Time Travel Time #18: Star Trek IV The Voyage Home

“Star Trek IV: the Voyage Home” is nearing its 31st anniversary. A huge hit in November/December ’86, the film has become arguably the most cherished of the “Star Trek” movie franchise (old, new or in-between) and one of the most profitable time-travel pictures ever produced. It also continues to gain in popularity: a remarkable feat, considering its age and current, razzmatazz competition. 

As Trekkies well know, time travel isn't alien to their sacred universe, with the likes of "City on the Edge of Forever"; "All Our Yesterdays"; and "Tomorrow is Yesterday" being prime examples of the acclaimed, Desilu incarnation, not to mention the thematic variations found in its popular offshoots. With the theatrical "Trek" franchise expanding into the '80s, it was only logical to introduce a big-screen version of the tried-and-true formula.

Directed by Leonard Nimoy, whose directorial finesse made "Search for Spock" a box-office success, "Voyage Home" is actually the third part of a trilogy, which commenced with the celebrated "Wrath of Khan". 

The script, written by Nimoy and Nicholas Meyer (who directed/penned the highly acclaimed “Wrath”, in addition to the time-travel gem, "Time After Time"), "Voyage Home" offers the resurrected Commander Spock (Nimoy), retrieved from the defunct Planet Genesis by his fellow, classic crew mates: now unlikely outcasts due to their daring rescue. The Enterprise has been destroyed, so our crew must "borrow" a Klingon Bird-of-Prey, nicknamed (appropriately enough) the Bounty, to skip intergalactic town. Indeed, circumstances look bleak for our heroes, but fate grants them redemption through an unexpected, world-shaking event.

A "distress" signal has sprung from Earth, the result of a mysterious, extraterrestrial vessel, which stirs upheaval as it searches (and begins to vaporize) the oceans. The probe wants to reconnect with a life form it (or something akin to it) encountered during a long-ago visit: humpback whales, to be precise. Alas, humpbacks have grown extinct, which prompts the crew to warp back in time to find some, presuming the results will quell the probe’s frantic sweep.

Admiral Kirk (William Shatner) catapults the Bounty to 1986 San Francisco, within the proximity of a couple "Cetacean Institute" humpbacks, George and Gracie, who are contained and cared for by the compassionate Dr. Gillian Taylor (Catherine Hicks).

Kirk and Spock realize that in order to transport the whales, they must first convince Gillian that their mission is sincere. What ensues is an often comedic set of circumstances, with Gillian eventually embracing their cause. 

Throughout the good-natured shenanigans, the plot gives our regulars moments to shine: Chekov (Walter Koenig) and Uhura (Nichelle Nichols) bumbling about as they seek nuclear empowerment for their craft; McCoy (DeForest Kelley) and Scotty (James Doohan) conning their way into constructing Transparent Aluminum to contain the whales; and Sulu (George Takei) assisting with the transportation of the latter's ever-so-essential panels. (Vulcan and Federation sequences also establish a nostalgic feel, which feature Robin Curtis' Saavik; Jane Wyatt's Amanda; and Mark Leonard's Sarek. Majel Barret and Grace Lee Whitney cameo as Christine Chapel and Janice Rand; and John Schuck's Klingon Ambassador reinforces the film's underlying, Cold War slant: apt for '80s cinema.) 

This wonderful, character blend (so vital to "Trek" storytelling) makes "Voyage Home" a heartfelt, fish-out-of-water romp, with ’86 San Francisco proving more daunting to our heroes than any aggressive, otherworldly expanse. What we'd otherwise take as common concerns in '86, or even at present (e.g., having correct bus fare or attaining proper medical care), strikes Kirk and crew as perplexing, but never unconquerable. 

Also to the film's credit, Kirk and Spock's reestablished relationship occupies much of time, with the reborn, cleric-attired Vulcan assimilating in a dry-humored way to any set of surroundings: a stance that meshes well with Kirk’s supportive zest. Kirk’s relationship with Gillian holds equal grace, with the spunky scientist fitting seamlessly into the calamity. (It seems strange why her congenial presence hasn't entered another, cinematic or television adventure, whether traditional or alternate reality.)

Along with the distinguishing save-the-whales theme, "Voyage Home" solidifies the significance of friendship and duty, handled deftly in "Wrath" and "Search" (and for that matter, "Trek--The Motion Picture", which presented the notion poignantly through Spock after his V'ger meld), but it also promotes the necessity of second chances. And second chances come to those who make the effort, as our dynamic crew demonstrates not only in "Voyage Home", but in their prior, theatrical outings, with Spock having sacrificed his life for his friends and then his friends risking theirs for his. Specifically with "Voyage Home", we find our principals going the ultimate mile to give the humpbacks their second chance, while saving Earth, and along the arduous way, salvaging their reputations (all symbolized by a rousing Leonard Rosenman score that smacks of an epic Christmas carol, underscored with a favorable, nautical rush). 

"Voyage Home" isn't merely a euphoric, time-travel tale, but a metaphoric triumph of the spirit. It demonstrates what humans can accomplish when faced with mounting troubles, when they dare to reach their potential and pursue good deeds, no matter how seemingly impossible. This makes the film one of those unique examples that transcends its genre, fating it to remain fashionable and beloved, no matter what the time or place. 

Time After Time Travels to TV!!!

"Time After Time", the '79 time-travel film favorite (see "Time Travel Time #16: Feb '16) has entered the ABC series route, courtesy of Kevin "Scream" Williamson, beginning March 5. This will allow viewers to experience the ongoing adventures of H.G. Wells (Freddie Stroma) as he pursues John Stevenson/Jack the Ripper (Josh Bowman) on a 2017 (or thereabout) trial.

I suspect the series will adapt a predominately "Fugitive" format, as opposed to the frequent time-leaping antics of "Timeless", "12 Monkeys" and "Legends of Tomorrow", though Williamson promises that a quartet of time trips will nonetheless season the flavor. References to "War of the Worlds", "The Invisible Man" and "Island of Dr. Moreau" will also be planted throughout. 

In keeping with Nicholas Meyer's film version of Karl Alexander's novel, romance will likely intervene along the fish-out-of-water way between Wells and Genesis Rodriguez's Jane Walker, a curator at the American Museum of Natural History, but the cat-and-mouse escapades should remain (fingers crossed) front and center.

The show's time machine should please fans, conveying the expected Victorian, steampunk charm, though it looks more chamber-like than what we've encountered in previous "Time Machine" adaptations, or for that matter, the original "Time After Time". It also appears that the main characters' Victorian behavioral traits will fade as the saga progresses, making them hip and cool, if only in the present sense of such terms. 

Comprising the rest of the main cast is Jennifer Ferrin; Nicole Ari Parker; Jordin Sparks; and Will Chase, who surprised his fan base by exiting the popular "Nashville" for this science-fiction, action/adventure endeavor. 

Meyer actually wrote the initial half of the two-part opener, which gives this offshoot an immediate air of worth. However, "Time After Time'"s two-hour premiere will compete with AMC's "Walking Dead": not a promising start, but considering that folks these days seem to record everything under the sun, the series could still find its audience. In addition, the Meyer movie has gained a legion of fans over the decades, and with the acclaimed writer/director attached to the series, there's a good chance that many such folks will at least give this extension an honest try. 

Time Travel Time #17: The Tomorrow Man (2002)

In "The Tomorrow Man" (not to be confused with the '96 film of the same name), violence and mayhem meet a Dickens-esque voyage that starts in the mid-seventies and travels to an alternate future, where the estranged relationship of a father and son reaches a remarkable fruition. 

Per this description, one can infer that writer/director Doug Campbell's 2002 adventure is a tad different than most time-travel tales, and because of this, "Tomorrow Man" remains a unique, emotional triumph. 

Like “Timecrimes” (see “Time Travel Time” #6: July '14), "Tomorrow Man'"s ramifications are seemingly small, but not for those they impact, with a dangerously wayward son, Bryon, otherwise know as Mac (Morgan Rusler), jaunting back in time with his fellow ruffians (via a stolen, remote-control structured device) to eschew the abuse inflicted upon him by his dad (Corbin Bernsen). Mac plans to kidnap his younger self (Adam Sutton) and raise his timid counterpart in a respectable way, so he'll grow into a fulfilled, law-abiding citizen. On the other side of the coin, his father, Larry, we learn, was once an average, hardworking guy of high principle, but after a stroke of bad luck, fell upon drunken times. The father/son animosity, therefore, creates an explosive mix, but through the woeful consequences, a chance for redemption rises for both. 

Much of the the movie's success comes from Bernsen's passionate performance. He convincingly makes Larry a man who, though temperamental, doesn't hesitate to stand up for a friend, as we witness when a bigoted boss bullies his pal, Griff (Stevie Johnson), who it should be noted, fatefully figures into the time-travel scenario decades later. Also at the early level, Larry ardently believes that his diligence and conviction will pay off, that he'll do right by his family and harness his flaws, but as we all know, the best laid plans...

However, when Larry witnesses Bryon's kidnapping (via a flashing, blink-of-an-eye teleportation), he frantically tries to unravel what's happened and get his boy back. Meanwhile, a time agent named Vick (Beth Kennedy), who's tracking Mac, unwittingly carries Larry into the future. This is a complicated turn, since Mac has killed her fellow officer/boyfriend (Zach "Gremlins" Galligan), but Larry's heartfelt zeal proves contagious, and before long, the two form an unsteady allegiance.

Alas, the time-twisted path is a confusing one for Larry. He learns there are restrictions to how far one can travel, and it's implied that aspects of any given timeline can be changed without significantly disrupting the overall pattern. The manifestation of parallel outcomes, therefore, is nonchalantly shrugged, as if (in "Quantum Leap" lore) only the best possible outcomes can ever occur through any given trek, or can they? Larry senses that there's still enough danger in the circumstances to make the mission a precarious one. 

Larry eventually finds his wife, Jeanine, who he remembers as a vibrant, young woman (Elizabeth Sandifer), but in older form, she's a distraught recluse (portrayed by "Young and the Restless" legend, Jeanne Cooper, who's also Bernsen's true-life mother). Through Jeanine, Larry begins to understand how his temperament turned Bryon into a criminal: a harsh revelation that makes Larry all the more determined to set things right. (Griff, Larry's old friend, now a high-ranking time cop, also resurfaces to reinforce Jeanine's claims, informing the frenetic father that by abandoning hope and rejecting opportunities, he caused the predicament he now sees before him.)

Eventually older Bryon and Larry cross paths, which inspires the former to take his father back in time (in a "Christmas Carol" type sojourn) to witness one of their bitter exchanges. This moment (wherein Rusler's pensive subtlety plays well off Bernsen's high-strung agitation) becomes a sobering one for Larry. He accepts the error of his ways and vows to become a better man. With this settled, "Tomorrow Man'"s events race toward their climax: some ironic, some jubilant, and in the end, all inspiring. 

"Tomorrow Man" is, after all, a story of salvation, of setting wrongs right, of seizing a second chance and making the best of it. Campbell's approach is refreshing, identifiable and wisely relies on realistic sentimentality. In fact, the story would have made a memorable "Twilight Zone": the highest compliment one could hope to pay any fanciful fable. 

SyFy's 12 Monkeys Swings to '44!!!

SyFy's series adaptation of Terry Gilliam's acclaimed "12 Monkeys" (see "Time Travel Time #10": Jan '15), which in its own right is based on Chris Marker's classic short, "La Jetee", enters its second season (April 19), but this time, the adventure is more than an extension of the original. Once things get rolling, the second-season  will lead to (or rather back to) 1944, where the mysterious 12 Monkeys organization will be "using time against itself". 

As to what that means, only time will tell, but the show's principles are at least back: Aaron Stanford as James Cole; Amanda Schull as Cassandra Railly; Emily Hampshire as Jennifer Goines; and Kirk Acevedo as Jose Ramse. As a special treat, Madeleine Stowe, costar of the '95 movie, is also set to appear.

I give SyFy ample credit for permitting the eventual nostalgic stretch, which will distinguish it from the initial season and of course, the films upon which it's based, while (I'm assuming) not getting too far removed from the established concept.

Time-travel tales seem more popular than ever, and it's therefore only fitting that "12 Monkeys" be a prime source to carry the torch. Season 2 will also give us, albeit in a roundabout way, a quasi-sequel to Gilliam's odd vision, and for better or worse, that in itself makes this extension worthy of curious probing. 

11.22.63: King and Abrams Create a Parallel Past

Hulu blazes onto the Amazon and Netflix trail with an original eight-part series, based on Stephen King's novel, "11/22/63"; produced with the author by "Star Trek"/"Star Wars" revisionist, J.J. Abrams. 

The date, in the event one doesn't know, is that of President John F. Kennedy's assassination. The premise of King's tale is what would happen if one were to return in time to prevent such. The concept was previously played upon in Rod Serling's "Back There", a "Twilight Zone" favorite focusing on the potential prevention of President Lincoln's untimely death. It also smacks of Harlan Ellison's classic "Star Trek" offering, "City on the Edge of Forever."

James Franco plays Jake Epping, a current-day, high-school teacher who finds his way through a diner portal to 1960, with some encouraging guidance from Chris Cooper's Al Templeton, a cook with a dark past. Lucy Frye, Daniel Webber and Josh Duhamel also figure into the primary cast.

The consequences of Epping's journey may not be as certain and/or beneficial as one might anticipate, with tricks and turns along the treacherous way, as he stalks (and prepares to slay) Lee Harvey Oswald (Webber). Remember "Dark Room'"s "Stay Tuned, We'll be Right Back"? Well, this treatment treads upon such shaky ground.

"11.22.63" begins on February 15 (Presidents' Day) and has the potential to match Netflix's thought-provoking "Man in the High Castle" (see Nov '15). I'm keeping my fingers crossed, for this adventure has a good cast and premise, and if done right, it could initiate other imaginative programs via the ambitious Hulu. 

Time Travel Time #16: Time After Time

“Time After Time” is a time-travel tale about H.G. Wells, Jack the Ripper and unexpected love. It commences much like George Pal’s adaptation of Well’s classic (see "Time Travel Time #1: Feb '14), commencing in 1893 London, but springs to 1979 San Francisco. So much for the Eloi and Morlocks in this regard, but as far as historical, fish-out-of-water adventures go, “Time After Time” remains a most pleasant gem.

Much of the film’s success comes from writer/director Nicolas Meyer, who previously gave us a splendid mesh of factual and fictional icons in “The Seven-Per-Cent Solution” (i.e., Sigmund Freud meets Sherlock Holmes) and would later energize the “Star Trek” movie franchise with “Wrath of Khan” through “Voyage Home”: the latter also a time-travel tale. (Incidentally the concept behind “Time After Time” stems from a novel by Karl Alexander, which Meyers and Steve Hayes adapted after the author’s passing.)

The remainder of the film’s success comes from its distinguished cast: Malcolm McDowell as Wells; Mary Steenburgen as the liberated Amy Robbins; and David Warner as Dr. John Leslie Stevenson/Jack the Ripper (and it must be noted, White Chapel's Chief of Surgery, who has a tendency of triggering a musical pocket watch whenever he's set to murder). 

Stevenson is present during Well’s time-travel demonstration, and in witnessing the magic of the marvelous device (which possesses all the required Victorian charm in its quaint but sturdy construction), the madman flees inside it to future California, where a Wells exhibit just happens to be on display. 

The catch is, the Ripper can't hold onto the machine. It swings back in time to its London origin, because Wells holds the specialized key that would otherwise make it stationary. Stevenson desires both the machine and the key, and when Wells hops aboard the device to track down his acquaintance, the dreadful doctor is ironically granted his opportunity.

A confrontation between Wells and the Stevenson isn't immediate, however. At first, some detective work is required on Wells' part, which he initiates by visiting local banks, assuming the doctor would have exchanged his coinage for U.S. currency. It's during this quest that Wells meets the brassy Amy Robbins, who works at the Bank of London. She takes an immediate liking to the gentlemanly Wells and supplies the information he seeks. 

A quick but affable courtship follows, where McDowell and Steenburgen churn up the charm, as the author/inventor continues to learn the ropes. Wells, after all, must acquaint himself to his new world's wonders and alas, its disappointments. Violence prevails during a time that he thought would be idyllic, but thanks to Robbins, some serenity ensues. 

As the courtship builds, Stevenson demonstrates he's ever the clever fiend (even making it appear he's dead for spell). He eventually resurfaces to kidnap Robbins in exchange for the key, but what's the ethical Wells to do in such a confounding situation?

The clever script (accompanied by Miklos Rozsas' sweeping score) handles matters with just the right foreboding and grace to make it all click, balancing Victorian splendor with a hip, '70s sensibility. One cares for the characters and wishes to see Wells and Robbins culminate their relationship, while the Ripper injects a consistent air of menace. 

A generous sum of philosophy also enriches the tale, which mostly pours from Warner's devilish lips. He often makes sense, even though we wish he wouldn't. Poor Wells, on the other hand, epitomizes rationality (and sometimes naivety) in the face of the Stevenson's crazed, selfish pursuits. To add to his misery, Wells finds that he must reveal the truth to Robbins: not the easiest task considering her no-nonsense mode, but boy, does he ever try, and in many respects, this becomes the most endearing part of the story. 

"Time After Time" is one of those wonderful, offbeat escapades that despite its unsavory elements, makes one feel pretty darn good. Like "Somewhere in Time" (see "Time Travel Time # 11: Feb '15), it's most suitable to watch around Valentine's Day, but any time of the year would work equally fine, for good stories invariably transcend the test of time. Indeed, "Time After Time" is one such charming case in point.