Now Section 31 dropped onto the platform with little of the fanfare of the normal Trek releases, and after the first 30 minutes it is clear to see why. This is a poor entry and whilst we could simply put out a paragraph on how poor this really is and mention its, generous, 20% rotten tomatoes and leave it at that we have to make an entry here so.
Star Trek: Section 31—an attempt to boldly go where no Trek has gone before—unfortunately finds itself stranded in uncharted territory that of trash, lacking the core essence of what makes the beloved franchise soar. While its ambitions to explore the murkier, morally ambiguous side of Starfleet are commendable, the execution is so muddled and so stupidly executed that even die-hard Trekkies might find themselves longing for the simpler days of dilithium crystals and triumphant “Kirk speeches.”
First announced with much fanfare as a Michelle Yeoh-led spin-off, Section 31 promised a grittier, espionage-heavy tale centered on Starfleet’s shadowy intelligence division. On paper, it sounded like a refreshing deviation from the formula something we could all look forwards to, more from the discovery (yes now disowned but still good) arm. After all, the franchise has, on occasion, flirted with the ethical dilemmas posed by its utopian ideals (think Deep Space Nine‘s Maquis arc or The Undiscovered Country‘s Cold War allegory). But rather than delivering an introspective character study or a suspenseful, cloak-and-dagger narrative, Section 31 feels like a mishmash of hollow action set pieces, uninspired dialogue, and a complete disregard for the philosophical backbone of the Star Trek universe, our characters kick moan and cry their way through this mess, in a manner that would (other than the guns) make a kid show cringe.
The plot, such as it is, revolves around Emperor Philippa Georgiou (Yeoh, doing her best with a lackluster script) returning to the Prime Universe to assist Section 31 in uncovering a galaxy-threatening conspiracy. The premise, while intriguing, rapidly devolves into a convoluted web of double-crosses and uninspired political intrigue. Adding to the confusion is the complete lack of explanation as to how Georgiou, a character whose journey back to the Mirror Universe was a central plot point in Star Trek: Discovery, has managed to return to the Prime Universe and not be dying this time! This glaring omission leaves both casual viewers and devoted fans scratching their heads, detracting from the film’s already tenuous narrative coherence.
Adding to the film’s missteps is the character of Fuzz, whose exaggerated antics and caricatured mannerisms feel jarringly out of place in a franchise that has historically prided itself on nuanced characters. The character’s over-the-top performance, intended perhaps as comic relief, which just fails flat on its face to the point of wanting to stop watching there and then, instead comes off as distractingly silly, and, worse still, risks perpetuating offensive stereotypes. With a thick, clichéd Irish accent and bumbling behavior with no explanation, Fuzz’s portrayal teeters uncomfortably close to parody, leaving audiences wondering how such a tone-deaf inclusion made it past the drawing board. For a series that has often celebrated diversity and thoughtful representation, this choice feels like an insult, undermining the very ethos Star Trek has long championed.
One of the film’s most glaring issues is its tone. Unlike the optimism that permeates even the darkest corners of the Star Trek franchise, Section 31 trades ideals for cynicism. The moral ambiguity, which could have been fertile ground for debate, feels shoehorned and directionless. Without the contrasting light of hope or characters driven by Starfleet’s guiding principles, the film becomes oppressively bleak, stripping the narrative of any emotional resonance.
This is a film that is desperate to appear “edgy,” but in doing so, it betrays the franchise’s DNA. Contrast this with the masterful balance achieved in films like Star Trek VI: The Undiscovered Country or even Star Trek Beyond. Those films dared to ask difficult questions about diplomacy, identity, and unity while still delivering the hopeful optimism that defines Star Trek. Even First Contact, often celebrated for its darker tone, managed to weave thrilling action with moral clarity. By comparison, Section 31 feels hollow, content to mimic the aesthetics of its predecessors without grasping their substance at all, this feels as it actually is a series crammed into a movie. Failure to set up allot of the aspects and the way it is shot and put together in “chapters” simply doesnt match the Star Trek world at all.
The supporting cast—which includes a mix of new faces and returning characters from Discovery—is woefully underused. What should have been a golden opportunity to deepen the lore of Section 31 instead wastes its characters in favor of overwrought action sequences. The Section should have been seen as a covert operation of specialists, in this case is portrayed as bulldozers who scream out their existence, along with the stupid level of action and lack of realism for the world they are in. Cameos that should have been a delight for fans feel tacked on, as if to distract from the thin script. The film’s attempt to draw on nostalgia feels particularly heavy-handed, almost as if it assumes that name-dropping or Easter eggs can compensate for a lack of compelling storytelling.
Visually, the film delivers the polished, cinematic flair expected of modern Trek, but even this becomes a double-edged sword. The over-reliance on CGI and frenetic pacing of the action sequences render it indistinguishable from generic blockbuster fare. The sense of wonder and exploration that defined earlier entries is absent, replaced by a grim aesthetic that feels more akin to a dystopian video game.
As a franchise, Star Trek has always thrived on its ability to evolve, to reflect the concerns and aspirations of its time while staying true to its core principles. But Section 31 feels less like an evolution and more like a misstep, a film trying so hard to be something different that it loses sight of what made it special in the first place. It’s a frustrating reminder that darker isn’t always better, and “subverting expectations” isn’t a substitute for thoughtful storytelling.
It’s not all doom and gloom. Yeoh’s performance remains a highlight, as does the film’s willingness to take risks, however misjudged they may be. And while the score by Jeff Russo captures some of the grandeur of classic Trek, it can’t elevate a script that seems determined to undermine itself at every turn.
Ultimately, Star Trek: Section 31 feels like a misfire, a film that alienates more than it inspires. For a franchise built on the promise of “Infinite Diversity in Infinite Combinations,” this entry’s narrow focus and cynical tone make it a poor reflection of what Star Trek is—and should always strive to be. Perhaps, like a rogue starship, it’s best left adrift in the depths of space, a cautionary tale of what happens when a franchise strays too far from its core mission.
And if you are in any doubt as to the poor choices that the movie and its possible world may take just watch the last scene of this mess the supposed new group they put together, but then their new “control” once you see it you wont be able to unsee it, there is no apology large enough to correct that wrong, only hope is that an edit is released removing it. (avoiding spoilers for those few who do sit through this)
This is a huge mistake from the studio and the writers, it could have been so much better, used the section 31 property in new and gripping ways that is simply not followed. Lets hope they will learn from this and never go this route again.
