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The SpongeBob Movie: Search for SquarePants – Film Review

Spoiler Warning: Beware of spoilers for The SpongeBob Movie: Search for SquarePants.

My first encounter with SpongeBob came in 2005, when the first SpongeBob SquarePants Movie was released here in the UK. I think I was dimly aware of the show before then, thanks to its merchandise, but I hadn’t watched any of the episodes. A friend suggested going to see it at the cinema, though, and I must’ve thought that it sounded like a good time. It was one of the last films I saw at a small, family-run cinema before it closed down – the town is now served only by a branch of Vue (or one of those other chains, I forget which).

The point is that, for me, SpongeBob SquarePants started as a cinematic experience, and the first film is what led to me going back to watch some of the show’s earlier episodes. I wouldn’t call myself “a fan” of SpongeBob to any great extent – and I was surprised to learn, not that long ago, that new episodes and seasons are still being produced. But the first film was enjoyable, as were many of those earlier episodes, and while I’m not at all caught up on recent seasons or any of the spin-offs… a brand-new SpongeBob movie seemed like it could be a fun way to spend ninety minutes or so.

Derek Drymon, Bill Fagerbakke, and Tom Kenny at an event for The SpongeBob Movie: Search for SquarePants (2025) — Voice actors Bill Fagerbakke (left) and Tom Kenny (centre) with director Derek Drymon and their characters at an event for the film.

So when I saw that The SpongeBob Movie: Search for SquarePants was available to rent, that’s what I did! And I had a pretty good time with the film, to be honest with you. I don’t know whether I can recommend paying a lot of money for the film on video-on-demand, but I expect it’ll land on Paramount+ (or perhaps another streaming service) within the next few weeks or so, and it’s an easy recommendation if you’re already signed up. If you don’t mind waiting, I think there’s plenty of fun to be had with The SpongeBob Movie: Search for SquarePants, whether you’ve got kids or whether you’re just a kid at heart – like yours truly.

I went into The SpongeBob Movie: Search for SquarePants hoping to have an enjoyable time, but not really with sky-high expectations. The change in animation style was certainly noticeable at first (other SpongeBob films and spin-offs have used 3D animation, but this is the first such project I’ve seen), but I found I got used to it pretty quickly. We’ll get into more detail about the CGI in a moment, because I have a few thoughts on how well it ultimately worked, but once the film got going, I found myself content to go along for the ride.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing Conch Street. — Conch Street, as it looks in the new animation style.

Story-wise, Search for SquarePants had a relatively straightforward kids’ movie plot. Nothing about SpongeBob’s quest to become a “big guy,” nor the Flying Dutchman’s scheme to trick him, felt groundbreaking, but the principal characters had solid, easily-understandable motivations that successfully kept things feeling reasonably grounded. When the story involves pirate ghosts and talking sea creatures, that’s no easy task! A couple of the secondary characters got somewhat of an arc of their own, too, including newcomer Barb the ghost-fish. But at a couple of points, I felt that Squidward and even Patrick – mainstays of the franchise – were almost included in the film by default.

There were also noteworthy omissions from the cadre of principal characters from the main show. Sandy the squirrel got a cameo, but Pearl, Karen, and Plankton were all entirely absent. I think there have been TV movies starring some of those characters in recent years, so that could be why. In terms of the story that *this* film wanted to tell, I can see why those characters would’ve felt superfluous or even distracted from the main narrative. But I find it interesting, in any case, that a decision was taken to keep the film focused on just a handful of characters from the main series – including an antagonist who is really a relatively small part of the world of SpongeBob SquarePants.

Key art/concept art for The SpongeBob Movie: Search for SquarePants (2025). — Promotional artwork for the film.

The Flying Dutchman – played in this appearance by Mark Hamill – is an incredibly memorable villain from the original show, despite only making a handful of appearances. And a ghostly character like that was a wonderful choice to bring to the big screen for a bigger role. The Flying Dutchman’s design (both in 2D and now in 3D) is fun, reminding me a bit of LeChuck from the Monkey Island games – and while he’s definitely spooky, I don’t think he’d really frighten the film’s intended young audience. Maybe some especially sensitive little ones wouldn’t enjoy a story about a ghost, but for the most part, I think the Flying Dutchman walks a line between being fun in a spooky way without being actively frightening.

And the same is true of the Underworld – a major setting for the film’s adventure. There are monsters and a river of ooze – but the designs are definitely kid-friendly! I’m a big old scaredy-cat sometimes, so even I appreciated that these designs leaned more into “weird and wacky” than “terrifying,” and I’m sure a younger audience will, too.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing a monster. — An example of the kinds of monsters the film depicts.

Mark Hamill gave an outstanding performance as the Flying Dutchman, and it wasn’t until I looked into it that I came to realise he wasn’t the original voice actor from the TV series; his performance felt seamless. Maybe if you’re a huge SpongeBob fan and you’ve watched all of the Halloween and Flying Dutchman episodes over and over again you’ll pick up on some subtle differences, but speaking for myself, I really wouldn’t have known that Hamill wasn’t the instigator of the role. And his performance – both vocally and in the film’s live-action sequences – was fantastic.

What I appreciated about the Flying Dutchman is the same thing I value in basically any cinematic villain: he has a genuine reason for doing what he does, he isn’t “evil for the sake of it,” and his backstory was even kind of… sympathetic. The Flying Dutchman is cursed to roam the seas as a ghost for eternity – and he wants to find a way to break the curse, even if that means sacrificing someone else to suffer the same fate. We aren’t meant to agree with the actions he takes – setting up SpongeBob to take his place, nor abandoning his first mate when he finally gets what he wants – but we are able to understand where he’s coming from, at least. And if you stop to think about it, whatever crimes the Flying Dutchman may have committed all those years ago… does it justify a punishment of infinite duration?

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing the Flying Dutchman and SpongeBob. — The Flying Dutchman with SpongeBob.

This is a kids’ film, and it’s part of a franchise that’s been running for more than a quarter of a century. So it was very possible that the film’s villain wouldn’t have had any of those subtleties or nuances; we could’ve got a story about the Flying Dutchman wanting to steal SpongeBob’s soul for no other reason than “that’s what I like doing.” But I truly appreciate that the film went out of its way to make the villain someone we can, at the very least, understand. He still comes across as selfish, and the comeuppance he gets at the end therefore feels justified – especially after how he treated his first mate.

But there’s a tiny twinge of sympathy in the Flying Dutchman’s presentation; the sense that this is a man who, despite his obvious flaws and deficiencies as a person and a friend, is suffering a horrible otherworldly punishment. Perhaps that’s something primal, that empathy for even the most selfish villain… or maybe I’m totally misreading the room! But for me, the Flying Dutchman having a genuinely understandable motivation elevated the main story of the film, and made it that much better.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing the Flying Dutchman. — The Flying Dutchman made for a strangely understandable antagonist.

Before we come to SpongeBob himself, the second character who gets an arc of sorts is Mr Krabs. Krabs’ story is a bit more simplistic, as he learns a lesson about boasting, exaggerating his achievements, and just generally lying and being deceitful. He begins the story by exaggerating his past to SpongeBob, painting himself as an all-conquering hero, and this in turn kicks off the main story. Krabs has to come to terms with the fact that his lying caused SpongeBob to get tangled up with the Flying Dutchman, and it’s clear that Krabs genuinely cares about SpongeBob *as a person*, not just as a money-earning employee. That isn’t always present in the show, from what I recall, so it was sweet to see.

There was kind of a father-son thing going on with SpongeBob and Krabs, even though the pair spent most of the film apart, and that culminated in Krabs risking everything – and losing everything, at least for a while – trying to rescue SpongeBob from his grizzly fate. As with the Flying Dutchman above, this mini-arc and an understandable motivation gave Mr Krabs’ story a bit more depth; it would’ve been easy for the film to say “SpongeBob’s friends are going to try to rescue him just because!” and leave it at that. But this additional storyline added a lot and helped keep Mr Krabs feeling a bit more grounded and realistic. The way this was conveyed, too, with Krabs continually looking at SpongeBob’s old ID card, was pretty creative.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing Mr Krabs and SpongeBob. — Mr Krabs and SpongeBob at the beginning of the film.

The Search for SquarePants uses, as I mentioned earlier, a 3D animation style. That’s a change from not only the SpongeBob SquarePants TV show, but also from that first film that I saw some two decades ago! For the most part, the change in animation was neither a positive nor a negative thing; it’s just the way this film looks, and I was fine with that. But there are a couple of things I wanted to point out – it’s up to you to decide whether these are issues, nitpicks, or even intentional!

SpongeBob’s skin(?) has a weird effect to it where some of the holes or depressions on his face will stay stock still while the background texture moves around them. It was only really noticeable in close-ups, but it was weird – and it’s one of those things that, once I started to notice it, I found that I *kept* noticing it every time the titular sponge was in focus. It feels like a bit of an animation shortcut, and it might be the kind of thing that hardly anyone picks up on. But I did notice it… and while it’s not the worst thing in the world, it didn’t look fantastic.

Six (cropped) frames of SpongeBob from the 2025 movie Search for SquarePants. — It’s subtle in still frames, but look at the two large holes on the bottom-left of SpongeBob’s face, compared to the texture around it. See what I mean?

Sticking with the animation, there was a kind of rubbery, stretchy effect to some of the characters. I noticed this most with Mr Krabs and Patrick; their shell/skin appeared to have the texture of rubber or stretchy plastic. This may have been a deliberate choice, with the animators leaning into a visual style that was a little more textured, less flat, and less “shiny” than some CGI films can be. In any case, I didn’t really have a problem with it; it made the film feel more “cartoony,” if that makes sense. But I did think it was worth mentioning.

Let’s talk about music. Search for SquarePants had a solid score. The soundtrack to the film was spooky where it needed to be, downcast when it looked like defeat was inevitable, and up-tempo and fun at other points, too. My number one rule for any film’s soundtrack is “do no harm;” the music shouldn’t get in the way of, or detract from, what’s going on on screen. Search for SquarePants has a score that clears this admittedly low bar.

The film’s main song, though – Ice Spice’s Big Guy – is another matter.

Still frame from a promo feature for The SpongeBob Movie: Search for SquarePants showing Ice Spice. — American rapper Ice Spice performs *Big Guy*, the main song from the film.

I will caveat this by saying that I’m not a fan of contemporary hip-hop and rap music, and that I was unaware of Ice Spice until watching the film. So this song was probably never going to be my thing, and that’s okay! But my goodness, it’s no exaggeration to say that Big Guy is, without a doubt, one of the worst songs I have ever had the misfortune to listen to.

Within The SpongeBob Movie itself, the Big Guy sequence is short enough to pass by relatively inoffensively. But do yourself a favour: don’t do what I did and listen to the entire song. It is a musical travesty; a song in which I can genuinely find zero redeeming qualities. I agree with one of the top comments under the song’s YouTube video: what a great day to be deaf.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing the Big Guy sequence. — The *Big Guy* sequence.

I suppose we should talk about SpongeBob, shouldn’t we? This is his movie and his story, after all!

If you remember the first SpongeBob SquarePants Movie from a couple of decades ago… you’ve kind of got the core of SpongeBob’s story right there. SpongeBob wants to feel like a “big guy,” in the words of Ice Spice, but begins the film feeling that, despite a growth spurt, he’s still young and immature. This kicks off his quest to be seen – by Mr Krabs, especially – as more than just a kid. For a film aimed at a younger audience, I think this is an easily-understood character motivation.

My struggle these days is the opposite – the cashier is always a little too quick to hit the “clearly over 25” button when I’m treating myself to a bottle of wine! But I can remember being at school, where I was one of the younger kids in my year group, and wanting to be perceived as older and more “grown-up.” It’s a natural thing that I think a lot of kids experience, so as the motive for the central character of a kids’ film… it works exceptionally well.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing SpongeBob dressed as a pirate. — The desire to be seen as more grown-up is something a lot of kids experience.

Despite the core similarity with SpongeBob’s motivation in the earlier film, the presentation of the two stories is different enough that Search for SquarePants doesn’t feel repetitive or derivative. Yes, both films present SpongeBob as a young guy who wants the people around him to see him as more of a grown-up. And yes, in both cases, this leads SpongeBob and Patrick on a “hero’s journey,” travelling to dangerous and faraway places. But the similarities end there; the SpongeBob of Search for SquarePants comes across as younger and more naïve than he does in The SpongeBob SquarePants Movie.

The inciting incident in both cases is different, too – though both are connected to Mr Krabs! In The SpongeBob SquarePants Movie, SpongeBob believes he’s up for the job of manager at the Krusty Krab’s new location, but loses out because he’s seen as too young and childish for the role. That’s more of, for want of a better term, an “adult problem” for the character. In Search for SquarePants, SpongeBob is excited to finally be able to ride a rollercoaster at his favourite theme park – but chickens out when he sees how big and scary it is. This is much more of a childish problem, emphasising that this version of the character feels younger.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing SpongeBob afraid. — This version of the character comes across as feeling younger than in the film from 2004.

This culminates in SpongeBob having to literally face his fears at the climax of the story, having confessed to the Flying Dutchman about his fear of the rollercoaster. I really liked the way in which SpongeBob leaned into bubble-blowing – which the film presents as one of his more childish hobbies – as the way to save the day. The message for kids is that it’s okay to be a kid; that you don’t have to rush to grow up. In an age of social media and the internet, where kids are feeling the pressure to grow up at an ever-earlier age, that’s a positive message, in my book.

So that was The SpongeBob Movie: Search for SquarePants. Can I recommend you purchase it at full-price? If you or your kids are mega-fans, maybe. But if you can wait a few more weeks, it’ll land on Paramount+, I expect, where it’s a much easier recommendation.

Still frame from The SpongeBob Movie: Search for SquarePants (2025) showing the title card. — The film’s title card.

For my part, I had fun with the film. It was my first adventure with SpongeBob and his friends in quite a while, and while I definitely felt echoes of 2004’s The SpongeBob Movie, there was more than enough originality to make this film stand apart. The Flying Dutchman made for a fun and understandable antagonist, Mr Krabs kicked off the story and also got an arc of his own, and SpongeBob himself got a storyline about wanting to grow up that will surely resonate with a younger audience – with a message at the end about not needing to grow up *too fast* that I think is important in this day and age.

Thanks for joining me for this review! Depending on when it releases on video-on-demand or streaming, my next film review could very well be 28 Years Later: The Bone Temple, which will be a decidedly spookier affair than Search for SquarePants has been! And I have plans later in the year to check out a few other titles – click or tap here to see a few films I’m looking forward to in 2026. I hope you’ll join me for some of those! And if you missed it, last year I reviewed KPop Demon Hunters, another animated film that I’m happy to recommend. Click or tap here for that review.

Have fun out there – and try not to get into too much nautical nonsense!

The SpongeBob Movie: Search for SquarePants is currently available to buy/rent via Amazon Prime Video, Apple TV+, and other video-on-demand platforms in some countries and territories. The film will likely debut on Paramount+ later in 2026, and will also be available on DVD/Blu-ray later this year, too. The SpongeBob Movie: Search for SquarePants is the copyright of Paramount Animation, Nickelodeon Movies, and/or the Skydance/Paramount company. This review contains the thoughts and opinions of one person only and is not intended to cause any offence.

The End of the Kelvin Timeline?

Mon 10.11.25Dennis

Spoiler Warning: Beware of minor spoilers for the Kelvine timeline films and Strange New Worlds.

In a little over six months from now, it’ll be ten years – an entire decade – since Star Trek Beyond hit cinemas. Beyond is the most recent film in the Kelvin timeline – the Star Trek spin-off films set in an alternate reality. There have been multiple attempts in the nine-plus years since its release to get a sequel off the ground, including a couple of years ago when Paramount announced – and then had to rapidly un-announce – a film that wasn’t ready. That was a clusterfuck, eh?

Every so often, if you follow some of the big Star Trek fansites and social media pages, an interview will pop up with a member of the Kelvin cast, and they always make the right noises, sounding positive and hopeful about one day returning and making another film. But if recent reports are to be believed, the newly-merged Skydance/Paramount corporation is ready to “move on” from the Kelvin timeline. While a new Star Trek film is supposedly being planned, it won’t involve the Kelvin timeline or the cast of the rebooted series. I thought we could discuss that today.

Still frame from Star Trek 2009 showing the main viewscreen on the bridge. — The bridge in *Star Trek ’09*.

I know the Kelvin films weren’t every Trekkie’s favourite part of the franchise – to put it mildly! Heck, I *still* know people who refuse to even watch them because of how upset they were at both the recasting of classic characters and the more action-heavy storytelling. But we should all be able to acknowledge what the films – and the 2009 reboot in particular – did for Star Trek at a time when the franchise had been cancelled after more than fifteen years on the small screen.

We wouldn’t have seen Discovery, Picard, Lower Decks, Strange New Worlds or really any of the Star Trek productions we’ve enjoyed over the last decade were it not for the success of the Kelvin timeline films. Star Trek ’09 demonstrated to investors that, despite declining viewership on TV in the 2000s, there was still life in the Star Trek franchise, and still new stories to be told. These films carried the torch for Star Trek during what could’ve been its darkest hour, and they set the stage for the franchise’s revival.

Behind-the-scenes photo from the set of Star Trek Into Darkness showing director JJ Abrams. — Director J.J. Abrams on the set of *Star Trek Into Darkness*.

With all that being said, regular readers will undoubtedly remember me saying that I don’t believe there’s a place for a new Kelvin timeline film. I wrote about this in 2020 and 2021, and while my original reasons for saying that have now shifted in light of the spate of cancellations this year… I stand by the original point. I know Beyond seemed to tease a sequel in its closing moments, and there will always be a part of me that wants to see reboot Kirk’s adventures aboard the Enterprise-A. But given the changes not just to Star Trek over the past ten years, but the entertainment landscape as a whole… I’m not sure a 2009-style film is the right fit any more. After almost a decade, audiences have moved on and expectations have changed.

Then there’s Strange New Worlds. What was the original idea behind Star Trek ’09? It was to show “young Kirk” and “young Spock” at Starfleet Academy, then undertaking their first missions together. Well… we’ve seen that. And thanks to Strange New Worlds, we’ve also seen the prime timeline version of that, too. Strange New Worlds has introduced several other legacy characters, and thanks to being able to develop those characters a lot more because of the extended runtime a television show permits, I’d argue it’s done a lot more with some of those characters than the entire Kelvin trilogy did.

Two still frames from Star Trek 2009 stitched together, with Cadet Kirk on the left and Commander Spock on the right. — Kirk and Spock at the Academy in *Star Trek ’09*.

At this point, if we returned to the Kelvin timeline a decade after Beyond, we wouldn’t be seeing “young Kirk” and “young Spock” on one of their first missions. We’d be seeing Kirk and Spock on their five-year mission – or perhaps even *after* that, in the latter part of the 23rd Century. There are things that the Kelvin timeline could do with that idea, sure… but we’ve already seen plenty of Kirk and Spock at this point, haven’t we? Between TOS, the Kelvin films, Strange New Worlds, and the rest of Star Trek, we’ve spent a lot of time with these characters already. So… what could a new Kelvin film do that we haven’t already seen?

This leads me to my most fundamental point: Star Trek needs to move on. Not just from the Kelvin timeline, but from the 23rd and 24th Centuries in general. Since the turn of the millennium, we’ve had Enterprise, Discovery, Strange New Worlds, and the Kelvin timeline – all of which were prequels. Then we had Prodigy and Picard, which were direct sequels to Voyager and The Next Generation. The closest Star Trek came to originality was Lower Decks, ironically enough! And that show called back to The Next Generation era over and over again, and brought in numerous guest-stars.

Still frame from Star Trek: Picard Season 3 showing the Titan/Enterprise-G in orbit of a star. — What *new* adventures might lie ahead for the Star Trek franchise?

A new film at this point should have the freedom to go in a totally different direction, and shouldn’t be too tied up with what came before. That doesn’t mean it can go breaking all of the rules of canon, of course, but after so many sequels, prequels, and spin-offs, it’ll be nice to get something truly original for once. Won’t it?

If Star Trek continues to look backwards at its own history, and keeps trying to bring back characters from the past, that limits the franchise’s potential to grow and expand. I became a Trekkie in the early 1990s not because of Kirk, Spock, and Dr McCoy, but because of Picard, Riker, and Data. If Star Trek, in the ’80s, had doubled-down on The Original Series and those classic characters, we’d have missed out on so much – not only The Next Generation, but Deep Space Nine, Voyager, and more. After such a long time, and with so much having happened since Beyond was in cinemas… a new film taking a new approach just feels like the best option.

Behind-the-scenes photo from Star Trek Beyond showing Simon Pegg, Justin Lin, and others. — Simon Pegg (Scotty) and director Justin Lin on the set of *Star Trek Beyond*.

There are risks, of course. Into Darkness remains the cinematic Star Trek franchise’s high-water mark in terms of financial success, and all three of the Kelvin films turned a profit. Creating something brand-new, with a new director and a new cast of characters, might not achieve the same level of success as a Beyond sequel. Figuring out how to attract audiences who turned out for Into Darkness – but who may have skipped *everything* Star Trek has done since – will be the biggest challenge Skydance faces when it comes to pitching the new film.

And there’s kind of limited room for manoeuvre here. In 2009, a lot of people who hadn’t watched the likes of DS9 and Enterprise showed up specifically because Star Trek was billed as a reboot. The universe was going to be reset, you didn’t have to have followed any of the increasingly convoluted storylines from the previous fifteen-plus years… this film was its own thing. But can you re-reboot a franchise and achieve the same level of success a couple of decades later? Does the name “Star Trek” carry the same weight it did in 2009, after not really managing to reach out to a big new audience on streaming? I think those are valid questions as this new film may be getting underway.

Cropped promo image for Star Trek 2009 showing the USS Enterprise in sillhouette. — A silhouette of the Enterprise was one of the first teaser images released for *Star Trek ’09*.

I don’t lament the demise of the Kelvin timeline. It laid the groundwork for Star Trek’s return to its small screen home in 2017, which I truly appreciate, but then it kind of lost its place – at least for me as a Trekkie. By the time Pike and Spock joined Discovery a couple of years later, and we were getting news of new projects featuring Picard, Section 31, and a new animated series, it really seemed like Star Trek was back. Strange New Worlds, with its focus on many of the same characters as those in the Kelvin films, occupies a very similar space, and I’m just struggling to see what a new Kelvin film could really have to say after five seasons of Strange New Worlds and everything else Star Trek has done over the past nine-plus years.

At the same time, there’s a sense that Star Trek’s executives never took *full* advantage of the alternate reality that the Kelvin films presented. We could’ve seen, just as one example, Captain Kirk taking on the Borg – something that would be impossible to do in the prime timeline. Or we could’ve done more with the idea of a crossover from the prime timeline, bringing in William Shatner and George Takei alongside Leonard Nimoy. That can’t happen now.

Cropped promo poster for Star Trek Into Darkness showing the USS Enterprise crashing into the atmosphere of a planet. — The Enterprise.

But the Kelvin films – or perhaps we should start saying “the Kelvin trilogy” – have a place in the history of Star Trek. They carried a torch for the franchise at a time when total cancellation and annihilation seemed not only likely, but were actively happening, and they set the stage for several great streaming shows that expanded the franchise in new ways. That isn’t a bad legacy by any means.

And as we look to the future? Star Trek seems set to enter a fallow period as the 2020s come to a close. After Strange New Worlds finishes its run, all we know for sure is that Starfleet Academy is getting a second season – and then there’s this potential new film. Star Trek XV – or whatever we’re going to end up calling it – has a lot to live up to in some ways, as it may have to pick up the mantle from the Kelvin timeline and keep Star Trek alive at a time when there might not be anything else going on. But this new film, thanks to being its own thing, has almost limitless storytelling possibilities, and won’t be constrained by what came before. That worked well in 2009, and it set the stage for bigger and better things. I’m going to keep my fingers crossed that this new film, in whatever form it ultimately takes, will be much more like Star Trek ’09 and less like the unfortunate Section 31.

So I hope this has been interesting. Part of me wonders if, in another ten or fifteen years, we may yet get a belated Kelvin timeline revival. Who knows! But nostalgia can be a big deal in entertainment, and if there are enough Kelvin fans clamouring for it… never say never, right? I will keep my ear to the ground and if there’s any news about a new Star Trek film in the weeks and months ahead, I daresay I’ll have more to add, so be sure to check back from time to time. And if you want to see what else I’ve had to say about the Kelvin timeline over the years, you can check out my dedicated Kelvin timeline page by clicking or tapping here. Until next time, friends!

Star Trek ’09, Star Trek Into Darkness, and Star Trek Beyond are available to stream now on Paramount+ in countries and territories where the platform is available. All three films are also available on DVD and Blu-ray. The Star Trek franchise – including all films and other properties discussed above – is the copyright of Skydance/Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.