Right, THAT’s why I didn’t like it. And not, you know, any of the reasons I’ve actually posted. Let’s see–
It looks awful since it’s jammed to the gills with camera flaws (shake and glare). Just because it was done on purpose doesn’t make it good.
The editing in the action sequences is Bay-level incoherent.
The ship fights themselves are lame, consisting almost entirely of the ships just sitting nose-to-nose and blasting away until someone gives up. Compare to the battle sequences in Wrath of Khan, which actually had the captains engaging in deeper tactical thinking than screaming “Evasive pattern THX-1138!”.
The Kirk birth/Kelvin destruction sequence, which just went on and on and ON AND ON AND ON. “What’s that, honey? Kirk just spoke his first words? Oh hold on, I’ll be crashing any minute now…”
The Baby Kirk yippee sequence, which is indefensible at any level.
As a story-driving villain, Nero sucked. He barely had any screen time, had no personality beyond “GRAHH!”, and his evil mission was nonsensical. Also he was almost indistinguishable from his crewmen-- just another tattooed bald guy in a sea of tattooed bald guys.
The hamfisted humor. Oooh, puffy hands. Oooh, Scotty and the Chocolate Factory. Oooh, Chekov has an absurdly thick accent. Har har har.
The repetitive script. How many times will Kirk dangle by his fingertips? Oh look, Nero’s disabled another Federation ship and asked its captain to come aboard in a shuttlecraft.
The incredibly lazy script, with so many plot-critical elements driven by sheer inexplicable coincidence.
Starfleet is apparently run entirely on the concept of just showing up. Want to join the academy? Just show up! Want to be the chief of engineering? Just show up! Want to be the science officer? Just show up!
The virtual genocide of the Vulcan race. Yes, this pissed me off. Fuck you, Abrams.
And finally, Kirk being promoted directly from cadet to Captain. I can buy that sort of career advancement in The Hudsucker Proxy, but in a supposedly serious film, not so much.
So yeah… a big dumb loud goofy explody mess. The sort of filmmaking that’s made Bay and Bruckheimer filthy rich. So nobody go acting surprised that it’s been successful.