In 2009, James Cameron wowed viewers with Avatar, a story that is both artistically gorgeous and environmentally conscious.
Avatar is set in the somewhat distant future on the planet Pandora, where people from Earth have established a mining operation and ruined the life of the native Navi.
In an effort to engage with the Navi, humanity has constructed an “Avatar” consisting of the body of a Navi with a human’s consciousness electronically implanted within it.
Who is in the Cast of Avatar: The Way of Water?
Numerous performers from the first film return for Avatar: The Way of Water, including Sam Worthington, Zoe Saldana, Matt Gerald, Joel David Moore, CCH Pounder, Dileep Rao, and Giovanni Ribisi.
Additionally, Sigourney Weaver and Stephen Lang will appear in Avatar: The Way of Water in some capacity… (Spoiler alert: did they perish in Avatar?) It has been confirmed that Weaver will play a new character, Kiri, the adopted daughter of Jake and Neytiri.
Kate Winslet, Cliff Curtis, Edie Falco, Michelle Yeoh, Jemaine Clement, Oona Chaplin, and Vin Diesel are among the cast’s exciting new additions.
Reviews Avatar: The Way of Water
James Cameron wishes for you to have faith. He wants you to think that aliens are murdering machines, that humans can overcome time-traveling cyborgs, and that a film can take you to a major historical catastrophe.
In many respects, the planet Pandora in “Avatar” is his most audacious attempt to convey his belief in the power of film. Can you leave your life behind and see a film in a manner that has become increasingly difficult in this day of distractions?
Cameron has pushed the bounds of his ability to believe even further as technology has improved, experimenting with 3D, High Frame Rate, and other tools that did not exist when he began his career.
However, one of the many fascinating aspects of “Avatar: The Way of Water” is how this idea presents itself in previously covered themes.
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This immensely entertaining film is not a rehash of “Avatar,” but aficionados will recognize thematic and visual aspects from “Titanic,” “Aliens,” “The Abyss,” and “The Terminator” It’s as if Cameron has permanently relocated to Pandora with all of his possessions.
Clearly, he will never leave. Cameron draws viewers into this completely realized world with so many arresting imageries and superbly created action sequences that everything else fades into the background.
Maybe not immediately. “Avatar: The Way of Water” first struggles to find its footing, reintroducing the audience to the world of Pandora in a narratively awkward manner. Cameron prioritizes the world-building portion in the middle of this picture, which is one of his best achievements, so he rushes through some of the setups to get to the good stuff. Before then, we catch up with Jake Sully (Sam Worthington), a human who is now a full-time Na’vi and has started a family with Neytiri (Zoe Saldana).
They have three children: Neteyam (Jamie Flatters), Lo’ak (Britain Dalton), and Tuk (Trinity Jo-Li Bliss). They are the guardians of Kiri (Sigourney Weaver), the daughter of Weaver’s character from the first film.
Family harmony is shattered by the reappearance of the sky people,’ including a Navi avatar version of Colonel Miles Quaritch (Stephen Lang), who has returned to accomplish what he began, including exacting revenge on Jake for the loss of his human form.
He returns with a troop of human-turned-Na’vi soldiers who are the primary enemies of the film, but not the only ones. Once again, “Avatar: The Way of Water” depicts the militarized, planet-destroying humanity of this universe as the main antagonists, albeit their motivations are occasionally unclear.
Around the midway point, I realized that it is unclear why Quaritch is so determined to chase Jake and his family, other than the fact that the plot requires it and Lang is skilled at portraying rage.
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The majority of “Avatar: The Way of Water” depends on the same choice posed by Sarah Connor in the “Terminator” films: should a family fight or flee? You must decide whether to flee and hide from the formidable foe in order to preserve your safety or to confront the tyrannical evil.
Jake initially chooses the first option, which leads them to a different region of Pandora, where the film begins with one of Cameron’s long-standing obsessions: water. In a realm ruled by Tonowari (Cliff Curtis), the chieftain of the Metkayina clan, aerial acrobatics are replaced by underwater ones.
Tonowari, a family man whose wife is portrayed by Kate Winslet, is concerned about the potential danger posed by the new Navi visitors, yet he cannot send them away.
Cameron engages with moral questions regarding duty in the face of a potent evil once more in a group of Earth-based commercial poachers.
They dare to hunt sacred aquatic animals in breathtaking sequences that make you forget that none of what you are witnessing is true.
Midway through the film, the focus turns from Sully/Quaritch to the children of the region, as Jake’s sons learn the traditions of the water clan. The universe of “Avatar” appears to be developing in ways that the original picture did not.
In contrast to the last picture, which was more focused on a single narrative, Cameron combines many narratives in a considerably more ambitious and ultimately fulfilling manner in this one.
While some of the themes and storyline twists, such as the connection between Kiri and Pandora or the journey of a new character dubbed Spider (Jack Champion), are primarily table-setting for future films, the entire project is enhanced by expanding its storytelling canvas.
While one may argue that there should be a clearer distinction between the protagonist and antagonist in a film that discards Jake and Quaritch for lengthy stretches, I would argue that these labels are purposely ambiguous here.
The protagonist is the entire family as well as the planet on which they reside, whereas the enemy is everything that seeks to destroy the natural world and the beings that are so interconnected with it.
Viewers should be advised that Cameron’s ear for speech has not improved—there are a few lines that will elicit accidental laughter—but his approach to character, which marries traditional storytelling with cutting-edge technology, is almost endearing.
Massive movies frequently muddle their universes with superfluous mythologies or backstories, yet Cameron ensures that this implausible world remains relatable. His deeper themes of environmentalism and colonization may be too superficial for some viewers, and the manner in which he appropriates pieces of Indigenous culture may be problematic, and I would not argue against that.
However, if a family uses this film as a springboard for discussions about these subjects, then it has a greater net beneficial impact than the majority of mindless blockbusters.
There has been a great deal of discussion regarding the cultural influence of “Avatar” recently, despite the fact that the last decade of popular culture was dominated by superheroes, causing people to forget about the Navi.
Upon viewing “Avatar: The Way of Water,” I was reminded of how impersonal the Hollywood machine has grown over the past several decades, and how frequently the blockbusters that have had a significant impact on the art form have exhibited the personal touch of their director.
Consider how George Lucas and Steven Spielberg’s greatest and best films could not have been made by anybody else. “Avatar: The Way of Water” is unmistakably a James Cameron blockbuster. And I still believe in him.