History YMMV / StarTrekTheMotionPicture

* ImprovedByTheReCut: Both the VHS version, with an additional 12 minutes, and the DVD director's cut that shuffles scenes around, adds some effects and four more minutes, were deemed better than the theatrical cut. (see {{Padding}} below for more)

** The original VHS release was actually '''12 minutes longer''' than the theatrical cut. Which, believe it or not, ''improved'' the movie somewhat, since much of the material that was added back in consisted of dialogue that actually advanced the plot and explained what the heck was going on while also giving the rest of the cast and extra more screen time, allowing for some quirky humor and philosophical musings that made them seem more alive and, well, human.

* PopularityPolynomial: ''Film/StarTrekTheMotionPicture'' was popular enough that it did financially well at the box office. Despite critics bashing it, Trekkies were glad to have ''Star Trek'' back. After ''Film/StarTrekIITheWrathOfKhan'' and especially after ''Film/StarTrekIVTheVoyageHome'', more fans began to see 1979 ''Motion Picture'' in a different light, often jokingly calling it "The Motionless Picture" due to its slow pacing and subdued performances from the cast. [[note]] There were references to the slowness before ''Film/StarTrekIITheWrathOfKhan'' but it increased after. [[/note]] The dynamic melodrama and powerful character moments of ''II'', and the refreshing comedy relief humor of ''IV'', were often held up as unfavorable comparisons for ''The Motion Picture'', and it is included with the other odd-numbered ''Trek'' movies as inferior.[[note]]This tendency to regard the odd-numbered ''Trek'' films as inferior started after ''The Wrath of Khan'', and it increased with the third film, and even more with the fan reaction to ''Star Trek V'', [[/note]] The 2001 DirectorsCut has improved the reputation of the film somewhat, thanks to better pacing and improved visuals, though the film is still considered too slow for some fans.

** When Kirk and company stand on the exterior of the saucer, the angle of the hull is far too steep (theatrical).

* HoYay: The movie is already fairly homoerotic, but the novelisation takes it UpToEleven. For one thing, the novel introduces the Vulcan word t'hy'la, which Spock uses to describe Kirk, and which can mean friend, brother or ''lover''. For another, it outright states that it was ''[[MindlinkMates Kirk's mind]]'' that had called to Spock across the lightyears and ruined his Kolinahr (the film implies that it's V'Ger's arrival in Federation space, ''not'' Kirk's mind, which disturbs Spock during his Kolinahr ceremony, and Spock later says he sensed a powerful and perfectly ordered consciousness that might hold "his answers.").

* {{Narm}}:
** The wormhole scene, where the distortion of time slows down all speech. Particularly Decker's.
-->'''Decker:''' [[BigNo NNNNNNNNNNNNOOOOOOOOOO!]] BEEELLLAAAAAYYY THHHAAAATT PHAAAAASSSEERR OOOOORRDDEEER!
** The hilariously weird electro-belching noises V'Ger makes when it signals the creator during the climax.

*** Yes. Clearly, [[SlashFic it]] [[HoYay didn't]] [[RelationshipWritingFumble work]].
*** Been reading [[http://spookysfics.livejournal.com/13030.html this]], have we? "Apparently one of the reasons the film had to have a secret slash message was that without it, 'it is simply inconceivable that the creator of such an intelligent series would let its first foray onto the big screen be such a trite science fiction story.'"

* PopularityPolynomial: ''Film/StarTrekTheMotionPicture'' was popular enough that it did financially well at the box office. Despite critics bashing it, Trekkies were glad to have ''Star Trek'' back. After ''Film/StarTrekIITheWrathOfKhan'' and especially after ''Film/StarTrekIVTheVoyageHome'', fans began to see 1979 ''Motion Picture'' in a different light, often jokingly calling it "The Motionless Picture" due to its slow pacing and subdued performances from the cast. The dynamic melodrama and powerful character moments of ''II'', and the refreshing comedy relief humor of ''IV'', were often held up as unfavorable comparisons for ''The Motion Picture'', resulting in it getting thrown in with the other odd-numbered ''Trek'' movies as inferior.[[note]]This tendency to regard the odd-numbered ''Trek'' films as inferior is generally attributed to having started with the fan reaction to ''Star Trek V''.[[/note]] The 2001 DirectorsCut has improved the reputation of the film somewhat, thanks to better pacing and improved visuals, though the film is still considered too slow for some fans.

* MisBlamed: While Creator/GeneRoddenberry is often lumped entirely with the blame for the TroubledProduction of ''Film/StarTrekTheMotionPicture'', in actual fact the responsibility was pretty equally divided between Roddenberry, director Creator/RobertWise, and initial visual effects designers Robert Abel & Associates. Roddenberry couldn't make any firm decisions as to the storyline and kept rewriting the script on the fly until Paramount were forced to step in and remove him from creative control, Wise made several decisions such as insisting on major set and costume redesigns and not shooting for more than 12 hours a day that caused the budget to balloon, and then RA&A completely failed to deliver any usable visual effects, forcing the studio to hire Douglas Trumbull and John Dykstra to churn out the effects no matter what the cost. Paramount actually were open to letting Roddenberry produce a sequel, but after a meeting in which he angrily refused the notion of any restrictions on the budget or his creative control, they decided that had learned nothing from his experiences on the first film and [[KickedUpstairs kicked him upstairs]].

*** Foster repeatedly confirms that he had nothing to do with the novelization. If you know his work at all, you can tell by reading it isn't.
----

** Not to mention [=McCoy's=] Disco Unabomber look.

** This was also a case where this happened quite literally. The film's already TroubledProduction meant that The first special effects company, commercial veterans Abel & Associates, couldn't get the job done, so Douglas Trumbull and John Dykstra had to be hired late in the production. Reasons for this vary, ranging from the studio using Paramount's money and equipment to continue their commercial work, to Robert Abel attempting to make an overly complex computer-controlled camera system, to the massive amounts of rewrites forced upon the film by Roddenberry himself that roped the company into doing set and costume designs on top of the VFX. The studio would be let go just a few months before release, with their one lone sequence in the film, the wormhole scene, being considered one of the weaker effects.

** Also, Paramount itself waffled back and forth on whether the new Trek would be a new TV series, TV movies, then ultimately a feature when Star Wars exploded. Star Trek Phase II had significant pre-production completed, including sets that had to be redone for cinema quality. They even pretended Phase II was still underway for months (buying scripts, etc) after finally deciding to make a feature. All these costs were considered the "budget" of TMP, which seems a bit misleading. It's also worth noting that much of the Phase II work became TNG: Decker/Ilia were proto Riker/Troi, and Xon became Data. It's also been implied by several of the effects artists who worked on the film that Paramount were also the ones responsible for bringing RA&A onto the film in the first place, despite the latter having no film experience to speak of.

** Also, Paramount itself waffled back and forth on whether the new Trek would be a new TV series, TV movies, then ultimately a feature when Star Wars exploded. Star Trek Phase II had significant pre-production completed, including sets that had to be redone for cinema quality. They even pretended Phase II was still underway for months (buying scripts, etc) after finally deciding to make a feature. All these costs were considered the "budget" of TMP, which seems a bit misleading. It's also worth noting that much of the Phase II work became TNG: Decker/Ilia were proto Riker/Troi, and Xon became Data.

** This was also a case where this happened quite literally. The film's already TroubledProduction meant that The first special effects company, commercial veterans Abel & Associates, couldn't get the job done, so Douglas Trumbull and John Dykstra had to be hired late in the production. Reasons for this vary, ranging from the studio using Paramount's money and equipment to continue their commercial work, to Robert Abel attempting to make an overly complex computer-controlled camera system, to the massive amounts of rewrites forced upon the film by Roddenberry himself that roped the company into doing set and costume designs on top of the VFX. The studio would be let go just a few months before release as a result.

** This was also a case where this happened quite literally. The film's already TroubledProduction meant that The first special effects company, commercial veterans Abel & Associates, couldn't get the job done, so Douglas Trumbull and John Dykstra had to be hired late in the production. Reasons for this vary, ranging from the studio using Paramount's money and equipment to continue their commercial work, to Robert Abel attempting to make an overly complex computer-controlled camera system, to the massive amounts of rewrites forced upon the film by Roddenberry himself that forced the company into doing set and costume designs on top of the VFX. The studio would be let go just a few months before release as a result.

* {{Misblamed}}: While Gene Roddenberry is often lumped entirely with the blame for the TroubledProduction of ''Film/StarTrekTheMotionPicture'', in actual fact the responsibility was pretty equally divided between Roddenberry, director Creator/RobertWise, and initial visual effects designers Robert Abel & Associates. Roddenberry couldn't make any firm decisions as to the storyline and kept rewriting the script on the fly until Paramount were forced to step in and remove him from creative control, Wise made several decisions such as insisting on major set and costume redesigns and not shooting for more than 12 hours a day that caused the budget to balloon, and then RA&A completely failed to deliver any usable visual effects, forcing the studio to hire Douglas Trumbull and John Dykstra to churn out the effects no matter what the cost. Paramount actually were open to letting Roddenberry produce a sequel, but after a meeting in which he angrily refused the notion of any restrictions on the budget or his creative control, they decided that had learned nothing from his experiences on the first film and [[KickedUpstairs kicked him upstairs]].

** As awesome as the effects in the theatrical cut generally are, there are a few cases where it's obvious that the effects were rushed in order to meet the release deadline. Notable examples are the horrible-looking asteroid explosion, and two occasions later in the film where V'Ger's energy bolts are rather clumsily matted in. Also happens literally. The first special effects company couldn't get the job done, so Douglas Trumbull and John Dykstra had to be hired late in the production.

** Everyone's exploring the galaxy in their jammies...

** [[WordOfGod Supposedly]], Robert Wise had the uniforms designed so plain compared to the bright ''[[Series/StarTrekTheOriginalSeries TOS]]'' uniforms (which were planned to be used again in the ''Phase II'' series), so that the audience would focus more on the actors' faces. Unfortunately, the actors [[DullSurprise don't get to show a whole lot of emotional range]] throughout most of the movie, so the ploy ended up backfiring spectacularly.
** WordOfGod says that the cast and crew themselves hated the uniforms they wore for this film (the zippers were so long that actors needed help going to the bathroom), and that a condition for their return in a sequel was for them to be replaced, leading to the redesigns introduced in ''The Wrath of Khan''.

** Male actors in particular were showing a little bit more detail "downstairs" than they would have liked.

-->'''Decker:''' [[BigNo NO!]] BEEELLLAAAAAYYY THHHAAAATT PHAAAAASSSEERR OOOOORRDDEEER!
** The hilariously weird electro- belching noises V'Ger makes when it signals the creator during the climax.

* {{Retreaux}}: This ''Star Trek'' film, more than any other, has the feel and style of a Golden Age EpicMovie. It's directed by a [[Creator/RobertWise venerable Golden Age era film director]], has a pre-credits overture, lots of wide angle shots, a sweeping, outstanding music score by a [[Music/JerryGoldsmith composer who was mentored by the Golden Age era composers]], slow pace where mood and characterization is favored over action scenes, very little comedy relief, extended scenes without dialogue, and a subdued but still powerful performance by the cast. 1979 was almost fifteen years removed what is usually agreed to be the end of the Golden Age of American films.

** Spock mind melding with the Red Angel and going into a HeroicBSOD on ''Discovery'' makes him having a crack at V'ger pretty hilarious. "Join my mind with an incomprehensible hyper advanced intelligence? I'm sure ''this'' time it'll be fine..."
** On the topic of ''Discovery'', one of the most-heard complaints about that show? That they redesigned the Klingons, evidently just because they could.
** Also, ''Series/StarTrekDiscovery'' helps somewhat to contextualize the Klingon's AttackHello method of greeting V'ger.

** Bones giving Kirk a WhatTheHellHero over kicking Decker out of the Captain's chair, when [[Film/StarTrekIITheWrathOfKhan the very next film]] has him telling Kirk "Get your command back. . . before you really do grow old," in a tone implying "I don't care who you have to screw over, or just plain screw, to do it."

** The film actually features some far more profound and interesting themes than its more well-received sequels, which for the most part are much more standard action-adventure takes on the franchise. Unfortunately, said themes are either glossed over or crammed into the last twenty minutes and not given enough time to be explored, meaning that they end up taking a back seat to the effects sequences.

** Deker and Kirk's conflict over command of the ''Enterprise'', especially given Deker has legitimate concerns about his own command being stolen from under him by a man who continued to show he is held back by his lack of familiarity with the refitted ship. Their conflict doesn't go anywhere past initial disagreements and [[spoiler: Deker's [[AscendToAHigherPlaneOfExistence departure]] means the conflict is never resolved.]]

* WhatAnIdiot:
** Kirk, for thinking he could just waltz onto an almost entirely new ''Enterprise'' and expect everything to go back to the way it was in his glory days. [[FridgeBrilliance This decision does however foreshadow Kirk's mid-life crisis that is a key plot point in the next film.]]
** V'Ger has absorbed enough knowledge to become basically sentient, yet it doesn't know its proper name is [[spoiler:Voyager]] simply because of some mud on its exterior. Either that or the hyper-intelligent lifeforms that built it never invented the sponge.
*** Rather, it harkens back to a line from The Old Series by Kirk: "Man makes God in his own image." V'ger expected a Machine Creator, not carbon life forms.[[note]]In fact, this was addressed by Decker, who used a variation of Kirk's line ("We all create God in our image.") but for some reason this scene was removed and can only be seen on the TV cut. (Possibly to avoid the ire of religious groups?)[[/note]]
*** The machines seemed to treat the probe as a veritable religious artifact itself and thus believed the mud covering part of its name was entirely intended by The Creator.

* FridgeBrilliance:
** The fly-over of the refit Enterprise not only establishes the new design and serves as a "thank you" to fans who helped to bring back the franchise, but it serves to establish a sense of scale of how big the ship really is. First, you have Kirk and Scotty; knowing how tall they are, you can extrapolate the size of their travel pod. Knowing the size of the travel pod, you can see how big the Enterprise is during the fly-by and the docking sequence. Finally, knowing the approximate size of the Enterprise, you get a sense of just how huge V'Ger really is. In the novelization, it's stated that the Enterprise approaching V'Ger was analogous to a mosquito approaching the Enterprise.
** What exactly was going on in The Meld at the climax is puzzling until you realize that the light surrounding Deckard and Ilia ''was the light probe V'ger used to "collect data"''. However, unlike the previous probes, this one is slower and gentler, because V'ger doesn't want to "collect data". It's using the probe as a ''transporter beam'' to ''merge him and Ilia AND ITSELF''.
** Kirk's efforts to mend bridges with Decker after bumping him down from Captain to Executive Officer are helped somewhat by the fact that his relationship with Spock seems to have ended between the Five Year Mission and Spock's return to the Enterprise. If Spock and Kirk got on from the start as well as they did during the original mission, he would have likely pushed Decker further away, but instead Spock's behavior leads Kirk to be unsure of his reliability, and he thus has no option but to continue relying on Decker who, by Kirk's own admission, has been proven correct on several of their disagreements.
* FridgeHorror: V'Ger's "entire journey" becomes a lot scarier when one takes into consideration [[spoiler:that V'Ger basically murdered countless innocent races as it absorbed them in its quest for knowledge.]]
** On a more meta level, Kirk pushing Rand out of the way during the transporter malfunction was a serious error in judgement (that was most likely dictated by the writers working around Shatner's ego). At that point, Rand had likely been a transporter engineer longer than she'd ever been a yeoman, and although Kirk probably understood the basics of how to operate a transporter system, it's highly unlikely he would have had the specialized systems knowledge that she'd have acquired in the five or so years she'd been doing it. If there was still a chance of saving Sonak and Ciana, Kirk taking over the console probably doomed it. (As it was, subsequent appearances of Rand in different departments, and eventually as Sulu's first officer aboard the Excelsior, make it likely that the trauma of the incident ended her career as a transporter chief on the spot. Kirk's actions would not have helped.) Likely the only thing that saved Kirk's career was that in the rush of dealing with the V'Ger crisis, no one bothered to check the event logs from the incident.
*** In the novel, Kirk actually dwells on whether he should have done that, and that he was not proficient at operating the console. It's a bit strange that the movie doesn't highlight this at all, considering it's the exact same theme of Kirk swooping in to take command of the Enterprise that he's just not qualified for. Certainly it seems Bones should have brought it up when he was questioning Kirk's motivations and behavior. Two people died because Kirk was demanding engineering go faster, and then he butted in during the accident and took the controls from the certified operator.

* HarsherInHindsight: Decker's wanting to meld with V'Ger not ten minutes after the latter is described as a child might take on a whole different meaning in the wake of the underage sex crimes that actor Stephen Collins was revealed to have committed in 2014...

*** In the novel, Kirk actually dwells on whether he should have done that, and that he was not proficient at operating the console. It's a bit strange that the movie doesn't highlight this at all, considering it's the exact same theme of Kirk swooping in to take command of the Enterprise that he's just not qualified for. Certainly it seems McCoy should have brought it up when he was questioning Kirk's motivations and behavior. Two people died because Kirk was demanding engineering go faster, and then he butted in during the accident and took the controls from the certified operator.