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Two opposing factions of transforming alien robots engage in a battle that has the fate of Earth in the balance.

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original title: The Transformers

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During the great Cybertronian War, the Autobots and the Decepticons crash landed on Earth. Millions of years later, geological activity revives the warring factions - the Decepticons want to strip Earth of its vast energy resources, and the Autobots seek to protect the inhabitants of Earth from that fate. And so an endless battle begins in a crucial race to find an energy source for their homeworld Cybertron. Two opposing factions of transforming alien robots engage in a battle that has the fate of Earth in the balance. This is one of the most popular cartoons of the 80s. It was original and not follow the trend of Hanna-Barbera's copycat mysteries/adventure cartoons a decade earlier. Automobiles that become robot fighting machines,producers couldn't be more creative then that. It was all action which us kids grow into after watching Superfriends or Spiderman and the amazing friends. I remember collecting some of the action figures then giving them away after they became out-dated. Though still a classic and one of the best cartoons of that generation. Some Transformers fans may not like the movie but personally I thought it was great and had some truly touching moments and some great music as well. I'm not a nostalgic fan with rose tinted glasses because I did not grow up with this show in fact I grew up with the god awful bayformers and after seeing that train wreck was not too interested in seeing what had originally spawned it but I was pleasantly surprised.

I first saw The Transformers as a young adult of around 19 or 20 years on the late night hours of discovery kids/the hub and one of the few reasons why I watched that channel well this and GI Joe. But the same goes for Voltron, GI Joe, and Thundercats I grew up with none of them as I was born in the mid 90's but fell in love them as if I was a child or reliving my childhood at least. So I can honestly I became a fan of these show because of how good they were and that goes for many non animated shows as well that I didn't grow up like The Twilight Zone, Star Trek,Knight Rider, The Sopranos and the best seasons of the Simpsons. Of course I do hold a special spot in my heart for the shows I did grow up with like Samurai Jack, Dexter's Lab, Ed Edd n Eddy but some of those show I grew up with as a kid I now hate like the powerpuff girls, fosters home for imaginary friends, and rockos modern life because I just didn't like them as an adult I thought they were unfunny stupid and bland. But I don't like shows just because they're old for instance I don't like MASH Loveboat Chips or even He-Man with the exception of a few episodes in season 2.

Anyway back to the Transformers the first season was good the second season was great although it had one the worst episodes child's play were the transformers are taken to an alien planet where they're the size of toys and it's all pretty stupid and lame the season after the movie was alright but Rodimus even though he saved cybertron was not the charismatic leader Optimus was but still wasn't as bad as most fans say but ratings went down so they had to resurrect Prime which was a pretty good multi-episode story and the rest of the episodes were alright and then it ended in '87.

However we also got the War for Cybertron video game and its sequel Fall of Cybertron which were both pretty good. This was the first show that made me fall in love with 80's cartoons after this I became a fan of GI Joe, then Thundercats, and in the past year I've also become a fan of the original Voltron around the time the new one came out which I hate; however I think Transformers is probably my favorite mostly because it had a lot of good episodes same with GI Joe Thundecats was great except when it focused on Snarf or his relatives. And really Transformers to me is the best animated show of the 80's and will always be one of my favorite all time shows. to fly in their robot modes, the series could never make up its mind about the Autobots.

In the three-episode pilot mini-series, which was developed earlier than the remainder of the cartoon, and was originally supposed to be a standalone feature, all of the Transformers can fly, even the Autobots. Optimus Prime even commands his men to "Take to the air!", and many scenes feature the Autobots flying after their Decepticon adversaries.

After the actual series got picked up, the Autobots gradually lost their flight capability, although some continued to display this ability in various episodes. These include the Autobot inventor Wheeljack and his creations, the Dinobots. During the course of the series, a number of previously flight-incapable Autobots were also shown to be able to fly in space, although these instances weren't always given explanation -- in some scenes, the Autobots had to wear jetpacks to fly, but they could also be seen flying without them.

Curiously, during the season 3 finale, Galvatron matter-of-factly states that "Autobots cannot fly."

In truth, the series as a whole had very shaky continuity, partly due to the often incredibly rushed development but also to the creators' decision to focus more on the action rather than on the story. The Autobots' flying ability or inability is just one of the many infamous inconsistencies of the cartoon's storyline. One of the show's most infamous and blatant continuity errors is that the Decepticon sub-group known as the Constructicons have three separate and contradictory origin stories:

* in their debut episode Heavy Metal War (1984), Megatron claims that the six Constructicons have been built on modern-day (1984) Earth, as evil Decepticons

* in The Secret of Omega Supreme (1985), the Constructicons appear in a flashback on ancient Cybertron, as good guys (despite wearing the Decepticon emblem) who have befriended the Autobot Omega Supreme, until Megatron uses a machine called the Robo-Smasher to turn them evil

* in Five Faces of Darkness: Part 4 (1986), we are treated to yet another flashback, which reveals that eight Constructicons were in fact responsible for the creation of the evil Decepticon leader Megatron

So who built whom? Were they good or evil? What happened to those other two Constructicons? A convoluted but somewhat satisfactory explanation can be given if we assume the following:

There were indeed originally eight (or perhaps more) Constructicons, but only six of them survived the various conflicts on Cybertron and eventually traveled to Earth. When they built Megatron, it can be theorized that they either had no idea that they were creating an evil tyrant, or that building Megatron was just an assignment for them, or that they simply left the Decepticons afterward and became friends with Omega Supreme. Megatron's line ("They were worth the time we spent building them in these caverns") can be interpreted as meaning that the Constructicons have been rebuilt into Earth-forms rather than outright built from scratch.

However, even if this is true, a number of factors do still contradict each other, for instance the fact that the Constructicons have been shown bearing Decepticon emblems from the start (even during the time they were supposedly good), and the faulty animation even showed the Constructicons turning into Earth vehicles on Cybertron. No official explanation was ever given for these inconsistencies, and truth be told, things like storyline consistency and continuity have always carried little significance in this action-oriented cartoon series. For what it's worth, the official production bible ( simply says that the Constructicons "have no explained origin" -- evidently, various writers took it upon themselves to create a backstory for them, unaware that others may have already done so. This is something of a justified visual cheat, done to ensure that the kids watching the cartoon would instantly recognize the characters even before taking on their alternate modes on Earth. The name usually refers to the Decepticon jets, most commonly Starscream, Skywarp and Thundercracker and all the various others that use the same animation model, such as Sunstorm or Acid Storm (yellow/white and lime-green colored Seeker respectively, who both appear in the cartoon but only got named decades later), or variations of the model, like the "cone-heads" Dirge, Thrust and Ramjet. Most of the unnamed generic Decepticon soldiers we see throughout the series, especially during the 3 part pilot, also use the Seeker model with a varied color-palette.

The term "Seekers" originates from a very obscure toy description, and was largely used by Transformers fans before being picked up by Hasbro. Despite never being used in the original show or the comics, it is now seen as one of the most well-known and commonly used terms in Transformers media.

They are also known as "Deceptijets" (a term actually used in the show), "Deceptiplanes" or "Decepticon superjets" (from audio books), "warrior jets" (from an adventure book), "Skyraiders" (European Generation 2), "strike planes" (British catalog), "Decepticon Aeroplanes" (European catalog), and "Jetrons" (in Japan). Shiny orbs of energy, the Sparks are essentially the souls of the Transformers -- they grant them life, and when a Spark fades, a Transformer dies. Despite being one of the core terms of the brand, the concept of the Spark didn't originate from the original Transformers TV series, nor the comics -- it was introduced in Beast Wars: Transformers (1996), whose sequel Beast Machines: Transformers (1999) then defined its meaning and explored its nature further. All subsequent iterations of the Transformers have followed this depiction. Sparks are often seen as the components of god Primus, which separated from his being in order to explore the world, and then, if a Transformer dies, its Spark returns to Primus, making him grow richer from the robot's life experience.

Similar ideas are however brought up in this show. Some episodes mention the so-called Laser cores. It's not made clear what these are, which has led fans to speculate that they may have been some sort of "prototype idea" for the Spark. The confusion was later cleared when official story sources defined Laser cores as being the housing units of Sparks.

There are also ghosts. After Starscream is killed in The Transformers: The Movie (1986), he returns as a ghost in the cartoon's 3rd season, haunting and even possessing many of the Transformers. In Beast Wars, where he guest-stars in this form for an episode, his ghost is made synonymous with his Spark, and it is explained that he survived death due to the mutant properties of said Spark.

Interestingly, one of the early drafts of The Transformers: The Movie featured a scene in which Optimus Prime's soul emerges from his body, looking like a ghostly white version of his robot form, and transfers over into the body of Ultra Magnus. This idea was later scrapped of course, and the "white Optimus Prime" was explained as simply being Magnus' bare, unarmored form. In most media, Primus is the benevolent God of the Transformers, responsible for the creation of the original Primes, the first Cybertronians. He was first introduced in the Marvel comic series that ran alongside the Transformers TV show, where he is revealed to be the planet Cybertron itself. Most subsequent sources of Transformers fiction stick close to this interpretation. However, having been developed independently from the comics, the cartoon series doesn't consider Primus an existing character -- here, Cybertron is a natural planet created by an ancient intelligence called Vector Sigma, and the creators of the Transformers are weird alien creatures called Quintessons, who only had one notable Marvel comics appearance (the UK exclusive Space Pirates storyline).

Interestingly, the idea of transforming Cybertron into a gigantic robot did cross the minds of the writers, well before the comics' creators'. Flint Dille originally wanted to put this concept into The Transformers: The Movie (1986), but his proposal was rejected by the executive producers. The title "Prime" isn't given any special meaning in the first two seasons of the cartoon show -- in fact, it isn't really seen as a title or a rank either, just part of Optimus Prime's name. To modern fans, the rank "Prime" is one of the single most important concepts in all of the Transformers brand, being the designation given to the leaders of the Autobots and the bearers of the highly powerful artifact, Autobot Matrix of Leadership. However in this series, only two Primes are ever named (Optimus Prime and his successor Rodimus Prime), and the term isn't given an actual definition. Alpha Trion and Ultra Magnus are both Autobots who have possessed the Matrix, yet neither of them are ever called Primes.

Nevertheless, a succession of previous Autobot leaders do appear in the season 3 episode Five Faces of Darkness: Part 4 (1986), during Rodimus Prime's spiritual trip inside the Matrix. None of these are given names, and it was only in 2010 that the Transformers: Animated (2007) tie-in book The AllSpark Almanac II retroactively assigned individual names to each, merging them together with various different characters in an effort to "clean up" the messy early history of Transformers fiction. In a chronological order, they are:

* Primon, AKA the Alpha Prime -- the first documented bearer of the Matrix, he is the first ancient leader Rodimus meets during his journey. Actually the merging of two, originally distinct but similar characters: the unnamed Matrix-bearer from the cartoon (called "Ancient Robot" in the episode script) and Alpha Prime from one of the later comics. In a curious development, later Prime "lists" disregard this character, for as-of-yet unexplained reasons.

* Prima, the "first Transformer". In subsequent media, he is the leader of the original Thirteen (the first Transformers created by the god Primus), but in this show, he is an ancient gladiator who unsuccessfully rebels against his Quintesson creators. In the script, his name is simply "Powerful Robot", and before the release of The AllSpark Almanac II, he was regarded as a separate character from the Prima introduced in the comics.

* Prime Nova, who led a successful rebellion against the Quintessons, driving them off the planet. Called "Brooding Robot" in the episode script.

* Guardian Prime, the first actual Autobot. He was killed by evil warrior robots belonging to the then-formed Decepticon faction. In a somewhat questionable stylistic choice, his visual appearance is almost identical to Rodimus Prime's, and due to an animation error, he initially appears as Prime Nova. The episode script gave him the name "Pre-Transformer".

* Zeta Prime. Simply called "New Narrator" in the script, this character only leads the Autobots for a very short time.

* Sentinel Prime, Optimus Prime's direct predecessor, whose history reaches way back to the era of Prima, during which time he was called Sentinel Major. After the death of Zeta Prime, he took over as the Autobot leader, earning the name Sentinel Prime. Under his rule, the Autobots developed and mastered the art of transforming, and successfully defeated the Decepticons. After the so-called Golden Age of Cybertron, the Decepticons returned, being able to transform themselves, and their leader Megatron killed Sentinel. Alpha Trion kept the Matrix of Leadership safe, waiting for the arise of a new Autobot leader. Optimus Prime was then constructed by Alpha Trion himself from the dead body of Orion Pax. In the episode script, Sentinel Prime is given the name "U-Haul Robot". Dion is a friend of Orion Pax who appears only in a flashback in the episode War Dawn (1985) and is killed by the Decepticons, along with Orion Pax himself and their female friend Ariel. Orion and Ariel are then rebuilt by an Autobot called Alpha Trion into Optimus Prime and Elita-1 respectively, but it is never made clear if he had also rebuilt Dion. No further mention is made of him.

Many fans have speculated that, due to the close friendship between Optimus Prime and the Autobots Ironhide and Ultra Magnus, they might possibly be the rebuilt forms of Dion, although exactly which one of them, they could never agree on.

Official word on Dion's fate came to light in 2010 during an on-line Q&A with Hasbro: "Dion was never rebuilt into any other character."

Meaning he's probably dead.

It's worth noting that killing off Dion and Ariel was in fact the original intent of episode writer David Wise, and Ariel only survived when his co-writers realized that there had been a close similarity between her and Elita-1, Optimus Prime's previously introduced love interest whom Wise wasn't familiar with. A decision was made to merge the two characters into one, thereby "saving" Ariel from her intended demise -- however Dion wasn't as lucky. Techically, there are seven named Insecticons, though only three are featured on the series. This is because the other four ("Deluxe" Insecticons Barrage, Chopshop, Ransack, and Venom) were actually part of a rival toyline in Japan (see entry below on Jetfire). Consequently, the Deluxe Insecticons never appeared in the cartoon, and the Marvel comic only used them in UK exclusive storylines (even then relegating them to small cameos). The name of the gigantic white and red Autobot jet in the toyline was Jetfire, yet in the show, he is called Skyfire and sports a radically different character design. Unlike most of the initial line of Transformers toys, which were repackages of figures originally created by the Japanese toy company Takara (now TakaraTomy), Jetfire's figure was actually a recolor of the Macross VF-1S Super Valkyrie figure released by Takatoku Toys. As such, when the Transformers line got released by Takara in Japan, Jetfire was left out.

There is no definite answer for why the character had to be promoted under a different name and design. One theory proposes that Takara wanted Jetfire's character model to be altered, because Takatoku Toys was a rival toy company whose products they didn't want the animated series to advertise. Since the character received an altered look which didn't resemble the figure, maybe they changed his name in order to prevent confusing the children. However, many of the other Transformers depicted in the show looked nearly nothing like their toys either (for example, Ratchet's and Ironhide's figures had no head), so this theory stands on loose ground.

The cartoon's production bible claims that "JETFIRE has been "transformed" into SKYFIRE with a different model due to legal reasons. Do not use this character unless necessary", with a later page noting that "JETFIRE will be redesigned and reintroduced in the near future". The name Skyfire was also replaced with Jetfire on the episodes' production sheets. Whatever this "redesign" and "reintroduction" may have referred to, it obviously never happened in the cartoon. The character remained Skyfire throughout. The circumstances of these legal issues are still unclear, and the mystery continues...

Interestingly, the character model of the "real" Jetfire did appear in some Transformers media -- it had cameos in the Marvel comics as a separate character from Skyfire, and in a toy commercial (which famously contradicted both the cartoon's and the comic's stories), Jetfire was advertised with his original "Macross" design and was called Jetfire. Once again, this is a subject on which the cartoon contradicted itself on a number of fronts. The Vector Sigma supercomputer is introduced as the source for all Transformer life, and sure enough, the Autobot sub-faction known as the Aerialbots are given life through Vector Sigma.

Yet other characters, most famously the Dinobots, possibly the Constructicons, the Technobots and Trypticon are all created through other means, by simple being built, with the Vector Sigma computer taking no part in the process. Note that the Technobots and Trypticon are made after the concept of the Vector Sigma has already been introduced into the lore. One possible explanation is that while the supercomputer does indeed grant new Transformers life and sentience, they can also be created without its help, only this way, the newly made robots would end up being dumb. The Dinobots and Trypticon at least seemingly confirm this notion, though yet again, the Technobots contradict it.

Many later concepts, such as the AllSpark, protoforms, cloning and yes, even Transformer reproduction, would put new and unique spins on how Cybertronians are made. Frenzy and Rumble were originally intended to have toy-accurate color schemes (as they did in the comic), with Frenzy being blue and Rumble being red and black. Their color schemes were accidentally swapped because of a production error, likely involving outdated model sheets. Though prominently featured in the comics, Buzzsaw (the gold trimmed "brother" of Laserbeak) only made minor background appearances in the cartoon. Since Buzzsaw was packaged with Soundwave, Sunbow felt that it was not neccesary to promote him as heavily as Laserbeak, who was a standalone toy. Laserbeak's tech-specs (toy bio) described him as an interrogator and assassin. However, the child-safe nature of the cartoon precluded him from being depicted in this capacity, so he became a spy (making Buzzsaw redundant in the eyes of the show's producers). Hauler is a yellow Autobot crane who appears in the pilot episode, never transforms into a robot, and promptly disappears from the rest of the show. Fans everywhere have wondered who this mysterious character might be, with most thinking that he was a "prototype" of sorts to Grapple, a yellow-colored crane Autobot who was introduced in the second season.

When the toy-line was originally released, it was to contain 12 different Autobot Car figures, and supposedly, Hauler would have been the twelfth -- however only 11 different Autobot Cars came out.

Many years later, in 2003, a green-colored exclusive repaint of Autobot Grapple was released under the name "RoadHauler". It was explained that this character was indeed Hauler from the show, and he was green colored because he had originally been one of the Constructicons, but he defected to the Autobots after a while. This would also explain why one flashback scene of the cartoon shows more Constructicons than there actually were.

But what became of Hauler with regards to the cartoon is still unknown. Had the decision to cancel his figure came sooner, he wouldn't have appeared in the show, and wouldn't have caused all this confusion. He is supposed to, although his eye-panel is always colored black in the show. Presumably, whoever was responsible for creating his animation model forgot to put the eye-stickers on the Trypticon toy, and thought that he had no eyes. He does get his eyes back in other media, like in comics and in Toransufômâ: Scramble City Hatsudôhen (1986).


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An origins story centered on the centuries-old feud between the race of aristocratic vampires and their onetime slaves, the Lycans.

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original title: Underworld: Rise of the Lycans

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duration: 1h 32min

tags: Every war has a beginning.

budget: $35,000,000

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The prequel story traces the origins of the centuries-old blood feud between the aristocratic vampires and their onetime slaves, the Lycans. In the Dark Ages, a young Lycan named Lucian emerges as a powerful leader who rallies the werewolves to rise up against Viktor, the cruel vampire king who has enslaved them. Lucian is joined by his secret lover, Sonja, in his battle against the Vampire army and his struggle for Lycan freedom. When the human son of a werewolf is born in a cell, the evil leader of the clan of vampires, Viktor, spares his life and names him Lucian. He then forces him to transform other humans into the new breed - Lycan, and raises him as a slave wearing a leash to control his ability. Along the years, Lucian becomes a brave warrior with a great leadership over the other Lycans. He protects the aristocratic vampires during the daylight against the vicious and infectious breed of werewolves that are unable to take human form ever again. However, Viktor's daughter, Sonja, and Lucian are lovers and they secretly meet each other every now and then. Lucian unleashes and transforms in a werewolf to save the life of Sonja in a battle against the werewolves. However, Viktor sentences him to be brutally whipped thirty times and then imprisons him in the dungeon. Sonja saves Lucian and he escapes with other prisoners to the woods. When Viktor discovers that Sonja is pregnant and in love with Lucian, he locks her up in her room to force Lucian to return to the castle to rescue her, in the beginning of the feud between the two bloodlines. The whole Vampires-versus-Lycans tale leaps back centuries earlier in "Underworld: Rise of the Lycans", a Kate Beckinsale-less prequel to the first two "Underworld" installments, which aside from providing viewers an extended look at the franchise's oh-so detailed mythology, has virtually no innovations to offer to keep it from being derivative. That the narrative is also predictably headed to a foregone conclusion proves to be the film's greatest undoing in whatever mild interest the script presents in bringing back its implicit societal classes allegories.

Lucian (Michael Sheen) plots to rally his fellow Lycans into freedom from slavery by the aristocratic vampires ruled by Viktor (a barbarous Bill Nighy) but such goal is complicated by Lucian's clandestine romance with the latter's daughter Sonja (Rhona Mitra), a mere subscript to Lucian's expanded role. While Mitra adequately steps up as the story's central enchantress, her character's reduction to a deliberate plot device makes one wish for Beckinsale's cheesy-yet-sexy fight scenes, which are the predecessors' selling point.

Long-time creature designer Patrick Tatopoulos steps behind the camera and his film (written by Danny McBride, Dirk Blackman, and Howard McCain) still captures the viciously frigid environment co-creator and erstwhile "Underworld" director Len Wiseman have brought. But the chintzy amusement, while still there, is scant, no thanks to a rote product that recalls its predecessors' B-movie goodness with not much success, and its confusing action scenes and perpetually dark cinematography that can't mask the absence of the genuine excitement in this third-rounder that's showing signs of debilitation. It's just the beginning, says Lucian. Yet somehow, it feels as if it's way past its zenith. Underworld: Rise of the Lycans is the prequel to the previous two Underworld films. It tells the story about what led to the werewolf/vampire feud, with bloody energetic results.

In core essence this is Braveheart/Spartacus, only in CGI laden horror/action form. Michael Sheen buffs up into Karl Urban, who as Lucian (bad ass Lycan) leads his species to a bloody revolt, and Kate Beckinsale has made way narratively for Rhona Mitra, who sexes things up. The action is pulse raising and the Gothic designs and atmospherics are first rate, while the battle royale finale is fit to crown any genre film of its type.

Problems are evident, though. The constant flow of CGI blood becomes irritating after a while, and Bill Nighy (in spite of being a franchise regular) is still looking miscast! But it has proved to be a series with hairy legs and fangs that refuses to die, a popcorn munchers dream. So enjoy the spectacle and the screenplay homages, and I'll have a bag of tortilla chips and a choc ice please. 6.5/10 The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists. In ancient times, when werewolves were stuck in their werewolf forms 24/7 and were brutal enemies of vampires, a werewolf baby is born that has the ability to change between werewolf and human form. Naming him Lucian, vampire elder Viktor (Bill Nighy) raises the young Lycan in captivity, forcing him to feed on humans and create more of his kind to be used as slaves to the vampires. When Lucian (Michael Sheen) and Viktor's vampire daughter Sonja (Rhona Mitra) grow up and fall in love, they plot to release Lucian from his enslavement and run away together. However, nothing (and no one) can escape from Viktor's cruelty. Rise of the Lycans is the third movie in the Underworld series, preceded by Underworld (2003) (2003) and Underworld: Evolution (2006) (2006), and followed by Underworld Awakening (2012) (2012) and Underworld: Blood Wars (2016) (2016). Underworld and Underworld: Evolution were based on original screenplays by American screenwriters Kevin Grevioux, Danny McBride, and Len Wiseman. They were subsequently novelized as Underworld (2003) and Underworld: Evolution (2006) by American science fiction writer Greg Cox. Cox also wrote a third novel, Blood Enemy (2004), which describes the Great Battle between Vampires and Lycans that took place over 1,000 years ago, but this is not the source for Rise of the Lycans. Danny McBride and Len Wiseman developed the screenplay for Rise of the Lycans. Cox has subsequently novelized Rise of the Lycans, which was released in December 2008. Although it is the third movie in the Underworld franchise, Rise of the Lycans is a prequel to the first two, so it can be watched in either order. It provides the details of the story behind Lucian's comments in the first movie where he tells how Viktor had "his own daughter burnt alive just for loving me." Back in the 5th century AD, a Hungarian warlord named Alexander Corvinus survived a plague epidemic that decimated his village. Corvinus had a rare blood abnormality that morphed the plague virus in his bloodstream, giving him superhuman strength and immortality. Approximately 200 years later, he fathered three sons. All three sons carried the same genetic defect as well as the virus of their father. One son inherited the virus in its dormant state and remained human. He died a mortal death, passing down the hidden gene. The other two—William and Marcus—were bitten by wolf and by bat, respectively, becoming the first werewolf and the first vampire. More about their fates and progeny are presented in Underworld. No mention is made of Lucian's father in the movie. His mother is shown as a werewolf, so there are two possibilities: (1) Lucian's father was another werewolf, and Lucian is simply a mutant, or (2) Lucian's mother was human but got bitten and turned into a werewolf while she was still pregnant, making Lucian half-human and half-wolf (Lycan). Most viewers favor the second possibility. By the fact that Sonja is wearing the pendant around her neck in this movie, Selene (Kate Beckinsale) must be alive at this time, although she has not yet been adopted by Viktor and entered into the storyline. However, it is her voice heard narrating the prologue, and she appears at the very end of the movie in scenes from the beginning of the first Underworld movie. The pendant holds one of the keys to William's prison (the other is inside Viktor), a prison that was constructed by Selene's father when she was a young girl. This key comes into play more fully in Underworld: Evolution. Because they're in hibernation. Back in the first movie, it was explained that, 1,400 years ago, Vampires had decided that the best way to ensure the survival of their species was for the three Elders—Viktor, Marcus, and Amelia—to "leap frog" through time, one ruling while the other two slept, each being awakened at their appointed time according to a never-to-be-broken covenant. In Rise of the Lycans, it is Viktor who is awake. The collars were made of silver. Lycans can't turn when silver is in or on their body. For example, Lucian was watching Sonja's death but he couldn't turn until he removed silver arrows from his back. The collars also have three silver spikes pointed directly at their throat. If the Lycans are to turn while wearing collars, their body mass, including their neck, grows bigger, which would plunge the silver spikes into their neck. When a vampire drinks the blood of another vampire, s/he gains their memories. Viktor wanted to know whether Sonja was lying to him about helping Lucian escape, and the only way he could be sure she wasn't lying was to tap into her memories. This tactic is used again in Evolution when Marcus tries to drink Selene's blood and when Alexander Corvinus makes Selene drink his. Lucian awakens, still chained to the floor in the chamber where Sonja was put to death. Viktor enters and pulls the medallion from around her neck. Outside, the full moon is rising, giving Lucian enough strength to eject the silver-tipped arrows from his back and transform into a werewolf. He breaks his chains, grabs the medallion after Victor drops it, and leaps through a window, but Viktor's guards are able to quickly subdue him with more silver-tipped arrows. Before he can turn back into a human, Lucian lets out a tremendous howl that is heard by Raze (Kevin Grevioux) and the other Lycans camped in the forest. Together, they descend on the fortress, easily overtaking the guards and going after the vampires. Raze finds Lucian, removes the arrows from his body, and then releases the Lycans still being held in the dungeon. Viktor orders Tannis (Steven Mackintosh) to attend to the elders while he stays to battle Lycans. Lucian spots Viktor and goes after him, chasing him down into a pit where Viktor becomes tangles in chains. "I should have crushed you under my heel the day you were born," Viktor hisses. "Yes, you should have...", Lucian agrees and rams his sword right through Viktor's mouth, "...but you didn't." Viktor falls in the water at the bottom of the pit and floats lifelessly. Lucian goes out into the courtyard where the Lycans have risen victoriously against the vampires. "It is finished," Raze says. "No, this is just beginning," Lucian replies, his hand tightly clutching the medallion. In the final scene, a boat can be seen sailing out to sea. In the hold, Tanis tucks Viktor into his hibernation box. The movie ends with a scene from the first movie where Kraven (Shane Brolly) tells Selene how it was Viktor who killed her parents but spared her because she reminded him of Sonja.


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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.

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When the newly-christened starship Enterprise's shakedown cruise goes poorly, Captain Kirk and crew put her into Spacedock for repairs. But an urgent mission interrupts their Earth-bound shore leave. A renegade Vulcan named Sybok has taken three ambassadors hostage on Nimbus III, the Planet of Galactic Peace. 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. 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. The Final Frontier is not a good movie. But it's not a bad movie either. It is probably the worst Trek movie ever made though.

The writing was full of odd scenes that made no sense in the context of the movie (the campfire scene with Kirk Spock and McCoy singing Row, Row, Row Your Boat). There are plenty of ways to establish a sense of friendship in a movie, but grown men singing childhood songs around a campfire is the worst possible way.

There is a definite lack of continuity in the plot. The movie drops main characters into a scene with no introduction and explanation of how they got there (several scenes occur with Sybok before Spock establishes that Sybok is his half-brother). Spock has a half-brother?? And just like that, with a single line, the star trek time line gets a weird kink in it from an unexplained Vulcan love affair that was never established before, and is never touched on again.

Sybok is searching for God, and this would seem to make the movie a spiritual quest, but the number of silly, nonsensical scenes in the movie completely overwhelm any apparent plot.

To make it worse, "God" only appears in a scene at the end of the movie (another character dropped into the fray without any proper introduction) to wrap up the whole quest, but the scene leaves the viewer with more questions! The scene with God is a badly written "deus ex machina" (a contrived plot device where an unexpected power appears to try and save the movie from it's bad writers).

The problem is that Kirk's attempt at humor in the scene ("Why does God need a starship?") goes unanswered though, and the movie fails to ever address the simplest questions that arise from the scene: If not God, who is this being at the center of the galaxy? How did he get there in the first place without a starship? With that much obvious power, why is trapped in the center of the galaxy and why does he need a spaceship to leave?

The special effects in Final Frontier leave a lot to be desired. The movie was released the same year as Star Trek: The Next Generation was premiering and ST:NG had better graphics than this movie.

All in all, Star Trek: The Final Frontier is not a good movie. However, if you don't mind the continuity problems, the characterization problems, the graphics and filming problems, and the obvious problems with the script and acting, then it's not a bad movie. I'm not a fan of Star Trek in the conventional sense. As a matter of fact, the only knowledge I have of Star Trek has been through the feature films. Not that I'm indifferent to the obsessive cult that has sprung up around the shows, but when you get down to it, I am totally in agreement with the statement on one anti-fan's site. Let them go people, it's only a TV show.

Having said that much, even a casual viewer of a long-running series gets a feel for what should be considered canonical and what shouldn't. The fifth feature film in the Star Trek franchise screams out that it should not be considered canon so loudly that it is almost deafening. I know the odd-numered Star Trek films are supposed to be worse than the even-numbered films by a strange kind of default, but this is ridiculous. Some of the scenes in this pile feel like they could have been better-acted by grade-school children. Adding to this problem is that the most rotten dialogue has been heaped upon the shoulders of a singular character whose presence is utterly apocryphal.

Nonetheless, the blame for this disaster often seems to be sent in the wrong direction. While William Shatner will never be my first choice to direct a film, much of the problem seems to be with the people he's working for. Paramount seemed to be in a hurry to get this film out of the gate after the success of the previous film. Special effects houses were too booked out to get the shots needed to complete the film properly, or at least according to what the writers had in mind. Rather than hold off on releasing the film and wait for the chance to get things done right, Paramount simply threw good money after bad. The result, inevitably, was a weak and lifeless film. Fox would later repeat this mistake with Alien 3, but the producers of the Star Trek series at least saw this as a hard lesson learned.

When you get down to it, however, Star Trek as a franchise used to thrive on not having the money or resources to dazzle the viewer with flashy effects. Instead, like a certain long-running British television series, it concentrated on presenting strong stories with a powerful humanistic theme. It is a testament to the power of stories that the original Star Trek, in spite of looking as if it were made for six pennies per episode, has more of a hardcore following today than any of its spin-offs.

This, unfortunately, is where a major part of the films' weaknesses come from. The first film, The Wrath Of Khan, and The Undiscovered Country notwithstanding, as the films' special effects have evolved, the stories and performances seem to have devolved. Nowhere is this more evident than here, where the scaling back of the effects due to a lack of available expertise has left the makers struggling for something to fill the void with. Many sequences, especially the moment with McCoy recalling one of the formative episodes of his past, feel tacked on for the sole purpose of padding out the running time. If you're stuck for material to make a 100-minute film, make a 90-minute film instead, guys. Or better yet in this case, ditch the script you're working on and write something else.

Finally, Spock's long-last half-brother seems about as Vulcan as a Uruk-Hai berserker. This brings two explanations to mind. Either there are more Human women on Vulcan than previously indicated, or Sarek is in fact quite randy. Neither explanation really works, and Sybok comes off as the kind of last-minute story element a child comes up with during playtime as a result. The fact that, as previously mentioned, he has the burden of carrying almost all of the worst-written dialogue does not help.

I gave The Final Frontier a one out of ten. Gene Roddenberry had all but indicated that this was not canonical Star Trek, and after seeing this abomination for myself, I am not surprised. Its only real use would be as the basis for a new MST3000 episode. Captain Kirk and his crew go where too many film makers have too often gone before. While most of the Enterprise's crew are on shore leave, chief engineer Montgomery "Scotty" Scott (James Doohan) and communications officer Lt Uhura (Nichelle Nichols) stay behind to effect repairs on the new Enterprise NCC-1701A. When they learn of a terrorist uprising on Nimbus III, the planet of Galactic Peace, they are ordered by Starfleet to reassemble their crew and investigate. A renegade Vulcan named Sybok (Laurence Luckinbill) has taken three ambassadors—Klingon General Korrd (Charles Cooper), Romulan Caithlin Dar ()—all for the purpose of commandeering the Enterprise in order to search the center of the galaxy for the planet Sha Ka Ree, which he is certain is the home of the Creator. Unfortunately, hot on their tail is a Klingon Bird of Prey, piloted by Klingon commander Klaa (Todd Bryant) who is trying to make a name for himself by capturing Admiral James T Kirk (William Shatner). A year after the previous film, 2287 A.D. Realizing that the entity on Sha Ka Ree is not God but a planet-bound entity that was either created by or attracted to Sybok's arrogance, Kirk, Spock, and McCoy attempt to escape in the shuttle, but the angry entity begins to wreak havoc on the planet's surface. Kirk requests that the Enterprise, still suffering transporter problems, beam up Spock and McCoy first. Just as Kirk is about the be beamed aboard, the Klingon warbird attacks, demanding that Kirk be handed over to them. Spock appeals to Klingon Ambassador Korrd for help. Korrd orders the Klingon ship to destroy the entity and beam Kirk aboard. Korrd orders Klaa to apologize for his unauthorized attack on the Enterprise, and it is pointed out that their "new gunner" Spock is the one who fired on the entity. Kirk says that he thought he was going to die, but Spock assures him that he was never alone. Later, both the Starfleet and the Klingon crews are shown celebrating together on the Enterprise, suggesting the beginning of a Klingon/Starfleet collaboration. During the celebration, McCoy speculates as to whether God is really out there, but Kirk suggest that God is really in our hearts. Spock points out that he has lost a brother, and Kirk reminds him that he (Kirk) also lost a brother once but that he was lucky to get him back. In the final scene, Kirk, Spock and McCoy are again out camping. The three of them are finally able to sing "Row, Row, Row Your Boat" together. Yes. Star TrekV: The Final Frontier, a novelization of the movie by American science fiction writer J.M. Dillard (pen name for Jeanne Kalogridis), was released in 1989. So far, there are 13. Star Trek V: The Final Frontier was preceded by Star Trek: The Motion Picture (1979) (1979), Star Trek: The Wrath of Khan (1982) (1982), Star Trek III: The Search for Spock (1984) (1984), and Star Trek IV: The Voyage Home (1986) (1986), and followed by Star Trek VI: The Undiscovered Country (1991) (1991), all of which featured the Enterprise captained by James T Kirk. Star Trek: Generations (1994) (1994) unites Kirk's crew with the crew of the Enterprise captained by Jean-Luc Picard (Patrick Stewart). The other Star Trek movies featuring Picard as captain include: Star Trek: First Contact (1996) (1996), Star Trek: Insurrection (1998) (1998), and Star Trek: Nemesis (2002) (2002). Star Trek (2009) (2009), Star Trek: Into Darkness (2013) (2013) and Star Trek: Beyond (2016) (2016) harken to an alternate reality in which Kirk was just beginning his career with Starfleet Academy.


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