“AVATAR: THE WAY OF WATER” My rating: B (In theaters)
192 minutes | MPAA rating: PG-13
“Avatar: The Way of Water” is — no surprise here — a world-class display of high-end cinema technology. Not to mention a down-to-the-molecular-level example of imaginative world-building from writer/director James Cameron.
These triumphant elements are at the service of some largely underwhelming melodramatics marked by vast narrative digressions that push the film’s running time past the three-hour mark, a boatload of woo-wooish environmental attiitude, and some really tin-eared dialogue.
So the film is a tossup between eye-popping/mind-boggling thrills (the action sequences MUST be seen in 3-D…there’s no reason to watch the movie, otherwise) and (for me, anyway) duh-inducing narrative elements.
I’m satisfied to have seen it once.
“The Way of Water” unfolds approximately 15 years after the events of the first “Avatar” — which not so coincidentally is about how much time this sequel has been in production.
Hour One:
The film’s original hero, Jake Sullivan (Sam Worthington), has settled nicely into his avatar body, becoming a chieftain of the Na’vi, the blue-skinned cat-faced humanoids of the planet Pandora. He and his mate Neytiri (Zoe Saldana) now have four children ranging in age from wee one to adolescents.
Every day is just another day in paradise until — oh, crap — the skies light up with the return of the Sky People (homo sapiens, that is), most of whom were driven out at the end of the original movie. They’ve spent the last decade planning new ways to plunder Pandora’s rich natural resources.
The script (by Cameron, Rick Jaffa and Amanda Silver) dishes an intriguing element early on with the re-introduction of Quaritch, the gung-ho militarist played in the first film by Stephen Lang. Quaritch was memorably skewered at the end of “Avatar,” but now we learn that before leaving Earth to meet his demise on Pandora his consciousness was downloaded and has been rekindled in a brand new Na’vi avatar body.
So now he’s big, blue and able to move freely around the planet without the oxygen mask required by humans. And with a squad of avatar Marines he’s eager to follow the plan of his commanding officer (Edie Falco!?!?!?!) to “pacify” the locals and get on with the rape of the environment.
Quarich also practices a form of cliched military speak (“Outstanding!” ” Heads on a swivel, guys!”) that threatened to make my eyes roll back in my head.
“The Way of Water” regularly dishes telenovela-level plot twists. For example, before he died in the first flick Quaritch fathered a child who has grown up in the jungle with Jake and Neytiri’s offspring. This mini-Tarzan, called Spider (Jack Champion), has a head of dreadlocks, a surfer-boy physique and doesn’t seem to be at all handicapped by the need to wear an oxygen mask whenever he’s out and about.
Anyway, a weird father/son dynamic develops between the avatar Quaritch and his sort-of spawn; who will Spider choose…his “dad” or his adopted family?
The film’s first hour is devoted to setting up the situation, introducing Jake’s four kids (turns out puberty pretty much sucks among all species on all planets) and depicting a devastating Na’vi raid on the invading humans. Great action stuff.
(BTW: Sigourney Weaver, who in the original played human scientist Grace Augustine, here provides the voice and motion capture performance of Jake’s adopted teenage daughter, Kiri. Apparently Kiri is the child of Grace’s Na’vi avatar. If you’re a major “Avatar” devotee, that’s probably important information.)
Hour Two:
Unfortunatlely, Jake’s routing of the Earthlings makes him a marked man. Lest the wrath of the Sky People come down on his forest-dwelling tribe, Jake and his brood climb on their flying reptiles and relocate hundreds of miles away to an island chain where they hope to live in peace.
The locals there, led by Tonowari and his wife Ronal (Cliff Curtis, Kate Winslet), are Na’vi, but different. Instead of blue skin theirs is kinda greenish, and instead of five fingers they have only four…their hands are more like paddles, which comes in handy since they spend so much time underwater.
So the film’s second hour is a sort of “Swiss Family Robinson” adventure as the newcomers overcome resistance to be slowly accepted by their new community. And there’s lots to learn about surviving in a largely liquid environment, which gives Cameron plenty of opportunity to create an aquatic world filled with mind-blowing beauty.
However at this point the film threatens to bog down in a serious case of Wesley Crusher Syndrome. Remember the first season of “Star Trek: The Next Generation,” when every episode seemed to center on teenage ensign Wesley Crusher instead of something actually interesting? Same thing here. The kids, sorry to say, aren’t that interesting…even if one of them does befriend a rogue Tulkan, a whale-like creature with super-human intelligence. (If you’re going to cap your movie with an epic sea battle, doesn’t hurt to have a whale-thingie fighting on your side.)
Hour Three:
Quaritch and his goons finally track Jake down. Basically they commandeer a whaling vessel used to harvest a precious oil from the Tulkans…apparently this stuff halts human aging. An entire sequence is devoted to a Tulkan hunt, which looks awfully familiar if you’ve ever seen “Moby Dick.” And since the Tulkans are feeling, intelligent creatures it’s just one more example of human cruelty in the name of greed.
The film is capped by a huge battle at sea. You could call it “Titanic Redux” for all the watery lessons Cameron learned on that blockbuster which he puts to good use here.
Despite a draggy middle section, “Avatar: The Way of Water” is generally well-paced and there’s always something interesting to look at. Moreover, Cameron’s technology seamlessly incorporates real humans and computer-generated characters side-by-side. I can’t begin to differentiate between real physical sets and those constructed of bytes.
We’re told that Cameron has begun work on a third “Avatar” movie. I’ll probably go see that one, too.Avatar: The
| Robert W. Butler
Butler's Cinema Scene 