For Star Trek Into Darkness, J.J. Abrams operates with an “if it ain’t broke” mentality. It serves him–and the film–fairly well. Except Michael Giacchino’s music. While Abrams goes for sensationalism every time, he does it competently. The Giacchino music, however, is never competent.

This Trek tries hard to create mainstream post-modern; it’s a sequel to the first movie, yes, but it’s also a remake of a television series and a movie series. Not to mention Abrams and the writers gleefully wink at the franchise’s more memorable details. Into Darkness does have some serious moments and even tries hard to work arcs for some of its characters (it loses them too often), but it’s all for fun.

So why do Abrams and company get away with it? Usually the acting. Benedict Cumberbatch is fantastic as the villain, a 23rd century terrorist. If he wanted, he could act circles around Chris Pine and Zachary Quinto, but Cumberbatch gives them time to catch up. He’s the very special guest star, after all.

Both Pine and Quinto are good. Pine’s likable and believable but the script coddles him. He doesn’t have to run the movie. Karl Urban’s great as Bones, Simon Pegg’s fun as Scotty. John Cho and Anton Yelchin lack personality–the script doesn’t give them enough to do. Zoe Saldana’s okay, the script giving her too much to do.

Sadly, Peter Weller’s weak. He’s obviously stunt casting.

Into Darkness succeeds. Hopefully the next one will be more original.