Critics’ reviews

Star Trek: First Contact (1996)

10 reviews from 10 publications. Critics’ score 79: 5 positive, 1 mixed, 0 negative.

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79
Positive
5
Mixed
1
Negative
0

Most critics welcome Star Trek: First Contact as an energetic science-fiction adventure, with praise clustering around Jonathan Frakes’ direction, the special effects and the Borg’s threatening presence. The shipboard infiltration sequences draw approval for their tension and horror elements, while Patrick Stewart and Brent Spiner receive repeated praise. Several reviews find that the film gives the series a convincing cinema scale without losing its humour, intimacy or interest in humanity and artificial intelligence.

The reservations concern accessibility, characterisation and the mechanics of the plot. Empire finds enough memorable sequences to satisfy fans but sees thin characterisation and an extended television episode; The New York Times is more dismissive, finding the story convoluted and the imagery familiar. The AV Club’s otherwise favourable assessment questions the Borg Queen and Picard’s lingering trauma. The spread is broadly positive, though critics differ over how successfully the film moves beyond television and how much it offers newcomers.

Total Film
13 December 1996
85*

The critic calls the film enthralling, inventive and funny, one of the good Trek entries, with enthusiastic direction from Frakes and bigger, better special effects while retaining the feel of the best TV episodes.

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The AV Club
8 September 2011 · B+ · Zack Handlen
83

The critic finds it a competent, well-paced sci-fi adventure that feels like a proper movie more than its predecessor, with strong action sequences as the Borg invade the Enterprise. They praise the efficiency of the direction and the zombie-like horror elements but criticize plot holes, the introduction of the Borg Queen, and how it handles Picard's lingering trauma.

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The Independent
12 December 1996 · Ryan Gilbey
80*

The critic finds First Contact the only Star Trek movie to truly earn its place on the big screen, praising its mix of grandeur and intimacy along with a balance of humor and darkness.

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Time Out
10 September 2012 · DW
80*

The critic notes the film's limited appeal to non-fans but highlights its effective shift into darker territory via Borg time travel, with tense ship infiltration scenes evoking Alien and strong work from Brent Spiner as Data and Patrick Stewart as Picard.

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Empire
1 January 2000 · Adam Smith
60*

The review notes thin characterization and a plot that feels like an extended TV episode but highlights enough classic moments, strong performances from Stewart and Spiner, and effective key sequences to keep fans happy.

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Los Angeles Times
22 November 1996 · Kenneth Turan

Calls it a page-turner that does everything you'd want a Star Trek film to do, with cheerfulness and style. Singles out the clever plot devices and the menacing Borg villains.

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RogerEbert.com
22 November 1996 · Roger Ebert

Praises it as one of the best Star Trek films, with top technical credits and an ingenious plot involving time travel and the Borg. Singles out the special effects, the Borg Queen, and the handling of ideas about humans, aliens, and artificial intelligence.

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The New York Times
22 November 1996 · Janet Maslin

Finds the film derivative and less innocent than earlier entries, with a convoluted plot that will only appeal to hard-core fans. Singles out the lack of visual novelty and familiar, sometimes violent crises.

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Variety
18 November 1996

Calls it a smashingly exciting sci-fi adventure that ranks among the very best in the franchise. Singles out Frakes' assured direction, the elaborate special effects, and strong performances especially from Stewart and Woodard.

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Paste
22 November 2021 · Kenneth Lowe
85*

The critic considers Star Trek: First Contact the most successful TNG film and argues it best captures the franchise's aspirational vision of unity and progress. He singles out the film's exploration of the Borg as the ultimate threat to individual autonomy and the Federation's ideals for particular praise.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate