Star Trek: First Contact

Plot

In the 24th century, Captain Jean-Luc Picard awakens from a nightmare in which he relives his assimilation by the cybernetic Borg six years earlier. He is contacted by Starfleet, who inform him of a new Borg threat against Earth. Concerned that Picard is too emotionally involved with the Borg, Starfleet orders the USS Enterprise to patrol the Neutral Zone in case of Romulan aggression.

During their patrol, the Enterprise learns that the fleet is losing the battle against the Borg. Picard and his crew disobey orders and head for Earth, where a single Borg Cube ship holds its own against a group of Starfleet vessels. Enterprise arrives in time to assist the crew of the USS Defiant and its commander, the Klingon Worf. Picard takes command of the fleet and directs the surviving ships to concentrate their firepower on a seemingly unimportant point on the Borg ship. The Cube launches a smaller spherical ship towards Earth before being destroyed. Enterprise pursues the sphere into a temporal vortex. As the sphere disappears, Enterprise discovers Earth has been altered—Borg now populate it. Realizing the Borg have used time travel to change the past, Enterprise follows the sphere through the vortex.

Enterprise arrives hundreds of years in the past on April 4, 2063, the day before the historic warp drive flight that leads to humanity's first encounter with alien life. The crew surmise that the Borg are trying to prevent first contact and assimilate humanity while the planet is recovering from World War III. After destroying the Borg sphere, an away team transports down to Zefram Cochrane's warp ship, Phoenix, in Bozeman, Montana. Beverly Crusher and Cochrane's assistant Lily Sloane return to the Enterprise to treat her radiation sickness. Picard and Data also return to the ship after suspecting the Borg have survived their sphere's destruction, leaving Commander William T. Riker on Earth to make sure Phoenix's flight proceeds as planned. While in the future Cochrane is seen as a hero, in reality he built the Phoenix for financial gain and is reluctant to be the historic figure the crew describes.

A group of Borg invade Enterprise's lower decks, assimilating some of the crew and modifying the ship. Picard and a team attempt to reach engineering to disable the Borg with a corrosive gas, but are forced back; the android Data is captured in the melee. A frightened Lily corners Picard with a weapon, but he gains her trust. The two escape the Borg-infested area of the ship by creating a diversion in the holodeck. Picard, Worf, and the ship's navigator, Lieutenant Hawk, travel outside the ship in space suits to stop the Borg from using the navigational deflector to call for reinforcements, but Hawk is assimilated in the process. As the Borg assimilate more decks, Worf suggests destroying the ship, but Picard angrily calls him a coward. Lily confronts the captain and makes him realize he is acting irrationally because of his past with the Borg. Picard apologizes to Worf and orders the activation of the ship's self-destruct and evacuation of the crew to escape pods, while he stays behind to rescue Data.

Cast

First Contact is the first film in the Star Trek film series in which none of the main characters from The Original Series appear. Rather, the main cast of Star Trek: The Next Generation play the following characters:

Patrick Stewart as Jean-Luc Picard, the captain of the USS Enterprise-E who is haunted by his time as a member of the Borg. Stewart was one of the few cast members who had an important role in developing the script, offering suggestions and comments. Picard's character was changed from the "angst-ridden character [viewers have] seen before", to an action hero type. Stewart noted that Picard was more physically active in the film compared to his usual depiction.

Jonathan Frakes as William T. Riker, the ship's first officer who leads the away team on Earth. Frakes said he did not have much difficulty directing and acting at the same time, having done so on the television series.

Brent Spiner as Data, an android and the ship's second officer, whose ambition is to become more human. Rumors before the film's release suggested that since Data's skin had been largely removed at the end of the story, it would allow another actor to assume the role.

LeVar Burton as Geordi La Forge, the ship's chief engineer who helps repair the Phoenix. La Forge was blind, and had been depicted wearing a special VISOR to see. Burton had lobbied for the VISOR to be discarded, since it hid his eyes and restricted the actor's ability to convey thoughts and emotions. The VISOR was replaced in First Contact by ocular implants, which were shown to be artificial but otherwise unexplained.

Michael Dorn as Worf, the commander of the USS Defiant and Picard's former chief of security.

Gates McFadden as Beverly Crusher, the ship's doctor. In an interview before the film's premiere, McFadden said she considered women finally on par with the men in Star Trek: "We've come a long way since Majel Barrett was stuck in the sick bay as Nurse Chapel in the [1960s] and made to dye her hair blond."

Production

Development

In December 1992, Paramount Pictures executives approached Star Trek: The Next Generation producer Rick Berman to develop two films featuring the cast of the television series. Berman decided to develop two screenplays simultaneously, and prioritize the most promising one for the first film. The effort of writers Brannon Braga and Ronald D. Moore was chosen and developed into Star Trek Generations. The other, by Maurice Hurley, was set aside to use in a possible second movie. Two months after the release of Generations, Paramount decided to produce the second feature for a winter holiday 1996 release. Paramount wanted Braga and Moore, who had written the Generations script and a number of Next Generation episodes, to pen the screenplay. Berman told Braga and Moore that he wanted them to think about doing a story involving time travel. Braga and Moore, meanwhile, wanted to use the Borg. "Right on the spot, we said maybe we can do both, the Borg and time travel," Moore recalled. The Borg had not been seen in full force since the fourth-season episode of The Next Generation, "The Best of Both Worlds" and had never been heavily featured in the series due to budget constraints and the fear that they would lose their scare factor. "The Borg were really liked by the fans, and we liked them," Moore said. "They were fearsome. They were unstoppable. Perfect foils for a feature story."

Having decided that the time travel aspect of the plot would involve a Borg plan to stop humans ever reaching space, the writers considered various historical periods as a setting. "Our goals at that point were to create a story that was wonderful and a script that was [...] producible within the budget confines of a Star Trek film", said Berman. The first story draft, named Star Trek: Renaissance, adopted his concept of a Borg attempt to prevent the emergence of modern European civilization during the Renaissance. In this scenario, the Enterprise crew hunted down the Borg to their hive in a 15th-century Italian castle dungeon, and envisaged sword fights alongside the use of phasers, with Data becoming Leonardo da Vinci's apprentice. Moore was afraid that it "risked becoming campy and over-the-top", while Stewart refused to wear tights. Moreover, informal research suggested that the film's core audience were unenthusiastic about the setting. Braga, meanwhile, wanted to see the "birth of Star Trek", when the Vulcans and humans first met; "that, to me, is what made the time travel story fresh", he said.

With the idea of Star Trek's genesis in mind, the central story became Cochrane's warp drive test and humanity's first contact. Drawing on clues from previous Star Trek episodes, Cochrane was placed in mid-21st-century Montana, where humans recover from a devastating world war. In the first script with this setting, the Borg attack Cochrane's lab, leaving the scientist comatose; Picard assumes Cochrane's place to continue the warp test and restore history. In this draft Picard has a love interest in the local photographer Ruby, while Riker leads the fight against the Borg on the Enterprise. Another draft included John de Lancie's omnipotent character Q. Looking at the early scripts, the trio knew that serious work was needed. "It just didn't make sense [...] that Picard, the one guy who has a history with the Borg, never meets them," Braga recalled. Riker's and Picard's roles were swapped, and the planetside story was shortened and told differently. Braga and Moore focused the new arc on Cochrane himself, making the ideal future of Star Trek come from a flawed man. The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. The second draft, titled Star Trek: Resurrection, was judged complete enough that the production team used it to plan expenses. The film was given a budget of $45 million, "considerably more" than Generations' $35 million price tag; this allowed the production to plan a larger amount of action and special effects.

Design

First Contact was the first Star Trek film to make significant use of computer-generated starship models, though physical miniatures were still used for the most important vessels. With the Enterprise-D destroyed during the events of Generations, the task of creating a new starship fell to veteran Star Trek production designer Herman Zimmerman. The script's only guide on the appearance of the vessel was the line "the new Enterprise sleekly comes out of the nebula". Working with illustrator John Eaves, the designers conceived the new Sovereign-class Enterprise-E as "leaner, sleeker, and mean enough to answer any Borg threat you can imagine". Braga and Moore intended it to be more muscular and militaryesque. Eaves looked at the structure of previous Enterprise iterations, and designed a more streamlined, capable war vessel than the Enterprise-D, reducing the neck area of the ship and lengthening the nacelles. Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes. Working from blueprints created by Paramount's Rick Sternbach, the model shop at effects house Industrial Light & Magic (ILM) fabricated a 10.5-foot (3.2 m) miniature over a five-month period. Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. The model's panels were painted in an alternating matte and gloss scheme to add texture. The crew had multiple difficulties in prepping the miniature for filming; while the model shop originally wanted to save time by casting windows using a clear fiberglass, the material came out tacky. ILM instead cut the windows using a laser. Slides of the sets were added behind the window frames to make the interior seem more dimensional when the camera tracked past the ship.

In previous films, Starfleet's range of capital ships had been predominantly represented by the Constitution-class Enterprise and just five other ship classes: the Miranda class from Star Trek II: The Wrath of Khan, the Excelsior and the Oberth class from Star Trek III: The Search for Spock, and the Galaxy and Nebula classes from The Next Generation. ILM supervisor John Knoll insisted that First Contact's space battle prove the breadth of Starfleet's ship configurations. "Starfleet would probably throw everything it could at the Borg, including ships we've never seen before," he reasoned. "And since we figured a lot of the background action in the space battle would need to be done with computer-generated ships that needed to be built from scratch anyway, I realized there was no reason not to do some new designs." Alex Jaeger was appointed visual effects art director to the film and assigned the task of creating four new starships. Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles. Knoll and Jaeger had decided that the ships had to obey certain Star Trek ship precedents, with a saucer-like primary hull and elongated warp nacelles in pairs. The Akira class featured the traditional saucer section and nacelles combined with a catamaran-style double hull; the Norway class was based on the USS Voyager; the Saber class was a smaller ship with nacelles trailing off the tips of its saucer section; and the Steamrunner class featured twin nacelles trailing off the saucer and connected by an engineering section in the rear. Each design was modeled as a three-dimensional digital wire-frame model for use in the film.

Costumes and makeup

The Starfleet uniforms were redesigned for the film by the Star Trek costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders, black torso/sleeves/leggings and colored undershirts/stripe cuffs. Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton, a newcomer to Star Trek who was responsible for more than 800 costumes during production. Everton was tasked with updating the Borg's costumes to something new, but reminiscent of the television series. The bulky suits were made sleeker and outfitted with fiber optic lights. The time-travel aspect of the story also required period costumes for the mid 21st century and the 1940s "Dixon Hill" nightclub holodeck recreation. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.

Everton and makeup designers Michael Westmore, Scott Wheeler, and Jake Garber wanted to upgrade the pasty white look the Borg had retained since The Next Generation's second season, born out of a need for budget-conscious television design. "I wanted it to look like they were [assimilated or "Borgified"] from the inside out rather than the outside in," Everton said. Each Borg had a slightly different design, and Westmore designed a new one each day to make it appear that there was an army of Borg; in reality, between eight and twelve actors filled all the roles as the costumes and makeup were so expensive to produce. Background Borg were simulated by half-finished mannequins. Westmore reasoned that since the Borg had traveled the galaxy, they would have assimilated other races besides humans. In the television series, much of the Borg's faces had been covered by helmets, but for First Contact the makeup artist removed the head coverings and designed assimilated versions of familiar Star Trek aliens such as Klingons, Bolians, Romulans, Bajorans, and Cardassians. Each drone received an electronic eyepiece. The blinking lights in each eye were programmed by Westmore's son to repeat a production member's name in Morse code.

The makeup time for the Borg expanded from the single hour needed for television to five hours, in addition to the 30 minutes necessary to get into costume and 90 minutes to remove the makeup at the end of the day. While Westmore estimated that a fully staffed production would have around 50 makeup artists, First Contact had to make do with fewer than ten people involved in preparation, and at most 20 artists a day. Despite the long hours, Westmore's teams began to be more creative with the prosthetics even as they decreased their preparation times. "They were using two tubes, and then they were using three tubes, and then they were sticking tubes in the ears and up the nose," Westmore explained. "And we were using a very gooey caramel coloring, maybe using a little bit of it, but by the time we got to the end of the movie we had the stuff dripping down the side of [the Borg's] faces—it looked like they were leaking oil! So, at the very end [of the film], they're more ferocious."

Filming

Principal photography was more leisurely than on The Next Generation as only four instead of eight pages of script were filmed each day. Frakes hired a cinematographer new to the Star Trek franchise, Matthew F. Leonetti, whose work on films such as Poltergeist and Strange Days he admired. Being unfamiliar with the Star Trek canon, Leonetti prepared for the assignment by studying the previous four films in the franchise, each of which had used a different cinematographer (Donald Peterman on The Voyage Home, Andrew Laszlo on The Final Frontier, Hiro Narita on The Undiscovered Country, and John Alonzo on Generations). He also spent several days observing filming on the sets of Voyager and Deep Space Nine.

Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. While much of the footage was shot at 50–70 mm focal lengths using anamorphic lenses, 14 mm spherical lenses were used for Borg's-eye-view shots. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors. The Borg scenes were received positively by test-screening audiences, so once the rest of the film had been completed, additional scenes of the Enterprise crew being assimilated were added with leftover budget to add action.

Since so many new sets were needed, filming began with location photography. Four days were spent in the Titan Missile Museum, south of Tucson, Arizona. The disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix's booster and command module. The missile silo provided a large set that would have been prohibitively expensive to build from scratch, but the cramped environment created difficulties. Each camera move was planned in advance to work around areas where the lighting would be added, and electricians and grips donned rock-climbing harnesses to move down the shaft and attach the lights. To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors. Using different-colored gels made the rocket appear longer than it actually was; to complete the effect, shots from the Phoenix's nose downwards and from the engines up were filmed with a 30 mm lens to lengthen the missile.

Effects

The majority of First Contact's effects were handled by Industrial Light & Magic under the supervision of John Knoll; more than a quarter of the film's budget went to effects. Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura. Accustomed to directing episodes for the television series, Frakes was frequently reminded by effects artist Terry Frazee to "think big, blow everything up". Most of the effects sequences were planned using low-resolution computer-generated animatics. These rough animated storyboards established length, action and composition, allowing the producers and director to ascertain how the sequences would play out before they were shot.

First Contact was the last film to feature a physical model of the Enterprise. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background. Sequence supervisor Dennis Turner, who had created Generations' energy ribbon and specialized in creating natural phenomena, was charged with creating the star cluster, modeled after the Eagle Nebula. The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. A particle render that ILM had devised for the earlier tornado film Twister was used to create a turbulent look within the nebula. Once the shots of the Enterprise had been captured, Turner inserted the ship into the computer-generated background and altered its position until the images matched up.

The opening beauty pass of the new Enterprise was the responsibility of visual-effects cinematographer Marty Rosenberg, who handled all the other miniatures, explosions, and some live-action bluescreen elements. Rosenberg had previously shot some of the Enterprise-D effects for Generations, but had to adjust his techniques for the new model; the cinematographer used a 50 mm lens instead of the 35 mm used for Generations because the smaller lens made the new Enterprise's dish appear stretched out. Knoll decided to shoot the model from above and below as much as possible; side views made the ship appear too flat and elongated. Rosenberg preferred motion-control passes of ships over computer-generated versions, as it was much easier to capture a high level of detail with physical models rather than trying to recreate it by computer graphics.

For the Borg battle, Knoll insisted on closeup shots that were near the alien vessel, necessitating a physical model. ILM layered their 30-inch (76 cm) model with an additional five inches of etched brass over a glowing neon lightbox for internal illumination. To make the Borg vessel appear even larger than it was, Knoll made sure that an edge of it was facing the camera like the prow of a ship and that the Cube broke the edges of the frame. To give the Cube greater depth and texture, Rosenberg shot the vessel with harsher light. "I created this really odd, raking three-quarter backlight coming from the right or left side, which I balanced out with nets and a couple of little lights. I wanted it to look scary and mysterious, so it was lit like a point, and we always had the camera dutched to it; we never just had it coming straight at us," he said. Small lights attached to the Cube's surface helped to create visual interest and convey scale; the model was deliberately shot with a slow, determined pacing to contrast with the Federation ships engaged in battle with the Borg. The impact of Federation weaponry on the Borg Cube was simulated using a 60-inch (150 cm) model of the Cube. The model had specific areas which could be blown up multiple times without damaging the miniature. For the final explosion of the Cube, Rosenberg shot ten 30-inch (76 cm) Cube miniatures with explosive-packed lightweight skins. The Cubes were suspended from pipes sixty feet above the camera on the ground. Safety glass was placed over the lens to prevent damage, while the camera was covered with plywood to protect it from bits of plastic that rained down after each explosion. The smaller Borg sphere was a 12-inch (30 cm) model that was shot separately from the Cube and digitally added in post-production. The time-travel vortex the Sphere creates was simulated with a rocket re-entry effect; bowshock forms in front of the ship, then streams backwards at high speed. Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex.

Music

Jerry Goldsmith scored First Contact, his third Star Trek feature. He wrote a sweeping main title which begins with Alexander Courage's Star Trek fanfare. Instead of composing a menacing theme to underscore the Borg, Goldsmith wrote a pastoral theme linked to humanity's hopeful first contact. The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link. A menacing march with touches of synthesizers was used to represent the Borg. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture. The Klingon theme from the same film is used to represent Worf.

Because of delays with Paramount's The Ghost and the Darkness, the already-short four-week production schedule was cut to just three weeks. While Berman was concerned about the move, Goldsmith hired his son, Joel, to assist. The young composer provided additional music for the film, writing three cues based on his father's motifs and a total of 22 minutes of music. Joel used variations of his father's Borg music and the Klingon theme as Worf fights hand-to-hand. When the Borg invade sickbay and the medical hologram distracts them, Joel wrote what critic Jeff Bond termed "almost Coplandesque" material of tuning strings and clarinet, but the cue was unused. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings.

In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: Roy Orbison's "Ooby Dooby" and Steppenwolf's "Magic Carpet Ride". GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them".

GNP released the First Contact soundtrack on December 2, 1996. The album contained 51 minutes of music, with 35 minutes of Jerry Goldsmith's score, 10 minutes of additional music by Joel Goldsmith, "Ooby Dooby" and "Magic Carpet Ride". The compact disc shipped with CD-ROM features only accessible if played on a personal computer, including interviews with Berman, Frakes, and Goldsmith.

On April 2, 2012, GNP Crescendo Records announced a limited-edition collector's CD featuring the complete score by Jerry Goldsmith (with additional music by Joel Goldsmith), newly remastered by recording engineer Bruce Botnick, with an accompanying 16-page booklet including informative notes by Jeff Bond and John Takis. The expanded album [GNPD 8079] runs 79 minutes and includes three tracks of alternates.

Themes

Frakes believes that the main themes of First Contact—and Star Trek as a whole—are loyalty, friendship, honesty, and mutual respect. This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. The film makes an explicit comparison between Picard's hatred of the Borg and refusal to destroy the Enterprise and that of Captain Ahab in Herman Melville's novel Moby-Dick. The moment marks a turning point in the film as Picard changes his mind, symbolized by his putting down his phaser. A similar Moby-Dick reference was made in Star Trek II: The Wrath of Khan and although Braga and Moore did not want to repeat it, they decided it worked so well they could not leave it out.

In First Contact, the individually inscrutable and faceless Borg fulfil the role of the similarly unreadable whale in Melville's work. Picard, like Ahab, has been hurt by his nemesis, and author Elizabeth Hinds said it makes sense that Picard should "opt for the perverse alternative of remaining on board ship to fight" the Borg rather than take the only sensible option left to destroy the ship. Several lines in the film refer to the 21st-century dwellers being primitive, with the people of the 24th century having evolved to a more utopian society. In the end, it is Lily (the 21st-century woman) who shows Picard (the 24th-century man) that his quest for revenge is the primitive behavior that humans had evolved to not use. Lily's words cause Picard to reconsider, and he quotes Ahab's words of vengeance, recognizing the death wish embedded therein.

The nature of the Borg in First Contact has been the subject of critical discussion. Artist and writer Julie Clarke notes that while other alien species are tolerated by humanity in Star Trek, the Borg are viewed differently because of their cybernetic alterations and the loss of freedom and autonomy. Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. Clarke draws comparisons between the technological distinction of humanity and machine in Star Trek and the work of artists such as Stelarc. Oliver Marchart drew parallels between the Borg's combination of many into an artificial One and Thomas Hobbes's concept of the Leviathan. The nature of perilous first contact between species, as represented by films such as Independence Day, Aliens and First Contact, is a marriage of classic fears of national invasion and the loss of personal identity.

Release

The year 1996 marked the 30th anniversary of the Star Trek franchise. It was on rocky ground; Deep Space Nine and Voyager had shed millions of viewers, being bested by Hercules: The Legendary Journeys as the highest-rated syndicated series. Some fans remained upset that Paramount cancelled The Next Generation at the height of its popularity, and Generations had been a commercial but not critical success. Frakes noted it was a "pivotal time", as he feared the franchise might have "spread [itself] too thin with two shows".

First Contact was heavily marketed, to an extent not seen since the release of Star Trek: The Motion Picture in 1979. Several novelizations of the film were written for different age groups. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. Two "making of" television specials premiered on HBO and the Sci-Fi Channel, as well as being promoted during a 30th-anniversary television special on UPN. The theatrical trailer to the film was included on a Best of Star Trek music compilation, released at the same time as the First Contact soundtrack. Simon & Schuster Interactive developed a Borg-themed video game for Macintosh and Windows personal computers. The game, Star Trek: Borg, functioned as an interactive movie with scenes filmed at the same time as First Contact's production. A video game adaptation of the film was also announced by Spectrum HoloByte, and would have taken the form of a real-time strategy game set entirely on the Enterprise during the Borg takeover, though it was never released. The film was heavily promoted on the internet through an official website, where users could interact with each other and do battle with the Borg whilst taking a 3-D tour of the Enterprise. The site experienced more traffic than that of any previous motion picture, receiving 4.4 million hits a week during the film's opening run.

The film premiered on November 18, 1996, at Mann's Chinese Theatre in Hollywood, Los Angeles, with $70,000 being raised in ticket sales for Amnesty International. The main cast save Spiner were in attendance, as were Moore, Braga, Jerry Goldsmith, and producer Marty Hornstein, alongside other Star Trek actors. After the screening, guests crossed the street to the Hollywood Colonnade, where the interiors had been dressed to match settings from the film. The film received a royal premiere in the United Kingdom, where Marina Sirtis accompanied Prince Charles to the December 10 screening at the Empire, Leicester Square.

Box office

First Contact opened in 2,812 theaters beginning November 22, grossing $30.7 million its first week and making it the top movie at the US box office. The film was knocked out of the top place the following week by 101 Dalmatians, earning $25.5 million. The film went on to gross $77 million in its first four weeks, remaining in the top-ten box office during that time. It closed with a US and Canadian gross of $92,027,888 and an international gross of $54 million for a total of $146 million worldwide.

The film opened in the United Kingdom on December 13, 1996, becoming number two at the box office. Despite being the first movie in the franchise not to reach number one since The Wrath of Khan, its takings of £8.7 million were the highest until the Star Trek reboot film was released in 2009. The film was the best-performing Star Trek film in international markets until 2009's Star Trek film, and Paramount's best showing in markets such as New Zealand, making $315,491 from 28 sites by year's end.

Reception

First Contact garnered positive reviews on release. Review aggregator Rotten Tomatoes reported an approval rating of 93% based on 68 reviews, with an average rating of 7.40/10. The site's critics' consensus reads: "While fans of the series will surely appreciate it, First Contact is exciting, engaging, and visually appealing enough to entertain Star Trek novices." Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F.

Ryan Gilbey of The Independent considered the film wise to dispense with the cast of The Original Series: "For the first time, a Star Trek movie actually looks like something more ambitious than an extended TV show," he wrote. Conversely, critic Bob Thompson felt that First Contact was more in the spirit of the 1960s television series than any previous installment. The Globe and Mail's Elizabeth Renzeti said that First Contact succeeded in improving on the "stilted" previous entry in the series, and that it featured a renewed interest in storytelling. Kenneth Turan of the Los Angeles Times wrote, "First Contact does everything you'd want a Star Trek film to do, and it does it with cheerfulness and style." Adrian Martin of The Age noted that the film was geared towards pleasing fans: "Strangers to this fanciful world first delineated by Gene Roddenberry will just have to struggle to comprehend as best they can," he wrote, but "cult-followers will be in heaven". The New York Times' Janet Maslin thought that the film's "convoluted" plot would "boggle all but hard-core devotees" of the series, while Variety's Joe Leydon wrote that the film did not require intimate knowledge of the series and that fans and non-fans alike would enjoy the film. While Renzetti considered the lack of old characters from the previous seven movies a welcome change, Maslin said that "The series now lacks all of its original stars and much of its earlier determination. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy." Conversely, Roger Ebert called First Contact one of the best Star Trek films, and James Berardinelli found the film the most entertaining Star Trek feature in a decade; "It has single-handedly revived the Star Trek movie series, at least from a creative point of view," he wrote. In The Times, Frakes was praised as a director by Geoff Brown for "steering through a tangled script without losing momentum".

The film's acting met with mixed reception. Lisa Schwarzbaum of Entertainment Weekly appreciated that guest stars Woodard and Cromwell were used in "inventive contrast" to their better-known images, as a "serious dramatic actress" and "dancing farmer in Babe", respectively. Lloyd Rose of The Washington Post felt that while Woodard and Cromwell managed to "take care of themselves", Frakes' direction of other actors was not inspired; Steve Persall of the St. Petersburg Times opined that only Cromwell received a choice role in the film, "so he steals the show by default". A couple of reviews noted that Data's interactions with the Borg Queen were among the most interesting parts of the film; critic John Griffin credited Spiner's work as providing "ambivalent frisson" to the feature. Empire magazine's Adam Smith wrote that some characters, particularly Troi and Crusher, were lost or ignored, and that the rapid pacing of the film left no time for those unfamiliar with the series to know or care about the characters. Likewise, Emily Carlisle of the BBC praised Woodard's, Spiner's, and Stewart's performances, but felt the film focused more on action than characterization. Stewart, whom Thompson and Renzetti considered overshadowed by William Shatner in the previous film, received praise from Richard Corliss of Time: "As Patrick Stewart delivers [a] line with a majestic ferocity worthy of a Royal Shakespeare Company alumnus, the audience gapes in awe at a special effect more imposing than any ILM digital doodle. Here is real acting! In a Star Trek film!"

Home media

Star Trek: First Contact was first released on VHS in late 1997 as one of several titles expected to boost sluggish sales at video retailers. A LaserDisc version was also released. First Contact was among the first titles announced for the DVD-alternative rental system Digital Video Express in 1998. It was launched with five other test titles in the select markets of Richmond and San Francisco.

When Paramount announced its first slate of DVD releases in August 1998, First Contact was one of the first ten titles released in October, announced in a conscious effort to showcase effects-driven films. This version contained the feature and two trailers, but no other special features. The film was presented in its original 2.35:1 anamorphic aspect ratio, with a surround sound Dolby Digital 5.1 audio mix.

A First Contact "Special Collector's Edition" two-disc set was released in 2005 at the same time as three other Next Generation films and Star Trek: Enterprise's fourth season, marking the first time that every film and episode of the franchise was available on home video up to that point. In addition to the feature, presented with the same technical specifications as the previous release and a new DTS soundtrack, the first disc contains a director's commentary by Frakes and a track by Moore and Braga. As with other special-edition DVD releases, the disc includes a text track by Michael and Denise Okuda that provides production trivia and relevant facts about the Star Trek universe. The second disc contains six making-of featurettes, storyboards, and trailers.

A high-definition Blu-ray of First Contact was released on September 22, 2009. In addition to the returning DVD extras, the Blu-ray contains additional featurettes and a new commentary by Star Trek (2009) co-producer Damon Lindelof and TrekMovie.com contributor Anthony Pascale. The four Next Generation feature films were released on Ultra HD Blu-ray on April 4, 2023, in standalone and collected formats.