Michelle Yeoh stars in the long-awaited spin-off of Star Trek: Discovery, Section 31. Originally envisioned as a full television series, Section 31 has made its debut as a film. While it offers a fresh perspective on the Star Trek universe, it carries the hallmarks of a project initially designed for episodic storytelling. Some characters and storylines feel underdeveloped, leaving certain elements of the narrative underexplored. This unevenness detracts from the film’s overall impact, even as Michelle Yeoh shines as the magnetic and formidable Philippa Georgiou.
Yeoh reprises her role as Emperor Philippa Georgiou, blending her trademark intensity with flashes of vulnerability. The film opens with an intriguing premise: Georgiou, now a former member of Section 31, has left behind her covert operations to forge a new life. She takes over a seedy lounge on the fringes of Federation space, trying to carve out her own destiny. But her peace is short-lived. Section 31 operatives track her down, recruiting her for a high-stakes mission to recover a dangerous superweapon—one Georgiou herself created in her darker days as Emperor of the Terran Empire.
The ragtag crew undermines the seriousness of Section 31
The Section 31 crew assembled for the mission is a decidedly motley bunch, and not always in a good way. Alok Sahar, an augmented human from the 20th century’s Eugenics Wars, and Rachel Garrett, the Starfleet liaison, are compelling additions to the team. However, the rest of the crew feels more like caricatures than characters. Quasi, the shape-shifter; Zeph, a battle-scarred mech welded into his mechanical armor; and Fuzz, a Vulcan-shaped nanokin with an inexplicable Irish accent, lean heavily into absurdity. While this eclectic mix attempts to lighten the film’s tone, it comes across as inconsistent with Section 31’s reputation as a shadowy and ruthless organization. The attempt to blend the dark, morally ambiguous atmosphere of Discovery with a lighter, more humorous tone reminiscent of Strange New Worlds falls flat, creating a tonal whiplash.
The mission’s central conflict revolves around Georgiou’s past. The superweapon they are chasing is a remnant of her time as Emperor, capable of obliterating entire worlds. As the story unfolds, we learn more about the events that shaped Georgiou into the fearsome ruler she once was. Her rise to power involved a harrowing final test: to sever all ties to her past by killing her family. Georgiou passed this test, but not without forging a connection with a fellow contestant, San, whom she left alive but scarred and enslaved. San’s desire for revenge drives much of the film’s tension, culminating in his attempt to wield the superweapon against Georgiou and the Federation she has come to admire.
Michelle Yeoh’s mastery of martial arts brings a visceral thrill to the film
The narrative delivers its share of twists, betrayals, and sacrifices, but the emotional weight often falls short. The death of a team member, for instance, fails to evoke the poignancy it should. What does shine, however, are the action sequences. Michelle Yeoh’s mastery of martial arts brings a visceral thrill to the film, with her fight scenes standing out as some of its most memorable moments. Despite the inconsistent writing, Yeoh brings depth and gravitas to Georgiou, reminding viewers why she remains one of Star Trek’s most compelling characters.
The film concludes with the team successfully neutralizing the superweapon and celebrating their victory at Georgiou’s bar. A final scene teases future adventures, leaving Georgiou’s continued involvement with Section 31 ambiguous. While this sets up potential for more stories, the film itself struggles to establish a cohesive identity. It’s neither as dark and gritty as Discovery nor as lighthearted and optimistic as Strange New Worlds. Instead, it ping-pongs between these extremes, resulting in a narrative that feels disjointed.
Overall, Section 31 is a fun addition to the Star Trek franchise but fails to fully realize its potential. The ragtag crew undermines the seriousness of Section 31, and the tonal inconsistency detracts from the story’s impact. Michelle Yeoh’s performance is the saving grace, elevating an otherwise uneven film. While it offers glimpses of what a Section 31 series could bring to the Star Trek universe—a deeper exploration of its darker corners—it ultimately falls short.
Grade: B (83/100). Fans of Michelle Yeoh and Star Trek will find moments to enjoy, but the film leaves much to be desired. Here’s hoping the concept gets a second chance as the series it was originally meant to be.
