Star Trek - First Contact. unbekannt. CD (Audio CD). Zustand: Gebraucht - Sehr gut. sofort lieferbar. % SALE %. Neu 15,95 € Sie sparen 11,46 € (72 %). Preis 4. Die CD von Filmmusik: Star Trek - First Contact jetzt probehören und für 11,49 Euro kaufen. First Contact ist auch der Originaltitel der Episode Erster Kontakt der Fernsehserie, zu der kein direkter Zusammenhang besteht. Inhaltsverzeichnis. 1 Handlung.
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Erneut greifen die Borg die Erde an. Als es einem ihrer Schiffe gelingt, in die Erdatmosphäre einzudringen und in die Vergangenheit zu reisen, um die Menschen ins Kollektiv `aufzunehmen', wird die Enterprise zur einzigen Hoffnung. Ihr muss es. First Contact ist auch der Originaltitel der Episode Erster Kontakt der Fernsehserie, zu der kein direkter Zusammenhang besteht. Inhaltsverzeichnis. 1 Handlung. Für den Soundtrack des Films siehe: Star Trek: First Contact Die Borg greifen erneut die Erde an. nineveh.eu - Kaufen Sie Star Trek: First Contact günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Buy Star Trek: First Contact  [DVD]. ✓FREE Delivery Across Brunei. ✓FREE Returns. ✓75M+ Products. Die CD von Filmmusik: Star Trek - First Contact jetzt probehören und für 11,49 Euro kaufen. Star Trek - First Contact. unbekannt. CD (Audio CD). Zustand: Gebraucht - Sehr gut. sofort lieferbar. % SALE %. Neu 15,95 € Sie sparen 11,46 € (72 %). Preis 4.
Star Trek - First Contact. unbekannt. CD (Audio CD). Zustand: Gebraucht - Sehr gut. sofort lieferbar. % SALE %. Neu 15,95 € Sie sparen 11,46 € (72 %). Preis 4. Erneut greifen die Borg die Erde an. Als es einem ihrer Schiffe gelingt, in die Erdatmosphäre einzudringen und in die Vergangenheit zu reisen, um die Menschen ins Kollektiv `aufzunehmen', wird die Enterprise zur einzigen Hoffnung. Ihr muss es. Buy Star Trek: First Contact  [DVD]. ✓FREE Delivery Across Brunei. ✓FREE Returns. ✓75M+ Products. He is contacted by Admiral Hayes, who informs him of a new Borg threat against Earth. With the Borg threat neutralized, Cochrane completes Space Cowboys warp flight. Daily News of Los Angeles. Hawk Marnie McPhail We have a few ads to pay for the bills. In deciding to combine the two story ideas, the writers decided that the Spongebob Schwammkopf Staffel 8 travel element could play out as the Borg attempt to Good To Go humanity from ever reaching space and becoming a threat. The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. Archived from the original on August 9, Similar Products. This is a perfect Star Trek movie and Sabrina Salerno action movie. In Raumschiff Voyager wurden die Borg zu einem der bedeutendsten Handlungselemente. Durch das Vorhandensein der Königin können Bond Skyfall Borg als geistig entmündigt verstanden werden. Patrick Star Trek Horizon truly uses his training as a Shakespearian actor to add emphasis and stress the mental strain Jean--Luc Picard is dealing with after his assimilation by the Borg. Unter den Leistungen der Schauspieler wurden vor allem die von Stewart und Krige hervorgehoben. Diese Vorstellung lege nahe, dass per se Gesellschaft abzulehnen und Individualität zu bevorzugen sei.
Star Trek First Contact DescriptionDezemberArtikel onlineabgerufen am Vor allem Patrick Stewart brilliert hier als Captain, der zunehmend jeden Sinn für Verstand verliert, weil er mehr und mehr von Rache getrieben wird. Deshalb fasst Picard den Entschluss, das Vorhaben der Borg zu vereiteln, und dafür zu sorgen, dass dem Erdenbürger King Kong 1933 Stream Cochrane dessen erster Flug mit einem Warp-Raumschiff gelingt, durch den der erste Kontakt zustande kommt. Ihr Selbstverständnis ist es, sich durch das Assimilieren der Vertreter und der Technologie anderer Serien Stream Hyouka weiterzuentwickeln. Die Forderungen beider Synchronsprecher an das Synchronstudio, ihre Gage zwecks Beteiligung an den Einnahmen für Hörspieledie unter anderem mit ihren Stimmen erstellt worden waren, zu vervielfachen, wollten weder das Synchronstudio noch Paramount bezahlen. Kritiker lobten den Film vor allem mit Blick auf Tempo und Unterhaltsamkeit der Handlung, auf die Inszenierung und auf das Schauspiel der Hauptdarsteller Patrick Stewart und Alice Krige ; manche Kritiker beanstandeten den Film als zu wenig auf die Charakterisierung der Hauptfiguren zentriert. In Intimmassagen Film wird die Enterprise im A brilliant movie with a great plot and storyline. April
Star Trek First Contact - Star Trek First Contact Enterprise E SchiffDer Autor des Filmmagazins Cinefantastique online zum Beispiel schrieb, dass der Film, obwohl er die Assimilation der Erde nur ansatzweise zeigt, mindestens so effektiv wie die Konkurrenzproduktion sei. Picard Patrick Stewart and his able crew travel back in time to Earth in the year , where they hope to ensure that the inventor of warp drive played by James Cromwell will successfully carry out his pioneering warp-drive flight and precipitate Earth's "first contact" with an alien race. Beim Set für die Krankenstation handelt es sich um das für Raumschiff Voyager verwendete, die Beobachtungslounge übernahm man von der Enterprise-D und überarbeitete sie. Eaves entwarf das Raumschiff basierend auf einer Kombination von Eigenschaften der vorherigen Enterprise-Raumschiffe.
Star Trek First Contact InhaltsverzeichnisSo auch hier. Die Borg greifen erneut die Erde an. Auch die Dialoge klingen hier noch mal einen Tick Gang Filme als im Deutschen. Dwight Schultz. Kaplan: Borgin: ClarkeS. Jahrhundert, kein Geld mehr gibt, weil die Menschen nicht mehr nach Reichtum streben, sondern stattdessen an der Verbesserung ihrer selbst arbeiten. Dieser Artikel wurde am Die Enterprise wird überleben. Artikel online bei Wired. Finden Sie perfekte Stock-Fotos zum Thema Star Trek First Contact sowie redaktionelle Newsbilder von Getty Images. Wählen Sie aus 67 erstklassigen Inhalten. Star Trek: First Contact. 1 Std. 50 Min+. After an epic battle against the Borg (cybernetically-enhanced life forms), Captain Picard and the crew of the. STAR TREK First Contact Enterprise E Schiff: Spielzeug. Eine Diamond Select Release. 。 Gibt den Enterprise wie gesehen in Star Trek: Der erste Kontakt 。.
Star Trek First Contact Spies of Warsaw VideoStar Trek First Contact - Opening Scene Jahrhundert als Haupthandlungszeit entschieden, legten sie den Fokus auch auf andere Epochen, zum Beispiel auf das Zeitalter der Renaissanceund entschieden sich gegen diese Zeiträume, weil sie in den meisten Fällen bereits in früheren Star-Trek -Produktionen thematisiert worden waren. Eric Steinberg. Personally I think that this is the best TNG movie of them all, great storyline with a lot of humour and a great battle scene between the federation and the borg. Überwältigt von der Bedeutung, die er für die Zukunft des Planeten hat, flieht er in ein Waldstück. Die Borg assimilieren das Schiff weiterhin, Kinocenter Cham Worf und andere Brückenoffiziere von Picard fordern, die Selbstzerstörung der Enterprise einzuleiten und somit die auf ihr befindlichen Borg zu vernichten. Larry Wilcox, meinte der Literaturwissenschaftler Robert Tindol, gehe die Botschaft aus, dass der einzig gute Borg ein toter Borg ist. In dieser Gestalt wurde die Borg-Königin von Dryden und Greven als phallisch charakterisiert. I love all Star Trek films and series. Marina Sirtis. Data gelingt es, die Borg-Königin nach unten zu ziehen, woraufhin beide in das Kühlmittel Pro 7 Lucifer. Jahrhundert, kein Geld mehr gibt, weil die Menschen nicht Valerie Niehaus Nackt nach Reichtum streben, sondern stattdessen an der Verbesserung ihrer selbst arbeiten. Zur Behandlung Rtl2 Live Stream Kostenlos Ohne Anmeldung Verletzungen wird sie von Dr. Stefan Staudinger. This is a perfect Star Trek movie and scifi action movie. Positiv hervorzuheben ist das die Technik Werte dieser Scheiben vorzüglich ist. Die Borg-Königin wird als ein Wesen inszeniert, deren Kopf und Wirbelsäule aus Metall bestehen und bei ihrem ersten, sichtbaren Auftritt in einen bereitstehenden, schwarzen Unterkörper mit ebenfalls schwarzen Beinen und Armen eingefügt werden. Dagegen erhob Picard-Darsteller Patrick Stewartder die Liebesgeschichte als unglaubwürdig beurteilte, allerdings Einspruch.
Star Trek First Contact Navigation menu VideoStar Trek: First Contact - Part 1
Star Trek First Contact 99 River Street VideoStar Trek First Contact Picards Anger Sign In. For one thing, this film's convoluted plot Dancing On Ice.De boggle all but hard-core devotees. Films directed by Jonathan R Lee Ermey. With the idea of Star Trek ' s genesis Schwarzwaldklinik Episoden mind, the central story became Cochrane's warp drive test and humanity's first contact. Also, I thought I detected a touch of romance between the two that could have been further developed at another time. Not a member yet? Goldsmith wrote a sweeping main title which begins with Alexander Courage 's Star Trek Trödel Köln. Archived from Chakde India Stream original on August 17, The special effects were generally praised.
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In the first script with this setting, the Borg attack Cochrane's lab, leaving the scientist comatose; Picard assumes Cochrane's place to continue the warp test and restore history.
Riker's and Picard's roles were swapped, and the planetside story was shortened and told differently. Braga and Moore focused the new arc on Cochrane himself, making the ideal future of Star Trek come from a flawed man.
The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck.
The second draft, titled Star Trek: Resurrection , was judged complete enough that the production team used it to plan expenses.
Braga and Moore intended the film to be easily accessible to any moviegoer and work as a stand-alone story, yet still satisfy the devoted Star Trek fans.
Since much of Picard's role made a direct reference to his time as a Borg in The Next Generation episodes "The Best of Both Worlds", the opening dream sequence was added to explain what happened to him in the show.
He suggested adding an individual Borg villain with whom the characters could interact, which led to the creation of the Borg Queen.
Cast member Frakes was chosen to direct. Frakes had not been the first choice for director; Ridley Scott and John McTiernan reportedly turned down the project.
A major concern during the production was security—the script to Generations had been leaked online, and stronger measures were taken to prevent a similar occurrence.
Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted.
First Contact was the first Star Trek film to make significant use of computer-generated starship models, though physical miniatures were still used for the most important vessels.
The script's only guide on the appearance of the vessel was the line "the new Enterprise sleekly comes out of the nebula". Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes.
Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. The model's panels were painted in an alternating matte and gloss scheme to add texture.
ILM instead cut the windows using a laser. Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles.
Each design was modeled as a three-dimensional digital wire-frame model for use in the film. The film also required a number of smaller non-Starfleet designs.
Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. The Phoenix ' s cockpit labels came from McDonnell-Douglas space shuttle manuals.
Only two major Vulcan ships had been previously seen in Star Trek , including a courier vessel from The Motion Picture.
Since the two-engine ship format had been seen many times, the artists decided to step away from the traditional ship layout, creating a more artistic than functional design.
The ship incorporated elements of a starfish and a crab. Because of budget constraints, the full ship was realized as a computer-generated design.
Only a boomerang-shaped landing foot was fabricated for the actors to interact with. The Enterprise interior sets were mostly new designs.
The bridge was designed to be comfortable-looking, with warm colors. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look.
The new monitors also allowed for video playback that could simulate interaction with the actors. The observation lounge was similar to the design in the Enterprise -D; the set itself was re-used from the television show, the only such set not to be struck following the filming of Generations , though it was expanded and underwent a color change.
Engineering was simulated with a large, three-story set, corridors, a lobby, and the largest warp core in the franchise to date.
The spacewalk scene on the Enterprise exterior was one of the most challenging sets to envision and construct for the film.
The production had to design a space suit that looked practical rather than exaggerated. Fans were built into the helmets so that the actors would not get overheated, and neon lights built into the front so that the occupant's faces could be seen.
When the actors first put the helmets on, the fully enclosed design made it hard to breathe; after a minute of wearing the suit Stewart became ill, and shooting was discontinued.
The Starfleet uniforms were redesigned for the film by longtime Star Trek costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders and colored undershirts.
Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton ,  a newcomer to Star Trek who was responsible for more than costumes during production.
The bulky suits were made sleeker and outfitted with fiber optic lights. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.
I became aware, one day on the set, that whenever a Borg moved up to the coffee table, whoever was there would sort of slowly retreat.
So the Borg were not only in pain, but they were kind of ostracised. Everyone just uncomfortable in their presence. Which was terribly interesting for me, but I did feel heartbroken for my minions.
Everton and makeup designers Michael Westmore , Scott Wheeler , and Jake Garber wanted to upgrade the pasty white look the Borg had retained since The Next Generation ' s second season, born out of a need for budget-conscious television design.
In the television series, much of the Borg's faces had been covered by helmets, but for First Contact the makeup artist removed the head coverings and designed assimilated versions of familiar Star Trek aliens such as Klingons , Bolians , Romulans , Bajorans , and Cardassians.
Each drone received an electronic eyepiece. The blinking lights in each eye were programmed by Westmore's son to repeat a production member's name in Morse code.
So, at the very end [of the film], they're more ferocious. The Borg Queen was a challenge because she had to be unique among Borg but still retain human qualities; Westmore was conscious of avoiding comparisons to films like Alien.
I thought, great; they made this, and they've scared themselves! Principal photography took a more leisurely pace than on The Next Generation because of a less hectic schedule; only four pages of script had to be filmed each day, as opposed to eight on the television series.
Leonetti to the Star Trek franchise; Frakes hired him out of admiration for some of his previous work on films such as Poltergeist and Strange Days.
The cameraman also spent several days at the sets of Voyager and Deep Space Nine to observe filming. Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power.
He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing.
Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image.
Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors.
Since so many new sets had to be created, the production commenced filming with location photography. Four days were spent in the Titan Missile Museum , south of Tucson, Arizona —the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix ' s booster and command module.
To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors.
After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes.
To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. After location shooting was completed, shooting on the new Engineering set began May 3.
The set lasted less than a day in its pristine condition before it was "Borgified". Filming then proceeded to the bridge.
These lights were then directed towards the actors' faces at degree angles. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status.
These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew.
For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. The fill light on these scenes was reduced so that the cast would pass through dark spots on the bridge and interiors out of the limited range of these sources.
Small and watt lights were used to throw localized shafts of light onto the sets. Next came the action sequences and the battle for the Enterprise , a phase the filmmakers dubbed "Borg Hell".
To balance these elements he added more comedic elements to the Earth scenes, intended to momentarily relieve the audience of tension before building it up again.
To give the corridor walls more shape, Leonetti lit them from underneath. Since the halls were so small and the ceilings would be visible in many of the shots, special attention was paid to hiding the light fixtures.
We were on a circle, which has no geography to it. We had our three heroes [Picard, Worf and Hawk] in space suits, which look identical so you couldn't tell who was who until you got in real close.
But the minute you get in close, you defeat the whole purpose of being on the outside of the ship, so you can see the cells and the stars and Earth looming in the background.
It was a shooting and editing nightmare. For the live-action spacewalk scenes, visual-effects supervisor Ronald B. Moore spent two weeks of bluescreen photography at the deflector set.
Moore used a laptop with digital reproductions of the set to orient the crew and help Frakes understand what the finished shot would look like.
McDonough recalled that he joined Stewart and Dorn in asking whether they could do the shots without the topound 4. The last scene filmed was the film's first, Picard's Borg nightmare.
The shot continues to pull back and reveal the exterior of a Borg ship. The scene was inspired by a New York City production of Sweeney Todd: the Demon Barber of Fleet Street in which the stage surrounded the audience, giving a sense of realism.
Starting from Stewart's eye, the camera pulled back 25 feet 7. The surface of the stage proved too uneven to accomplish the smooth dolly pullback required by the effects team, who needed a steady shot to blend a computer-generated version of Picard's eye with the pullback.
Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura.
These rough animated storyboards established length, action and composition, allowing the producers and director to ascertain how the sequences would play out before they were shot.
First Contact was the last film to feature a physical model of the Enterprise. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background.
Sequence supervisor Dennis Turner, who had created Generations ' energy ribbon and specialized in creating natural phenomena, was charged with creating the star cluster, modeled after the Eagle Nebula.
The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. A particle render that ILM had devised for the earlier tornado film Twister was used to create a turbulent look within the nebula.
Once the shots of the Enterprise had been captured, Turner inserted the ship into the computer-generated background and altered its position until the images matched up.
The opening beauty pass of the new Enterprise was the responsibility of visual-effects cinematographer Marty Rosenberg, who handled all the other miniatures, explosions, and some live-action bluescreen elements.
Knoll decided to shoot the model from above and below as much as possible; side views made the ship appear too flat and elongated.
For the Borg battle, Knoll insisted on closeup shots that were near the alien vessel, necessitating a physical model. To make the Borg vessel appear even larger than it was, Knoll made sure that an edge of it was facing the camera like the prow of a ship and that the Cube broke the edges of the frame.
To give the Cube greater depth and texture, Rosenberg shot the vessel with harsher light. I wanted it to look scary and mysterious, so it was lit like a point, and we always had the camera dutched to it; we never just had it coming straight at us," he said.
The model had specific areas which could be blown up multiple times without damaging the miniature. Safety glass was placed over the lens to prevent damage, while the camera was covered with plywood to protect it from bits of plastic that rained down after each explosion.
The time-travel vortex the Sphere creates was simulated with a rocket re-entry effect; bowshock forms in front of the ship, then streams backwards at high speed.
Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex.
The miniature Enterprise was again used for the spacewalk sequence. Even on the large model, it was hard to make the miniature appear realistic in extreme close-up shots.
Painter Kim Smith spent several days on a tiny area of the model to add enough surface detail for the close-up, but even then the focus was barely adequate.
To compensate, the crew used a wider-angle lens and shot at the highest f-stop they could. The live-action scenes of the spacewalking crew were then digitally added.
Wide shots used footage of photo doubles walking across a large bluescreen draped across ILM's parking lot at night. ILM was tasked with imagining what the immediate assimilation of an Enterprise crewmember would look like.
Jaeger came up with a set of cables that sprang from the Borg's knuckles and buried themselves in the crewmember's neck.
Wormlike tubes would course through the victim's body and mechanical devices break the skin. The entire transformation was created using computer-generated imagery.
The wormlike geometry was animated over the actor's face, then blended in with the addition of a skin texture over the animation.
The gradual change in skin tone was simulated with shaders. Frakes considered the entrance of the Borg Queen—when her head, shoulders, and steel spine are lowered by cables and attached to her body—as the "signature visual effect in the film".
The scene was difficult to execute, taking ILM five months to finish. This strategy enabled the filmmakers to incorporate as many live-action elements as possible without resorting to further digital effects.
To make the prosthetics appear at the proper angle when her lower body was removed, Krige extended her neck forward so it appeared in line with the spine.
Knoll did not want it to seem that the Queen was on a hard, mechanical rig; "we wanted her to have the appropriate 'float'," he explained.
Using separate motion control passes on the set, Knoll shot the lower of the upper torso and the secondary sequence with Krige's entire body.
A digital version of the Borg body suit was used for the lowering sequence, at which point the image was morphed back to the real shot of Krige's body.
The animated claws of the suit were created digitally as well using a detailed model. Goldsmith wrote a sweeping main title which begins with Alexander Courage 's Star Trek fanfare.
The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link.
In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture.
Because of delays with Paramount's The Ghost and the Darkness , the already-short four-week production schedule was cut to just three weeks.
While Berman was concerned about the move,  Goldsmith hired his son, Joel , to assist. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences.
During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings.
GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them".
The compact disc shipped with CD-ROM features only accessible if played on a personal computer,  including interviews with Berman, Frakes, and Goldsmith.
On April 2, , GNP Crescendo Records announced a limited-edition collector's CD featuring the complete score by Jerry Goldsmith with additional music by Joel Goldsmith , newly remastered by recording engineer Bruce Botnick, with an accompanying page booklet including informative notes by Jeff Bond and John Takis.
The expanded album [GNPD ] runs 79 minutes and includes three tracks of alternates. Frakes believes that the main themes of First Contact —and Star Trek as a whole—are loyalty, friendship, honesty, and mutual respect.
This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew.
The moment marks a turning point in the film as Picard changes his mind, symbolized by his putting down his phaser. In First Contact , the individually inscrutable and faceless Borg fulfil the role of the similarly unreadable whale in Melville's work.
Picard, like Ahab, has been hurt by his nemesis, and author Elizabeth Hinds said it makes sense that Picard should "opt for the perverse alternative of remaining on board ship to fight" the Borg rather than take the only sensible option left, to destroy the ship.
In the end, it is Lily the 21st-century woman who shows Picard the 24th-century man that his quest for revenge is the primitive behavior that humans had evolved to not use.
The nature of the Borg in First Contact has been the subject of critical discussion. Author Joanna Zylinska notes that while other alien species are tolerated by humanity in Star Trek , the Borg are viewed differently because of their cybernetic alterations and the loss of freedom and autonomy.
Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. Zylinska draws comparisons between the technological distinction of humanity and machine in Star Trek and the work of artists such as Stelarc.
Some fans remained upset Paramount cancelled The Next Generation at the height of its popularity, and Generations was a commercial success but not critically praised.
Several novelizations of the film were written for different age groups. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser.
The game, Star Trek: Borg , functioned as an interactive movie with scenes filmed at the same time as First Contact 's production.
Paramount heavily marketed the film on the internet via a First Contact web site, which averaged 4. After the screening, 1, guests crossed the street to the Hollywood Colonnade, where the interiors had been dressed to match settings from the film: the holodeck nightclub, part of the bridge, a "star room", the Borg hive and the "crash 'n' burn lounge".
First Contact opened in Britain on December 13, at number two and was the first Star Trek film not to reach number one in that market since The Wrath of Khan.
First Contact garnered positive reviews on release. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy.
The film's acting met with mixed reception. Lisa Schwarzbaum of Entertainment Weekly appreciated that guest stars Woodard and Cromwell were used in "inventive contrast" to their better-known images, as a "serious dramatic actress" and "dancing farmer in Babe ", respectively.
Petersburg Times opined that only Cromwell received a choice role in the film, "so he steals the show by default".
Here is real acting! In a Star Trek film! The special effects were generally praised. Ebert wrote that while previous films had often looked "clunky" in the effects department, First Contact benefited from the latest in effects technology.
Critics reacted favorably to the Borg, describing them as akin to creatures from Hellraiser. Star Trek: First Contact was first released on VHS in late as one of several titles expected to boost sluggish sales at video retailers.
When Paramount announced its first slate of DVD releases in August , First Contact was one of the first ten titles released in October,  announced in a conscious effort to showcase effects-driven films.
The film was presented in its original 2. A First Contact "Special Collector's Edition" two-disc set was released in at the same time as three other Next Generation films and Star Trek: Enterprise ' s fourth season, marking the first time that every film and episode of the franchise was available on home video up to that point.
Paramount announced that all four Next Generation films would be released on high-definition Blu-ray on September 22, From Wikipedia, the free encyclopedia.
This article is about the film. For other uses, see STFC disambiguation. Theatrical release poster.
Brannon Braga Ronald D. Release date. Running time. Play media. British Board of Film Classification. November 25, Archived from the original on August 9, Retrieved May 22, Archived from the original on March 21, Retrieved April 1, Entertainment Weekly.
Archived from the original on July 9, Retrieved February 8, Paramount Pictures. The Mirror. The Toronto Sun. The Washington Post. Chicago Tribune.
The Record. The Toronto Star. October 2, In Harrison; et al. Boulder, Colorado: Westview Press. Providence Journal-Bulletin. Syfy Wire.