Star Trek V: The Final Frontier (1989)

“A heartfelt misfire—noble in purpose, clumsy in execution, but not without moments of genuine insight.”

Introduction

Star Trek V: The Final Frontier stands as a fascinating case in the history of the Star Trek franchise. Released in 1989 and directed by William Shatner, who also stars as Captain Kirk, it followed the massive success of Star Trek IV: The Voyage Home (1986), which had revitalized the franchise with humour, warmth, and mass appeal. The fifth entry in the series aimed higher—tackling metaphysical questions, religious themes, and internal conflicts among the crew.

But despite its lofty aspirations, The Final Frontier is widely regarded as one of the weaker entries in the film series. Plagued by production difficulties, a rushed release, and creative compromises, the movie struggles to balance action, comedy, and philosophy. However, it remains a fascinating, if flawed, glimpse into the deeper themes that Star Trek has long been capable of exploring.

Plot Overview

The story begins on the desolate planet Nimbus III, where a rogue Vulcan named Sybok—who is later revealed to be Spock’s half-brother—leads a revolt to seize control of a diplomatic outpost. Sybok, unlike typical Vulcans, embraces emotion and possesses the ability to relieve people of their emotional pain. He hijacks the newly refitted USS Enterprise-A with the intent of journeying to the centre of the galaxy, to a mythical planet called Sha Ka Ree, where he believes he will find God.

The central conflict arises from Sybok’s control over the crew and his manipulation of their emotional vulnerabilities. Kirk, Spock, and McCoy resist Sybok's influence, and their journey culminates in a dramatic encounter with an entity claiming to be God—but which ultimately proves to be a malevolent alien force.

Themes and Ambition

At its core, The Final Frontier is about faith, pain, friendship, and the search for transcendence. Sybok’s quest for God—both literal and metaphorical—serves as a backdrop for the Enterprise crew to confront their past traumas and question the nature of divinity. McCoy relives the painful moment when he euthanized his dying father; Spock confronts his feelings of inadequacy over his mixed heritage; Kirk declares he needs his pain, that it defines who he is.

These moments are some of the film’s most affecting and ambitious, hinting at a deeper philosophical narrative rarely seen in major sci-fi blockbusters. The problem lies not in the ideas, but in their uneven execution.

Direction and Tone

William Shatner’s direction is sincere but lacks the finesse and pacing of his predecessor Leonard Nimoy. Shatner’s vision was deeply personal—intended to be a spiritual odyssey that tested the very foundations of Starfleet ideology and human identity. Unfortunately, the tone shifts awkwardly between philosophical musing, camp comedy, and action-adventure, leaving the film with an unbalanced and at times confusing feel.

Humour is especially jarring. While previous entries—particularly The Voyage Home—blended humour naturally into character moments, The Final Frontier often feels forced. Sequences such as Scotty knocking himself unconscious on a bulkhead, or Uhura's unexpected "fan dance" distraction, fall flat and diminish the dignity of long-standing characters.

Visual Effects and Production Issues

Perhaps the most visible sign of the film’s struggles lies in its visual effects. Industrial Light & Magic, which had provided effects for previous films, was unavailable, and a smaller company was hired. The result is subpar effects, particularly during the climax on Sha Ka Ree, where the reveal of the “God” entity lacks the spectacle and menace the story demands.

Set design and action sequences also feel undercooked. The interiors of Nimbus III and Sha Ka Ree are sparse and unconvincing. The action—particularly a forced rock-climbing sequence and shuttle crash landing—suffers from clunky editing and uninspired choreography.

Performances and Character Moments

Despite the film’s flaws, the performances of the main cast remain a highlight:

William Shatner delivers a solid performance as Kirk, embodying his trademark defiance and humanity. His declaration, “What does God need with a starship?” is perhaps the film’s most memorable—and quintessentially Kirk—moment.

Leonard Nimoy (Spock) and DeForest Kelley (McCoy) bring gravitas to their roles, particularly during their emotionally charged confrontations with Sybok.

Laurence Luckinbill, as Sybok, gives a committed and nuanced performance. He plays Sybok not as a villain but as a zealot with noble intentions—more misguided than malicious.

The scenes featuring the “triumvirate” of Kirk, Spock, and McCoy—particularly their campfire discussion about mortality, aging, and marshmallows ("marshmelons")—are intimate and touching. These small moments provide glimpses of the emotional depth the film often fumbles elsewhere.

Music and Sound

Jerry Goldsmith returns to score the film, having composed the theme for Star Trek: The Motion Picture. His music is one of the film’s strongest assets—sweeping, mysterious, and occasionally majestic. Goldsmith elevates scenes that otherwise might have fallen flat and gives the film a sonic grandeur it doesn’t always visually match.

Reception and Legacy

Upon release, Star Trek V was a box office disappointment, earning approximately $70 million worldwide—less than its predecessor and below expectations for a summer blockbuster. Critics were mixed to negative, citing the film’s muddled tone, weak effects, and inconsistent pacing. Fans were similarly divided, with some appreciating the thematic ambition but many lamenting the poor execution.

In retrospect, The Final Frontier is often regarded as the low point of the original cast films. However, it has gained a degree of reassessment in recent years. Some fans admire its courage to ask big questions and take emotional risks, even if it stumbles in the attempt.

Final Thoughts

Star Trek V: The Final Frontier is an earnest film that aims for greatness but fails in the execution. It’s not without merit—its exploration of faith, pain, and friendship is intriguing and occasionally moving. But technical shortcomings, tonal confusion, and misplaced humour hinder what could have been a profound addition to the franchise.

Still, for all its flaws, the film reflects the enduring Star Trek spirit of seeking out answers, confronting the unknown, and staying true to one’s ideals. It may not boldly go where no Star Trek film has gone successfully, but it at least dares to try.