I picked this up a couple of weeks ago in San Antonio since I knew Collin and Parker would like another Star Trek movie, especially one with the Excelsior. Sure enough they did (Parker is watching it a second time with me as I write this). While the movie is pretty good, and has some outstanding dialogue and scenes (the scene where Kirk orders the Enterprise out of spacedock on impulse and the Valeris tries to tell him it is against regulations and he just smiles while Spock is ha-hm-ing the lieutenant to shut the hell up is priceless) it also has some really weak spots where things just don't fit together right (Sulu beaming down right in front of Admiral Cartwright and tracking him with his phaser as he materializes is a bit much). The glasnost-inspired plot also has some unnecessary references to late-1980's U.S.-Soviet relations. I like the plot idea fine, but there are lines like "this president isn't above the law" and "the end of history" that just don't fit anything but commentary on current affairs. I didn't realize till I watched the extras that Gene Roddenberry strongly objected to the overt prejudice against the Klingons shown by the Starfleet officers, and I tend to agree that it was overplayed. Again, the idea was okay, but the script went too far. Shatner objected to saying "let them [the Klingons] die" and watered the line down with his performance as best he could (the watering was cut, leaving an inexplicably over the top performance - if you didn't realize that it's not what he intended - but the false note remains in the final cut. I think the point could have been made better by pointing up the loss of prestige and funding Starfleet would face. Race prejudice would be part of it, but it didn't have to translate quite so easily to prejudice. Roddenberry posited that prejudice would eventually fade in an advanced society (maybe, maybe not) but greed and ego certainly would not, nor would the all too human trait of seeing situations in terms of one's position. All politics is local, and Starfleet officers could be excused for being unwilling to see peace as realistic, when the down side to Starfleet as an institution would be catastophic (or so they would assume). The temptation to translate race prejudice to a space drama (and have the black actors mouth it - gee, what a great idea!) would be overwhelming and in the tradition of Star Trek, but it was too heavy-handed. On the bright side, it could have been worse - they wanted Nichelle Nichols to say (of the Klingons) "yes, but would you want your daughter to marry one?" and she point-blank refused. It was this sort of salting of the script with contemporary lines that I had a problem with - you have to be more subtle than that.
Valeris is perhaps the worst Vulcan performance in the series. No one (but Nimoy) seems to be able to handle playing a Vulcan, but this is the worst - she's more emotional than a human, and prisses around instead of giving a cold, reasoned performance (notably, the Romulan ambassador is instantly believable doing this - makes me wish he'd been cast as the turncoat officer). Again, Nimoy is the giant among the original crew, getting points across with gravitas and delivery, using what could be seen as human affectations learned in decades of interaction with humans, but not emotion. His best performance is something I liked from when I first saw the picture, where a furious Spock knocks the phaser from Valeris' hand, and simply stares at her, enormously disappointed with his pupil, and shaking with rage. But when I saw it this time I realized he wasn't shaking at all - he was absolutely still, but the suppressed rage was still evident.
Overall, the movie has some of the best moments in the entire series, but also some of the weaker ones as well (the final scene where the Enterprise crew assembles on the stage around Kirk to accept the accolades of the assembled peace negotiators - it's just far too staged). But the ending, where the Enterprise literally rides off into the sunset, followed by the original cast's signatures, is just magnificent - a fitting sendoff to the original cast.