“Avatar” hit the screens in 2009 and presented a plausible and exciting vision for the future of cinema. 13 years later “Avatar:The Way of Water, the first in James Cameron’s long-awaited sequel, is a nostalgia.
James Cameron returns to Pandora with the ecological themes and visual dazzle of the 2009 blockbuster.
The moment you open your 3D glasses, you may feel like you’ve been pulled back before the image even started. When was the last time you wore a pair like this? Even the expectation of seeing something truly new in Multiplex feels like an artifact from a bygone era before streaming and the Marvel Universe took over.
The first, “Avatar,” blended Cameron’s belief in technological advancement with the primal joy of old-fashioned storytelling and the instinctive joy of action on the big screen. The 3D effects and intricately rendered digital landscapes – Pandora’s trees and flowers on the moon, and the creatures and machines flying and racing across them – feel like the beginning of something more imaginative and new. The horizon has opened.
At the same time, the visual novelty was built on a solid foundation of familiar themes and genre tropes. It’s set, but it wasn’t exactly (or just) science fiction. It’s a revisionist western, an ecological allegory, a political allegory to Vietnam, a romance, bravery, and adventure with imprints of Homer, James Fenimore Cooper, and “Star Trek” DNA. It was a story of revenge.
This all applies to the water trails that take the story and carry it from Pandora’s forests to its reefs and swamps – environments that inspire some new and dazzling effects. Taking inspiration from flowers, the sequel revels in underwater wonders, especially an armored whale species called Turkun.
Before we meet these creatures, we’re updated with characters from the first film that you may have forgotten, in a sequence of quiet awe in the nature documentary. US Marine Jake Sully has changed his life in the Na’vi. Like her, he is now tall, lean, and blue, with a mane of black hair and braids that bind him to members of other species.He is his Na’vi. fluent in (although most of the conversation is in English).
Jake and Neytiri (Zoe Saldanha) raise their biological and adopted children. Their quarrels and adventures bring a youthful energy to a sometimes heavy, myth-filled story. Na’vi have four of her children, each a brother and sister. The eldest son, Neteyam (Jamie Flatters), treads faithfully in Jake’s brave shadow, while his younger brother, Roark (Britten Dalton), is a rebel and quick-tempered character who often finds trouble when he seeks it out.
Her sisters are the adorable Tuk (Trinity Her Jolly Bliss) and her teenage Kili, who is the creator of the noble human scientist Grace Her Augustine. One of his really creepy effects in this movie is Sigourney Weaver, who played Dr. Augustine played Kili in this film. Her distinctive face has been degraded and colored blue by digital processing. Like her mother, the girl has a mysterious Lorax-like connection to Pandora’s trees and flowers.
Completing Jake and Neytiri’s sitcom-worthy home is the shameless human boy left behind by Jake’s former Marine Corps commander and one of the original “Avatar” villains, Quaritch (Steven Lang). Spider (Jack Champion).
The Quaritch return to Pandora with new orders for colonization and a squad of navigated fighters to carry out missions. He has a long-simmering vendetta against Jake, and much of Waterway is less concerned with Imperial grandiose ambitions and more with the personal drama of loyalty and betrayal.
At over three hours running time – Jeanne Diehlmann, 23, Quai du Commerce, 1080 Bruxelles, about ten minutes shorter than the recently acclaimed Greatest Film of All Time – The Way of Water is distinctive and distinctive. The final track, which somehow feels longer than the rest, piles up action-movie bombshells, leaving even pop writers as inventive and imaginative as Cameron running out of ideas when it comes to the climactic fight sequence. Many of them, both in the air and in the water, are fiery, sad, and upsetting, and almost all of them represent what you’ve seen dozens of times remind me.
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It’s a shame, because much of The Way of Water’s middle section restores the potential promise of novelty. chiefs Ronal (Kate Winslet) and Tonowari (Cliff Curtis) for protection. Physical and cultural Na’vi differences add an interesting new dimension to Pandora’s anthropology and cinematic aesthetic palette. . Their adaptation to new surroundings – teased for their skinny dicks and clumsy arms, engaging in fights and making new friends – this film brings the vivid and spirited honesty of young adult fiction to cinema. give.
Cameron’s embrace of adolescent idealism, his ability to harbor moral outrage and wonder are the emotional core of this film. You can feel it in the horrifying scenes of the slaughter and in the confusion of Roark, Spider, and Kili as they try to figure out their purpose. role. I think the next sequel will give us more time to do that, but it will add more baggage.
I am curious and want to give priority to this complex and complex project as I did in 2009. Cameron’s ambitions are as sincere as they are contradictory. He wants to conquer the world in the name of the underdog, bless nature with the most extravagant tricks, and restore all new to old.
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