Anyway, here's an excerpt from my recent review of the film:
As the Star Trek franchise prepares to re-invent itself with the premiere of J.J. Abrams' big budget Kirk and Spock "origin story" in just a few short weeks, it seems an appropriate time to remember the first big-budget re-invention of the durable science-fiction mythos. That expensive and highly-profitable film arrived in American movie theaters nearly thirty years ago, on December 7, 1979, and was titled Star Trek: The Motion Picture.
Directed by Robert Wise (The Day The Earth Stood Still ), Run Silent, Run Deep , The Haunting , Audrey Rose ) and produced by TV series creator and "Great Bird of the Galaxy" Gene Roddenberry, this forty-five million dollar voyage of the starship Enterprise launched a film series that has endured a whopping three decades.
Despite proving a box-office bonanza and the father to ten cinematic successors of varying quality, Star Trek: The Motion Picture remains today one of the most polarizing of the film series entries.
The received wisdom on the Robert Wise film is that it is dull, over-long, and entirely lacking in the sparkling character relationships and dimensions that made the 1960s series such a beloved success with fans worldwide.
It is likely you've heard all the derogatory titles for the film too, from The Motionless Picture, to Spockalypse Now, to Where Nomad Has Gone Before (a reference to the episode "The Changeling.")
Conventional wisdom, however, isn't always right. Among its many fine and enduring qualities, Star Trek: The Motion Picture is undeniably the most cinematic of the Trek movie series in scope and visualization.
And, on closer examination, the films features two very important elements that many critics insist it lacks: a deliberate, symbolic character arc (particularly in the case of Mr. Spock) and a valuable commentary on the co-existence/symbiosis of man with his technology.
Star Trek: The Motion Picture also re-invents the visual texture of the franchise, fully and authoritatively, transforming what Roddenberry himself once derided as "the Des Moines Holiday Inn" look of the sixties TV series for a post-Space:1999, post-Star Wars world.