Love Long and Prosper.

DISCLAIMER: Russovoir takes pride of taking a film with a pinch of salt. Although while accuracy of review is credible - more credible; throw a bone - had he been a Star Trek fan or had read the The Great Gatsby novel, and while Russovoir's focus is the cinematic aesthetics, including but not limited to, the plot presented and individual performances of actors present, too much salt is bad for your health.

The Enterprise.

Mysterious. Mysterious how Star Trek: Into Darkness is an aura of advancement light years away, seemingly infinite of steel gray and the automatic and the convenient; technical jargon that could've slowly detached and bored Russovoir, and yet, as if like a CT scan that sees through you, Russovoir showed signs of malign emotional reaction. How mysterious, billions of miles away, millions of years into the future Earth, the infinite world of Star Trek was somehow bottled up in the finite scope of human understanding. As if the vastness of the universe doesn't and will not make sense, isn't a stardust fascinating if there aren't human values orbiting around its unknownness, like a covalent atom into another covalent atom to deem valuable.

Surely Star Wars has their own thing going, and that's another story Russovoir couldn't possibly have the interest to dwell on. That being said, Star Trek: Into Darkness, together with the first installment, Star Trek (2009), kept its plot down-to-earth despite in space. The story is simple, not too simple to keep you interested; coherent, as if following the film's ecliptic story line; extrapolative - hear Russovoir out - where which the Star Fleet is the far, far future's Central Intelligence Agency (CIA). It took a while to realize that.

The Enterprise of Jay Gatsby.

Fabulous. Fabulous how American men dress in the 1920's. Affluent American men. Russovoir instantly picked up on it because he found himself on those men; the crisp suits, the ceremonious bow ties, the walk-on-water shoes, fine sweaters, iconic fedoras from which glossy hair is only for the wealthy. Hence a certain cosmetic hair gel was branded after the infamous, poor rich man, Jay Gatsby.

Reportedly a snapshot of the author F. Scott Fitzgerald's experiences on Earth, in America, in 1920's nascent New York, The Great Gatsby is a manifesto of the societal framework and convention in the male-driven, roaring Twenties. As frank as Russovoir is presumptuous, women in the 1920's, with their bobbed hairs and in short skirts, had bodies but no backbones, hence were called a 'flapper'; one who flaps to whoever man has the stronger pull. Indeed, they were a new breed.

Although while that was harsh, and probably it's intrinsic of a man to protect and a woman to be protected, the novel turned celluloid is comparable to Romeo + Juliet (1996); it could be one of the most tragic love stories ever told. And what is this, Leonardo DiCaprio plays Romeo too? It is no coincidence. DiCaprio, at 38, still got it. That ageless romeo-esque charm, only in this case, while as passionate, was classy, awkward, hesitant, suspicious and, as it's always been, fiercely in love. Jay + Daisy. Traces of Marilyn Monroe from My Week with Marilyn (2011) were felt on Carey Mulligan as the handle-with-care Daisy Buchanan. But since both women are broken in their perspective time periods, it can only make sense how it was reminiscent. Enviable, insatiable, delectable, the cinematography was - and God, those lavish parties! Then, like a gum losing its zing, the film numbs you at the end like your mouth overchewed and felt, used.

"Tell me what you don't like, I'll change it."

What failed to send the message across from what had seen, can be heard from Lana Del Rey's powerful Young And Beautiful (click it).