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Jonathan Frakes
Patrick Stewart, Jonathan Frakes, Brent Spiner
Writing Credits:
Rick Berman, Brannon Braga, Ronald D. Moore

The Borg travel back in time intent on preventing Earth's first contact with an alien species. Captain Picard and his crew pursue them to ensure that Zefram Cochrane makes his maiden flight reaching warp speed.

Box Office:
$45 million.
Opening Weekend
$30,716,131 on 2812 screens.
Domestic Gross

Rated PG.

Aspect Ratio: 2.35:1
English Dolby TrueHD 5.1
Spanish Monaural
French Dolby Surround 2.0
Supplements Subtitles:

Runtime: 111 min.
Price: $22.99
Release Date: 4/30/2013

• Audio Commentary from Director/Actor Jonathan Frakes
• Audio Commentary from Writers Brannon Braga and Ronald D. Moore
• Audio Commentary from Trek 2009 Producer Damon Lindelof and Trekmovie.com’s Anthony Pascale
• “Library Computer” Interactive Playback Mode
• “The Star Trek Universe” Featurettes
• “The Borg Collective” Featurettes
• Scene Deconstructions
• “First Contact Production” Featurettes
• Trailers
• Storyboards
• Photo Gallery


-LG OLED65C6P 65-Inch 4K Ultra HD Smart OLED TV
-Marantz SR7010 9.2 Channel Full 4K Ultra HD AV Surround Receiver
-Panasonic DMP-BDT220P Blu-Ray Player
-Chane A2.4 Speakers
-SVS SB12-NSD 12" 400-watt Sealed Box Subwoofer


Star Trek: First Contact [Blu-Ray] (1996)

Reviewed by Colin Jacobson (April 3, 2023)

For Star Trek fans, the second remains the best. Just as many partisans think that 1982’s Star Trek II: The Wrath of Khan provides the finest cinematic adventure from the cast of the original series, many also find 1996’s Star Trek: First Contact to be the top film to star the crew of Star Trek: The Next Generation.

Personally, I can’t readily choose between First Contact and 1994’s Generations. Many fans loathe the latter, but I think it offers a very intriguing and satisfying adventure. It comes across as deeper than Contact, but the latter provides a stronger action experience.

At the start of Contact, the Borg begin a long-feared invasion against the Federation, and they head toward Earth. Because Captain Picard (Patrick Stewart) once became a captive of the Borg, his superiors fear that his brief indoctrination will betray him, so they order the Enterprise to patrol the Neutral Zone to ensure the Romulans don’t take advantage of the Borg strike.

When Picard hears the battle, however, he goes against his commands and takes the Enterprise to Earth. There his knowledge of the Borg aids the fight, and the Federation destroys the Borg cube.

However, an escape sphere gets away and goes back in time. There it changes events so that the 24th century Earth contains only Borg. The Enterprise then heads back in time to stop the sphere before it enacts these changes.

That leads them to April 4, 2063, the day before “First Contact”: the initial meeting between humans and extraterrestrials. The ship destroys the sphere before it does much damage, but some Borg get on-board the Enterprise and start to infiltrate it.

Picard and Commander Data (Brent Spiner) head up the attempts to stop the Borg and their Queen (Alice Krige) while Commander Riker (Jonathan Frakes) leads the delegation on Earth. They need to make sure that Zefram Cochrane (James Cromwell) finishes construction of the Phoenix, the ship that will achieve warp speed and attract the alien visitors.

Although both First Contact and Generations feature some form of time travel, the two films seem nothing like each other. As much as I like Generations, I’m glad Contact doesn’t just rehash its story. Indeed, Contact provides a distinctive experience in its own right.

Some of the elements that take place on Earth remind me of Star Trek IV: The Voyage Home. That film also sent the Enterprise into the past to save the future, but the similarities mostly end there.

Voyage adopted a heavily comedic tone, whereas Contact doesn’t indulge in nearly as much levity. It gets a few laughs, and Cromwell’s droll turn as Cochrane lightens the tone, but I feel pleased that it didn’t ladle on the humor. Trek comedy comes best in small doses.

Actually, Contact spans quite a few genres. In addition to the light comedy and standard action, it provides more than a dollop of horror.

Essentially, the movie maintains a modestly comedic tone while on the Earth surface and it becomes dark and foreboding on the Enterprise. Director Frakes jumps between these two sides of the film and integrates them smoothly, so the changes in pace never feel awkward or gratuitous.

Ultimately, First Contact provides a satisfying Trek adventure. It’ll probably never be my favorite of the series, but it does most things right and comes across like a fun and exciting piece of work.

The Disc Grades: Picture C+/ Audio A-/ Bonus A-

Star Trek: First Contact appears in an aspect ratio of approximately 2.35:1 on this Blu-ray Disc. While better than many of the other Trek Blu-rays, this one nonetheless came with issues.

Many of the Trek movie Blu-rays have been criticized for their use of digital noise reduction (DNR) and I thought that was the main problem here. In particular, scenes that involved the Borg on the Enterprise seemed too clean.

Those should have a hazy, foggy feel, but the Blu-ray tended to clean them up in a way that make them look a bit too sanitized. Complexions took on a slightly clay-like vibe at times, and the image could be smeared.

Still, First Contact seemed less “processed” than many of its peers, so general sharpness worked reasonably well. Even with some light edge haloes, the image usually brought decent to good delineation.

I witnessed no issues with jagged edges or shimmering. Source flaws also made no impact through this clean transfer.

Colors seemed natural and distinctive. The movie mostly offered a dark palette, but the tones came across as vivid and lively from start to finish, and I witnessed no issues related to the colors.

Black levels also were deep and rich, while shadow detail appeared appropriately thick but never too dark. This wasn’t a great image, but at least it fared better than most of the other Trek Blu-rays.

The Dolby TrueHD 5.1 soundfield matched the expected level of activity for this sort of movie. Music showed good stereo presence, while the effects created a lively and involving sense of atmosphere.

Action segments boasted fine usage of all five speakers, and the rears contributed a lot of useful material. Elements seemed appropriately located and delineated, and they moved smoothly across the spectrum.

Audio quality seemed solid. Speech remained distinct and natural, and I noticed no problems related to edginess or intelligibility. Music sounded bright and dynamic, with good range and clarity.

Effects came across as tight and accurate, and they displayed clean and deep bass response. In the end, the auditory experience of First Contact lived up to expectations.

Three audio commentaries appear here, and the first comes from actor/director Jonathan Frakes, as he offers a running, screen-specific chat. Given his dual perspective as both director and actor, we might expect Frakes to present a surfeit of valuable insights. Unfortunately, we would expect incorrectly.

Much of the time, Frakes stays with extremely screen-specific remarks like “look at that!” He also might chime “you go!” at a character and makes wisecracks about different situations.

At times, however, Frakes does touch upon useful topics. He tells us about his unusual relationship with Alfre Woodard, directorial issues connected to the jump to the big screen, the quirks of various actors, locations and sets, and challenges related to night shooting.

Occasionally Frakes offers some interesting moments, but much of the time he just makes barely-relevant exclamations. A fair amount of dead air occurs as well, and this ends up as a disappointing track.

For the second commentary, we hear from writers Brannon Braga and Ronald D. Moore, both of whom sit together for their own running, screen-specific discussion. Veterans of the commentary for Generations, they pick up the baton and run with it during their consistently compelling piece.

They start with notes about the story’s origins and its development. They also chat about other plot-related issues, character arcs, working with the Borg, and general production topics. In a very intriguing segment, they discuss their thoughts about how to revitalize the franchise.

Both interact well and make the track move briskly much of the time. They even get into some aspects of the movie they don’t particularly like, though they’re easier on First Contact than they were Generations. Although the piece occasionally drags - especially during the second half - the writers create a generally lively and informative track.

Finally, a third commentary provides notes from Trekmovie.com’s Anthony Pascale and Trek 2009 producer Damon Lindelof. Both sit together and gives us a running, screen-specific chat about… well, not a whole lot.

They get into some Trek/First Contact trivia and also discuss their feelings about various Trek enterprises – ha! – and aspects of the franchise.

Although I can’t say we learn a whole lot here, that doesn’t make the commentary a worthless endeavor. Actually, the track provides some good entertainment.

We get a fun fan’s-eye view of the film, and both guys mix respect with irreverence well. This never becomes the most informative piece, but it keeps us interested.

Another running feature arrives with the Library Computer. This “interactive playback mode” allows you to learn about various elements that crop up throughout the movie. It gives us notes about characters, technical pieces, and other connected tidbits.

Some of these are tightly ingrained – such as facts about main characters – while others are more tangential. Because of the changing circumstances of the film’s world, some of the same subjects arise multiple times; for instance, new information about the Borg Queen comes up as story elements affect her.

All of these come via links; the title of a subject appears, and you select “enter” to read about it. You can examine these in two different ways.

If desired, you can have the links crop up at the appropriate times during the movie. You still have to hit “enter” – there’s no option to let them play without viewer input – but this shows the notes in tandem with the onscreen material.

The “Library” also presents an “index”. This posts the links in alphabetical order. This is a more efficient option if you want to watch the movie without interruption, but it’s less connected to the story.

Either way, the “Library” includes some nice details. It’s pretty dry, but it throws out a lot of background facts and gives us a satisfying glimpse of Trek information.

Next we go with six components under the banner of “Production”. This area starts with the 20-minute and 18-second Making First Contact. Like many of this disc’s features, “Making” melds movie clips, behind the scenes footage, and interviews.

We hear from Frakes, producer/writer Rick Berman, and actors Patrick Stewart, LeVar Burton, Alice Krige, Alfre Woodard, James Cromwell, Brent Spiner, Gates McFadden, Michael Dorn and Marina Sirtis.

The program covers how Frakes got the directing gig and his approach to it, the actors’ thoughts on Frakes’ work, shooting a few specific scenes, and the actors’ relationships with each other. A few good notes pop up, mainly when we hear about how Frakes earned the director’s chair.

However, mostly this program feels like too much happy talk. Everyone lets us know how much they like each other and Trek, which makes it a tedious show.

In the 16-minute, 34-second The Art of First Contact, we get notes from illustrator John Eaves. He discusses the design and building of the Enterprise model, issues connected to shooting it, configuring other Starfleet crafts for the battle, making the Phoenix from an old rocket, and creating the Vulcan ship at the end.

Unlike the fluffy “Making”, “Art” offers almost nothing other than concrete information. Eaves goes over all the various challenges and decisions well and makes this a brisk and involving look at the subject.

When we look at The Story, the 15-minute, 29-second program includes remarks from Frakes, Braga, and Moore. They get into the evolution of the plot and the various issues that entailed.

Most of the material already appeared in the Braga/Moore commentary, so don’t expect to learn much new information here. However, it acts as a good encapsulation if you don’t want to sit through the entire commentary.

The next two featurettes look at the specifics of location and set design. The Missile Silo (14:04) and The Deflector Dish (10:30) present information from Berman, Spiner, Cromwell, Eaves, executive producer Martin Hornstein, production designer Herman Zimmerman, and scenic art supervisor Mike Okuda.

We learn about the silo location and adaptations made to it, some shooting specifics, physical elements of the sets, and the storyboards for “Dish”. Both cover a lot of ground connected to the scenes, and they do so with zest. They’re fine featurettes with many good nuggets of information on display.

For the final “Production” featurette, we get From “A” to “E”. This six-minute, 38-second piece gives us notes from Berman, Stewart, Spiner, Zimmerman, and Hornstein.

We learn a little about the design of the Enterprise “E”, a ship new to this film, but mostly this program acts as a generic valedictory statement about what a great experience Contact was.

When we head to Scene Deconstruction, we can more closely examine three film segments. We look at “Borg Queen Assembly” (11 minutes, 10 seconds), “Escape Pod Launch” (4:59) and “Borg Queen’s Demise” (3:12).

For “Assembly”, we get commentary from ILM visual effects art director Alex Jaeger and ILM visual effects supervisor John Knoll, whereas “Launch” presents Jaeger alone and “Demise” gives us Knoll on his own. They relate the various issues connected to design and execution of the sequences, and we also see a mix of movie clips, art, and rough footage.

None of them shine, but they provide a nice basic look at some effects work. “Assembly” is definitely the best, as it gets into the complexities of that cool sequence.

Within “The The Star Trek Universe”, nine featurettes appear. Jerry Goldsmith: A Tribute lasts 19 minutes, 46 seconds as it looks at the late composer.

We get archival remarks from Goldsmith himself as well as Frakes, Hornstein, Eaves, Braga, Okuda, Berman, composer Jay Chattaway, scoring mixer Bruce Botnick, and composer/son Joel Goldsmith. The program presents a general look at Jerry Goldsmith’s career, with a particular emphasis on his other Trek work.

It also tosses in a few specifics about the music for Contact. Inevitably, a lot of the show is devoted to generic praise for Goldsmith, but that’s appropriate here, and “Tribute” acts as a nice send-off for the legendary composer.

For a look at a fictional character, we hear to The Legacy of Zefram Cochrane. The 12-minute, 18-second piece includes statements from Cromwell, Berman, Okuda, and Braga. Cromwell discusses his history on Trek, his casting, his interest in the part and shooting a few scenes.

We also get information about the connections between Contact and the depiction of the Cochrane character on the Original Series as well as his continuation into Enterprise. I’d have liked more about the liberties taken with the original character, but this remains a reasonably informative show.

Called First Contact: The Possibilities, the last “Universe” featurette goes for 19 minutes and 31 seconds. It presents comments from executive story editor Andre Bormanis, SETI Institute senior astronomer Seth Shostak, Planetary Society Director of Projects Bruce Betts, and Planetary Society Associate Director Charlene Anderson.

They discuss attempts to locate extraterrestrial life and the prospects for doing so. The former covers most of this program’s ground, and honestly, it often feels like a fundraising appeal, so we hear so much about all the efforts that it seems as if it exists mainly to get attention for these groups.

There’s a little about the possibilities of life elsewhere, but I think that should have been the focus. As it stands, this is a decent but not terribly interesting featurette.

During Industrial Light and Magic: The Next Generation, we hear from visual effects supervisors Bill George and John Knoll, digital model artist Joel Goodson, and visual effects art director Alex Jaeger. They discuss various effects issues, with an emphasis on the film’s ships. The participants keep this from being too dry, as they make this an engaging look at their work.

Greetings from the International Space Station goes for eight minutes, 31 seconds and features astronaut Mike Fincke. He tells us of the ways he appreciates Trek and discusses a few space-related topics. Astronauts tend to be somewhat bland speakers, and that holds true here, as Fincke doesn’t present a terribly involving chat.

With that, we head to SpaceShipOne’s Historic Flight. It fills four minutes, 41 seconds with statements from Mike Melvill, the pilot of SpaceShipOne, the first commercial craft to go into space.

He talks about his experiences in this good piece, one that seems relevant since Melvill feels like a real-life Zefram Cochrane.

A continuation of a piece started on the Generations disc, Brent Spiner: Data and Beyond Part 2 lasts seven minutes, 30 seconds. The actor discusses First Contact as well as other Trek topics such as conventions. “Part 1” was more interesting, but “Part 2” still has its moments.

Another program that expands on a theme from the prior disc, Trek Roundtable: First Contact goes for 12 minutes, 51 seconds. We hear from writer Larry Nemecek, Trekmovie.com’s Anthony Pascale, Planetary Association associate director Charlene Anderson, and Geek Monthly editor Jeff Bond.

They reflect on the movie in a variety of ways. This is a fairly mediocre chat, as the participants don’t offer much that we don’t get elsewhere.

“Universe” concludes with Starfleet Academy SciSec Brief 008: Temporal Vortex. In this two-minute, 36-second piece, we get thoughts about time travel-related topics. It’s a decent exploration of the movie’s concept.

Inside “The Borg Collective”, three programs appear. Unimatrix One goes for 14 minutes, 15 seconds with notes from Berman, Sirtis, Frakes, McFadden, Burton, Okuda, Stewart, Spiner, Krige, Braga, and Voyager actor Jeri Ryan. We get a recap of Borg history and their appearances here and elsewhere.

There’s a little insight into what led to their creation and some other elements, but there’s probably not a lot here that Trek fans won’t already know. It acts as a good summary for those with a less rich background, though the ending sequence is nothing more than a tacky promo for the Las Vegas Borg attraction.

Next we learn more about The Queen. The eight-minute, 31-second piece gives us remarks from Krige. She goes over character insights and her approach to the role in this fairly intriguing program.

Finally, Design Matrix fills 18 minutes, 10 seconds. It includes statements from Berman, Frakes, Hornstein, Eaves, makeup designer/supervisor Michael Westmore, property master Alan Sims, costume designer Robert Blackman, and set decorator John Dwyer.

They get into the redesign of the Borg for the movie and the execution of those elements, and Eaves chats about the Borg ships and their creation. I really like the coverage of the way the Borg changed over the years, and this program gets into all the related issues well. It moves quickly and remains consistently informative.

Inside the “Archives” we get two separate components, and the Photo Gallery presents 48 stills. Most of these come from the shoot, and we see some publicity shots as well in this fairly bland collection.

Storyboards presents art for four domains: “1930s Nightclub” (53 stills), “Hull Battle” (49), “Hull Battle Alternate Shots” (20) and “Worf vs. the Borg Alternate Shots” (13). These accumulate a decent little collection of art.

The disc opens with some ads. We get promos for Star Trek (2009) and various Trek movies/series on Blu-ray. In addition, we find two trailers. This area includes both the “teaser” and theatrical ads for Contact.

One of the better Star Trek films, First Contact provides a consistently satisfying affair. It mixes action with comedy and horror and comes across like a winning and engaging piece of work. The Blu-ray provides mediocre visuals, very good sound plus a broad and informative – though occasionally erratic - set of extras. I like the movie but the picture quality feels subpar.

To rate this film visit the original review of STAR TREK: FIRST CONTACT