star trek the wrath of khan expanded soundtrack

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La-La Land Releases Expanded, Remastered ‘Star Trek II: The Wrath Of Khan’ Soundtrack

| August 17, 2021 | By: Neil Shurley 34 comments so far

Today La-La Land Records just released a new 2-CD limited edition extended soundtrack for James Horner’s Star Trek II: The Wrath of Khan, which has been totally remastered. There is also a new extensive set of liner notes. TrekMovie talked to the team who put it all together to get the details.

Wrath of Khan soundtrack remastered

“If Genesis is indeed ‘life from death,’ I must return to this place again.”

Good words, and maybe–just maybe–they were in the back of soundtrack producer Neil S. Bulk’s mind when he found out there was a hole in La-La Land Records’ CD release schedule.

“I had thrown out some suggestions,” he said in a recent phone interview with TrekMovie, “and Trek II was one I’d wanted to revisit.”

Bulk worked with veteran music mixer and editor Mike Matessino on Retrograde Records’ 2009 expanded CD release of James Horner’s beloved music for Star Trek II: The Wrath of Khan , and to this day remains very proud of that disc. But in the 12 years since, Bulk felt he’d learned a thing or two about how he could make a few things even better. “It may not be radically different,” he said, “but it would satisfy me.”

Cover of La-La Land’s remastered Star Trek II soundtrack

As it turns out, a surprise awaited him when he requested the master tapes from the studio. “I thought we were going to get the exact same tapes as last time,” he said. “I thought, ‘I know what the inventory is, we’re gonna get these tapes and I can get this done very quickly.’ And what happened was Paramount found a lot more tapes—and it turns out they were the recording sessions. Last time we had selected takes. This time I had the recording session.”

This wealth of material allowed Bulk to create a new two-CD release featuring the original score as presented in the film on disc one, with the original 1982 album release and additional bonus tracks on disc two.

“Everything on the score presentation is from the new high res tape transfers, and so are the bonus tracks. The original soundtrack album tracks are new transfers, but they’re the same tapes that we used for the Retrograde album.” Bulk said that the tracks were also fully remixed and remastered by Mike Matessino. “That specific album program has not been remastered since the first CD came out 30 years ago, so it felt like it was time to do it.”

Back cover and track list for La-La Lands’ remastered Star Trek II soundtrack

One of the bonus tracks, titled “Theme of Star Trek II,” is the first CD release of what was a special edit originally released in 1982 as a 45 rpm single—and it’s only there because your humble reporter told Bulk about its existence. “You’re in the thanks because of that!” he told me. “That was one of those things where I didn’t know that existed 11 years ago, nor was there space for it if I did.” And now we can all enjoy it.

Other bonuses include two tracks originally prepared for—but not used in—the 1982 album (“Kirk in Space Shuttle” and “Kirk Takes Command”) and unreleased alternate takes, including two additional versions of “Amazing Grace.”

“The bagpipes are tuned differently and play in a different key than a traditional orchestra,” Bulk explained, “so they recorded two versions of ‘Amazing Grace’—the orchestra part—in different keys [D and E flat] to see which one they could get closer to the bagpipes. And they went with D. So the E flat recording is new to this release. We also did one where we adjusted the bagpipes to better match the orchestra, because we can do that now, digitally.”

Listen to an exclusive sample of “Kirk Takes Command” from the remastered soundtrack below:

New liner notes

Another feature unique to this release: brand new liner notes from Deniz Cordell, who chose to approach his work in an essay style. “There had already been a terrific track by track dissection that Jeff Bond, Lukas Kendall and Al Kaplan did for the Film Score Monthly/Retrograde Records release,” Cordell said. “It just seemed that to do that again would be redundant. The last couple of liner notes I’ve written in the past few years didn’t have a track by track, and I found it liberating. It allows you to find a different way of talking about everything.”

Cordell’s approach, then, was to write the notes that he would like to read. “A lot of people who are going to get this, like me, probably have the Film Score Monthly edition,” Cordell said. “So I kept asking myself: What can these notes provide, so that they might occasionally say, ‘Oh, I didn’t know that,’ or ‘Oh, I never made that connection,’ or ‘Oh, I have to listen to that track again.’ I really wanted to find something new, so that the notes would sort of justify their existence. Because the release sounds amazing. I don’t think the score has ever sounded better.”

Fist pages from new liner notes for La-La Lands’ remastered Star Trek II soundtrack

A key part of Cordell’s approach was conducting new interviews with director Nicholas Meyer, producer Robert Sallin, former Paramount Vice President and Head of Music Joel Sill, James Horner’s widow, Sara, and many others. In the end, he conducted so many interviews that not all of them could be incorporated into the final product.

“I talked to Walter Koenig, and poor Walter had to end up on the cutting room floor,”

Cordell said. “But even if they’re not quoted directly, everyone I spoke to, their insights and reminiscences all deeply informed the way I approached talking about the score and film, and it’s all reflected in the final writing of these notes. It pieced things together for me in a way where I felt like the finished essay could sit comfortably next to the Film Score Monthly liner notes, where they could live nicely side by side.”

One of Cordell’s favorite quotes came from an interview with Jim Henrikson, who served as music editor for the first two seasons of the original Star Trek series and later became one of James Horner’s most frequent collaborators. Henrikson told Cordell about a musical philosophy that Horner shared with him. “The music’s job isn’t to make you cry. It’s to  allow  you to cry.”

“When he said that,” Cordell remembers, “I thought, well, that has to go into the notes, because it is as sure a crystallization of Horner’s style as I can think of. It really just gets at what makes his film work different from other composers.”

Sample page from new liner notes for La-La Lands’ remastered Star Trek II soundtrack

Available today

The new edition of the Star Trek II: The Wrath of Khan soundtrack went on sale today for $29.98. It is available exclusively as a 2-CD set at lalandrecords.com .

Find more Star Trek merchandise news and reviews at TrekMovie.com .

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HOLY…. ordered.

Wow. This could be a purchase.

I wonder if The Search for Spock will get one more re-do. I didn’t get the expanded OST on release and these two are the only ones missing from my collection. Though I’ve only got 20th Anniversary edition of TMP.

Hmmm…. I’m not so sure this is worth picking up. I do have that last album and as much as I love the score it just doesn’t seem like enough inducement to spend the money. I’ll think on it some more however.

Jumped on this quickly and ordered. I have the ST:TMP special release they did a long time ago and it is amazingly well done. It’s also impossible to find anywhere so glad I bought it when I did.

Tempting, but I would be very happy with an iTunes release too. Digital Hi-Fi has come a long way.

Digital releases are tough to do on an album like this. It takes a 3rd party like La-La Land Records to make a deal to combine material owned by one entity with material from another company. In the case of Star Trek II, the original album tracks are licensed from Warner Music Group while the unreleased material belongs to Paramount Pictures.

La-La Land Records would not be granted the digital rights, so the best way of releasing this is on CD.

Thanks for the reply Neil!

For people who want a nice digital copy, buy the CD to support La-La Land’s efforts and just rip the CD in a lossless format and call it a day :-)

That’s exactly what I do with all of the things I buy from La-La Land/Intrada/Varese. The problem with this specific release is that when you rip it in anything other than Windows Media Player, it places several tracks in their own folders and containers, and mis-identifies the artist as the track name, probably as a result of the reasons you mentioned with property vs licensing. Quite a mess to clean up and get it right.

there are only two programs you should use for ripping CDs to lossless or lossy file formats.

for windows, use exact audio copy: https://www.exactaudiocopy.de/en/index.php/resources/download/

for macOS, use XLD: https://sourceforge.net/projects/xld/

both pull tags from freeDB/CDDB, and all of those tags are editable before ripping (in case there are mistakes).

What about a vinyl release was that at all considered.

This was always intended as a CD release.

I’m leaning toward ordering one, but…

I’ve heard that in most digital media, a higher res original *does* sound better in a lower res final… particularly as explained in articles I’ve read about Buray and DVD. If I understand correctly, the audio source material for this new CD is higher res than CD audio (but can’t be released as a FLAC download, for example, for reasons Matt explains in a comment).

Can anyone speak to the probability that the CD will sound different (better?) than the last CD from a few years back? Perhaps the new mix/remaster is what will distinguish it, more than the fidelity?

I’m genuinely asking… not trying to instigate anything… my tech knowledge is more than some, but less than others. 😊

Thanks for any insights you may have!

I have my copy and can say I certainly does. The “sound” is the same, however this release is fuller, slightly warmer, and I can hear more detail, especially in the strings, and the brass, and really everywhere. It is also noticeably not “pinched” in the way the OST or the 2009 Retrograde release were.

The previous releases can be traced back to the 3-channel (Left-Center-Right) digital recording, and an analog backup of that recording, while this release was made from the Analog backup recording made at the same time as the digital recording.

The digital recording at the time was remarkable in many ways, but it was very early digital technology, which meant it was limited in terms of dynamic range and bitrate, leading to it sounding a little pinched etc.

The Analog tapes they found for this release does not have that restriction, and combined with improved production techniques from Neil S Bulk and Mike Matessino, and the high-res digital encoding you mentioned above, make this a considerable upgrade.

If you have not done so, please do yourself a favor and get this.

Thanks for your post… really appreciate it!

And… purchased!

I always wondered why the spacesuits had a handle on the front. Just so a genetically-engineered superman could lift it? Why would he even need a handle? And did he have assistance in real life?

The handle must have been added just for the lift; the suits were reused from TMP, in which they did not have the handles.

Oh, this was an insta-buy!

“The bagpipes are tuned differently and play in a different key than a traditional orchestra,”

This is where we are at with going back to the well so many times.

I wonder what the 2030 re-issue will sound like. I have literally 5 versions of this soundtrack over 30 years.

It’s my fault for buying the same thing over and over again.

Like a poor marksman, I keep. mising. the. target. on the other releases so I’m quite happy to have ordered this one. But – I don’t like them digitally monkeying with key changes decades after the fact. I could just buy a Prague Orchestra cover version if I wanted not quite but almost original orchestrations. I much prefer entirely original recordings (with the standard cleaning and such of course)

We present the adjusted version as a bonus track. The track in the main program on disc 1 is not altered.

woot woot! Make no mistake – I’m quite excited for this to arrive. Thanks for the good work!

The Trek movie that just won’t die. ever. Bow down before KHAAAAAAAN!!!!!!

I ordered it immediately upon hearing about it. I do wish that there were a blu-ray audio version. But, I am happy with this.

After I read this, I needed to take a four hour drive.

Nothing can be better than the windows rolled down, speeding through the summer air, passing and being passed by cars and trucks with BATTLE IN THE MUTARA NEBULA at full blast.

Mutara Nebula AND Genesis Countdown and I agree with you!!

Bit of a late reply, but my mind is on this score and release. I find some cues, such as the above mentioned and especially Surprise Attach have a way of making my accelerator foot heavier …

If only I had a CD player…

Chris, CD players are cheap and plentiful. Ever set foot In a thrift store?

An external cd to attach to a computer via USB ran about $12 the last I looked.

Not even a DVD or Blu-ray player?

Mine just arrived and I was very excited to open it. I haven’t listened to it yet, but upon opening the case to look at disk 2, I’m pretty sure the CD case broke. I’m not messing with it too much so it doesn’t break any further, but the part that’s supposed to swing open, the middle part that the disks are actually sitting on, seems to have not opened on the hinge but actually cracked and is bending. It’s hard to explain. Has anyone else received theirs and experienced anything similar?

I may have spoken too soon. This it might just be how this opens. I’ve never seen it before but my wife seemed to be familiar with it. Hopefully it’s ok!

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La-La Land Records, Paramount Pictures, and Atlantic Records proudly present a limited edition, remastered 2-CD release of legendary composer James Horner’s (FIELD OF DREAMS, GLORY, TITANIC) original motion picture score to the classic 1982 sci-fi blockbuster STAR TREK II — THE WRATH OF KHAN, starring William Shatner, Leonard Nimoy and DeForest Kelley, and directed by Nicholas Meyer. Considered to be one of James Horner’s finest scores, the deluxe reissue showcases this masterwork sounding better-than-ever and expanded with previously unreleased alternate tracks. Disc One features the score presentation, while Disc Two presents the re-mastered 1982 Original Soundtrack Album and additional music. Produced by Neil S. Bulk and Mike Matessino, and re-mixed and mastered by Mike Matessino, this special 2-CD release is limited 10,000 units and features art design by Jim Titus. Disc One, and the additional score tracks on Disc Two, have been re-edited and remixed in hi-res from newly discovered 1st generation analog 3-track stereo tapes. The original soundtrack album has been newly remixed from digital-to-analog 3-track stereo tapes made in 1982. The exclusive, in-depth liner notes by writer and musical director/conductor Deniz Cordell feature new comments from Sara Horner, Nicholas Meyer, producer Robert Sallin, former Paramoun Music President Joel SIll, and longtime Horner collaborators Jim Henrikson and J.A.C. Redford.

We had an opportunity to hear directly from the soundtrack’s co-producer  Neil S. Bulk , who was happy to share his insight into just what it took to bring this new  Wrath of Khan score collection to light — and why this Star Trek II CD release is different from the 2009 ‘expanded edition’.

by Neil S. Bulk

When work began on this new Star Trek II: The Wrath of Khan soundtrack in January 2021, I expected to get the same tapes that were used for the previous expanded release, an album co-producer Mike Matessino and I worked on in 2009.

Those tapes had one recording of every cue and the thought was this new album could be wrapped up quickly. It turns out I didn’t know enough about the recording of the score and with all of the new information available, I’d like to share some of these details.

To begin, the score was recorded digitally using a system developed by 3M in the late 70’s that operated at 50kHz-16 bit ( source ). This was cutting edge technology 40 years ago and the original album cover proudly said “Digital Recording” while the vinyl side labels mentioned the word “digital” twice, driving the point home.

Running concurrently at the sessions were two analog back-up machines: the first was a 2” 24-track unit, which had the same music content as the digital 1” except for the stereo LCR mixes, which were recorded to a separate ½” machine. These live analog reels were recorded in case the digital recordings had problems and there’s a good chance these tapes were never used.

Yet another set of analog reels were created after scoring. As mentioned, the primary source for the film production was 32-track digital. Once the final performance edits were completed on digital tape (thus not incurring any generational loss inherent to analog) these were copied to analog tape in 1982 as protection. These ½” three-track stereo LCR safety reels, coming from digital and played through converters of the era, preserve the frequency response of the digital recordings and were used for the previous expanded album.

Readers may be wondering, “If there’s a digital recording why not stick with that and forget about all of these analog tapes?”. It’s a fair point, however the reality isn’t that simple. The 3M digital format is practically extinct. There are very few machines left in operation that can play the tapes properly without errors. Due to scarcity the transfer costs are also far more than analog tape.

On top of that, the tapes operate at a sampling rate that isn’t compatible with modern digital audio workstations, so a conversion to analog has to occur, meaning you’re still at the mercy of 40+ year old digital technology. Instead, by going with the fully analog tapes the score to Star Trek II could be re-edited, re-mixed and mastered in genuine hi-res audio for the very first time.

All of the ½” analog tapes have been newly transferred into hi-res 96kHz/24-bit digital. That higher rate doesn’t increase the frequency response of the digital-to-analog safety reels, but it does preserve the creative intentions of the editors and engineers. However, for the newly uncovered live analog tapes this new hi-res transfer captures a greater frequency response with better precision than any previous digital recording or transfer of the score. It’s these first-generation tapes that became the primary source for this new release.

Disc 1 of this collection presents the score in film order from the new hi-res transfers of the live ½” tapes. Disc 2 presents the original album from the ½” digital-to-analog safety reels, preserving work done in 1982. The additional music on disc 2 (apart from Craig Huxley’s “Genesis Project” which was sourced from the composer) is derived entirely from the ½” analog session tapes.

One of the advantages of having the full scoring sessions is that we can now document the recording of this score; above is a breakdown that shows the takes used for every cue on the album and the dates they were recorded. Titles here are from the legal cue sheet (and may differ with the final titles used on the album).

If you want to add this new Star Trek II: The Wrath of Khan expanded score to your own collection, you can head over to La-La Land Records’ official site now — where you can explore the entire track listing for the new 2-CD soundtrack set, and place an order for shipment today at a price of $29.98 USD.

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Den of Geek

Star Trek II: The Wrath Of Khan expanded soundtrack review

A seminal work for composer James Horner is honoured in this very welcome re-release from the 1982 movie...

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The soundtrack collecting hobby is all about holy grails. Those albums which miss off a great deal of music, or which only had an LP release, or were never, ever issued at all. We all have them, and when one of them is ticked off the list it’s not just another CD to purchase, it’s a major event, usually treated like most people would treat the release of a big blockbuster or the latest Harry Potter book.

Recently people have been striking some pretty big titles off their lists – such as last year’s expanded Indiana Jones collection or the Superman “Blue Box” – but now one has come along which can probably count as a lot of enthusiasts’ one real holy grail. Film Score Monthly’s Star Trek II: The Wrath of Khan .

As most people know, Star Trek II was on a much tighter budget than its predecessor, mostly due to The Motion Picture ’s gigantic expenditure. As such luminaries such as Jerry Goldsmith – who memorably composed one of the franchise’s most recognizable and beloved themes for TMP – were financially out of reach of director Nicholas Meyer and producer Harve Bennett, they had to turn to the lesser-known composers, and came across a young man named James Horner.

At the time, Horner was used to working on more restrictive budgets after working with infamous producer Roger Corman on movies such as Battle Beyond The Stars and Humanoids From The Deep , and had started to score bigger budget films such as Michael Wadleigh’s Wolfen and Wes Craven’s Deadly Blessing .

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Horner was asked by Corman to score Battle Beyond The Stars in a similar way to John Williams’ Star Wars and Goldsmith’s Star Trek , of which Horner was more than up to the task, creating a score that certainly had much influence on Star Trek II , as did Wolfen .

Much of Horner’s “influence” from his previous scores has been hotly debated for decades, so I’m not going to go into it here, but there’s a certain sense of evolution from listening to BBTS , Wolfen and then Khan , with Horner refining his style until he has the confidence to let it open up, and subsequently let him create one of the most respected and loved film scores of all time.

Star Trek II originally had an LP release that ran forty-five minutes, which in itself was a great album, containing most of the score’s highlights. However, for the completists the FSM release now features the complete seventy-two minute score, along with one alternate cue. As before, the new album starts with Horner’s famous ‘Main Title’.

One of the things that Horner did differently to Goldsmith was bring back Alexander Courage’s opening fanfare from the television series, and it opens the track here, as it has done with the majority of the Trek titles since, before giving way to the film’s main theme a.k.a. Kirk’s theme, a sweeping nautical cue that instantly conjures up epic images of great sailing ships and the open ocean, while simultaneously saying “This is STAR TREK!”

But while Kirk’s theme is heroic and adventurous, the theme for Ricardo Montalban’s notoriously villainous – and charismatic – Khan is downright evil, and creepy to boot, which fits with some of the things he does. Having such a huge part to play as the character does, Horner gives him a lot of great moments, not least his introduction in ‘Khan’s Pets’ (a misnomer as the Ceti Eels are not introduced while this cue plays in the film), where Horner gives an incredible build-up to his unmasking, using descending strings to play up the tension as he slowly reveals himself.

In fact the early cues give the character a very dark yet surprisingly restrained underscore, more evocative than descriptive, and while Horner refuses to underscore every one of Khan’s words, when he does at Khan’s “This is Ceti Alpha V!” moment, it’s not as much of a crescendo as you’d have thought.

His music for the malevolent ‘last surviving indigenous life-forms of Ceti Alpha V’ in ‘The Eels of Ceti Alpha V’ is pretty classically horrifying, as you might expect. The scoring of the eels is a joy to behold, immediately aurally describing their slithery and insidious nature to a tee and at the same time probably ensuring he got the gig for Aliens. There’s a lot of creepy, even haunted house-esque music here, especially when the crew are searching Regula I, which helps amp up the tension and the seriousness of the film that comes into play with Khan’s nefarious actions.

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Completing the trio is Horner’s theme for Spock. Wildly different from Goldsmith’s very alien theme for the first picture, Horner pays much more attention to the human side of the character – as appropriate to the film – and therefore setting up the heartbreak of what will happen later. It’s a beautiful theme, very humble yet still having an alien quality to it, like it might possibly have been composed by Spock himself had he brought his lute along.

Back to Kirk, and as you know, it’s the law that if you have a scene where the Enterprise has to leave (or enter) its space dock, it must be scored with as much fanfare and pomp as humanly possible, and Horner doesn’t disappoint. Returning to the nautical material – which is somewhat ironic as Goldsmith’s original drydock material for The Motion Picture was rejected for being too seafaring – this is basically an excuse to show off Saavik’s piloting skills while using up lots of stock footage from the first movie. And it works beautifully, very militaristic in its percussion but lots of noble horns telling us we are basically following Horatio Hornblower, as Nicholas Meyer intended.

As everyone knows, one of the things Khan is most famous for is its plentiful space battles. Well, okay there’s only really two, but they’re really exciting and pretty long. Luckily Horner revels in this, and gives us nine minutes and eight seconds of bombastic genius as he mixes Khan and Kirk’s themes with fantastic results in ‘Surprise Attack’ and ‘Kirk’s Explosive Reply’. Horner is brilliantly illustrative here, as he runs between the short harsh motif for Khan, and Kirk’s longer and more heroic theme, adding more identification between the shots of the Enterprise and the Reliant so we – ergo the public – can tell them apart.

The second track is especially great, underscoring the build up to Kirk’s reply, a brilliantly-conceived set piece where Kirk and Spock exploit the Reliant’s “prefix code,” thus allowing them to order the enemy ship to lower its shields to leave them open to attack.

The first half of the cue works with Kirk’s distraction methods while they try and track down the code, with a tense but almost playful use of repeating strings, while Kirk’s theme plays over the top, occasionally punctuated by Khan’s menacing motif. This builds repeatedly, with percussion playing a big part as they execute the plan and Khan tries to figure out how and why this is happening, followed by a blast of Kirk’s theme as the Enterprise fires and Khan’s theme as the Reliant finally retreats and Kirk and Co. are left to survey the damage. Great stuff.

This excellent material continues thematically in ‘Battle In The Mutara Nebula’, where Kirk and Khan have a faux-submarine battle amidst swirly semi-psychedelic clouds. It generally follows the same pattern of the aforementioned tracks, running between Kirk’s theme, Khan’s motif, and the stirring Enterprise theme as we cut between starships, but Horner uses the themes beautifully, and in different forms, to illustrate the tension and danger involved in this titanic battle of wits. But the really great material comes at the beginning with Kirk’s call to arms as the crew prepares for the battle, using a jaunty version of the Enterprise’s theme before segueing into a triumphant reading of Kirk’s own theme, before Khan and his motif take over.

One thing that The Motion Picture did not really have that much of – and that Khan supplies in bulk – is actual real emotion, which you might well expect, given that the picture culminates in the death of one of the main characters. This brings together a final reel that is almost equal to the finales of the typical milestones for this type of scoring; Star Wars and The Empire Strikes Back .

Starting with ‘Genesis Countdown’, Horner brings up a pulsing rhythm to illustrate the onset of the Genesis Device, building quickly before kicking in with an stunning explosion of brass as the Enterprise turns to escape, intercutting tense material illustrating Spock trying to fix the engines with incremental reminders of Khan and Kirk, all heroically building until the Enterprise warps away, the Reliant explodes, and everybody is happy.

Or not, as the case may be, as while the Genesis theme is playing away and there is a big sigh of relief from everyone concerned, Kirk realises his friend’s seat on the bridge is empty. Cue a soaring version of the Enterprise theme as Kirk runs through the ship, only to be held back as he sees Spock, on the verge of death from radiation poisoning.

Spock’s theme returns in ‘Spock (Dies)’ as the Vulcan explains to Kirk that this is his no-win scenario, and that he ‘always has been, and shall be’ his friend, leaving us with a reverent reading of Courage’s original series theme as he passes. ‘Amazing Grace’ is one of the iconic musical moments of the film, where Scotty plays his bagpipes to honour his fallen comrade, before the orchestra takes over to provide a lush arrangement of John Newton’s hymn, reportedly at Horner’s protest.

As the film winds up, ‘Epilogue’ returns to a ponderous and hopeful version of the Enterprise theme as Kirk reads his Captain’s Log, segueing to an equally optimistic reading of Spock’s theme as Kirk, McCoy and Carol contemplate Spock’s passing. As Kirk proclaims ‘I feel young’, we’re taken away to the newly-formed Genesis planet where the Enterprise and Spock themes soar as we see the Vulcan’s coffin, before the original series theme returns as Leonard Nimoy voice echoes with ‘Space. The final frontier…’ before it runs into ‘End Title’, where we’re given a representation of the film’s main themes.

Make no mistake, this track (‘Epilogue’) is stunning and serves as a reminder of how talented James Horner really can be when he puts his mind to it (which – sadly – is not that often). It gives a brilliant end to the film and the score and, well, it’s certainly something to show his grandchildren to one day.

As this is a ‘Newly Expanded’ version of Star Trek II , and this album represents the film’s complete score, there’s quite a bit of new material to pore over, and in fact there are a few cues that fans have been dying to own for a while.

I’ve covered some of it with ‘Spock (Dies)’, ‘Amazing Grace’ and ‘The Eels of Ceti Alpha V’, the latter of which is paired with ‘Kirk In Space Shuttle’ which provides a brief but magnificent cue mixing material from Kirk’s theme and the original series theme.

There’s more of Horner’s fine nautical heroics in ‘Kirk Takes Command/He Tasks Me’, which also features the underscore for Khan’s ‘I’ll chase him…’ bit, and the rest of the climactic space shenanigans in ‘Enterprise Attacks Reliant’. For those of you who are fans of Horner’s more creepy and atmospheric side, there’s some fine eerie work in ‘Inside Regula 1’, ‘Brainwashed’, and ‘Captain Terrell’s Death’, not to mention ‘Buried Alive’, which I’ll note does not contain Shatner’s now-famous and much parodied “KHAAAAANNNNN!!!!” cry.

However, more beauty can be found in ‘The Genesis Cave’, even if it is rather short-lived. The ethereal and slightly surreal music for the cave in question is a lovely piece and fitting for the semi-Biblical trappings of the scene in question.

There’s even a little bit of source music provided in Craig Huxley’s ‘Genesis Project’, which underscores Carol Marcus’ video proposal for Project Genesis. I’m not sure whether it’s supposed to be diagetic or not, but I suppose if you’re pitching a big project like this to someone it’s a good thing to have a kickass score behind your images. The cue is very minimalist and eerie and fits the visuals very well, although it’s a strange but curious interlude in the listening experience, being that the track is placed on the album based on its chronological appearance in the film, basically towards the middle.

Probably the biggest coup for this album is the inclusion of the original ‘Epilogue’. As you may well know – and goodness knows it’s been documented enough times – the film originally ended with Kirk’s ‘I feel young’ bit and Nimoy’s narration, before Harve Bennett and Paramount decided that they would leave a thread hanging for a possible return of Spock.

The music had already been recorded, but they went and shot the scene of the torpedo on the Genesis planet and then asked Horner to rewrite what he had done to include this new sequence, which ended up as the ‘Epilogue’ we’ve all come to know and love. The original cue is very similar to the revised cue, with a few minor differences in the arrangement, although seems very brief, possibly because we are all used to the Genesis bit in the middle that it doesn’t have. For all the fans complaining that Nimoy’s voice is still on the original track, this provides a very similar orchestration of that section sans narration.

Together with this amazing musical package, we also have some very cool artwork for the CD case itself, the cover of which uses Bob Peak’s amazing art for the movie poster. But more importantly – and as we’re used to on the better specialist releases such as this – we get a bundle of liner notes going over the finer points of the film and the score track by track, as written by Jeff Bond, FSM head honcho Lukas Kendall, and Alexander Kaplan. It’s a great release, and as stated at the beginning, one that’s been anticipated for decades.

I personally wouldn’t say it’s as good as Star Trek – The Motion Picture , but it’s still a sure-fire five-star score and fits the film beautifully. Unfortunately, due to the various rights issues surrounding the soundtracks, it’s not a sure thing that we’ll see more of the Trek scores expanded any time soon. But don’t let that dampen your enthusiasm – this is an essential purchase.

STAR TREK II: THE WRATH OF KHAN (Complete!) is out now .

Charlie Brigden

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STAR TREK II – THE WRATH OF KHAN: LIMITED EDITION (2-CD SET)

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Music by James Horner

La-La Land Records, Paramount Pictures and Atlantic Records proudly present a limited edition, remastered 2-     CD release of legendary composer James Horner’s (FIELD OF DREAMS, GLORY, TITANIC) original motion picture score to the classic 1982 sci-fi blockbuster STAR TREK II – THE WRATH OF KHAN, starring William Shatner, Leonard Nimoy and DeForest Kelley, and directed by Nicholas Meyer. Considered to be one of James Horner’s finest scores, this deluxe reissue showcases this masterwork sounding better-than-ever and expanded with previously unreleased alternate tracks. Disc One features the score presentation, while Disc Two presents the re-mastered 1982 Original Soundtrack Album and additional music.

Produced by Neil S. Bulk and Mike Matessino, and re-mixed and mastered by Mike Matessino, this special 2-CD release is limited to 10000 units and features art design by Jim Titus. Disc One, and the additional score tracks on Disc Two, have been re-edited and remixed in hi-res from newly discovered 1 st generation analog 3-track stereo tapes. The original soundtrack album has been newly remixed from digital-to-analog 3-track stereo tapes made in 1982.

The exclusive, in-depth liner notes by writer and musical director/conductor Deniz Cordell feature new comments from Sara Horner, Nicholas Meyer, producer Robert Sallin, former Paramount Music President Joel Sill, and longtime Horner collaborators Jim Henrikson and J.A.C. Redford.

CLICK HERE to view the hi-res cover art.

TRACK LISTING:

Disc 1  65:52 Score Presentation 1. Main Title*  3:11 2. Surprise On Ceti Alpha V  :48 3. Khan’s Pets  4:23 4. The Eels Of Ceti Alpha V / Kirk In Space Shuttle*  3:57 5. Enterprise Clears Moorings  3:36 6 .Chekov Lies*  :43 7. Spock  1:13 8. Kirk Takes Command* / He Tasks Me  2:12 9. Surprise Attack  5:10 10. Kirk’s Explosive Reply  4:05 11. Inside Regula One 1:51 12. Brainwashed  1:27 13. Captain Terrell’s Death  2:01 14. Buried Alive  1:00 15. The Genesis Cave  1:13 16. Battle In The Mutara Nebula (Film Version)  8:11 17. Enterprise Attacks Reliant  1:34 18. Genesis Countdown (Film Version)  6:38 19. Spock And Kirk*  1:56 20. Amazing Grace  1:29 21. Epilogue* / End Title* (Film Version)  8:45

Disc 2  72:33 Original Soundtrack Album 1. Main Title*  3:10 2. Surprise Attack  5:10 3. Spock  1:14 4. Kirk’s Explosive Reply  4:05 5. Khan’s Pets  4:22 6. Enterprise Clears Moorings  3:37 7. Battle In The Mutara Nebula  8:11 8. Genesis Countdown  6:37 9. Epilogue* / End Title*  8:44 Total Original Album Time: 45:09

Additional Music 10. Genesis Project**  3:14 11. The Eels Of Ceti Alpha V (Discrete)  2:41 12. Kirk In Space Shuttle* (Discrete)  1:22 13. Kirk Takes Command* (Proposed Album Take)  1:43 14. Buried Alive (Alternate Take)  1:02 15. Amazing Grace (Alternate)  1:33 16. Epilogue* / End Title* (Alternate)  7:33 17. Wild Orchestra  1:37 18. Amazing Grace (Alternate Bagpipes)  1:30 19. Theme Of Star Trek II* (Edited End Title)  4:51 Total Additional Music Time:  27:24 Total Collection Time: 2:18:25

*Contains Theme From Star Trek (TV Series) by Alexander Courage and Gene Roddenberry ** Composed and Performed by Craig Huxley

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Star Trek II: The Wrath of Khan – Original Motion Picture Soundtrack 2XLP

This year marks the 50th Anniversary of Gene Roddenberry's inimitable Star Trek franchise and Mondo is honored to kick the year off with an expanded soundtrack release of arguably one of the greatest chapters in Trek history: The Wrath Of Khan.

This expanded edition soundtrack features audio never before released on vinyl. Special thanks to Mike Mattesino, Lukas Kendall, and Neil S. Bulk for their work on the remaster for Retrograde Records, and their help with bringing this album to life on Vinyl.

This deluxe 2XLP vinyl release features original artwork by Matt Taylor, and has been remastered for vinyl by James Plotkin.

Pressed on 2X 180 Gram Black Vinyl.

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Remastered ‘Star Trek II: The Wrath of Khan’ Soundtrack Album Announced

Here’s the track list of the album:

Score Presentation: 1. Main Title (3:11) 2. Surprise On Ceti Alpha V (0:48) 3. Khan’s Pets (4:23) 4. The Eels Of Ceti Alpha V / Kirk In Space Shuttle (3:57) 5. Enterprise Clears Moorings (3:36) 6. .Chekov Lies (0:43) 7. Spock (1:13) 8. Kirk Takes Command / He Tasks Me (2:12) 9. Surprise Attack (5:10) 10. Kirk’s Explosive Reply (4:05) 11. Inside Regula One (1:51) 12. Brainwashed (1:27) 13. Captain Terrell’s Death (2:01) 14. Buried Alive (1:00) 15. The Genesis Cave (1:13) 16. Battle In The Mutara Nebula (Film Version) (8:11) 17. Enterprise Attacks Reliant (1:34) 18. Genesis Countdown (Film Version) (6:38) 19. Spock And Kirk (1:56) 20. Amazing Grace (1:29) 21. Epilogue / End Title (Film Version) (8:45)

Original Soundtrack Album 1. Main Title (3:10) 2. Surprise Attack (5:10) 3. Spock (1:14) 4. Kirk’s Explosive Reply (4:05) 5. Khan’s Pets (4:22) 6. Enterprise Clears Moorings (3:37) 7. Battle In The Mutara Nebula (8:11) 8. Genesis Countdown (6:37) 9. Epilogue / End Title (8:44)

Additional Music: 10. Genesis Project – Craig Huxley (3:14) 11. The Eels Of Ceti Alpha V (Discrete) (2:41) 12. Kirk In Space Shuttle (Discrete) (1:22) 13. Kirk Takes Command (Proposed Album Take) (1:43) 14. Buried Alive (Alternate Take) (1:02) 15. Amazing Grace (Alternate) (1:33) 16. Epilogue / End Title (Alternate) (7:33) 17. Wild Orchestra (1:37) 18. Amazing Grace (Alternate Bagpipes) (1:30)

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James Horner|Star Trek II: The Wrath of Khan (Original Motion Picture Soundtrack)

Star Trek II: The Wrath of Khan (Original Motion Picture Soundtrack)

James Horner

• Released on 3/4/22 by Rhino Atlantic
• Main artists: James Horner
• Genre: Film Soundtracks

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James Horner, Composer, Orchestration, MainArtist

Marketed by Rhino Entertainment Company, a Warner Music Group Company., © 1982 Atlantic Recording Corporation, a Warner Music Group Company. All Rights Reserved. ℗ 1982 Paramount Pictures

About the album

• 1 disc(s) - 9 track(s)
• Total length: 00:45:27
• Composer: James Horner
• Label: Rhino Atlantic
• Genre: Soundtracks Film Soundtracks

Marketed by Rhino Entertainment Company, a Warner Music Group Company., © 1982 Atlantic Recording Corporation, a Warner Music Group Company. All Rights Reserved. Marketed by Rhino Entertainment Company, a Warner Music Group Company., ℗ 1982 Atlantic Recording Corporation, a Warner Music Group Company. All Rights Reserved.

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Star Trek II: The Wrath of Khan (soundtrack)

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Overview [ ]

Following the perceived creative failure of Star Trek: The Motion Picture , director Nicholas Meyer and the creatives behind the follow up project sought a different tone for The Wrath of Khan . Enter composer James Horner, a relative unknown at the time, getting his big break with his introduction into the Star Trek universe, long before the music of Titanic brought him Oscars and fame.

In keeping with that new tone, and Meyer's vision of " Horatio Hornblower in outer space," Horner's score took on a distinctly nautical sound, far from Jerry Goldsmith 's sweeping fanfares in the previous effort. Horner's score is harsher and edgier, with abrasive brass leading driving strings and clanking percussive elements. And yet, subtle hints of Goldsmith's orchestrations exist within the music of The Wrath of Khan such as the return of the Blaster Beam , a unique musical instrument popularized by its use as an accompaniment to the V'ger cloud in Goldsmith's score for Star Trek: The Motion Picture .

Identifiable themes exist throughout, including motifs for Captain Kirk and the crew of the Enterprise , Khan Noonien Singh , and the renegades aboard the Reliant , and a stand-out theme for Spock - that returned as the opening fanfare of Star Trek III: The Search for Spock .

While considered by many to be one of best (if not the absolute best) scores of the Star Trek films , Khan is nevertheless more about motifs and features fewer memorable – or hummable – marches than films like The Motion Picture and even Cliff Eidelman 's Star Trek VI: The Undiscovered Country . Still a benchmark in Star Trek and action film music in general, Khan set a standard to be expanded upon by other composers and Horner himself. This outing was widely considered the formative work in Horner's career, which still echoes with elements from his work in Star Trek .

The original version of the album was issued on LP and cassette by Atlantic Records in conjunction with the film's original release in 1982. In 1990, after securing the rights for re-release of both of Horner's Star Trek film scores, independent label GNP Crescendo issued them on compact disc for the first time (and again on cassette), each preserving their original track list and runtime.

An expanded release of this score was issued in 2009 on the Retrograde records label, including multiple previously-unissued cues, and then again, with the same track listing, in 2021 by La-La Land Records.

The cues presented on the original commercial release do not follow the order they are heard in the film, presumably for strictly musical reasons. In the film, the cues are heard in the following order: 1, 5, 6, 3, 2, 4, 7, 8, 9.

Track listing [ ]

See also [ ].

• Star Trek II: The Wrath of Khan (expanded soundtrack)
• 2 ISS Enterprise (NCC-1701)

Star Trek II: The Wrath of Khan Original Motion Picture Soundtrack

June 4, 1982 9 Songs, 45 minutes ℗ 1982 Paramount Picutres Corporation. Marketed by Rhino Entertainment Company, a Warner Music Group Company.

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Soundtrack Information

Star Trek II: The Wrath of Khan - Vinyl Edition

Release Date: January 13, 2016

Format: Vinyl

• Star Trek II: The Wrath of Khan (1982)
• James Horner

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• Official Site

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One of the Most Underrated Star Trek Films Is Far Better Than Fans Remember

On the 40th anniversary of Star Trek III: The Search for Spock, the Leonard Nimoy-directed movie is a better film than fans thought at the time.

• Star Trek III: The Search for Spock is seen as one of the "bad" movies starring the original cast.
• On its 40th anniversary, it is unquestionably a classic Star Trek installment that should be beloved.
• It was also a triumph of low-budget filmmaking from "novice" director Leonard Nimoy.

Among fans of Gene Roddenberry's science fiction universe there is a saying about the feature films: "the even ones are good, the odd ones are bad." At least, when it comes to the films starring the original cast. However, Star Trek III: The Search for Spock is unfairly tainted by this belief, and 40 years after its debut, it's a better film than it gets credit for. The unlikely journey the crew of the USS Enterprise took from Star Trek: The Original Series , its cancelation in 1969, to leading a feature film a decade later is historic.

Paramount, seeing the successes rival studios had with Star Wars and Close Encounters of the Third Kind , wanted to do their own big-budget, sci-fi spectacle film. Meanwhile, passionate fans clamored for more Star Trek . The first film had its share of struggles, but Star Trek: The Motion Picture also had its merits. Still, fans barely recognized the characters and the film's plodding pace left fans wanting. Similarly, Star Trek V: The Final Frontier suffered from a visual effects company that couldn't deliver on the ambition of its story. While these entries are classics in their own right, the criticism surrounding them is, at least, fair. The Search for Spock , however, isn't just a good movie, it's also the film that best captures the spirit of the television series.

It Was a Long Road Getting from The Original Series to Star Trek III

One of star trek's best new characters reclaimed a problematic trope.

Star Trek: The Motion Picture suffered chiefly from Paramount pre-selling the film to theaters for a release date when no script was even completed. The first visual effects company completely whiffed their assignment, and Roddenberry argued constantly with Harold Livingston, the other writer. Still, despite going massively over budget, The Motion Picture was a financial success. Still, because of the difficulties with the film, Gene Roddenberry lost control of Star Trek movies to another former television producer.

Harve Bennett is why Star Trek films succeeded afterwards, applying a television production sensibility to the films. While making The Wrath of Khan , he and Nimoy both realized killing off Spock might be a mistake . Unlike the previous outing, the process of filmmaking was fun. When Star Trek II became an immediate hit, Paramount greenlit a third film. Thanks to quick-thinking on the set the day they shot Spock's death (and an insert created by ILM of Spock's "coffin" at the end), they had a story.

Bennett said in the special features of The Search for Spock home release, this was the easiest film he'd ever written. In order to keep him in the creative mix, Leonard Nimoy got to direct the movie , despite concerns from the studio. Similarly, his fellow castmates were skeptical at first to see one of their own running the set. However, Nimoy's collaborative nature made it a pleasure for all involved, and the story had nice moments for every member of the crew. Yet, the biggest problem was how to bring back Spock in a way that resonated with audiences .

The Search for Spock's Central Conceit Was Improvised by Nimoy

Why spock died in star trek ii: the wrath of khan.

In The Center Seat - 55 Years of Star Trek , Nimoy recounted how Bennett and he dangled a thread for Spock's future. Bennett asked him if there was anything he could do to leave them an "out." Since Spock had just rendered McCoy unconscious with a Vulcan nerve pinch , Nimoy deployed another classic move. Spock mind-melded with McCoy and simply said, "Remember." Star Trek III revealed in this moment, he transferred his "katra" -- the Vulcan soul, ostensibly -- into McCoy's mind . The katra and his body were then supposed to be taken to the planet Vulcan.

Because of the political turmoil caused by the revelation of the Genesis Device and the USS Enterprise slated to be decommissioned, they couldn't do it. Thus, for the first time, Starfleet became the "enemy" of Kirk and the heroes. They had to steal the Enterprise, bust Doctor McCoy out of prison and illegally travel to the Genesis Planet to retrieve Spock's body . This led to a confrontation with the Klingons that the undermanned Enterprise couldn't win. Thus, the beloved ship that had been "home" to the characters and fans for decades was destroyed.

Adding to the cynicism of The Search for Spock , Kirk's newly introduced son David Marcus was killed by a Klingon. While the storytellers saw this as the price he paid for using "protomatter" to create the Genesis Device (an illegal substance), fans were dismayed. The death of Kirk's son, the beloved starship and the antagonism of Starfleet didn't sit right with long-time fans. A contemporaneous review from Starburst magazine lambasted the film saying it was "pretentious" and had a "funereal tone."

Star Trek III Is a Great Star Trek Film Because It's About the Characters First

How star trek's vulcans evolved beyond gene roddenberry's creation.

The Starburst review reflects how Star Trek III was misjudged by people who expected empty action and thrills from the sci-fi of the day. The Search for Spock "is nothing more than a lot of character studies revolving around the qualities of friendship and commitment," Alan Jones wrote. Jones also felt that Klingon commander Kruge was not "a full-blooded villain" like Khan. However, Kruge (played by Christopher Lloyd) was a ferocious and cold Klingon giving fans a proper adventure with Star Trek's best villains for the first time in film.

The Enterprise did not have a full crew on hand, which is why the single Bird of Prey was able to hold them at bay so well. Stealing the USS Enterprise was also a wonderful sequence, utilizing every bridge crew member. Uhura had a fun scene with a young officer she dubbed "Mister Adventure." Sulu got the best guard, who called him "Tiny." Scotty was able to hobble the newest class of ship, the USS Excelsior, with a few turns of a wrench. Chekov had less to do than in The Wrath of Khan but was still vital to defeating the Klingons and rescuing Spock and Saavik.

It's also DeForrest Kelley's best film, playing his "katric madness" to perfection, mixing dramatic and comedic moments. He's genuinely frightening when he's lurking in Spock's quarters, and it's pure comedy when he tries to use the Vulcan nerve pinch on Starfleet guards. Shatner's performance is great, too, specifically when he learns David has been killed. On top of all this, James Horner's score elevates each moment of the film with themes and motifs that immediately feel like classic Star Trek music fans have lived with all their lives.

Even The Search for Spock's Detractors Kind of Like the Film

William shatner is wrong about his regret for kirk's death scene.

To celebrate the 40th anniversary of Star Trek III: The Search for Spock , the podcast Inglorious Treksperts discussed the film with special guest Kevin Feige, certified Star Trek fan and Marvel president. The hosts all said that Star Trek III is not a good Star Trek film, yet while discussing it with Feige and guest Terry Matalas, they kept mentioning great moments, brilliant visual effects and Horner's score. Feige laughingly pointed out how their critique sounded. The film was "bad" except for a collection of great scenes, performances, music and moments. It's the perfect summation of The Search for Spock 's legacy .

The film was done on the cheap, with no location shots at all. Everything took place on set, particularly the Genesis Planet which needed multiple biomes and was rigged to fall apart in the climax. The Enterprise was destroyed, bothering fans more than even Spock's death in Star Trek II . At the time, it was a controversial film that audiences didn't know how to feel about. It was also the third film at a time when a trilogy was usually as far as any film franchise went. That it ended with the caption "And the adventure continues…." Felt like a cop out, at least, until Star Trek IV was announced .

As the middle chapter of a six-film saga, Star Trek III works much better than it did at the time of release. Any deficits in production or even storytelling are dimmed with age, while the great moments are elevated with nostalgia and hindsight. Nimoy was an economical director who understood the material better than any other film director before or since, save perhaps for Jonathan Frakes. At 40 years old, The Search for Spock is a high point of The Original Series cast's films, and it utterly destroys the idea that "odd numbered" Star Trek films are destined to be "bad."

Star Trek III: The Search for Spock is available to own on DVD, Blu-ray, digital and streams on Max.

Star Trek III: The Search for Spock

Admiral Kirk and his bridge crew risk their careers stealing the decommissioned U.S.S. Enterprise to return to the restricted Genesis Planet to recover Spock's body.

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The Best Movies Based on TV Shows — Could The Fall Guy Join This List?

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Earlier this year, we celebrated the best TV shows based on movies … but it goes the other way around, too, you know.

Over the years, many TV shows have made the leap to the big screen as feature films, either as direct continuations with the same cast or as reinventions decades later with a fresh cast and a totally new take on the source material. A lot of those movies crashed and burned — and we have a list for that, too — but some defied the odds and soared, becoming box office hits and Oscar contenders and even winning over viewers who never saw the original TV version.

So with The Fall Guy — an update on the 1980s ABC series — hitting theaters this weekend, we thought we’d honor the greatest movies that started out as TV shows. (And who knows? Maybe Ryan Gosling and Emily Blunt will find a place on this list in the years to come.) Note: This list is rating the best movies in overall quality, not for how faithful they remained to the original series. In fact, some of these took very different angles on the original concept… and we love them for it.

Read on to see which movies made our must-see list, and then hit the comments to remind us of any we missed. Plus, if you’ve seen The Fall Guy : Do you think it earns a spot on this list? 

21 Jump Street

This 2012 buddy cop comedy starring Channing Tatum and Jonah Hill pretty much defined the concept of “loose adaptation”: It took Fox’s ultra-serious Johnny Depp vehicle about cops going undercover in high school and transformed it into a riotous romp, with Tatum and Hill’s cops trying to fit in as high school students and stirring up old feelings of teenage angst. The goofy approach worked, though: Tatum and Hill proved to be a dynamic comedic duo, and the movie grossed over $200 million worldwide, with a sequel —  22 Jump Street — following two years later.

Addams Family Values

1991’s The Addams Family was a grand reintroduction to the ghoulish family we met on TV in the ‘60s, but we’re partial to this 1993 sequel, which got even more deliciously dark. Joan Cusack brought a maniacal glee to the cast as Uncle Fester’s black-widow bride Debbie, while Christina Ricci’s Wednesday enjoyed — OK, barely tolerated — a summer at the unbearably upbeat Camp Chippewa. The sparkling script from Paul Rudnick was packed with pitch-black humor, and we loved every twisted minute of it. 

Jagshemash! Sacha Baron Cohen first introduced the clueless Kazakh journalist Borat on Da Ali G Show , but he took it to a whole new level in this 2006 movie, traveling the country in character and finding prank-comedy gold along the way. The result was one of the most outrageously funny comedies of the decade, breaking box office records and adding catchphrases like “Mah wife!” and “Very nice!” to the vocabulary of every frat boy in America. It also spawned a 2020 sequel, Borat Subsequent Moviefilm , that miraculously managed to recapture nearly all of the first film’s mischievous energy.    

The Blues Brothers

First appearing on Saturday Night Live , John Belushi and Dan Aykroyd’s dapper duo Jake and Elwood Blues exploded in theaters with this 1980 movie musical that featured performances from legends like James Brown, Ray Charles and Aretha Franklin. Throw in incredibly destructive car chases and a script full of quotable one-liners (“We’re on a mission from God”), and a classic film comedy was born. As for the sequel, Blues Brothers 2000 ? Let’s just pretend that never happened.

Charlie's Angels

The original ABC series, led by Farrah Fawcett, Kate Jackson and Jaclyn Smith, was a Top 10 hit out of the gate, thanks to an entertaining mix of crime-solving, glam and camp. The 2000 film starring Drew Barrymore, Lucy Liu and an all-in Cameron Diaz winningly evoked the titular trio’s camaraderie, wink-winked aplenty at the ABC series’ “jiggle television” roots, gave us an (extra-)weird Crispin Glover and threw in ridiculous,  Matrix -style fight moves to boot.

Downton Abbey

When  Downton Abbey  wrapped its six-season run on PBS, we were ready to leave the titular estate in our rearview. We thought we’d seen all that the Crawleys had to offer… but we were wrong. The period drama’s 2019 big-screen debut reinvigorated the franchise, delivering a visually sumptuous experience that upped the stakes and shed refreshing light on several beloved characters. The glamour, the intrigue, the shade — it was everything that fans had come to love, this time cranked up to 11.

The Fugitive

The original 1963-67 ABC series, starring David Janssen as a doctor on the run after being wrongfully accused of killing his wife, was a hit in its own right, but it vaulted to all-time greatness with the 1993 film version, starring Harrison Ford as the accused killer. Tommy Lee Jones brought grit and humor as the U.S. Marshal chasing Ford across the country, and the film became a blockbuster, earning seven Oscar nominations and standing as one of the decade’s most enduring big-screen thrillers.  

A Goofy Movie

Derived from the syndicated series  Goof Troop , this mid-‘90s entry didn’t exactly set the box office on fire. But the family-friendly film — which saw Goofy embark on a cross-country fishing trip with his high school-aged son Max — gained a cult following with its home video release and is now widely considered a classic, thanks in no small part to the film’s soundtrack, which features R&B singer Tevin Campbell as the voice of fictional pop star Powerline.

In the Loop

Prior to his stint on  Doctor Who , Peter Capaldi’s signature TV role was the fiendishly foul-mouthed Malcolm Tucker in the 2005-2012 British political satire  The Thick of It , created by Armando Iannucci ( Veep ). Capaldi’s perennially pissed-off Director of Communications also took center stage in this 2009 theatrical spinoff, deliciously tossing off verbal beatdowns from an Oscar-nominated script at record speed. The film’s cast was stacked, featuring a handful of series regulars (sometimes playing brand-new characters) alongside comedy all-stars like Steve Coogan and a pre- Veep  Anna Chlumsky. Our favorite “guest star,” however, was  The Sopranos’  James Gandolfini as an American general who went toe-to-toe in gloriously profane barbs with Tucker and  almost  came out on top. But Capaldi’s character demanded the final word at all times, so let’s end with one of his more gentle sign-offs: “F—ity bye.”

The Lizzie McGuire Movie

Say the words, “Hey now,” and watch an entire generation’s serotonin levels instantly rise as fond memories of this iconic movie based on the Disney Channel series starring Hilary Duff burst through in Technicolor. While the show focused on Lizzie’s mundane life, the 2003 film allowed the normally shy teen to reinvent herself as a famous pop star in a fun case of mistaken identity. It had all the makings of quality early aughts entertainment: Duff in dual roles, a Vespa ride with a cute boy through scenic Rome, a stellar fashion montage and a bubblegum pop soundtrack featuring the breakout song, “What Dreams Are Made Of,” which really summed up the whole experience. We couldn’t ask for anything more… except, perhaps, Disney reversing course on that cancelled revival .

Mission: Impossible

The CBS spy series with the ultra-cool theme song got the big-screen treatment in 1996, with Tom Cruise starring as secret agent Ethan Hunt. The film featured a number of dazzling action sequences — who can forget Hunt dangling inches off the floor while hanging from the ceiling? — and raked in big bucks at the box office, kick-starting a billion-dollar film franchise that’s still going strong today. The stunts have only gotten bigger and more outrageous with each installment, including last year’s Mission: Impossible – Dead Reckoning , but we’re still savoring the relatively small-scale pleasures of the original film.

The Muppet Movie

After a couple seasons of The Muppet Show had aired, Kermit and the gang kept movin’ right along to the big screen with this 1979 adventure, which saw Kermit head to L.A. to pursue showbiz stardom while avoiding the evil grasp of frog leg hawker Doc Hopper. The Muppet Movie was a smash hit, leading to a number of sequels, and it remains a family classic to this day, introducing us to the wonders of Kermit riding a bike as well as the timeless tune “Rainbow Connection.”

The Naked Gun

ABC’s silly cop show spoof Police Squad! was axed after just six episodes, but it found a much longer life on film, starting with this 1988 comedy classic. Leslie Nielsen reprised his TV role as hopelessly incompetent cop Frank Drebin, joined by Priscilla Presley (as femme fatale Jane), Ricardo Montalban and, um… O.J. Simpson. The sight gags came fast and furious, and fans turned it into a sleeper hit, which led to two sequels.

Rugrats in Paris

The second (and best) entry in the Nicktoon’s big-screen trilogy tugged at our heartstrings as the Rugrats’ resident scaredy-cat Chuckie — whose mother died shortly after he was born — longed to have a mom, just like the rest of his friends. This paved the way for the introduction of Chaz’s new wife, Kira, as well as a new Rugrat: Chuckie’s stepsister, Kimi. But what really took this sequel over the top was a pair of standout voice performances by Susan Sarandon (who played the child-hating Coco LaBouche) and John Lithgow (as Coco’s accomplice, Jean-Claude).

The CGI may not hold up, but everything else about Mystery Inc.’s first live-action adventure sure does. Not only did 2002’s  Scooby-Doo  perfectly capture the wacky energy of its animated source material, but the core four’s casting — Matthew Lillard as Shaggy, Sarah Michelle Gellar as Daphne, Linda Cardellini as Velma and Freddie Prinze Jr. as Fred — was simply perfect. It was also a critical darling, winning the Kids’ Choice Award for Favorite Fart in a Movie, which Lillard accepted in person.

The Simpsons Movie

It only took them 18 seasons to get there, but Fox’s favorite animated family made their big-screen debut in 2007, with the town of Springfield getting sealed off inside a giant dome after an environmental disaster caused by (you guessed it) Homer. Even though the series had infamously dipped in quality by that point, the movie was surprisingly spry, with lots of meta winks to past episodes, and it earned a robust half-billion dollars at the global box office. Actually, it feels like we’re about due for a sequel, huh? 

South Park: Bigger, Longer & Uncut

Midway through South Park ’ s third season on Comedy Central, creators Trey Parker and Matt Stone brought the animated hit to theaters with a 1999 movie musical, with Stan, Kyle, Cartman and Kenny starting a moral panic after sneaking into an R-rated movie. It combined the show’s outrageously crude humor and vicious satire with a slate of catchy original songs, and it earned surprising critical kudos, even scoring an Oscar nod for the boisterous tune “Blame Canada.”

Star Trek II: The Wrath of Khan

A decade after their TV mission ended, Captain Kirk and the Enterprise crew boldly went to the big screen with 1979’s Star Trek: The Motion Picture . But it’s this 1982 sequel that became not only the best Trek film but also one of the greatest sci-fi films ever made. Ricardo Montalban reprised his TV role as superhuman villain Khan, and his interstellar battle of wills with Kirk was truly epic, with Spock’s noble sacrifice standing as an all-time tearjerker. Many other Trek films soared, but never quite to the heights that Khan reached. 

Twin Peaks: Fire Walk With Me

The big-screen prequel to  Twin Peaks ’ original ABC run premiered at the 1992 Cannes Film Festival, but despite a prestigious Palme d’Or nomination, its reception was decidedly polarizing. Audiences hungry for more quirky humor and cherry pie were instead treated to a full-blown horror movie. But there was no other way to tell the tragic story of Laura Palmer’s final days, and director David Lynch’s searing masterpiece — anchored by Sheryl Lee’s powerhouse performance as a young woman struggling to face her trauma — has been reassessed over the years, earning a Red Room full of overdue critical accolades. And after the film’s echoes were felt throughout 2017’s  Twin Peaks: The Return , it became clear that  Fire Walk With Me  is the (broken) heart of the full  Twin Peaks  experience and a crucial, raw depiction of the series’ most important character. Apologies to Coop, but: “Laura is the one.”

The Untouchables

The real-life showdown between federal agent Eliot Ness and crime boss Al Capone first inspired a 1959-63 ABC series starring Robert Stack, but it was truly immortalized on film in 1987, with Kevin Costner as Ness and Robert De Niro as Capone. With flashy direction from Brian De Palma and a smart script from David Mamet, The Untouchables was an instant-classic gangster movie, and the legendary Sean Connery finally took home an Oscar for his role as gruff cop Jim Malone.

A Very Brady Sequel

Like Addams Family Values , this 1996 follow-up to the perfectly groovy Brady Bunch Movie gets the nod from us for going further and getting weirder than the original. The first film’s notion of putting the cheerfully square Brady family in the grunge-tastic ‘90s was a comedic masterstroke, and the sequel added even more surreal wackiness, like an acid-trip song-and-dance number through a shopping mall. Jennifer Elise Cox was delightfully deranged as middle sister Jan, who invented a fake boyfriend (George Glass!) to compete with older sister Marcia, and the whole gang ended up in Hawaii, just like they did on TV.

Wayne's World

Party time! Excellent! Mike Myers and Dana Carvey’s head-banging basement slackers proved so popular on SNL that they got their own movie in 1992, with Wayne and Garth being tempted to sell out by a slick TV producer played by Rob Lowe. The inventive script gave us plenty of memorable gags like the iconic singalong to Queen’s “Bohemian Rhapsody” (which made the song a hit again), and it rocked the box office with a $120 million domestic gross. As far as inclusion on this list goes? It absolutely is worthy.

The X-Files: Fight the Future

Released in the summer of 1998 between Seasons 5 and 6 of  The X-Files ’ run,  Fight the Future  felt like a supercharged, XL episode of Fox’s hit supernatural drama, which is exactly why it remains so satisfying. Mulder and Scully’s first foray onto the big screen featured elaborate set pieces, a globetrotting continuation of the series’ central mythology arc and some intriguing interpersonal dynamics between David Duchovny and Gillian Anderson’s characters — yeah, we’re talking about that hallway scene — that pollinated storylines that would bloom for seasons to come.

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What about Serenity from short lived Firefly?

I’d add George of the Jungle to this list. It had the wackiness of the original series, as well as a lot of heart.

I agree that both “Brady Bunch” movies are hilarious. It’s surprising how many movies based on old sitcoms or action shows get their laughs by making fun of the original.

Lizzie McGuire is on here, but no Serenity????? Shame TV LINE

Yes – Fall Guy deserves to be on list. The A-Team and Man From Uncle botch deserve love.

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