J.J. Abrams’ latest film is a strange case. You can approach it from many angles and I would not say any are exactly wrong because Star Trek Into Darkness’ category in the world of film, even its exact intention, is in a vague area. On top of that, Abrams’ obsession with secrecy has gutted true discussion of the film. However, what will define Into Darkness is not any sense of greatness or masterful storytelling or even its twists and turns. No, what will define Into Darkness is Abrams’ refusal to forget about Trek fans when he has every reason to.

Released in 2002 after the critical and Oscar-winning success of Erin Brochovich and Traffic plus the commercial success of Ocean’s Eleven, Steven Soderbergh’s Full Frontal sort of came and went. Shot mostly on Mini DV, the film was billed as a sort of modern take on François Truffaut’s classic Day for Night, exploring the interweaving lives of people behind the scenes of a film production while also offering glimpses of the film being made.

Fans of obscure cinema know that there are still plenty of movies that have, and very well may never be, available on any home video format save for VHS. Granted, you can find a lot of obscure stuff online today, but even taking that into consideration, there’s something about experiencing a movie on the format everyone would have been using at the time of its release that feels special.