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Jones is slated to become the first intelligence officer from Cannon to transfer to the Space Force. Steven Jones gets promoted to Captain, and his son places the new patch on his uniform.
Jones' family is a large reason for his desire to transfer to the Space Force. Courtesy Photo. Steven Jones greets an enlisted airman during one of his deployments.
Jones is slated to become the first Space Force intelligence officer to deploy. User Reviews. User Ratings. External Reviews.
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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.
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Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy 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;  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,  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 ,  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;  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.
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