movie reviews for avatar

Cameron retains his crown

Watching “Avatar,” I felt sort of the same as when I saw “Star Wars” in 1977. That was another movie I walked into with uncertain expectations. James Cameron ‘s film has been the subject of relentlessly dubious advance buzz, just as his “ Titanic ” was. Once again, he has silenced the doubters by simply delivering an extraordinary film. There is still at least one man in Hollywood who knows how to spend $250 million, or was it $300 million, wisely.

“Avatar” is not simply a sensational entertainment, although it is that. It’s a technical breakthrough. It has a flat-out Green and anti-war message. It is predestined to launch a cult. It contains such visual detailing that it would reward repeating viewings. It invents a new language, Na’vi, as “Lord of the Rings” did, although mercifully I doubt this one can be spoken by humans, even teenage humans. It creates new movie stars. It is an Event, one of those films you feel you must see to keep up with the conversation.

The story, set in the year 2154, involves a mission by U. S. Armed Forces to an earth-sized moon in orbit around a massive star. This new world, Pandora, is a rich source of a mineral Earth desperately needs. Pandora represents not even a remote threat to Earth, but we nevertheless send in ex-military mercenaries to attack and conquer them. Gung-ho warriors employ machine guns and pilot armored hover ships on bombing runs. You are free to find this an allegory about contemporary politics. Cameron obviously does.

Pandora harbors a planetary forest inhabited peacefully by the Na’vi, a blue-skinned, golden-eyed race of slender giants, each one perhaps 12 feet tall. The atmosphere is not breathable by humans, and the landscape makes us pygmies. To venture out of our landing craft, we use avatars–Na’vi lookalikes grown organically and mind-controlled by humans who remain wired up in a trance-like state on the ship. While acting as avatars, they see, fear, taste and feel like Na’vi, and have all the same physical adeptness.

This last quality is liberating for the hero, Jake Sully ( Sam Worthington ), who is a paraplegic. He’s been recruited because he’s a genetic match for a dead identical twin, who an expensive avatar was created for. In avatar state he can walk again, and as his payment for this duty he will be given a very expensive operation to restore movement to his legs. In theory he’s in no danger, because if his avatar is destroyed, his human form remains untouched. In theory.

On Pandora, Jake begins as a good soldier and then goes native after his life is saved by the lithe and brave Neytiri ( Zoe Saldana ). He finds it is indeed true, as the aggressive Col. Miles Quaritch ( Stephen Lang ) briefed them, that nearly every species of life here wants him for lunch. (Avatars are not be made of Na’vi flesh, but try explaining that to a charging 30-ton rhino with a snout like a hammerhead shark).

The Na’vi survive on this planet by knowing it well, living in harmony with nature, and being wise about the creatures they share with. In this and countless other ways they resemble Native Americans. Like them, they tame another species to carry them around–not horses, but graceful flying dragon-like creatures. The scene involving Jake capturing and taming one of these great beasts is one of the film’s greats sequences.

Like “Star Wars” and “LOTR,” “Avatar” employs a new generation of special effects. Cameron said it would, and many doubted him. It does. Pandora is very largely CGI. The Na’vi are embodied through motion capture techniques, convincingly. They look like specific, persuasive individuals, yet sidestep the eerie Uncanny Valley effect. And Cameron and his artists succeed at the difficult challenge of making Neytiri a blue-skinned giantess with golden eyes and a long, supple tail, and yet–I’ll be damned. Sexy.

At 163 minutes, the film doesn’t feel too long. It contains so much. The human stories. The Na’vi stories, for the Na’vi are also developed as individuals. The complexity of the planet, which harbors a global secret. The ultimate warfare, with Jake joining the resistance against his former comrades. Small graceful details like a floating creature that looks like a cross between a blowing dandelion seed and a drifting jellyfish, and embodies goodness. Or astonishing floating cloud-islands.

I’ve complained that many recent films abandon story telling in their third acts and go for wall-to-wall action. Cameron essentially does that here, but has invested well in establishing his characters so that it matters what they do in battle and how they do it. There are issues at stake greater than simply which side wins.

Cameron promised he’d unveil the next generation of 3-D in “Avatar.” I’m a notorious skeptic about this process, a needless distraction from the perfect realism of movies in 2-D. Cameron’s iteration is the best I’ve seen — and more importantly, one of the most carefully-employed. The film never uses 3-D simply because it has it, and doesn’t promiscuously violate the fourth wall. He also seems quite aware of 3-D’s weakness for dimming the picture, and even with a film set largely in interiors and a rain forest, there’s sufficient light. I saw the film in 3-D on a good screen at the AMC River East and was impressed. I might be awesome in True IMAX. Good luck in getting a ticket before February.

It takes a hell of a lot of nerve for a man to stand up at the Oscarcast and proclaim himself King of the World. James Cameron just got re-elected.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Stephen Lang as Col. Miles Quaritch
Joel David Moore as Norm Spellman
Wes Studi as Eytukan
CCH Pounder as Moat
Dileep Rao as Dr. Max Patel
Giovanni Ribisi as Parker Selfridge
Sam Worthington as Jake Sully
Zoe Saldana as Neytiri
Michelle Rodriguez as Trudy Chacon
Laz Alonso as Tsu'tey
Sigourney Weaver as Grace
Matt Gerald as Corporal Lyle Wainfleet

Written and directed by

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Review: An exercise in Na’vi gazing, ‘Avatar: The Way of Water’ will cure your moviegoing blues

A CGI image of a blue man riding on the back of a winged creature over a body of water

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In “Avatar: The Way of Water,” the director James Cameron pulls you down so deep, and sets you so gently adrift, that at times you don’t feel like you’re watching a movie so much as floating in one. From time to time he brings you to the bottom of an alien sea, shot with stunning hyper-clarity in high-frame-rate 3D and teeming with all manner of surreally strange fish — all oddly shaped fins, decorative tentacles and other vestiges of an otherworldly, faintly screw-loose evolutionary timeline.

You can imagine the fun (and the headaches) that Cameron and his visual-effects wizards must have had designing this brilliant ocean-floor nirvana. You can also see an astronomical budget (reportedly north of $350 million) and an extraordinarily sophisticated digital toolkit at work, plus a flair for camera movement that, likely shaped by the director’s hours of deep-sea diving, achieves an exhilarating sense of buoyancy.

Much as you might long for Cameron to keep us down there — to give us, in effect, the most expensive and elaborate underwater hangout movie ever made — he can’t or won’t sustain all this dreamy Jacques-Cousteau-on-mushrooms wonderment for three-plus hours. He’s James Cameron, after all, and he has a stirringly old-fashioned story to tell, crap dialogue to dispense and, in time, a hell of an action movie to unleash, complete with fiery shipwrecks, deadly arrows and a whale-sized, tortoise-skinned creature known as a Tulkun. All in all, it’s marvelous to have him back (Cameron, that is, though the Tulkun is also welcome). He remains one of the few Hollywood visionaries who actually merits that much-abused term, and as such, he has more on his mind than just pummeling the audience into submission.

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Cameron wants to submerge you in another time and place, to seduce you into a state of pure, unforced astonishment. And he does, after some visual adjustment; the use of high frame rate (a sped-up 48 frames per second) tends to work better underwater than on dry land, where the overly frictionless, motion-smoothed look might put you briefly in mind of a Na’vi soap opera (“The Blue and the Beautiful,” surely). But then he can captivate you with something as lyrically simple — but actually, as painstakingly computer-generated — as a shot of his characters sitting beside the water at night, their faces and bodies reflecting the digital phosphorescence below. Any hack can make stuff blow up real good; Cameron makes stuff glow up real good.

In this long-running, long-gestating sequel to his 2009 juggernaut, “Avatar,” Cameron returns you to that distant moon called Pandora, though most of the action unfolds far from the first movie’s majestic floating mountains and verdant rainforests. We encountered that dazzling, soon-to-be-despoiled Eden through the eyes of Jake Sully (Sam Worthington), a square-jawed, soft-hearted ex-Marine sent by his ruthless corporate overlords to infiltrate the Na’vi, a powerful race of blue-skinned, yellow-eyed, cat-tailed humanoids who lived in astonishing oneness with all living things. Transplanted into his own genetically tailored Na’vi body, or avatar, Jake didn’t take long to switch allegiances and turn against humanity, having fallen hopelessly in love with Pandora’s beauty and also with a Na’vi warrior princess, Neytiri (Zoe Saldaña).

“Avatar” was a thrilling moviegoing experience and a pioneering showpiece for performance-capture technology, which allowed Cameron and his actors to endow their Na’vi characters with astonishingly detailed and lifelike gazes, gestures and physiognomies. The movie was also built on a consciously thin story, with thudding echoes of anti-imperialist westerns like “Dances With Wolves” and the fondly remembered eco-conscious animation “FernGully: The Last Rainforest.” But then, Cameron’s cutting-edge technophilia has always been married to, and complemented by, an unapologetic cornball classicism. And if it was easy to snicker at “Avatar’s” hippy-dippy sincerity, it was also easy to surrender to its multiplex transcendentalism, its world of synthetically crafted natural wonders. Here was the rare studio picture that seemed enlivened, rather than undermined, by its contradictions.

If anything, those contradictions hit you with even greater force in “Avatar: The Way of Water,” which fully and subtly immerses you in the Na’vi world from start to finish. The level of computer-generated artifice on display in every landscape and seascape is cumulatively staggering, in ways to which even the first movie, toggling insistently between Jake’s human and Na’vi experiences, didn’t aspire. Just as crucially, the stakes have risen, the emotions have deepened and the brand-extension imperatives that typically govern sequels are happily nowhere in evidence.

A blue, CGI woman holding a bow and arrow while interacting with a blue, CGI man in a fiery landscape

That might seem remarkable, considering that the “Avatar” series (at least three more movies are planned), like all properties of the former Fox Studios, now belongs to Disney, speaking of ruthless corporate overlords. But then, it’s no surprise that the director of “Aliens” and “Terminator 2: Judgment Day,” two of the most indelible sequels in action-cinema history, knows a thing or two about intelligent, expansive franchise building. And as “The Abyss” and “Titanic” bore out, Cameron also knows a thing or two about water, which is where this latest sequel finds its sweet spot: Welcome to Pandora’s beach.

But first, there’s a truckload of exposition to get through. As in the first movie, Jake obliges with the kind of grunting film-noir-gumshoe voiceover that reminds you, in ways more endearing than irritating, that snappy exposition will never be one of Cameron’s strong suits. (He co-wrote the script with Rick Jaffa and Amanda Silver.) Several years after shedding his own avatar and being reborn as a full-blown Na’vi, Jake has mastered his post-human way of life. He and Neytiri are parents to four Na’vi children: two teenage sons, Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton); an 8-year-old daughter, Tuk (Trinity Bliss), and an adopted teenage daughter of mysterious provenance named Kiri. She’s played by Sigourney Weaver, a casting choice that naturally ties her to Dr. Grace Augustine, Weaver’s deceased scientist from the first movie, initiating a mystery that will presumably be unraveled further down the franchise road.

Weaver’s casting also raises some odd, potentially discourse-sowing questions about Kiri’s chaste (for now) bond with a young human male and fellow foundling named Spider (Jack Champion), who likes to run, bare of chest and foot, with the Sully clan. But if their friendship makes for an optimistic portrait of interspecies harmony, Cameron doesn’t linger on it for long. Instead, he unleashes a grave threat that drives Jake and Neytiri from their Omaticayan jungle home and sends them fleeing to the ocean, where they seek refuge with a civilization of Na’vi reef dwellers known as the Metkayina.

It’s a shrewd narrative gambit that not only refreshes the scenery (and how!) but also forces Jake, Neytiri and their family to adapt to an entirely new way of life, cueing a second-act training regimen that allows Cameron to show off every square inch of his aquatic paradise. (His key collaborators include his longtime cinematographer, Russell Carpenter, and production designers Dylan Cole and Ben Procter.)

Led by the kind, welcoming Tonowari (Cliff Curtis) and his less hospitable wife, Ronal (a glaring Kate Winslet), the Metkayina are a highly evolved clan of water dwellers, as underscored by their aquamarine skin (in contrast to the Omaticayans’ cerulean tones), seashell-and-fishnet jewelry and intricate tattoos, reminiscent of Maori body art. They also boast unusually thick, long tails built for underwater propulsion. For Jake, Neytiri and especially their children, learning to navigate the watery wilderness just outside their new beach-bum paradise will prove a difficult challenge. It’ll also earn them some mockery from the locals, especially Tonowari and Ronal’s own teenage children, in a story that sometimes plays like a teen surfing movie by way of “Swiss Family Robinson.”

Even coming from a filmmaker used to setting intimate relational sagas against large-scale tragedy, the tenderness and occasional sentimentality with which Cameron invests this drama of family conflict and survival feels unusually personal. It can also feel a bit thinly stretched at three hours, but even that seems more an act of generosity than indulgence on Cameron’s part; his attachment to this family is real and in time, so is yours. Audiences expecting propulsive non-stop action, rather than the director’s customary slow build, may be surprised to find themselves watching a leisurely saga of overprotective parents and rebellious teens, biracial/adoptive identity issues and casual xenophobia. They’ll also be treated to some lovely whalespeak courtesy of those mammoth Tulkuns, who turn out to be engaging conversationalists as well as formidable fighters.

If you’re impatient, sit tight: The action is still to come, much of it dispensed by a snarling reincarnation of the first movie’s ex-military villain, Col. Miles Quaritch, here reborn — and played once more by the ferocious Stephen Lang — as a Na’vi avatar implanted with a surviving packet of the colonel’s memories. Bigger, badder and bluer than before, Quaritch 2.0 isn’t looking for unobtainium, the first movie’s stupidly, wonderfully named mineral MacGuffin. All he really wants is revenge against Jake and his family. (It’s personal for him, too.) His Na’vi transformation leaves only a handful of human characters, some of them old friends (Joel David Moore, Dileep Rao), though most of them are puny, inconsequential villains who rain down destruction on the Metkayina and their delicate ecosystem, only to reap destruction in return. Like its predecessor, “Avatar: The Way of Water” is both an environmental cautionary tale and a madly effective opportunity to root against our own kind; by the time the third act kicks in, you’ll be screaming for human blood.

Cameron’s return trip to Pandora has been long in the making and nearly as long in the mocking. Over 13 years of ever-shifting industry buzz about possible sequels, sequels to sequels and countless changes of plan, more than a few have expressed exasperation with the director’s ever-outsized ambitions and even cast doubt on the first “Avatar’s” pop-cultural legacy. It’s hardly the first time Cameron has been dinged in advance for an Olympian folly, and if the pattern holds, this latest and most ambitious picture will stun most of his naysayers into silence. “Never underestimate James Cameron” has become something of a mantra of late when, in fact, the underestimation is crucial. It’s part of the director’s hook, his wind-up showmanship, his belief that moviegoing can be a religious and even redemptive experience. The more he suffers, the more he can thrill us, and the more fully the wonder of cinema can be reborn.

You don’t have to buy into that self-mythologizing to surrender, even if only intermittently, to the lovely, uneven, transporting sprawl of “Avatar: The Way of Water.” Certainly it’s hard not to feel moved and even heartened by the conviction of Cameron’s filmmaking, the unfeigned sincerity with which he directs a young Metkayina woman to solemnly intone, “The way of water has no beginning and no end.” That could be interpreted as a dig at the running time, but it also nicely articulates Cameron’s sense of visual continuity. As with the first “Avatar,” the immersive fluidity he achieves here feels like an organic outgrowth from his premise, a reminder that all life flows harmoniously together.

Where it will flow next is a mystery, and it’d be disingenuous of me to suggest I’m not eager to find out. Until then, Pandora, so long, and thanks for all the fish.

‘Avatar: The Way of Water’

In English and Na’vi dialogue with English subtitles Rated: PG-13, for sequences of strong violence and intense action, partial nudity and some strong language Running time: 3 hours, 10 minutes Playing: Starts Dec. 16 in general release

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Justin Chang was a film critic for the Los Angeles Times from 2016 to 2024. He won the 2024 Pulitzer Prize in criticism for work published in 2023. Chang is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.

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‘Avatar: The Way of Water’ Review: Big Blue Marvel

James Cameron returns to Pandora, and to the ecological themes and visual bedazzlements of his 2009 blockbuster.

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By A.O. Scott

Way back in 2009, “Avatar” arrived on screens as a plausible and exciting vision of the movie future. Thirteen years later, “Avatar: The Way of Water” — the first of several long-awaited sequels directed by James Cameron — brings with it a ripple of nostalgia.

The throwback sensation may hit you even before the picture starts, as you unfold your 3-D glasses. When was the last time you put on a pair of those? Even the anticipation of seeing something genuinely new at the multiplex feels like an artifact of an earlier time, before streaming and the Marvel Universe took over.

The first “Avatar” fused Cameron’s faith in technological progress with his commitments to the primal pleasures of old-fashioned storytelling and the visceral delights of big-screen action. The 3-D effects and intricately rendered digital landscapes — the trees and flowers of the moon Pandora and the way creatures and machines swooped and barreled through them — felt like the beginning of something, the opening of a fresh horizon of imaginative possibility.

At the same time, the visual novelty was built on a sturdy foundation of familiar themes and genre tropes. “Avatar” was set on a fantastical world populated by soulful blue bipeds, but it wasn’t exactly (or only) science fiction. It was a revisionist western, an ecological fable, a post-Vietnam political allegory — a tale of romance, valor and revenge with traces of Homer, James Fenimore Cooper and “Star Trek” in its DNA.

All of that is also true of “The Way of Water,” which picks up the story and carries it from Pandora’s forests to its reefs and wetlands — an environment that inspires some new and dazzling effects. Where “Avatar” found inspiration in lizard-birds, airborne spores and jungle flowers, the sequel revels in aquatic wonders, above all a kind of armored whale called the tulkun.

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Avatar: The Way of Water First Reviews: A Magical, Visually Sublime Cinematic Experience Well Worth the Wait

Early reviews of james cameron's long-in-the-making sequel say it feels like an immersive theme park thrill ride with interesting characters, breathtaking action, and a better story than the first..

TAGGED AS: First Reviews , movies , news

The first of Avatar’ s sequels is finally here, 13 years after the release of the record-breaking original. For those who’ve been anxiously looking forward to Avatar: The Way of Water and those who have been doubting its necessity, the good news is that the movie is worth the wait and another work of essential theatrical entertainment from James Cameron. The first reviews of the follow-up celebrate its expected visual spectacle as well as its slightly improved script and new cast members. You’re going to want to return to Pandora after reading these excerpts.

Here’s what critics are saying about Avatar: The Way of Water :

Does it live up to expectations?

The Way of the Water is a transformative movie experience that energizes and captivates the senses through its visual storytelling, making the return to Pandora well worth the wait. – Mae Abdulbaki, Screen Rant

Spending more than a decade pining for Pandora was worth it. Cameron has delivered the grandest movie since, well, Avatar . – Johnny Oleksinski, New York Post

This latest and most ambitious picture will stun most of his naysayers into silence. – Justin Chang, Los Angeles Times

Is it better than the original?

Like all great sequels, The Way of Water retrospectively deepens the original. – David Ehrlich, IndieWire

Avatar: The Way of Water is as visually exhilarating and sweepingly told as its predecessor; the plot is more emotionally vigorous. – Johnny Oleksinski, New York Post

(Photo by ©Walt Disney Studios Motion Pictures)

So it’s not just more of the same?

Any “been here, actually do remember this” déjà vu washes all the way off the minute the action finally plunges under the surface. – David Ehrlich, IndieWire

[It is] meticulous world-building as astonishing and enveloping as anything we’ve ever seen on screen. – Leah Greenblatt, Entertainment Weekly

The brand-extension imperatives that typically govern sequels are happily nowhere in evidence. – Justin Chang, Los Angeles Times

Does it have a better script?

The sequel’s story is spread a bit thin, though there is certainly more depth than the first film. – Mae Abdulbaki, Screen Rant

In terms of narrative sophistication and even more so dialogue, this $350 million sequel is almost as basic as its predecessor, even feeble at times. – David Rooney, Hollywood Reporter

The story is still just okay. – Owen Gleiberman, Variety

Will we care enough about the story and characters regardless?

Avatar: The Way of Water is such a staggering improvement over the original because its spectacle doesn’t have to compensate for its story; in vintage Cameron fashion, the movie’s spectacle is what allows its story to be told so well. – David Ehrlich, IndieWire

The movie’s overt themes of familial love and loss, its impassioned indictments of military colonialism and climate destruction, are like a meaty hand grabbing your collar; it works because they work it. – Leah Greenblatt, Entertainment Weekly

Watching The Way of Water , one rolls their eyes only to realize they’re welling with tears. – Richard Lawson, Vanity Fair

I’m sorry, but as I watched The Way of Water the only part of me that was moved was my eyeballs. – Owen Gleiberman, Variety

Are there any standout performances?

Saldaña and Winslet have poignant moments…and Dalton and Champion are standouts among the young newcomers. – David Rooney, Hollywood Reporter

The most dynamic portrayal probably belongs to Lang, whose Quaritch is so relentless in his pursuit of Jake that he becomes a force of nature. – Tim Grierson, Screen International

How is the action?

The open-water clash that dominates the final hour is a commandingly sustained feat of action filmmaking. – David Rooney, Hollywood Reporter

Any hack can make stuff blow up real good; Cameron makes stuff glow up real good. – Justin Chang, Los Angeles Times

Are the visuals as spectacular as they’re supposed to be?

One can’t say enough good things about the film’s visuals — each frame is more breathtaking and magical than the last. – Mae Abdulbaki, Screen Rant

The world both above and below the waterline is a thing to behold, a sensory overload of sound and color so richly tactile that it feels psychedelically, almost spiritually sublime. – Leah Greenblatt, Entertainment Weekly

What’s most astonishing about The Way of Water is the persuasive case it makes for CGI. – David Rooney, Hollywood Reporter

(Photo by Mark Fellman/©Walt Disney Studios Motion Pictures)

But how is that high frame rate?

It’s a rather soulless feel, as it was in Peter Jackson’s Hobbit films. But it can make you feel like you’re sharing the same space with the characters. – Owen Gleiberman, Variety

While the approach can sometimes prove distracting, the film is far more persuasive than Ang Lee’s recent experiments in the form. – Tim Grierson, Screen International

The use of high frame rate (a sped-up 48 frames per second) tends to work better underwater than on dry land, where the overly frictionless, motion-smoothed look might put you briefly in mind of a Na’vi soap opera. – Justin Chang, Los Angeles Times

Does it feel like more than just your average movie?

At times you don’t feel like you’re watching a movie so much as floating in one. – Justin Chang, Los Angeles Times

There are times when it can seem as if there isn’t a screen at all, and that the action is unfolding right in front of you. – David Ehrlich, IndieWire

It’s truly a movie crossed with a virtual-reality theme-park ride. – Owen Gleiberman, Variety

Do we need to see it in a theater?

It’s the most rapturous, awe-inducing, only in theaters return to the cinema of attractions since Godard experimented with double exposure 3D in Goodbye to Language . – David Ehrlich, IndieWire

Will it leave us excited for Avatar 3 ?

Where it will flow next is a mystery, and it’d be disingenuous of me to suggest I’m not eager to find out. – Justin Chang, Los Angeles Times

Avatar: The Way of Water opens everywhere on December 16, 2022.

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‘avatar: the way of water’ review: james cameron’s mega-sequel delivers on action, emotion and thrilling 3-d visuals.

Sam Worthington and Zoe Saldaña return to Pandora with a Na’vi family to protect as the “Sky People” menace follows them to a bioluminescent ocean hideout.

By David Rooney

David Rooney

Chief Film Critic

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James Cameron knows his way around a sequel. With Aliens and Terminator 2: Judgment Day , he showed he could build on the strengths of franchise starters with brawny action, steadily ratcheted tension and jaw-dropping technological invention. He’s also a storyteller very much at home in H2O, harnessing both the majestic vastness of the oceans and the icy perils of the deep in Titanic and The Abyss .

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'Avatar: The Way of Water' review: Prepare for a visually stunning return to Pandora

Thirteen years after director James Cameron's original blockbuster “ Avatar ,” it’s worth the long voyage back to Pandora just for the alien space whales.

The first of four planned sequels to the 2009 sci-fi epic, “Avatar: The Way of Water” (★★★ out of four; rated PG-13; in theaters Friday) bests the original film in almost every way. It’s a gorgeous and stunning thing to look at, with awesome sights of underwater fauna, and the new movie is an emotionally charged outing that again dips into themes of colonization while adding environmental issues and relatable family drama.

“Way of Water” doesn’t have the most complex plot ever, however, and not everything goes swimmingly, though most viewers probably won’t care when they’re watching big blue characters ride nifty creatures while swooping and diving in thrilling fashion. (Sorry, parents, your youngsters might now be asking for a space whale for Christmas.)

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Cameron's latest effort is set more than a decade after former Marine Jake Sully (played via motion capture by Sam Worthington), his Na’vi love Neytiri (Zoe Saldana) and their indigenous clan drove the humans off the lush moon of Pandora. In the ensuing years, Jake and Neytiri had three children – including warrior-in-training sons Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton) and young daughter Tuk (Trinity Jo-Li Bliss) – and adopted teen girl Kiri (Sigourney Weaver), with feral human kid Spider (Jack Champion) also a part of their pack.

Their peaceful existence is disrupted by mankind once again when a much bigger force, led by General Frances Ardmore (a scenery-chomping Edie Falco), lands on Pandora looking to take it over as a replacement for the increasingly unlivable Earth. This time, the humans have also created their own 9-foot-tall cloned Na’vi soldiers, including one with the DNA and memories of original movie villain Miles Quaritch (Stephen Lang), last seen taking two fatal arrows in the chest from Jake and Neytiri.

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Jake is No. 1 on the bad guys' most wanted list, leading him and his loved ones to seek a new home and keep their clan safe. They ultimately find sanctuary with a village of Na’vi reef people, led by Tonowari (Cliff Curtis) and the pregnant Ronal (Kate Winslet), though Quaritch’s goon squad and a legion of human-piloted machinery, from high-tech shark subs to robotic crab suits, are in hot pursuit.

Water is a huge theme this time around, inspiring some of the headier philosophical points (“The way of water connects all things” is a running mantra). The ocean is also where much of the coolest stuff happens: There are plenty of fights and flights of fantasy, but the most thrilling sequence in the film's hefty three hours and 12 minutes features troubled middle child Lo’ak befriending an outcast Tulkun, a whale-like creature that can communicate with Na’vi, in the most heartwarming way possible.

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The second “Avatar” brings back most of the first film’s main characters plus a swath of newcomers, yet it’s the youngsters, especially Kiri and Lo'ak, who really drive the sequel’s strong coming-of-age story.

They bring a sense of freshness when “Way of Water” leans familiar running the original movie’s plot points back, such as Quaritch 2.0 learning to jibe with Pandoran creatures a la Jake or humans going to extreme lengths for a precious resource. (Thankfully, this time it’s not the awkwardly named Unobtanium.)

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It’s best to not think too hard about certain things – for example, at least one immaculate conception – and just weather others, as in one long bit akin to an extremely cruel animal documentary. And while the visual effects are on the whole pretty fantastic, the film every so often resembles a video game or a theme-park ride that seems sort of wonky compared to the more sumptuous parts.

While Cameron is a master of franchise sequels, “Way of Water” doesn’t measure up to his classics, “Aliens” and “Terminator 2: Judgment Day.” But thanks to new personalities and vivid wildlife, on the whole, this latest trip does prove, perhaps surprisingly to some after such a long period between movies, that there’s still some gas in the “Avatar” tank after all.

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“Avatar: The Way of Water,” Reviewed: An Island Fit for the King of the World

Fifteen years separated “The Godfather Part II” from “Part III,” and the years showed. The series’ director, Francis Ford Coppola , enriched the latter film with both the life experience (much of it painful) and the experience of his work on other, often daring and distinctive films with which he filled the intervening span of time. By contrast, James Cameron , who delivered the original “ Avatar ” in 2009, has delivered its sequel, “ Avatar: The Way of Water ,” thirteen years later, in which time he has directed no other feature films—and, though he doubtless has lived, the sole experience that the new movie suggests is a vacation on an island resort so remote that few outside visitors have found it. For all its sententious grandiosity and metaphorical politics, “The Way of Water” is a regimented and formalized excursion to an exclusive natural paradise that its select guests fight tooth and nail to keep for themselves. The movie’s bland aesthetics and banal emotions turn it into the Club Med of effects-driven extravaganzas.

The action begins about a decade after the end of the first installment: the American-born Jake Sully (Sam Worthington) has cast his lot with the extraterrestrial Na’vis, having kept his blue Na’vi form, taken up residence with them on the lush moon of Pandora, and married the Na’vi seer Neytiri (Zoe Saldaña), with whom he has had several children. The couple’s foster son, Spider (Jack Champion), a full-blooded human, is the biological child of Jake’s archenemy, Colonel Miles Quaritch, who was killed in the earlier film. Now Miles has returned, sort of, in the form of a Na’vi whose mind is infused with the late colonel’s memories. (He’s still a colonel and still played by Stephen Lang.) Miles and his platoon of Na’vified humans launch a raid to capture Jake, who, with his family, fights back and gets away—all but Spider, whom Miles captures. The Sully clan flees the forests of Pandora and reaches a remote island, where most of the movie’s action takes place.

The island is the home of the Metkayina, the so-called reef people, who—befitting their nearly amphibian lives—have a greenish cast to contrast with Na’vi blue; they also have flipper-like arms and tails. They are an insular people, who have remained undisturbed by “sky people”—humans. The Metkayina queen, Ronal (Kate Winslet), is wary of the newcomers, fearing that the arrival of Na’vis seeking refuge from the marauders will make the islands a target, but the king, Tonowari (Cliff Curtis), welcomes the Sullys nonetheless. Unsurprisingly, the foreordained incursion takes place. An expedition of predatory human scientists arrive on a quest to harvest the precious bodily fluid—the sequel’s version of unobtainium—of giant sea creatures that are sacred to the Metkayina. The invading scientists join the colonel and his troops in the hunt for Jake, resulting in a colossal sequence that combines the two adversaries’ long-awaited hand-to-hand showdown with “ Titanic ”-style catastrophe.

The interstellar military conflict is the mainspring of the story, and a link in what is intended to be an ongoing series. (The next installment is scheduled for release in 2024.) But it’s the oceanic setting of the Metkayina that provides the sequel with its essence. Cameron’s display of the enticements and wonders of the Metkayina way of life is at once the dramatic and the moral center of the movie. The Sullys find welcoming refuge in the island community, but they also must undergo initiations, ones that are centered on the children and teen-agers of both the Sullys and the Metkayina ruling family. This comes complete with the macho posturing that’s inseparable from the cinematic land of Cameronia. Two boys, a Na’vi and a Metkayina, fight after one demands, “I need you to respect my sister”; afterward, Jake, getting a glimpse at his bruised and bloodied son, is delighted to learn that the other boy got the worst of it. Later, when, during combat, trouble befalls one of the Na’vi children, it’s Neytiri, not Jake, who loses control, and Jake who gives her the old locker-room pep talk about bucking up and keeping focus on the battle at hand. The film is filled with Jake’s mantras, one of which goes, “A father protects; it’s what gives him meaning.”

What a mother does, beside fighting under a father’s command, is still in doubt. Despite the martial exploits of Neytiri, a sharpshooter with a bow and arrow, and of Ronal, who goes into battle while very pregnant, the superficial badassery is merely a gestural feminism that does little to counteract the patriarchal order of the Sullys and their allies. Jake’s statement of paternal purpose is emblematic of the thudding dialogue; compared to this, the average Marvel film evokes an Algonquin Round Table of wit and vigor. But there’s more to the screenplay of “The Way of Water” than its dialogue; the script (by Cameron, Rick Jaffa, and Amanda Silver) is nonetheless constructed in an unusual way, and this is by far the most interesting thing about the movie. The screenplay builds the action anecdotally, with a variety of sidebars and digressions that don’t develop characters or evoke psychology but, rather, emphasize what the movie is selling as its strong point—its visual enticements and the technical innovations that make them possible.

The extended scenes of the Sullys getting acquainted with the life aquatic are largely decorative, to display the water-world that Cameron has devised, as when the young members of the family learn to ride the bird-fish that serve as the Metkayina’s mode of conveyance; when one of them dives to retrieve a shell from the deep; and when the Sullys’ adopted Na’vi daughter, Kiri (played, surprisingly, by Sigourney Weaver, both because she’s playing a teen-ager and because it’s a different role from the one she played in the 2009 film), discovers a passionate connection to the underwater realm, a function of her separate heritage. The watery light and its undulations are attractions in themselves, but the spotlight is on the flora and fauna with which Cameron populates the sea—most prominently, luminescent ones, such as anemone-like fish that light the way for deep-sea swimmers who have a spiritual connection to them, and tendril-like plants that grow from the seafloor and serve as a final resting place for deceased reef people.

Putting the movie’s design in the forefront does “The Way of Water” no favors. Cameron’s aesthetic vision is reminiscent, above all, of electric giftwares in a nineteen-eighties shopping mall, with their wavery seascapes expanded and detailed and dramatized, with the kitschy color schemes and glowing settings trading homey disposability for an overblown triumphalist grandeur. It was a big surprise to learn, after seeing the film, that its aquatic settings aren’t entirely C.G.I. conjurings—much of the film was shot underwater, for which the cast underwent rigorous training. (To prepare, Winslet held her breath for over seven minutes; to film, a deep-sea cameraman worked with a custom-made hundred-and-eighty-pound rig.) For all the difficulty and complexity of underwater filming, however, the movie is undistinguished by its cinematographic compositions, which merely record the action and dispense the design.

Yet Cameron’s frictionless, unchallenging aesthetic is more than decorative; it embodies a world view, and it’s one with the insubstantiality of the movie’s heroes, Na’vi and Metkayina alike. They, too, are works of design—and are similarly stylized to the point of uniform banality. Both are elongated like taffy to the slenderized proportions of Barbies and Kens, and they have all the diversity of shapes and sizes seen in swimsuit issues of generations past. The characters’ computer-imposed uniformity pushes the movie out of Uncanny Valley but into a more disturbing realm, one featuring an underlying, drone-like inner homogeneity. The near-absence of characters’ substance and inner lives isn’t a bug but a feature of both “Avatar” films, and, with the expanded array of characters in “The Way of Water,” that psychological uniformity is pushed into the foreground, along with the visual styles. On Cameron’s Edenic Pandora, neither the blues nor the greens have any culture but cult, religion, collective ritual. Though endowed with great skill in crafts, athletics, and martial arts, they don’t have anything to offer themselves or one another in the way of non-martial arts; they don’t print or record, sculpt or draw, and they have no audiovisual realm like the one of the movie itself. The main distinctions of character involve family affinity (as in Jake’s second mantra, “Sullys stick together”) and the dictates of biological inheritance (as in the differences imposed on Spider and Kiri by their different origins).

Cameron’s new island realm is a land without creativity, without personalized ideas, inspirations, imaginings, desires. His aesthetic of such unbroken unanimity is the apotheosis of throwaway commercialism, in which mystery and wonder are replaced by an infinitely reproducible formula, with visual pleasures microdosed. Cameron fetishizes this hermetic world without culture because, with his cast and crew under his command, he can create it with no extra knowledge, experience, or curiosity needed—no ideas or ideologies to puncture or pressure the bubble of sheer technical prowess or criticize his own self-satisfied and self-sufficient sensibility from within. He has crafted his own perfect cinematic permanent vacation, a world apart, from which, undisturbed by thoughts of the world at large, he can sell an exclusive trip to an island paradise where he’s the king. ♦

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Avatar: The Way of Water Review

Judgment spray..

Avatar: The Way of Water hits theaters on Dec. 16, 2022. Below is a spoiler-free review.

I think it was right about when a Pandoran whale lamented, in Papyrus-subtitled dialogue, that its past was “too painful” to recount that I realized I had totally bought into Avatar: The Way of Water. The success of 2009’s Avatar heavily influenced the direction of digital filmmaking and distribution, and though the world has changed a lot in the 13 years leading up to this sequel, some things never do… like how when James Cameron decides to make a sequel, he expands and embellishes the preceding story in surprising, engaging ways. Avatar: The Way of Water isn’t afraid to be weird as hell, as it doubles down on the naked sentimentality of the first movie, refocuses the plot on more interesting characters, and yes, it has to be said, sets the high water mark for visual effects in film all over again.

The Way of Water bridges the long gap between movies with a dense prologue that explains what happened after the resource-hungry humans of the RDA retreated from Pandora. Defecting Avatar pilot and now full-time Na’vi Jake Sully (Sam Worthington) and Neytiri (Zoe Saldaña) start a family as the new leaders of the Omaticaya tribe. That family grows to include three biological and two adopted children, and it’s the driving force behind Jake and Neytiri’s decision to exile themselves after the RDA return to resume their plundering, led by the practically non-existent General Ardmore (Edie Falco). These early scenes deliver a lot of exposition, and breeze over important details about the status quo and the nature of certain relationships. At a bladder-busting 190 minutes, The Way of Water almost always finds the time to circle back to reinforce the most crucial plot elements, but it does mean that there will be times where you’ll be searching for a character’s name or their place in the social hierarchy. Cameron’s betting that you’ll be too bowled over by what a decade of technological advancement has done for realizing Pandora on screen, and the results speak for themselves.

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Though we spend some brief time in the forests of the first film, the vast majority of The Way of Water takes place in the territory of the seafaring Metkayina tribe, and the vibrant underwater ecosystem is an even more dreamlike palette for Cameron to work with. Bioluminescent rainbows from the flora in the depths refract through the moving surface like the aurora, sunsets on the wide horizon bounce off the waves and cast the shores in a purple hue, the thoughtfully designed marine life all reinforce the sense that Pandora is a living, breathing world even more effectively than Avatar did. But when the time comes to blow up all that tranquility in favor of blockbuster action, it should come as little surprise that Cameron delivers the goods. Even the most chaotic action sequences are readable, thrillingly paced, and above all, impossible to take your eye away from. An early raid on an RDA cargo shipment features a train derailment that I smiled the whole way through, taken aback by how visceral the destruction felt.

Cameron’s environmentalist interests remain the backbone of the larger Avatar plot, and his heavy employment of familiar character archetypes and story devices feels like a clear message that the Na’vi good guys and military baddies are more important as a collective than individually. And if we’re talking archetypal characters, we have to talk about Cameron’s decision to (quite literally) revive Stephen Lang’s Miles Quaritch as The Way of Water’s primary villain. Quaritch’s hyper-macho drill sergeant persona felt dated in 2009, little more than a vessel for all the worst aspects of Avatar’s themes of colonialism, but Lang’s scene-chewing enthusiasm always kept the character interesting. Quaritch gets his second chance at revenge thanks to a Na’vi body of his own, and his newfound physical prowess gives him even more swagger than he already had. His personal vendetta doesn’t get fleshed out with long monologues about the nature of life or the expectations of a military man; it’s made manifest in the simple fact that, even given a new lease on life, he’s still gunning for the Sullys.

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Lang manages to showboat without feeling like a showboat, with all the subtlety of Quaritch holding his own human skull aloft in grand Hamlet fashion, though there are some new wrinkles to the character that suggest a little more depth than The Way of Water has time for – yes, even at three-plus hours long. The Way of Water is in no rush to expand the franchise’s universe and, after a decade plus of seeing the pros and cons of interconnected storytelling, that serves the experience well.

Thanks in no small part to a shift in focus to the next generation, The Way of Water has far more room for levity than its self-serious forerunner. Jake and Neytiri’s kids bicker and tease, they get into scraps with their new tribemates, but above all, they stick together. Cameron invests a lot into middle kids Lo’ak and Kiri as the new representatives of the Na’vi’s warrior and spiritual leanings, with each struggling to understand their place. Spider, the Sullys’ adopted human child, doesn’t get quite as much time with his siblings because of how the story progresses, but his mix of feral energy and wisecracking attitude help him stand out. The eldest and youngest Sully children have little to do and get lost in the shuffle, apart from when someone needs to be endangered to keep the plot moving.

With the Sully kids taking center stage, Jake and Neytiri’s role in the story is proportionally diminished, and that’s okay. Jake is no more interesting a character than he was last time around, but he does have utility here as a tough father figure for his kids to struggle to live up to. Zoe Saldaña’s Neytiri feels like the legacy character with the least to do, mostly advocating for her kids to a distracted Jake. The leaders of the Metkayina tribe, played by Cliff Curtis and Kate Winslet, are cut from a very similar cloth to Jake and Neytiri and often end up feeling redundant as a result.

Though the vast majority of The Way of Water’s technical gambits pay off, missteps in that arena are more glaring. Specifically, Cameron overplays his hand in how he brings one of Jake and Neytiri’s children to life. Kiri, the eldest Sully daughter, is voiced and played in performance capture by Sigourney Weaver, and her connection to the late Dr. Grace Augustine (also Weaver) is an important story point, but the choice to have Weaver herself play this younger incarnation frequently distracts. It’s less to do with the idea of an adult playing a child via mo-cap and more the fact that… well, it’s Sigourney Weaver. Of course, Weaver’s game for the attempt, but pitching her voice up and shrinking her Na’vi body down isn’t quite enough to bridge the uncanny valley of hearing an icon – an icon in Cameron’s own filmography, no less – being transposed into an adolescent.

Avatar: The Way of Water is a thoughtful, sumptuous return to Pandora, one which fleshes out both the mythology established in the first film and the Sully family’s place therein. It may not be the best sequel James Cameron has ever made (which is a very high bar), but it’s easily the clearest improvement on the film that preceded it. The oceans of Pandora see lightning striking in the same place twice, expanding the visual language the franchise has to work with in beautiful fashion. The simple story may leave you crying “cliché,” but as a vehicle for transporting you to another world, it’s good enough to do the job. This is nothing short of a good old-fashioned Cameron blockbuster, full of filmmaking spectacle and heart, and an easy recommendation for anyone looking to escape to another world for a three-hour adventure.

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A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home. A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home. A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home.

James Cameron
Sam Worthington
Zoe Saldana
Sigourney Weaver
3.8K User reviews
514 Critic reviews
83 Metascore
91 wins & 131 nominations total

Top cast 99+

(as Zoë Saldana)

Dr. Grace Augustine

Trudy Chacón

Colonel Miles Quaritch

Parker Selfridge

Norm Spellman

(as Carol Christine Hilaria Pounder)

Tsu'tey

Dr. Max Patel

Corporal Lyle Wainfleet

Private Fike
Cryo Vault Med Tech

Venture Star Crew Chief
Lock Up Trooper

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(as James Pitt)

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Trivia The Na'vi language was created entirely from scratch by linguist Dr. Paul R. Frommer . James Cameron hired him to construct a language that would be easily enunciable for actors to pronounce but would not resemble any human language. Frommer created about 1,000 words. Cameron requested Dr Frommer that the Na'vi language must be entirely new, as it's supposed to be from another planet, and that it should sound "nice" to the audience. Cameron didn't want any additional editing done to their voices and wanted them to sound authentic and not unnatural. Equipped with a vast knowledge of linguistics, Dr Frommer understood what kinds of sounds the Na'vi language would or wouldn't have. Just like "j" and "r" don't exist in Korean, in English, the 'h' sound is unaspirated. In a similar vein, Frommer's conception of the new language totally avoided the sounds of "ch", "th", and "sh". Additionally, Frommer had to decide on the language's syntax -- or rules regarding word order. He came up with his own set of constraints and words to be used in the language of Pandora. The tongue took inspiration from the natural languages of the world to create a totally different spoken form.
Goofs When Jake's late brother, Tom, is uncovered, he's played by Sam Worthington . In the next shot of Tom being covered again it's clearly someone else.

Jake Sully : Neytiri calls me skxawng. It means "moron."

Crazy credits There are no opening credits of any kind, outside of the 20th Century Fox fanfare. The title of the film doesn't appear on screen until the end of the movie. For the 2022 re-release, the 20th Century Fox logo was swapped out for a 20th Century Studios logo for consistency with the second film.
Herd: As they fly over Pandora in Trudy's gunship, Jake, Grace and Norm get a closer look at some of Pandora's creatures.
The Schoolhouse: Entering an abandoned schoolhouse in the jungle with Grace and Norm to retrieve supplies, Jake makes a grim discovery.
Purple Moss: Jake follows Neytiri after his rescue, and delights in the bioluminescent moss that glows beneath his feet with every step. I Don't Even Know Your Name: Newly tasked with teaching Jake the Na'vi ways, Neytiri brings him to dinner with the entire clan.
What Does Hold Them Up?: The Avatar team lands at their new base camp in the Hallelujah Mountains, and Jake and Norm marvel at the floating mountains.
Extended Montage: Jake learns the ways of the Pandoran forest under Neytiri's tutelage, and the gulf between his two worlds grows ever wider.
Neytiri's Flyby: As Tsu'tey, Jake and two other young hunters travel across suspended vines to dizzying heights, Neytiri sails past on her banshee.
Sturmbeest Hunt: Omaticayan hunters on direhorses attack a massive herd of sturmbeests, while Jake takes aim from atop his banshee.
Extended Love Scene: Jake and Neytiri confess their feelings for one another and bond together for life under the Tree of Voices in this extended scene.
Drums of War: The morning after the military's attack on the Tree of Voices, Parker and Quaritch get some bad news from the reconnaissance team.
Tsu'tey's Fall: In the RDA assault, Tsu'tey fights fiercely after boarding the Valkyrie shuttle. But the soldiers counter with a hail of bullets.
Strumbeest Attack: Sturmbeests charge to the rescue when Neytiri is cornered by RDA soldiers in AMP suits.
Extended Thanator Fight: Neytiri and her fearsome thanator battle Colonel Quaritch in his AMP suit in this extended sequence.
The Last Shadow: When Neytiri and Jake find Tsu'tey mortally wounded, he passes leadership of the Omaticaya to Jake, with one last request of him.
Connections Edited into Bones: The Gamer in the Grease (2009)
Soundtracks I See You (Theme from Avatar) Performed by Leona Lewis Music by James Horner and Simon Franglen Lyrics by Simon Franglen , Kuk Harrell , and James Horner Produced by Simon Franglen and James Horner Leona Lewis performs courtesy of Syco Music

User reviews 3.8K

Dec 11, 2009

Women in Science Fiction

What's meant to happen to Sully's Navi/"Avatar" body, when his human body gets woken up on-base? And between sessions? We never see Navi-Jake returning to base; Is his switched-off Navi body just laying comatose, in a forest full of predators? Do the real Navi just think Jake has narcolepsy??
If at the the end of the movie, the humans were, as Jake said, sent back to their dying planet (Earth), are we to assume that they all were sent back and simply died?
What is 'Avatar' about?
December 18, 2009 (United States)
United States
United Kingdom
Official Facebook
Twentieth Century Fox
Avatar: An IMAX 3D Experience
Kaua'i, Hawaii, USA (rain forest)
Dune Entertainment
Lightstorm Entertainment
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$237,000,000 (estimated)
$785,221,649
$77,025,481
Dec 20, 2009
$2,923,706,026

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Runtime 2 hours 42 minutes
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‘Avatar: The Way of Water’ Review: It’s Even More Eye-Popping Than ‘Avatar,’ but James Cameron’s Epic Sequel Has No More Dramatic Dimension

The underwater sequences are beyond dazzling — they insert the audience right into the action — but the story of Jake Sully and his family, now on the run, is a string of serviceable clichés.

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There are many words one could use to describe the heightened visual quality of James Cameron ’s original “ Avatar ” — words like incandescent, immersive, bedazzling. But in the 13 years since that movie came out, the word I tend to remember it best by is glowing . The primeval forest and floating-mountain landscapes of Pandora had an intoxicating fairy-tale shimmer. You wanted to live inside them, even as the story that unfolded inside them was merely okay.

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“The Way of Water” cost a reported $350 million, meaning that it would need to be one of the three or four top-grossing movies of all time just to break even. I think the odds of that happening are actually quite good. Cameron has raised not only the stakes of his effects artistry but the choreographic flow of his staging, to the point of making “The Way of Water,” like “Avatar,” into the apotheosis of a must-see movie. The entire world will say: We’ve got to know what this thrill ride feels like .

At its height, it feels exhilarating. But not all the way through. Cameron, in “The Way of Water,” remains a fleet and exacting classical popcorn storyteller, but oh, the story he’s telling! The script he has co-written is a string of serviceable clichés that give the film the domestic adventure-thriller spine it needs, but not anything more than that. The story, in fact, could hardly be more basic. The Sky People, led again by the treacherous Col. Quaritch (Stephen Lang), have now become Avatars themselves, with Quaritch recast as a scowling Na’vi redneck in combat boots and a black crewcut. They’ve arrived in this guise to hunt Jake down. But Jake escapes with his family and hides out with the Metkayina. Quaritch and his goon squad commandeer a hunting ship and eventually track them down. There is a massive confrontation. The end.

This tale, with its bare-bones dialogue, could easily have served an ambitious Netflix thriller, and could have been told in two hours rather than three. But that’s the point, isn’t it? “The Way of Water” is braided with sequences that exist almost solely for their sculptured imagistic magic. It’s truly a movie crossed with a virtual-reality theme-park ride. Another way to put it is that it’s a live-action film that casts the spell of an animated fantasy. But though the faces of the Na’vi and the MetKayina are expressive, and the actors make their presence felt, there is almost zero dimensionality to the characters. The dimensionality is all in the images.

Reviewed at AMC Empire, Dec. 6, 2022. MPAA Rating: PG-13. Running time: 192 MIN.

Production: A Walt Disney Studios Motion Pictures, 20th Century Studios release of a 20 th Century Studios, Lightstorm Entertainment production. Producers: James Cameron, Jon Landau. Executive producers: David Valdes, Richard Baneham.
Crew: Director: James Cameron. Screenplay: James Cameron, Rick, Jaffe, Amanda Silver. Camera: Russell Carpenter. Editors: David Brenner, James Cameron, John Refoua, Stephen E. Rivkin. Music: Simon Franglen.
With: Sam Worthington, Zoe Saldaña, Stephen Lang, Britain Dalton, Sigourney Weaver, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Jemaine Clement, Giovanni Rabisi, Kate Winslet.

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'Avatar': Big-Picture Visions, Stirringly Realized

Kenneth Turan

Behind Enemy Lines: With Earth in trouble, humans are off to Pandora — and the native Na'vi are ready to fight for their home. Genetically hybridized and assigned to infiltrate them, combat veteran Jake Sully (Sam Worthington, left) goes native himself when he meets Neytiri (Zoe Saldana). WETA/20th Century Fox hide caption

Director: James Cameron
Genre: Science Fiction/Adventure
Running Time: 160 minutes

Rated PG-13 With: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez

(Recommended)

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'Not In Kansas Anymore'

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'This Is Your Avatar Now'

'You Should See Your Faces'

'When You Are Ready'

You've never experienced anything like Avatar, and neither has anyone else. Its shock-and-awe tactics restore a sense of wonder to the moviegoing experience that has been missing for far too long.

The year is 2154, and Planet Earth is in big trouble — big enough that people are going all the way to Pandora, six light-years away. The Na'vi — blue-skinned, 10-foot (computer-generated) creatures who live on the exotic moon — are not happy about that, which is why the speech the head of human security gives to his forces sounds less like a warning than a death sentence .

Listening to that speech is partially paralyzed combat veteran Jake Sully. He's come to Pandora to become the human mind inside an avatar — a genetically engineered hybrid between humans and the Na'vi. But once hothead Jake crosses the security barrier from the heavily protected base to enter Pandora proper, he can't help but be wowed by the vividness of the fantastical creatures there — flying dragons, anvil-headed rhinos and such.

You'll be wowed too: The creative intensity on display in Avatar is so potent, we're barely troubled by the same weakness for flat dialogue and characterization that put such a dent in Titanic. Those qualities are here, no mistake about that, but because of the nature of the story, they don't matter as much.

That's because to see Avatar is to feel like you understand filmmaking in three dimensions for the first time. In Cameron's hands, 3-D is no forced gimmick. It's a way to create an alternate reality and insert us so seamlessly into it that we feel like we've actually been there.

Avatar may be the most expensive and accomplished Saturday matinee movie ever made. But if spectacle and adventure are reasons you go to the movies, Avatar is something you won't want to miss. (Recommended)

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Avatar: The Way of Water

Where to watch.

Watch Avatar: The Way of Water with a subscription on Disney+, rent on Fandango at Home, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Narratively, it might be fairly standard stuff -- but visually speaking, Avatar: The Way of Water is a stunningly immersive experience.

Avatar: The Way of Water 's story is predictable, but the visual effects are so spectacular that it hardly matters.

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Audience reviews, cast & crew.

James Cameron

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Action/Adventure , Animation , Drama , Romance , Sci-Fi/Fantasy , War

Content Caution

In Theaters

December 18, 2009
Sam Worthington as Jake Sully; Zoe Saldana as Neytiri; Sigourney Weaver as Dr. Grace Augustine; Michelle Rodriguez as Trudy Chacon; Stephen Lang as Col. Miles Quatrich; Giovanni Ribisi as Parker Selfridge; Joel David Moore as Norm Spellman; CCH Pounder as Mo’at; Wes Studi as Eytucan; Laz Alonso as Tus’Tey

Home Release Date

April 22, 2010
James Cameron

Distributor

20th Century Fox

Movie Review

Jake Sully has been asleep for six years.

More accurately, he’s been in cryogenic stasis five years, nine months and 22 days—the time needed to shuttle him and a crew of scientists and ex-Marine mercenaries from a decaying, resource-depleted Earth to the distant, forest-covered moon Pandora in the year 2154.

The job of the heavies? Protect miners, botanists and engineers from the perils of Pandora. Jake’s task, though he’s ex-military himself, is altogether different. His career was cut short by injuries that left him a paraplegic. Then he got tapped to take the place of his twin brother (a researcher who died unexpectedly) in the Avatar project, led by Dr. Grace Augustine.

Dr. Augustine has pioneered a way to make contact with the moon’s primary population, an intelligent, 10-foot-tall, blue-skinned, wide-eyed humanoid race known as the Na’vi. Blending human and Na’vi DNA, Augustine and her compatriots have bioengineered Na’vi-like bodies that can be linked through immersive virtual reality with “drivers,” of which Jake is one.

And all of that is just the setup before things really get rolling in James Cameron’s hyper-animated technology experiment.

Positive Elements

On the brink of being devoured by predators, Jake is rescued by a fierce female Na’vi warrior named Neytiri. Do Jake and Neytiri fall in love? Of course. But in the process, Jake begins to see the humans’ despoiling presence through the cat-like eyes of Pandora’s indigenous people.

Scowling from the face of the other side of the coin, Avatar’ s villains exhibit a caricatured kind of hyper-colonial wickedness. Parker Selfridge, the humans’ corporate overseer on Pandora, looks upon the Na’vi as animals that must be annihilated. Likewise, Col. Miles Quatrich is a battle-scarred attack dog who’s all too ready to commit genocide.

It’s clear who is heads and who is tails here. And, naturally, it’s only a matter of time before conflict erupts. When it does, Jake, Dr. Augustine and several other humans sacrificially fight on behalf of the oppressed, outgunned population.

The sermon is delivered in stark tones. Yet it’s undeniably true that unprovoked attacks and the taking of others’ land for personal gain is, um, wrong . The film also rightfully elevates the Na’vi’s harmonious relationship with their environment—because while the debate can rage over what it should look like exactly, living peaceably with our surroundings is still a good thing. (On its face, that is. The spiritual components wrapped into this issue are another matter.)

The Na’vi again serve as a counterpoint to the humans who have wrecked their own world and are intent upon doing it to another. Yes, we earthlings take quite a beating in Avatar . But in some ways we deserve to, especially if we identify at all with generally rapacious materialists who have only one thing on their minds—digging out the precious, energy-rich ore known as unobtanium.

Spiritual Elements

Just as the storyline involving the decimation of an indigenous population parallels early American history, so too the Na’vi’s spiritual beliefs often parallel those of Native American religions. The Na’vi worship a goddess known as Eywa, the Great Mother, a deity that seems both personal (the Na’vi pray to her) as well as encompassing the collective energy of Pandora’s living things.

Thus, the Na’vi exhibit high reverence for all plants and animals. And, as mentioned, the film’s environmental message is set against this spiritual backdrop. The trees, the forests and everything in them are not merely part of a natural ecology, but a spiritual one. And the violence perpetrated against Pandora’s creatures is not merely a physical violation, but a spiritual affront too.

The Na’vi’s holiest place is the Tree of Souls. Its airborne seeds are referred to as “pure spirits.” Its branches—more luminous tendrils than bark-covered limbs—are used in prayer rituals. Twice the Na’vi gather before this tree in what could be described as services of corporate healing and worship. In the first, they petition Eywa to save the wounded Dr. Augustine by transferring her soul from her human body into her avatar. The tribe’s spiritual leader, a female shaman (and Neytiri’s mother), says, “The Great Mother may choose to save all that she is in this body,” then prays, “Hear us please, All Mother. … Let her walk among us as one of the people.” Amid those prayers, Augustine tells Jake, “I’m with her [Eywa]. She’s real.” A similar service later involves Jake’ s attempt to become fully Na’vi. Both times, the tribe is seated, undulating and chanting ecstatically.

The Na’vi at times listen to the whispering voices of deceased ancestors. And they psychically bond with flying, almost dragon-like creatures known as banshees. During a funeral service, Neytiri tells Jake, “All energy is only borrowed. … You have to give it back.” Neytiri says of the Na’vi’s initiation ceremony, “Every person is born twice. The second time is when you earn your place among the people forever.”

Jake eventually prays to Eywa, telling her that the humans are about to destroy the Tree of Souls. Neytiri responds, “Our Great Mother does not take sides, Jake. She protects only the balance of life.” [ Spoiler Warning ] But when the planet’s creatures come to the Na’vi’s rescue in the final battle, Neytiri exults that Eywa has answered Jake’s prayers.

A Na’vi leader calls Jake’s avatar “a demon in a false body.” Col. Quatrich says of Pandora’s vicious environment, “If there is a hell, you might want to go there for some R and R.”

Sexual & Romantic Content

The Na’vi may be aliens, and they may be computer generated, but their physiology still resembles that of humans. And we see quite a bit of it. Their garb is something you might see in a National Geographic pictorial of isolated jungle tribes. Which is to say, there isn’t much there. Both men and women wear little more than loincloths, and the race’s catlike tails don’t fully obscure their backsides. Neytiri and other Na’vi females wear ornamental coverings that don’t really conceal their breasts.

As for the humans, a female pilot wears a tight, cleavage-revealing tank top. And Dr. Augustine is seen unclothed (strategically wrapped in vines). Later, Jake’s nakedness is similarly “wrapped.”

Jake and Neytiri consummate their relationship in a sensuous scene that shows them kissing and intertwined. They sleep together afterward and are said to be “mated for life.”

Augustine alludes to an old masturbation cliché. Quatrich spits out a mocking double entendre about Jake having found “some local tail.”

Violent Content

The humans’ brutal attack begins with gas canisters. And it’s not long before copters unleash missiles that bring the Na’vi’s massive “home tree” down in a scene reminiscent of the World Trade Center’s collapse. Many Na’vi are crushed, impaled or wounded, and we see survivors departing in a line, weeping and wailing. These images recall the Cherokee’s forced migration to Oklahoma along the Trail of Tears.

Aerial clashes involve banshees vs. the humans’ aircraft. And while the Na’vi get mowed down by missiles and gunfire, many of their arrows somehow penetrate cockpits, taking out pilots and gunners.

The situation is similar on the ground. Scores of humans and Na’vi alike fall in a scene that’s similar in intensity to the final battle in The Lord of the Rings: The Return of the King . Also severe are several of Jake’s close encounters with Pandora’s fearsome beasties.

Specific violent moments worth noting include Neytiri’s taking out a viperwolf with an arrow and later killing a human with two well-placed shots. She also engages in a vicious melee with Col. Quatrich: She’s riding a huge jungle beast while Quatrich controls a mech (a walking, armored vehicle). He repeatedly stabs the animal and kills it, pinning Neytiri beneath it in the process. Elsewhere, an unfortunate human’s head and shoulders end up in a banshee’s mouth. Explosions consume man, alien and beast alike. On fire, a horse-like creature runs for its life. Jake’s avatar nearly knocks the head off one human and hurls others to their deaths.

Crude or Profane Language

About a dozen s-words. Also, 10 misuses of God’s name (including six or seven pairings with “d‑‑n”) and three abuses of Jesus’ name. We hear roughly 20 other profanities (“h‑‑‑,” “a‑‑,” “b‑‑ch,” “b‑‑tard,” “p‑‑‑”) and three crude references to the male anatomy (“d‑‑k” among them).

Drug & Alcohol Content

Dr. Augustine smokes often and drinks a glass of alcohol.

Other Noteworthy Elements

Political barbs cluster among the positive messages about peace, humanitarianism and environmentalism. As if to denigrate current American foreign policy, the film includes the lines, “Our security lies in preemptive attack. We will fight terror with terror.” Somebody references the upcoming “shock and awe” campaign.

Go epic or go home.

That’s James Cameron’s way. His last feature film, 1997’s Titanic , became the highest grossing of all time (without inflation being factored in). And his other résumé entries include such well-known bombasts as Aliens, The Terminator and its sequel, True Lies and The Abyss .

Big, every one. And Avatar is bigger and bolder than them all.

Cameron began working on Avatar in 1994. Fifteen years later we have what some are saying is the most expensive film ever made—one that tops $300 million. And it’s not hard to see where he spent the money. Visually, Avatar is a feast. Lush colors and spectacular creatures dance and splash (and fight). Cameron has arguably out-Lucased Star Wars creator George Lucas when it comes to imagining and rendering a stunning world in a galaxy far, far way. And Cameron’s proprietary 3-D technology will likely enhance the experience for movie “experience” fans. (It gave me a headache.)

But we have to do more here than deliver an artistic critique. Extended scenes of near nudity (blue though it may be), intense violence and more than a little profanity pop out as much as the immersive 3-D imagery does.

Cameron’s message in Avatar is something like this: Genocidal plunderers are devoid of spiritual enlightenment and driven by their compulsive lust for another people’s resources. Time reviewer Richard Corliss wrote of the motif, “This is not only the most elaborate public-service commercial for those of the tree-hugger persuasion; it’s also a call to save what we’ve got, environmentally, and leave indigenous people as they are—an argument applicable to the attempt of any nation (say, the U.S.) to colonize another land (say, Iraq or Afghanistan).”

Says Cameron, “[In] the 16th and 17th centuries … the Europeans pretty much took over South and Central America and displaced and marginalized the indigenous peoples there. There’s just this long, wonderful history of the human race written in blood going back as far as we can remember, where we have this tendency to just take what we want without asking.”

His insurgent solution? Get in touch with your world and its spirituality and stop consuming so much stuff.

Those are great, deep thoughts—to a point. But what kind of spirituality are we talking about here? Reminding me a great deal of Kevin Costner’s Dances With Wolves , Cameron’s depiction of the Na’vi not only elevates tribal customs and rituals, it blurs the boundaries between God and the environment. Here the creator and her creation are indistinguishable.

A postscript: Nine minutes were added to Avatar in a Special Edition theatrical re-release about nine months after it first premiered. According to Cameron, in an interview with the Washington Post , “There are short, sort of, 10- and 15- and 20-second bits that have been added back. And there are a couple of larger chunks in the one-and-a-half to two-minute range.” One of the short adds involves Jake and Neytiri’s marriage/mating scene, prolonging their sensual foreplay just a bit, but actually not adding anything more explicit to the mix. One of the longer adds is a death scene in which Jake ceremonially takes tribal chief Tsu’tey’s life as the leadership of the tribe passes to Jake. Tsu’tey has been critically injured during the fight, and he asks Jake to finish him off. Jake does so with a dagger of sorts. We see the movement but not the contact.

A second video release, the Extended Collector’s Edition set, hit shelves on Nov. 16, 2010. In it are 16 additional minutes of new footage and 45 minutes of deleted, never-before-seen scenes. To the untrained eye—and perhaps even to the trained one—the scenes are barely noticeable and of little or no consequence to the story. Most viewers will be unable to tell the difference—apart from the already long film’s additional length. Most worthy of mention is the alternate beginning in which Jake is in a futuristic city on Earth before he is chosen to succeed his late twin brother, Tommy. We see Jake drinking a shot and trying to protect a woman who is slapped by her abusive boyfriend in a bar. A brawl results, and he’s violently thrown out of the establishment. On the other side of the content coin, a family-friendly audio track (for the original version of the film) is included that’s designed to eliminate profanities. Missed in the filtering process, however, is at least one use each of God’s name and “a‑‑.” Subtitles still contain curse words.

Adam R. Holz

After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.

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Common Sense Says
Parents Say 258 Reviews
Kids Say 651 Reviews

Common Sense Media Review

Action-heavy epic has dazzling effects, familiar story.

Parents Need to Know

Why Age 13+?

Sigourney Weaver's character, Grace, smokes cigarettes and somewhat glamorizes t

The word "s--t" is used several times. Language also includes "bulls--t," "bitch

Characters (supporting and extras) die due to explosions, bullet wounds, arrows

No product placement in the movie, but dozens of tie-in merchandising deals tied

Many longing looks between Jake's avatar and Neytiri, which eventually leads to

Any Positive Content?

Several characters make difficult but moral choices. Jake chooses to support the

Although humans on the base are racially diverse, majority of main characters ar

Overall, movie's message is that we could all stand to learn something from a po

Drinking, Drugs & Smoking

Sigourney Weaver's character, Grace, smokes cigarettes and somewhat glamorizes the activity.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

The word "s--t" is used several times. Language also includes "bulls--t," "bitch," "goddamn," "piss," limp-d--ked," "hell," "oh my God," "ass," and insults like "stupid," "ignorant," etc. Degrading language is used to describe disabled people, such as "cripple." Slurs such as "savages," "roaches," and "blue monkeys" are used to describe the Na'vi.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Violence & Scariness

Characters (supporting and extras) die due to explosions, bullet wounds, arrows (some treated with toxins), precipitous falls, asphyxiation. Several intense scenes involving frightening Pandoran animals and plants, as well as tension between Jake's rogue group of pro-Na'vi humans and the rest of the humans sent to Pandora.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Products & Purchases

No product placement in the movie, but dozens of tie-in merchandising deals tied to the title -- including toys and books aimed at young kids.

Sex, Romance & Nudity

Many longing looks between Jake's avatar and Neytiri, which eventually leads to kissing and a marital "mating" ritual (kissing and touching are seen on screen). Na'vi clothing makes parts of their humanoid bodies visible. Jake and Neytir's relationship is briefly referred to as "getting tail."

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Positive Role Models

Several characters make difficult but moral choices. Jake chooses to support the Na'vi even though it's against orders to do so and means he must fight (and kill) fellow human soldiers. Neytiri, Grace, and Trudy all make personal sacrifices to help the clan; they're strong, courageous, assertive characters. (In both human and Na'vi populations, female characters are brave and important -- even the Na'vi mating ritual requires that both partners equally accept/choose each other.) On the flip side, the Colonel and corporate boss Parker are portrayed as bloodthirsty and greedy.

Diverse Representations

Although humans on the base are racially diverse, majority of main characters are White. They use offensive terms and stereotypes when talking about the Indigenous population of Pandora, and the military engages in imperialist violence. These scenes, intended to encourage racial/ethnic equality and show value of treating other groups with respect, only partially succeed because, while the Na'vi ultimately triumph, they do so only by following the guidance of outsiders. Violent human colonizers are ultimately ejected from Pandora, but film glosses over how the Na'vi environment and population have been permanently damaged by even well-meaning human scientists and allies. Main character Jake has a visible disability: He uses a wheelchair and is initially teased and treated as an inconvenience. But he easily moves around the base in his wheelchair and asserts control over himself when others try to touch or move him without his consent. Women and female Na'vi characters are important in the story, hold prominent social roles such as scientists and spiritual leaders. No body size diversity. All romantic relationships are between male and female Na'vi.

Did we miss something on diversity? Suggest an update.

Positive Messages

Overall, movie's message is that we could all stand to learn something from a population that's different from our own. Strong environmental and pro-peace themes. Some viewers may see the message of occupying a foreign land to usurp their cultural riches as a commentary on Western imperialism or United States' involvement in global politics.

Parents need to know that James Cameron 's sci-fi epic Avatar is about humans colonizing the planet Pandora, home to the Na'vi. The movie is long (at 161 minutes) and intense, with several effects-heavy battle and hunting sequences that show the devastation of imperialist violence and the right that Indigenous groups have to protect themselves and their land. These scenes include missile-launching military aircraft, neurotoxin-laced arrows, scary Pandora-dwelling fauna and flora, and lots of explosions. Salty wartime language includes many uses of "s--t," "bitch," and more. As in his previous films, Cameron infuses the action-driven story with strong female characters who are important to the plot, and crafts a morality tale about treating others with respect centered in a romantic relationship. Main character Jake uses a wheelchair in his daily life and a Na'vi "avatar" body to interact with local populations, and the human-Na'vi relationship in question gets a bit complicated because the human is actually using his Na'vi avatar. Na'vi clothing makes parts of their bodies visible from time to time. The romantic leads have chemistry that's sometimes sensual. (Note: Fans of the animated series Avatar: The Last Airbender should know that this movie is in no way connected to that show or the movie based on it.) To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parent and Kid Reviews

Parents say (258)
Kids say (651)

Based on 258 parent reviews

Very well done. Make sure you are not only an older teen, but a mature one too. Watch the family edition.

What's the story.

In the 22nd century, Marine Jake Scully ( Sam Worthington ), who uses a wheelchair, embarks on a corporate-run, military-backed experiment in which he and a select group of academics -- led by Dr. Grace Augustine ( Sigourney Weaver ) -- can fully control avatars that look exactly like the Na'vi: the lean, blue-skinned native population of a distant world called Pandora. On his first outing as his AVATAR, Jake is saved by Na'vi Neytiri ( Zoe Saldana ) and then captured by her clan. They decide to spare Jake's life as long as he agrees to learn the Na'vi ways from Neytiri. He does, but then he's told by villainous Colonel Quaritch ( Stephen Lang ) that he'll be spying on the Na'vi to make it easier to remove them from their home, an ancestral tree that's rooted above a deposit of an unbelievably valuable substance called "Unobtainium" (pun intended). As Jake becomes more and more involved with Neytiri and her people, he's forced to choose between following orders and respecting the Na'vi's wishes.

Is It Any Good?

James Cameron , director of the highest-grossing movie ever made ( Titanic ), risked a rumored $500 million on a spectacular futuristic sci-fi epic whose main characters are blue aliens and settings are mostly CGI. The good news for epic movie lovers everywhere is that Avatar was a massive success. It's more like the story of Dances with Wolves crossed with the breathtaking visual effects of Lord of the Rings and the love story of Titanic , with a splash of the assimilation to a native culture aspect of Apocalypse Now thrown in. Even though Cameron seems to have gone to the same hammy dialogue school of screenwriting as George Lucas , he can certainly immerse viewers in a thoroughly enjoyable spectacle. Every shot of Pandora is amazingly detailed, from floating mountains to flying beasts to the feline-featured Na'vi, who are inspired by several Indigenous cultures. The movie's scale is undeniably impressive.

Cameron owes a huge debt to his movie's female characters, all of whom are much more interesting than the stereotypical men -- especially the outlandishly evil Quaritch and Giovanni Ribisi 's greedy corporate overseer. Weaver and Michelle Rodriguez (as soldier Trudy Chacon), like Aliens ' Ripley or Terminator 's Sarah Connor, could take on anything or anyone, and Saldana follows up a memorable turn as Uhura in Star Trek with another strong performance as Neytiri. It's quite a feat to create romantic electricity between fictional alien creatures, but Saldana and Worthington manage it surprisingly well. If you allow yourself to get lost in Cameron's Pandora, it's impossible not to root for the Na'vi (or Neytiri and Jake). Part sci-fi, part romance, all James Cameron, this is the sci-fi epic that will suck everyone in.

Talk to Your Kids About ...

Families can talk about Avatar 's revolutionary special effects. Do they overwhelm or support the movie's story? How does the portrayal of the Na'vi affect the movie's emotional impact?

What themes does Cameron consistently work into his films? Compare the strong female characters in Avatar , Terminator , and Titanic . Any similarities?

What political messages is Cameron exploring in the movie? How are its themes relevant to what's going on in today's world? Do you think these messages will stand the test of time?

Why is it important to respect different cultural groups and treat their traditions and practices as valid and important?

How do the Na'vi and human allies use teamwork to achieve their goals? Why is that an important character strength ?

Movie Details

In theaters : December 18, 2009
On DVD or streaming : April 22, 2010
Cast : Michelle Rodriguez , Sam Worthington , Sigourney Weaver , Zoe Saldana
Director : James Cameron
Inclusion Information : Female actors, Latino actors, Black actors
Studio : Twentieth Century Fox
Genre : Science Fiction
Topics : Activism , Magic and Fantasy , Science and Nature , Space and Aliens
Character Strengths : Teamwork
Run time : 161 minutes
MPAA rating : PG-13
MPAA explanation : intense epic battle sequences and warfare, sensuality, language and some smoking
Last updated : August 5, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Avatar: The Way of Water (United States, 2022)

It’s finally here. After years of missed release dates related to postproduction issues, James Cameron’s oft-delayed sequel to 2009’s Avatar has finally arrived. Was it worth the 13-year wait? Unquestionably. It’s difficult to overstate how impressive and potentially game-changing this motion picture is. Nothing before has prepared audiences for the immersion offered by Avatar: The Way of Water when seen in optimal circumstances. The film’s straightforward narrative (which isn’t going to garner any writing nominations) plays a distant second fiddle to the amazing technical leap forward that this movie offers. If theatrical movies are going to survive, this is the future – the kind of experience that will get me off my sofa and into a well-upholstered theater seat. The Way of Water gave me three-plus hours like no other three-plus hours I have spent in a multiplex. By alternating fast-paced action sequences with slower, more contemplative stretches, Cameron calms the blood pressure before repeatedly elevating it. Those in search of a rich emotional experience or complex storyline won’t find either here, but those things have never been the director’s bread-and-butter. He offers enough of both to allow his vision and his team’s technical bravura to smooth out any pacing inconsistencies and take the viewer down a dizzying rabbit hole. Awesome.

The sequel starts between 15 and 20 years after the first Avatar ended. During the peaceful interval between movies, Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana) have been raising a family: eldest son Neteyam (Jamie Flatters), adopted daughter Kiri (Sigourney Weaver), younger son Lo’ak (Britain Dalton), and youngest daughter Tuk (Trinity Jo-Li Bliss). Also hanging around is Spider (Jack Champion), a human left behind (babies couldn’t be put into cryo-sleep for the journey home) who has “gone native.” Their idyllic lifestyle with the Forest Na’vi is shattered when a new group of Earthlings arrive in the skies of Pandora. Their objective this time isn’t stip-mining; it’s colonization. But, before they can tame (and terraform) the planet, they have to pacify the natives…by force. Led by General Ardmore (Edie Falco), the marines are given a “by any means necessary” mandate, which suits Colonel Quaritch (Stephen Lang) just fine. A Na’vi avatar implanted with the memories of the original Quaritch, this soldier has the same personality and intends to avenge himself upon the killer of his predecessor: Jake Sully.

No matter how many words I could use, I’d never be able to adequately describe the leap forward that The Way of Water takes. It’s as close to Virtual Reality as can be obtained in a movie theater. The visual effects are impressive on their own – CGI used in new ways to flesh out the first-rate world building begun in Avatar . The action sequences are cleanly choreographed and expertly shot – there’s no confusion about what’s going on. Cameron does what he has always done in ratcheting up the tension because it’s never a certainty who’s going to live and who’s going to die. The motion capture is top notch. There are very few humans in this film, making The Way of Water more of a hybrid animated/live-action movie. But when it comes to the 3D…

A quick comparison of The Way of Water with the most recent MCU release (which also has numerous underwater scenes), Wakanda Forever , illustrates how much bolder Cameron is when it comes to world-building, character arcs, and narrative trajectory. Compared to this film, even the best recent superhero entries feel stale and rote. The Way of Water excites both in terms of its visual presentation and the way in which it has been fashioned. There’s an energy here that has been sadly absent from too many recent Hollywood blockbusters. For 2022, The Way of Water may not be the most intricately made or intellectually rigorous motion picture, but it exemplifies what “cinematic” means today.

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Team Avatar Nostalgia Returns in All-New The Last Airbender Plushie Collection

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Nickelodeon's popular Avatar: The Last Airbender is set to receive a brand-new line of plush toys and other adorable merchandise featuring several members of Team Avatar, including Aang and his longtime animal partners, Appa and Momo.

Via a press release, licensed merchandise developer TeeTurtle has unveiled its collaboration with Nickelodeon for new Avatar: The Last Airbender plushies. The stars of the collection, the Momo 4" Reversible Plushie and Appa 6" Reversible Plushie, take after the adorable characters from the series. They also receive merch in the form of Momo and Appa Plushie Fanny Packs, with the latter character getting the Appa Plushie Tote Bag for daily essentials.

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New Official Pokémon Film Celebrating Chinese Fall Festival Gives Fans Goosebumps

A new animation titled "Pokémon and the Autumn Moon" delivers delightfully mysterious vibes while celebrating China's annual mid-autumn festival.

Nickelodeon's Original Avatar: The Last Airbender Gets Adorable Plushie Line With TeeTurtle

In addition to the Appa and Momo dolls, four members of Team Avatar -- Aang, Katara, Toph and Zuko -- have received a Plushmates Besties set: four deformed dolls with magnetic hands for fun and display options. The plushies will be available via Amazon, BoxLunch and FYE, and will debut on TeeTurtle's own website on Oct. 21, 2024. The company was founded in 2012 and is now responsible for over 10 lines of products, with 20 million products sold worldwide.

The plush dolls follow the all-new Avatar: The Last Airbender board game announced this week by MONOPOLY: One Piece makers The Op Games. The game is teased as a strategic deck-building experience, allowing 2-4 players to play through seven boxes of unlockable stories, defeating Adversaries and completing Objectives. The story takes inspiration from the original animated series, which first aired on Nickelodeon in 2005, and is officially described: "With the Fire Nation on the brink of global domination, a young girl and her brother discover a 12-year-old Airbender who reveals himself as the Avatar. Will this irresponsible kid accept his destiny in time to save the world?"

Avatar: The Last Airbender

In a war-torn world of elemental magic, a young boy reawakens to undertake a dangerous mystic quest to fulfill his destiny as the Avatar, and bring peace to the world.

Source: Press release

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IMAGES

Original Avatar Movie Review
Movie reviews: 'Avatar: The Way of the Water' and more
Movie review: 'Avatar: The Way of Water'
Avatar The Way Of Water movie review: James Cameron takes immersive to
Avatar (The Way of Water) review. Avatar (The Way of Water) తెలుగు
Avatar movie review & film summary (2009)

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Avatar 2
Avatar 2 The Way of Water Malayalam Movie Review
Avatar: Way of the Water Review

COMMENTS

Avatar: The Way of Water movie review (2022)
Cameron invites viewers into this fully realized world with so many striking images and phenomenally rendered action scenes that everything else fades away. Maybe not right away. "Avatar: The Way of Water" struggles to find its footing at first, throwing viewers back into the world of Pandora in a narratively clunky way.
Avatar
James Cameron's Academy Award®-winning 2009 epic adventure "Avatar", returns to theaters September 23 in stunning 4K High Dynamic Range. On the lush alien world of Pandora live the Na'vi, beings ...
Cameron retains his crown movie review (2009)
162 minutes ‧ PG-13 ‧ 2009. Roger Ebert. December 11, 2009. 5 min read. Watching "Avatar," I felt sort of the same as when I saw "Star Wars" in 1977. That was another movie I walked into with uncertain expectations. James Cameron 's film has been the subject of relentlessly dubious advance buzz, just as his " Titanic " was ...
Avatar
Full Review | Original Score: 4/5 | Feb 8, 2024. Preston Barta Fresh Fiction. 'Avatar' is not just a visual display. It contains heart, humor, and all the aspects needed to make it a well-rounded ...
'Avatar 2' review: Na'vi gazing at its finest
Review: An exercise in Na'vi gazing, 'Avatar: The Way of Water' will cure your moviegoing blues. Jake Sully (played by Sam Worthington) in the movie "Avatar: The Way of Water.". In ...
'Avatar' Review: Movie (2009)
This is motion capture brought to a new high where every detail of the actors' performances gets preserved in the final CG character as they appear on the screen. Yes, those eyes are no longer ...
'Avatar: The Way of Water' Review: Big Blue Marvel
Cameron's ambitions are as sincere as they are self-contradictory. He wants to conquer the world in the name of the underdog, to celebrate nature by means of the most extravagant artifice, and ...
Avatar: The Way of Water First Reviews: A Magical, Visually Sublime
The first of Avatar's sequels is finally here, 13 years after the release of the record-breaking original.For those who've been anxiously looking forward to Avatar: The Way of Water and those who have been doubting its necessity, the good news is that the movie is worth the wait and another work of essential theatrical entertainment from James Cameron.
Movie Review: 'Avatar: The Way of Water'
Movie Review: 'Avatar: The Way of Water' Filmmaker James Cameron's sequel to the biggest worldwide box office hit of all time, "Avatar: The Way of Water," has been in the works for more than a decade.
'Avatar: The Way of Water' Review: James Cameron's Immersive Sequel
Screenwriters: James Cameron, Rick Jaffa, Amanda Silver. Rated PG-13, 3 hours 12 minutes. In terms of narrative sophistication and even more so dialogue, this $350 million sequel is almost as ...
Avatar
Avatar - Metacritic. 2009. PG-13. Twentieth Century Fox Film Corporation. 2 h 42 m. Summary Jake Sully is a former Marine confined to a wheelchair. But despite his broken body, Jake is still a warrior at heart. He is recruited to travel light years to the human outpost on Pandora, where a corporate consortium is mining a rare mineral that is ...
'Avatar: The Way of Water' review: James Cameron revisits Pandora
'Avatar 2':James Cameron talks big sequel's 'leap of faith' Jake is No. 1 on the bad guys' most wanted list, leading him and his loved ones to seek a new home and keep their clan safe.
"Avatar: The Way of Water," Reviewed: An Island ...
Richard Brody reviews James Cameron's "Avatar: The Way of Water," a heavy-on-the-C.G.I. sequel starring Sam Worthington, Zoe Saldaña, and Kate Winslet.
Avatar (2009)
Avatar is a difficult movie to review because it is so innovative. It blows away almost all sci-fi epics out there, and is a must see. See Avatar. It is well worth full-price, and it is the best picture of the year. The only movie that comes to being as good as Avatar is District 9. Avatar however, I will say is better because Avatar has heart.
'Avatar: The Way of Water' review: James Cameron stuns with this ...
The movie's second act is basically a charming riff on Swiss Family Robinson, as Jake and Neytiri receive a wary welcome from the community leaders, one of them played by a glaring Kate Winslet ...
Avatar: The Way of Water Review
Avatar: The Way of Water is a thoughtful, sumptuous return to Pandora, one which fleshes out both the mythology established in the first film and the Sully family's place therein. It may not be ...
Avatar (2009)
Avatar: Directed by James Cameron. With Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang. A paraplegic Marine dispatched to the moon Pandora on a unique mission becomes torn between following his orders and protecting the world he feels is his home.
'Avatar: The Way of Water' Review: Eye-Popping, but Lacking ...
Camera: Russell Carpenter. Editors: David Brenner, James Cameron, John Refoua, Stephen E. Rivkin. Music: Simon Franglen. With: Sam Worthington, Zoe Saldaña, Stephen Lang, Britain Dalton ...
Movie Review
Movie Review - 'Avatar' - Big-Picture Visions, Stirringly Realized You've seen the stories about the special-effects — but you still may not be prepared for the shock-and-awe tactics of Avatar ...
Avatar: The Way of Water
Rated: 3.5/5 Aug 13, 2024 Full Review Nadya Martinez The Latin Times Avatar: The Way of Water, the long awaited sequel to Cameron's Avatar - the highest grossing film of all time - was ...
Avatar
Visually, Avatar is a feast. Lush colors and spectacular creatures dance and splash (and fight). Cameron has arguably out-Lucased Star Wars creator George Lucas when it comes to imagining and rendering a stunning world in a galaxy far, far way. And Cameron's proprietary 3-D technology will likely enhance the experience for movie "experience ...
Avatar Movie Review
Our review: Parents say (257 ): Kids say (651 ): James Cameron, director of the highest-grossing movie ever made (Titanic), risked a rumored $500 million on a spectacular futuristic sci-fi epic whose main characters are blue aliens and settings are mostly CGI. The good news for epic movie lovers everywhere is that Avatar was a massive success.
Avatar: The Way of Water
Cameron does what he has always done in ratcheting up the tension because it's never a certainty who's going to live and who's going to die. The motion capture is top notch. There are very few humans in this film, making The Way of Water more of a hybrid animated/live-action movie. But when it comes to the 3D….
The Original Avatar: The Last Airbender Returns With All-New ...
Avatar: The Last Airbender gets all-new plush dolls and products featuring members of Team Avatar, including Aang and his longtime animal partners. ... Movie Reviews TV Reviews The 4:30 Movie Review: Kevin Smith's Heartfelt Ode to Love, Youth & the Movies 3:56. RETRO REVIEW: The Dark Knight Rises Is an Overindulgent Superhero Saga ...

Cameron retains his crown

Roger Ebert

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Does it live up to expectations?

Is it better than the original?

So it’s not just more of the same?

Does it have a better script?

Will we care enough about the story and characters regardless?

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