Please help me out...
I just learned that STAR TREK will open on Thursday at 7.00pm...
Is this club still a winner, if STAR TREK grosses $100m until Sunday night or will some of you argue that the Thursday gross should not be included?

Is this club still a winner

"This is not your father's Star Trek" - might not go down well with some old fans but if it helps bring in new people i won't complain.

Please help me out...
I just learned that STAR TREK will open on Thursday at 7.00pm...
Is this club still a winner, if STAR TREK grosses $100m until Sunday night or will some of you argue that the Thursday gross should not be included?

Except Transformers has always been more mainstream than Star Trek and it had a MUCH BETTER release date.

The best ST can do is pull a CR/BB, which is what I think it will pull.

yeah its too easy for me to decide between giant robots drop kicking the crap out of each other vs some dweebs in silly costumes navigating the universe in search of sentient life forms with huge bumps on their forehead

Bottom Line: J.J. Abrams gives the Starship Enterprise all it's got, and it's more than enough.

LONDON -- Putting a much-loved but over-the-hill vehicle back in shape takes more than a new battery and a lick of paint. It demands a full-bore refit, and that's exactly what J.J. Abrams has given "Star Trek."

Paced at warp-speed with spectacular action sequences rendered brilliantly and with cast so expert that all the familiar characters are instantly identifiable, the film gives Paramount Pictures a whole new lease of life on its franchise.

Fans of the "Star Trek" saga will be delighted to see Captain Kirk (Chris Pine), Spock (Zachary Quinto), Bones and all the others in the early part of their lives as the Starship Enterprise takes its maiden voyage. The film is so much fun, however, that it will draw in moviegoers just looking for a sensational ride. The boxoffice should beam up enormous returns.

Abrams and screenwriters Roberto Orci & Alex Kurtzman keep the plot simple, but hit all the right notes and some phrases that will bring a smile of recognition. Industrial Light & Magic once again raise the bar on special effects and Daniel Mindel's cinematography and Scott Chambliss' production design are top-notch.

In a breathtaking pre-credit sequence, James T. Kirk is shown being born as his Starship captain father (Chris Hemsworth) goes to his death in a blaze of glory. The film sketches the different childhoods of Kirk and his future partner Spock, then moves quickly to their time at the Starfleet Academy before they are ordered to go on a rescue mission to the planet Vulcan.

Their leader, Capt. Christopher Pike (Bruce Greenwood), ends up being taken prisoner by a Romulan named Nero (Eric Bana), who is bent on destroying all the planets in the federation including Earth. The remainder of the film shows Kirk and Spock out to rescue Pike and save the world.

One of the great charms of the film is that anyone who knows anything about the original "Star Trek" crew will be right at home with the new cast. Pine has Kirk's good looks and brash confidence. Quinto (from NBC's "Heroes") is an uncanny Spock and holds his own even when confronted by the original in the form of Leonard Nimoy.

Karl Urban as Dr. McCoy, John Cho as Sulu and Anton Yelchin as Chekov all get moments to shine, while Zoe Saldana, as the glamorous Uhura, has fun in discovering an unlikely romantic partner. Simon Pegg shows up as engineer Scotty about 80 minutes into the picture but makes the most of his limited time.

Bana is almost unrecognizable as the villain Nero, but he makes the role suitably scary. The ever-stately Nimoy has much more to do than a mere cameo, though if you blink you'll miss Winona Ryder.

One slight disappointment is the score by Abrams regular Michael Giacchino, which although given prominence in the sound mix is derivative and includes Alexander Courage's original theme only at the end.

Ultimately, this film succeeds on two counts. Firstly, it is an ice-creamy indulgence for fans of the original Trek and, as addressed above, offers a lot of giggles on this front. Secondly, however, it works as an accessible, low-effort entertainment for Saturday night audiences.

Where it fails is, frankly, just about everywhere else. The film is utterly shallow and offers only a rote portrayal of great tragedy; only a superficial set of motivations for most of the actions portrayed. The human condition may be denoted by some of the drama, but it certainly isn’t explored. And while there’s a great deal of commendable craftsmanship on display from the tech credits (though why those out-of-focus close-ups of Uhura and Old Spock weren’t reshot, I’ll never know) but none of the images attain any great power, either individually or in juxtaposition.

mixed review from Slashfilm

http://www.slashfilm.com/2009/04/20/mov ... more-25411

Well I tend to disagree - SPOCK (Nimoy) is the most recognizable and commercial character TREK has to offer...

Blasting onto the screen at warp speed and remaining there for two hours, the new and improved "Star Trek" will transport fans to sci-fi nirvana. Faithful enough to the spirit and key particulars of Gene Roddenberry's original conception to keep its torchbearers happy but, more crucially, exciting on its own terms in a way that makes familiarity with the franchise irrelevant, J.J. Abrams' smart and breathless space adventure feels like a summer blockbuster that just couldn't stay in the box another month. Paramount won't need any economic stimulus package with all the money it'll rake in with this one globally, and a follow-up won't arrive soon enough.
"Star Trek" here joins the James Bond series as the long-term '60s franchises that have been most successfully rebooted, although the current accomplishment is the more surprising since, after 10 films and a succession of TV series, "Star Trek" was widely thought to have exhausted itself. While respectfully handling the Roddenberry DNA, Abrams and longtime writing cohorts Roberto Orci and Alex Kurtzman have successfully transferred it to a trim new body that hums with youthful energy.

As happened with Bond and "Casino Royale," the Abrams team decided it would be best to go back to the beginning — earlier, in fact, than the first TV show did in 1966 — to show the origins of James Kirk and Spock and the launch of the U.S.S. Enterprise. Stir in a well-chosen cast of relative unknowns, a strong new villain, vastly updated special effects and a dynamic style that makes "Star Trek: The Motion Picture" look 60 years old rather than just 30, and you've planted the seed to create a whole new generation of Trekkies.

A wham-bang 12-minute action prologue both clears the palette of residual series expectations and sets the table for the kind of excitement that's amply in store. Script brims with backstory and future-story, but never loses track of the present, in which young James Tiberius Kirk (Chris Pine), a wild Iowa boy whose father sacrificed himself at the helm of a spaceship at the very moment the child was being born, is convinced by Captain Pike (Bruce Greenwood) to attend the Starfleet Academy with an eye to joining the crew of the Enterprise.

Headed for the same destination but on a different track is Spock (Zachary Quinto), whose troubled background as a half-human, half-Vulcan is deftly sketched in, as he's bullied by other students and struggles to suppress his emotional side to achieve the Vulcan ideal of pure logic. If the script has an overriding concern, it's to map out how, after a shaky beginning, these two very opposite figures become mutually trusted colleagues, a key not only to this film but the entire series, past and future.

By the time Captain Pike says "Let's punch it" at the 40-minute mark, the key crew is rounded out by professional pessimist Leonard "Bones" McCoy (Karl Urban), nobody's fool Uhura (Zoe Saldana), the valued Sulu (John Cho) and a 17-year-old Russian brain named Chekov (Anton Yelchin) whose thick accent renders "Vulcan" as "Woolcan."

Longtime fans will feel comfortable on board the new Enterprise, which might be compared to the new Yankee Stadium — it's spiffier and technically more up-to-date, but has a familiar ambiance. The costumes — red for the principal officers — are similarly not out of place, but have been stripped of the dorky look that always seemed borderline laughable on TV, at least.

More adventurous is the design for the space-borne behemoth called home by the ferocious Nero (Eric Bana). Resembling a tattooed, grizzled brother of Ralph Fiennes' Voldemort in the "Harry Potter" series, Nero travels about in a fearsomely armed ship that has the physical bearing of a prickly, tentacled squid; he harbors deep resentment, for which he feels total annihilation of the Federated planets, notably Vulcan and Earth, is the only proper response.

Unfortunately, Nero has the means to accomplish this in the form of drills that, when sent to a planet, can burrow deep down and make it implode into its own black hole. One of the film's most spectacular setpieces has Kirk leading two others in a free-fall dive from space down to the platform for one of these drills, then fighting off two big goons as the fate of a heavily populated planet hangs in the balance.

Exile to an ice planet, Delta Vega, which is home to a couple of particularly gruesome hungry creatures, enables Kirk to do some inadvertent time-traveling and meet an older version of Spock (Leonard Nimoy, back for another go-round in much more than a brief cameo), a happenstance that complicates matters on the time-space continuum.

"Star Trek" rockets along like a beautifully engineered vehicle you can't help but admire for its design and performance. It shifts gears often but always smoothly, and accelerates again and yet again when you suspect it might be tempted to ease up for good. The series trappings remain, but this reincarnation is dynamic where the old one was often stodgy, stylish instead of a bit square.

Pine's Kirk exhibits an early tendency toward undue cockiness but suffers enough setbacks and rough surprises that the actor is forced into more varied and thoughtful responses. (Someone should decide about his hair color, however, as it varies from reddish to blond in different scenes.) Quinto makes for a very good young Spock, a man trying to define and perfect the kind of man he wants to be. Urban shows comic promise as the medic; Yelchin and Simon Pegg, the latter as a reputedly brainy engineer, prompt some real laughs; and Saldana is vibrant as the female crew member who bestows her favors on one officer to the exasperation of another. Bana is memorably scary as the villain.

Production and effects values are top-notch. Michael Giacchino's score soars — occasionally a bit too much, perhaps — with real character and vigor.

I predicting it will be one of the top 3 grossing movies of the year if not #1.

After reading this review, it should be interesting to see which part of this review actually wins out at the box office?? Those looking for a mere Saturday Nights Entertainment which could benefit this reboot or those looking for something along the lines of the other TREK movies and wonder why on earth Nimoy was put in the cast as an elaborate cameo and not William Shatner who honestly made the damn TV Series and was the most recognizable and commercial character TREK had.. Goddamn, you'd think they'd at least make it up to Shatner for that godawful death Captain Kirk endured in TREK VII: GENERATIONS.. I'll never forgive them for killing off such an iconic character like Captain Kirk by having a bridge collapse on him and Kirk reminiscing on horseback.. No.. I think Abrahms OWED this to him and he was snubbed.. Kirk deserved a much better death and at least focus on that in this new one by having Shatner flashbacks.. Am I the only one that feels Shatner should've had a role in this?? Or not??