Tricky time-space continuums, a nasty thirst for revenge and stealing kisses with Uhura aren’t the only things that will make your head turn—or your mind spin—in Star Trek. The acting is above par (good news indeed), the script is (relatively) tight and there are actual moments of real suspense. It’s the latter that may stun most because the last time audiences felt more than an inkling of suspense in a Trek film it was back in 1986 with Star Trek IV.

But this isn’t your father’s Star Trek. Not anymore.

It’s director J.J. Abrams’ (Alias, Lost)—at least for now. Actually, it’s really the Trek of Roberto Orci and Alex Kurtzman, the hot writing team behind Transformers and TV’s Fringe. Together, they create a bold new Trek, one that offers just the right amount of nuances from the iconic franchise— the ’60s series, 10 films and four other weekly shows throughout the decades—and more than enough fast-paced techo panache to keep you invested in the story.

A talk with the local festival's movie maven, Jane Sullivan

It started eight years ago and no one knew what would happen. Would it be a flop, a raging success, or something in between? But look at it now: The Santa Cruz Film Festival (SCFF) has turned out to be a stellar annual event, and while it may not run in the industry big league film festivals, it serves a very worthwhile purpose—exposing the work of independent filmmakers. And … it educates and inspires us with innovative work every year.

As troubled as this year was, the same audacity of hope that drove people to the polls in November also fueled some of my favorite films of 2008. In the spirit of bi-partisan generosity, I refrain from listing my least favorite films of the year. This is no time to gloat over the losers; instead, let’s pull together for a brighter movie year in 2009!

Dustin Lance Black's ties to the Central Coast helped craft the powerful civil rights tale

Politics, love and loss are perfect bedfellows in Milk, one of the most powerful, thought-provoking films of the year. But the much-ballyhooed movie about San Francisco politico Harvey Milk and the birth of the gay civil rights movement is a stunning, sometimes haunting portrait of a rarely scene pocket of history and how hope, ultimately, becomes the only saving grace.

And all this written by a man who wasn’t even born during Milk’s political renaissance. That man is Dustin Lance Black, 29, who lived in the Monterey Bay area for a time in the 1990s.

Anne Hathaway commands the screen in ‘Rachel Getting Married’

The legend's past comes to life in a moving doc

Steven Sebring's film took more than a decade to make

But patience has served the filmmaker well. Dream of Life is one of the most captivating documentaries of the year. And, like its subject, quite hypnotic. It’s a work that sits with you long after you leave the theater. Smith, the outspoken rocker/poet/spoken word artist, has been in the limelight for decades. She stormed onto the music scene in the ’70s, hung out with the likes of Robert Mapplethorpe and William S. Burroughs and made a name for herself the seminal album Horses, among others. The film, like Smith’s own creativity, seems to wander through an esoteric, emotionally rich mine field.

Through archival concert footage and first-hand interviews, we’re taken into Smith’s life and times. But Sebring avoids the linear approach. Instead, we’re treated to a lyrical, stream of consciousness. Among the many musings, the rocker shares her pain over the early

‘Let the Right One In’ a moody, poignant Swedish vampire thriller

What better place for a vampire than the almost eternal night of a Swedish winter? Welcome to Let The Right One In, a dark, achingly sweet, deeply subversive genre-busting thriller from Swedish filmmaker Tomas Alfredson. The flip side to the eagerly awaited Twilight, due out later this month, Alfredson’s film hews to the same basic idea as the Stephanie Meyer cult novel: young loner meets dazzling new friend with scary but alluring powers. But there’s far less romance and more runaway id in Alfredson’s story, dealing as it does with the fragile tween years; no longer children, its protagonists are hovering on the precipitous cusp of everything.

The REEL ROCK film tour scales new heights with a bevy of shorts and one feature-length offering

The life of a ‘rock star’ is typically adventurous, often living on the edge of sanity, scaling every bump along the way with fearlessness. There are two types: The musical ‘rock stars’ and the stars in the rock climbing sport—those who scale the earth one handhold at a time, risking injury and even sometimes their lives.

The Del Mar Theatre’s benefit screening of ‘Chris and Don’ delivers one of the year’s more illuminating documentaries
If there is one movie you must see this year to convince you of the incredible power of love, and how it can transform those captured by its magical prowess, it would have to be Chris and Don … a love story. The heartwarming documentary, which enjoyed a healthy run and critical praise within the film festival circuit, hits Santa Cruz on Sept. 11 with a special screening and fundraiser at the Del Mar Theatre for the Santa Cruz Cultural Council. This imaginative film chronicles the against-all-odds relationship between British writer Christopher Isherwood and portrait painter Don Bachardy, whose memorable works grace the halls of the Met and The Smithsonian. But Chris and Don (****) unveils a portrait of another kind. It seems to illuminate the unending depths love can take two people, and with vivid strokes of its artistic brush—so wonderfully executed by director Guido Santi—manages to convey the unlimited possibilities of what something real can offer. Isherwood

Take ‘The Fall’ and prepare to be spellbound

In big, expensive studio movies, the entire budget may go into a star’s bank account, or noisy special effects, while no-budget independent movies often struggle to make up in integrity what they lack in production values. And then there’s The Fall, the kind of unclassifiable virtuoso performance that happens when a filmmaker has an extraordinary vision and pursues it with relentless drive, focus and imagination, come what may. Part fairy tale, and part coming-of-age drama, it combines stunning visual beauty and a beguiling storyline in a witty and artful homage to both the early days of moviemaking and the power of storytelling itself.