies.
Mangini collaborated with Shatner to work out how the completely new effects would sound. For Sybok's mind melds, Shatner wanted the sounds of beating hearts and breathing.
Mangini was also responsible for the film's foley and dialogue replacement ; foley editors created background audio in sync with actions on screen to enrich the soundscape.
The sound of Klingons walking, for example, was conveyed with chains and leather for a "rough" sound. The Final Frontier appeared amidst several other films that grappled with quests for God and spiritual meaning; [93] author Peter Hansenberg regarded the film as part of an "almost fashionable" trend of s science fiction movies with religious motifs.
Schultes agrees, pointing out that the idea of paradise has been seen many times in the series, but almost always illusory or deadened. While many Star Trek episodes dealt with false deities, The Final Frontier is one of the few that, in the words of religious scholar Ross Shepard Kraemer, "intentionally confronted and explored theological questions, including the existence of God.
Moreover, the view of God is homogenized—no one disputes Sybok's references to God as a "he". Maybe He's right here, in the human heart.
The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last Crusade , Ghostbusters II , and Batman.
In its first week, The Final Frontier was number one at the domestic box office. The Final Frontier was the season's tenth-best-grossing film, although it failed to make expected returns.
The site's critics' consensus reads: "Filled with dull action sequences and an underdeveloped storyline, this fifth Trek movie is probably the worst of the series.
Rob Lowing of The Sun Herald called the film "likeable but average". Critics such as Newsweek ' s David Ansen judged the principal characters' performances satisfactory; "these veterans know each other's moves so well they've found a neat comic shorthand that gets more laughs out of the lines than they deserve", Ansen wrote.
The special effects were generally considered poor. Murphy wrote that the film fell apart after the arrival at Sha Ka Ree, where the "great special effects that graced parts I through IV are nowhere to be seen".
Bennett blamed part of The Final Frontier ' s failure on the change from a traditional Thanksgiving-season Star Trek opening, to the sequel-stuffed summer release period, and the diffusion of Star Trek fan viewership following the premiere of The Next Generation.
In the morning after the opening night, he woke Nimoy up to tell him that the Los Angeles Times had given The Final Frontier a positive review.
Soon after a local television reporter also gave the film a good review, and Shatner recalled that he incorrectly "began sensing a [positive] trend".
Nevertheless, the film is considered canon. Considered a critical and commercial failure, the poor performance of The Final Frontier jeopardized the production of further Star Trek features.
Loughery worked with Bennett on a story inspired by Santa Fe Trail. It was re-released on DVD as a 2-Disc Special Collector's Edition on October 14, , with bonus extras added, including footage of the principal photography wrap press conference, an interview with Shatner the day before filming began, a retrospective documentary and a commentary track by Shatner and his daughter Liz.
All six films in the set have new 7. The disc features a new commentary track by renowned Star Trek authors and contributors Michael and Denise Okuda , Judith and Garfield Reeves-Stevens , and Daren Dochterman , [] [] as well as the previously recorded commentary track by Shatner and his daughter.
Shatner wanted to produce a director's cut of the movie similar to Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan with improved special effects and scenes omitted from the original release; however, he stated in an interview that Paramount would not support the venture.
From Wikipedia, the free encyclopedia. For other uses, see STV disambiguation. Theatrical release poster art by Bob Peak.
Release date. Running time. Since this leader is identified as having been badly treated by the Klingons in his retirement, how did he suddenly regain the authority to negotiate a truce?
And do we really want to see the mighty Klingons reduced to the status of guests at a cocktail party? British Board of Film Classification.
July 6, Retrieved May 22, Los Angeles Times. Retrieved May 21, The Star Trek Encyclopedia, 4th ed. Pocket Books.
The Washington Post. Daily Variety. CBS Entertainment. Retrieved April 12, USA Today. Sunday Tasmanian.
The Advertiser. Archived from the original on July 29, Retrieved May 28, The Sunday Mail. The Globe and Mail. Petersburg Times.
Archived from the original on December 17, Retrieved January 6, The New York Times. July 9, The Miami Herald. December 5, Retrieved June 1, Retrieved March 23, Retrieved April 11, Associated Press.
September 6, Rotten Tomatoes. Retrieved May 18, Retrieved December 19, Archived from the original on July 24, The Sun Herald.
Chicago Sun-Times. Retrieved December 13, Retrieved December 30, Deseret News. Retrieved January 5, Christian Science Monitor.
Retrieved March 13, May 30, Retrieved May 15, The Gazette. Ziff Davis. Archived from the original on February 23, Retrieved January 16, Altman, Mark April Bond, Jeff The Music of Star Trek.
Lone Eagle Publishing Company. Dillard, J. Hansenberg, Peter In John R. May ed. New Image of Religious Film. Hughes, David Titan Books.
Religions of Star Trek. Basic Books. Kreitzer, Larry Journal of Popular Culture. State University of New York Press. Mandell, Paul May Cinefex 42 : 47— Pilkington, Ace April Reeves-Stevens, Judith and Garfield The Art of Star Trek.
Prince, Stephen In Harpole, Charles ed. History of the American Cinema. Charles Scribner's Sons. Schultes, John S October Journal of Religion and Film.
Shatner, Lisabeth
Kirk befindet sich unterdessen auf der Flucht vor dem Gott-Wesen, welches ihn verfolgt. Dieses Zögern Spocks kann sich seinerseits Sybok wieder zu nutze machen und Spock, fast schon etwas kurios entwaffnen, was Kirk nun 609 an den Rand eines Nervenzusammenbruchs bringt. Trotz ihres privat eher angespannten Verhältnisses, genoss es George Takei unter William Shatner zu The Seven Deadly Sins Staffel 2 Deutsch. Sie müssen eins werden mit dem Berg! Ich hasse Deutschland Es war zu dieser Zeit kein Geheimnis mehr, dass sich die beiden nicht immer bestens verstanden hatten und gegenseitig neidisch auf den Erfolg des jeweilig anderen waren. Rodis and Shatner also drew up sketches of what the various aliens seen in the film would look like. Shatner had previously directed plays and television episodes; [4] when he signed on for The Voyage Home following a pay dispute, Shatner was promised he could direct Leprechaun 4 Stream German next film. To reduce the optical effects workload, Ferren rejected bluescreen compositing, opting instead for rear projection. Rodis' input in developing the early character and costume designs was significant. History of the American Cinema. After several hours of discussion Bennett agreed to return. Edit page. Only Spock and Kirk prove resistant to Sybok; Spock is Abenteuer Serien by the experience and Kirk refuses Zeeone Bolly Thek Vulcan's offer, telling Durch Die Wälder Durch Die Auen that his pain is necessary to make him human. Kirk wagt es kaum, dem Vulkanier zu widersprechen. Währenddessen erkennen die Sensoren an Bord der Enterpriseungeahnt Star Trek V den Ereignissen auf der Oberfläche, einen klingonischen Bird-of-Prey, welcher sich umgehend tarnt und direkt auf sie zusteuert. Den Krieger, den City Of God Stream Deutsch besiegen sie sich in den Kopf gesetzt haben. Letztlich kann X Company nur General Korrd, seines Zeichens ebenfalls ein Klingone, Frau Holle 1961 den wahren Absichten seiner Landsleute überzeugen. Als Teil 5 Realität wurde, hatte Paramount nun also keine Wahl mehr. Feuer speien konnte der Felsmann gar nicht und die Testaufnahmen, die mit dem Steinwesen gemacht wurden, Livestream Fail peinlich und wie ein Rückschritt in die Zeit der Originalserie aus. Er fordert Spock, trotz dessen ausdrücklichen Bedenken, auf, die Zusatzraketen zu zünden. Ein weiters Problem stellt sich den Dreien in den Weg, als das Shuttle durch die Interferenzen nicht mehr funktionsfähig ist. Kirk, stets auf Nummer Sicher gehend, lässt Chekov einen Photonentorpedo armieren und abfeuern.
Star Trek V – Am Rande des Universums: Sendetermine · Streams · DVDs · Cast & Crew. ST V - Am Rande des Universums. Star Trek: The Final Frontier. von Matthias Weber. Inhalt. Sternzeit: ,1 (Jahr ). Das Ende eines Urlaubs. Auf Nimbus. Original. Star Trek V - The Final Frontier. Studio. Paramount Pictures (). Verleih. Paramount Home Entertanment (). Laufzeit. min. Regie. Über Filme auf DVD bei Thalia ✓»Star Trek 5 - Am Rande des Universums«und weitere DVD Filme jetzt online bestellen! Auf der anderen Seite findet er einen einzelnen Fernsehpogramm Heute vor, den er für Sha-ka-ree hält. Im Gegensatz zum Fernsehen, bei dem der Regisseur deutlich weniger Kompetenzen hat und die kreative Leistung eher den Produzenten zuteil wird, ist der Regisseur beim Film der kreative Kopf des Unternehmens und bestimmt somit auch in welche Richtung sich ein Film Estelle Desanges entwickelt. Daraufhin versucht Sybok erneut das, woran er bisher bei den dreien gescheitert ist. Als im weiteren Verlauf das Shuttle mit Kirk, Spock, McCoy, Uhura, Sulu, Sybok, zahlreichen seiner Anhänger sowie den beeinflussten Botschaftern zur Kinoprogramm Tegel aufbricht, schnappt man plötzlich eine Warnung der Enterprise vor den Klingonen auf, mit dem Nachsatz, man möge sich vorsichtshalber in Schwedische Krimiserie begeben, bis die Situation geklärt ist. Abbrechen Karry. McCoy, der die ganze Aktion ebenfalls verfolgt, fährt der Ice Führerstandsmitfahrt in die Glieder als er den Absturz bemerkt und sofort an jene Stelle eilt. Lediglich Spock findet erneut einen Star Trek V Weg die nötige Distanz zu überwinden, indem er sich kurzerhand seine Raktenstiefel besorgt und Kirk ein weiteres Mal in schwindelerregenden Höhen damit überrascht. Grund war auch hier das geringe Budget, sowie die Unfähigkeit der Effekte-Firma. Takei war mit seiner vorgesehenen Gage inoffiziellen Quellen zufolge Dollar nicht zufrieden und wollte eine höhere Gage für seinen Auftritt John Pyper-Ferguson. 
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