Brooke Breton Movies

Directed by Kerry Conran, Sky Captain and the World of Tomorrow revolves around the mysterious disappearance of some of the world's most revered scientists. When an investigation is launched, Polly Perkins (Gwyneth Paltrow), reporter for the prestigious Chronicle, and Sky Captain (Jude Law), resident flying ace, are at the forefront of the case. Though the mission's perks include traveling around the world, the stout-hearted duo are nonetheless risking their lives with each passing moment, as the culprit is none other than the nefarious Dr. Totenkopf, and his goal, from what they can gather, is to destroying the earth in its entirety. Luckily, Sky Captain and Polly are not alone -- Franky Cook (Angelina Jolie), the commander of an all-female amphibious squadron, and Dex (Giovanni Ribisi), an unparalleled technical genius, have joined them in hopes of saving the planet before it's too late. Laurence Olivier appears posthumously as Dr. Totenkopf, via old film-clips "recycled" (or CG-altered) to fit the dialogue and scenes at hand. ~ Tracie Cooper, All Movie Guide

The plot involves a peace conference between the Federation of Planets and the troublesome Klingons. The Klingons are hoping to perform a little damage control after triggering a mining disaster on one of their moons; their spokesman is the seemingly contrite General Chang (Christopher Plummer). All negotiations abruptly cease when a Klingon vessel is attacked, and Capt. Kirk (William Shatner) and Dr. McCoy (DeForest Kelley) are accused of the crime. As they stand trial for murder, Mr. Spock (Leonard Nimoy) and Vulcanian trainee Lt. Valeris (Kim Cattrall) try to locate the real culprits. It turns out that Kirk and McCoy are victims of a conspiracy to foment further hostilities between the Good Guys and the Klingons. ~ Hal Erickson, All Movie Guide

Star Trek IV: The Voyage Home (1986) concludes the story arc begun with Star Trek II: The Wrath of Khan (1982) and continued in Star Trek III: The Search for Spock (1984), but on a wholly new, different, and upbeat note. As the movie opens, months have elapsed since the events in Star Trek III; Admiral Kirk (William Shatner), McCoy (DeForest Kelley), Scott (James Doohan), Sulu (George Takei), Uhura (Nichelle Nichols), and Chekhov (Walter Koenig) are marooned in self-imposed exile on Vulcan, along with the resurrected and regenerated Spock (Leonard Nimoy, who also directed). While Spock tries to sort out the Vulcan and human halves of his resurrected psyche, the others prepare to return to Earth to face a brace of charges by the Klingon Empire and Star Fleet over events on Genesis. Taking off in their commandeered, jerry-rigged Klingon ship, they head to Earth, not knowing that a new crisis could destroy their home world -- a huge, immensely powerful alien probe has entered the galaxy and established a position near Earth, disabling every vehicle and installation in its path with its energy and communication output, and has ionized the entire atmosphere and started vaporizing the oceans, leaving the planet only hours to survive.

Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide