No adjectives will be enough to describe Avatar: the way of water. A lumbering, humorless, tech-driven damp squib of a movie. This long-awaited sequel to one of the highest-grossing films of all time. Builds upon the mighty flaws of its predecessor, and delivers a patience-testing fantasy dirge that is longer, uglier, and amazingly. Even more clumsily scripted than its predecessor, blending tribe Characterization with thunderously disappointing action moments in the sea in Avatar: The Way of Water. And subpar Roger Dean 1970s album cover designs.
After the completely forgettable shenanigans of 2009’s Avatar, we pick up several years later. After giving up his human skin to inhabit his extraterrestrial Avatar. Jake Sully (Sam Worthington) has blended in on the faraway planet Pandora. And is raising a family with Neytiri (Zoe Saldana). When the “Sky People” of the earth come looking for a fight. Among other things, the forest-friendly Sullys were compelled to flee to distant archipelagos where the water tribes dwell. Here, they must abandon their tree-hugging lifestyle. Also learn the way of the reef people, who have thicker tails and are a bit more turquoise.
The Metkayina tribe is led by (Cliff Curtis) and his partner, Ronal (Kate Winslet). Whose kids don’t click with the sullen brood. Setting the scene for much teen-movie-style internecine squabbling followed by inevitable boring bromance bonding? En route, our blue heroes will learn to ride amphibious skimmings to speak the language of the seas in all its wondrous wetness, and befriend a damaged, whale-like creature who will play a crucial role in the movie’s handling of its emotional baggage.
There are times that are supposed to be exhilaratingly thrilling. The characters in the film exclaim “woohoo!” in the same way that young Anakin exclaimed “yippee!” in Star Wars: Episode 1 – The Phantom Menace, making these easy to spot. Sadly, there are more parallels are remaining to see between this and Luca’s misguided space opera prequels. The PANDORA inhabitants are similar to Jar Jar Binks. Apparently created by a sixth-grader while listening to Tales from Topographic Oceans, complete with wide-eyed Middle-Earth awe and cod Ferngully-style storybook heroism.
Let’s face it, with very few notable expectations, 3D has done very little to “enhance” anyone’s viewing experience. It has risen and fallen like the tide on countless occasions throughout film history. The brutal reality of the Chinese theatrical market. Where stunning stereoscopy still reigns supreme, is the only thing it immerses us in. But when the financial stakes are this high Cameron simply can’t afford to abandon a gimmick for which he has become chief gong banger, standard bearer, and book-keeper.
While it’s difficult to ignore how much Cameron enjoys the human hardware sequences. Which has a rough physicality that contrasts sharply with the floaty computer-game visuals of the rest of the films. Underneath it all is the same honking bland anti-imperial/anti-colonial/eco-friendly metaphor. which gave The First Avatar the illusion of gravitas. The only thing remains to see whether things will become better in later films. On this evidence, I doubt it. As 202 draws to a close, and you’re joining us today from India, we have a small favor to ask .it’s been a challenging year for millions – from the war in Ukraine, to the flood in Pakistan, and heat waves across Europe, protests in Iran, global economic turbulence, and continued repercussions from the global pandemicEvery day, the Guardian has produced meticulous, fiercely independent reporting.