I can't say I find Generations' themes particularly rich either. Especially considering that the whole mortality theme was already played with greater subtlety and subtextual coherency in II. More importantly, I don't think these themes forgive the haphazard nature of the story itself when the entire plot literally unravels with a single nitpick. The nexus is probably one of the worst examples of magic or deus ex machina ever conceived for a film (how did Kirk and Picard figure out how to leave it, exactly?). Generations always felt to me like the kind of project in which you design your movie poster first and then ask your writers to come up with a story ("What's that the ship is fleeing... an exploding sun? Write it, write it!").
I've never really had a problem with the film's acting or dialogue, outside of the obnoxious one-liners they give to Brent Spiner (what does 'emotion' have to do with understanding humor, anyway? Appreciating it, I can kind of understand. But suddenly being able to 'grasp' the punchline of a joke after processing it for seven years? That's just silly). The dialogue doesn't really stand out for me at all, which I suppose is a good thing. Generally, it's that way with all the STs. It can hardly be 'bad' if it doesn't stand out for the most part. STV and Nemesis both had what I would consider to be 'bad' (as in *embarrassingly* trite or over-expressed) dialogue. So did parts of TMP and Insurrection.
Cinematography, I actually thought was pretty good. Probably the single strongest component of this film. Dare I say this was probably the most cinematic-looking ST film since number IV, although V looked pretty good whenever it wasn't rushed. (BTW, have any of you been to the Valley of Fire? I went out for a Sunday drive some four years ago. And while you could easily get turned around exploring the park, the actual canyon where they filmed is so narrow and small you wouldn't even recognize most of what (you think) you're seeing in the film. That they could helicopter their equipment in there, let alone get the kind of shots you see in the film, is absolutely staggering. Most of the rocks they were climbing on are eclipsed by even higher hills all around. And you get sand in your shoes as soon as you enter the canyon from your car).
Music was definitely uninspired. Easily the weakest of all of ST's film scores, and the only one I haven't collected to date. With no disrespect to McCartly, he is clearly not a film composer. That they actually thought he could work out for them, and then were forced to reconsider for the sequels, I think says more about the Berman aesthetic than any other one thing in his eighteen-year history.