Review: ‘Avatar’


Cameron creates another world entirely in "Avatar" and it's very much a place worth visiting.

The King of the World sets his sights on creating another world entirely in “Avatar,” and it’s very much a place worth visiting. The most expensive and technically ambitious film ever made, James Cameron’s long-gestating epic pitting Earthly despoilers against a forest-dwelling alien race delivers unique spectacle, breathtaking sights, narrative excitement and an overarching anti-imperialist, back-to-nature theme that will play very well around the world, and yet is rather ironic coming from such a technology-driven picture. Twelve years after “Titanic,” which still stands as the all-time B.O. champ, Cameron delivers again with a film of universal appeal that just about everyone who ever goes to the movies will need to see.

Cameron reportedly wrote the story, if not the full script, for “Avatar” at least 15 years ago but decided he had to wait until visual effects capabilities advanced sufficiently to credibly render his imagined world and its inhabitants. On this fundamental level, the picture is a triumph; it’s all of a piece, in no way looking like a vague mish-mash of live-action, CGI backdrops, animation, performance capture and post-production effects. On top of that, the 3D is agreeably unemphatic, drawing the viewer into the action without calling attention to itself. The third dimension functions as an enhancement, not a raison d’etre, so the film will look perfectly fine without it. (When it opens domestically on Dec. 15, approximately 2100 screens will feature 3D, with another 1200 in 2D.)

Then there’s the appearance of the indigenous Na’vi clan. In the wake of the still photographs, trailers and 15-minute appetizer offered up by Fox in recent months, a certain wait-and-see reaction could be felt that raised mild doubts about how physically appealing the protagonists would be. But once they’re introduced in the context of the picture, these blue-skinned, yellow-eyed creatures quickly become captivating, even sexy, with their rangy height, slim and elongated bodies and skimpy wardrobe, and the grace and dexterity with which they move.

A few more lines of exposition might have helped explain why, in the year 2154 (according to the press notes), Earthlings, represented exclusively, for some reason, by the United States armed forces, need to travel light years away to Pandora to mine a precious mineral that will help rescue the planet from ecological disaster. (Does the U.S. now rule the world? Or is this nation, exclusively, concerned about the environment? Is it the only country left? Or is it simply the best villain for global consumption?)

After the death of his identical-twin scientist brother, wheelchair-bound former Marine Jake Sully (Sam Worthington) takes his place to become an Avatar, a hybrid being that combines human DNA with that of the Na’vi; achieving the Avatar status occurs under lab conditions, with the subject experiencing his or her alternate state as if in a dream. The official hope is that negotiations can help persuade the natives to move aside and allow further exploitation of their land, although hawkish mission commander Col. Miles Quaritch (Stephen Lang) enlists the gung ho Jake’s help as his personal military spy.

Early glimpses of the intergalactic spaceship, weightless crew members and Avatars floating in liquid-filled cylinders are mere teasers for the wonders awaiting on Pandora itself. Unlike most sci-fi and action films, which seem compelled by formula to kick off with a slam-bang opening and then punctuate things with more mayhem every 20 minutes or so, “Avatar” more gently escorts the viewer into its new world while utilizing a classical three-act structure.

Unavoidable Vietnam vibes emanate from the scenes of futuristic choppers descending upon the verdant jungles and mountainsides of Pandora, a land filled with exotic insects, giant airborne reptiles and birds, dinosaur-like beasts and fearsome, dog-like attack animals. Separated from his scientific companion and fellow Avatar Grace (Sigourney Weaver) and stranded at night, Jake is rescued from becoming a midnight snack by Na’vi warrior Neytiri (Zoe Saldana), who subsequently shows the interloper around and very gradually warms to him as he demonstrates an aptitude for native ways.

Cameron’s extensive experience on deep-water ocean dives, which resulted in a couple of Imax 3D documentaries, no doubt influenced the glowing, luminous nature of some of the plant life and floating seeds that waft through the environment’s atmosphere, while the grander landscapes offer staggering vistas of places that are perhaps most reminiscent of South America, just as the Na’vi most strongly call to mind the natives of the Americas in their customs and tribal manners. For their language, which is extensively spoken with subtitled translation, Cameron had a professor, Paul Frommer, invent a tongue of more than 1,000 words from scratch, although Neytiri, among others, has previously learned pretty good English from Grace.

Although the young Na’vi males resent him, Jake learns quickly and earns his stripes by successfully piloting a giant flying banshee. After three months, however, just as the colonel is ready to send his young charge back home, Jake crosses over and, inspired by his intimacy with Neytiri, goes native. It’s “A Man Called Horse” all over again, with Jake, believing he can help the clan repel the invaders, taking up the role of a resistance leader against overwhelming odds.

Final stretch is devoted to the ferocious battle between the Earthly maurauders, with their huge airborne battleships and mighty arsenal, and the nearly naked home team, armed mostly with bows and arrows. Despite the latter fighting on friendly terrain, the mismatch is just too great, and the way things pan out strikes the one somewhat discordant dramatic note in the picture, resulting in a bit of final-reel deflation; surely, a more complex but believable climax and aftermath could have been found.

Thematically, the film also plays too simplistically into stereotypical evil-white-empire/virtuous-native cliches, especially since the invaders are presumably on an environmental rescue mission on behalf of the entire world, not just the U.S. Script is rooted very much in a contemporary eco-green mindset, which makes its positions and the sympathies it encourages entirely predictable and unchallenging.

On an experiential level, however, “Avatar” is all-enveloping and transporting, with Cameron & Co.’s years of R&D paying off with a film that, as his work has done before, raises the technical bar and throws down a challenge for the many other filmmakers toiling in the sci-fi/fantasy realm. The lead team from Weta in New Zealand as well as the numerous other visual-effects and animation firms involved have done marvelous and exacting work, a compliment that extends to every other craft and technical contribution on view.

Playing a grunt in a crewcut before his transformation, Worthington is tough, gruff and assertive as the genetic pioneer turned insurrectionist, while Saldana proves her mettle as yet another kickass Cameron heroine. Lang, already seen to great advantage this year in “Public Enemies,” is a relentless militarist par excellence, while Weaver, looking great wearing a Stanford T-shirt, no doubt a personal touch by the alum, is wonderfully authoritative as a scientist so unimpeachable that she can get away with smoking on board an intergalactic spaceship.



A 20th Century Fox release presented in association with Dune Entertainment and Ingenious Film Partners. Produced by James Cameron, Jon Landau. Executive producers, Colin Wilson, Laeta Kalogrios. Co-producers, Brooke Breton, Josh McLaglen. Directed, written by James Cameron.


Camera (Deluxe color, widescreen, HD, 3D), Mauro Fiore; editors, Stephen Rivkin, John Refoua, Cameron; music, James Horner; production designer, Rick Carter, Robert Stromberg; supervising virtual art director, Yuri Bartoli; lead supervising art director, Kim Sinclair; supervising art directors, Kevin Ishioka, Stefan Dechant, Todd Cherniawsky; virtual production art directors, Andrew L. Jones, Norm Newberry; art directors, Nick Bassett, Rob Bavin, Simon Bright, Jill Cormack, Sean Haworth, Andrew Menzies, Andy McLaren; costume designers, Mayes C. Rubeo, Deborah L. Scott; sound (Dolby/DTS), Jim Tanenbaum, William B. Kaplan; supervising sound editor/sound designer, Christopher Boyes; re-recording mixers, Boyes, Gary Summers, Andy Nelson; senior visual effects supervisor, Joe Letteri; Weta visual effects supervisors, Stephen Rosenbau, Eric Saindon, Dan Lemmon, Guy Williams; ILM visual effects supervisor, John Knoll; visual effects and animation, Weta Digital, Industrial Light & Magic, Prime Focux; visual effects, Framestore, Hybride, Hydraulx, BUF; animation supervisors, Richard Baneham, Andrew R. Jones; ILM animation supervisor, Paul Kavanagh; visual effects supervisors, John Bruno, Steven Quale; performance capture technology and production services, Giant Studios; conceptual design, costume and specialty props, Richard Taylor; Stan Winston character design supervisor, John Rosengrant; lead creature designer, Neville Page; vehicle designer, Tyruben Ellingson; initial creature concepts, Wayne Barlowe; Na'vi language created by Paul Frommer; stunt coordinators, Garrett Warren (U.S.), Stu Thorpe, Allan Poppleton (New Zealand); associate producer, Janace Tashjian; assistant director, Josh McLaglen; L.A. unit camera, Vince Pace; casting, Margery Simkin; initial casting, Mali Finn. Reviewed at 20th Century Fox Studios, Los Angeles, Dec. 10, 2009. MPAA Rating: PG-13. Running time: 163 MIN.


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

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  1. Susu says:

    It has been 12 years since Cameron unleashed the phenomenon that was Titanic and real fans would have to look as far back as 1991’s Terminator 2 for their last proper dose of his incredibly epic action (True Lies, while fun, really doesn’t count). So the anticipation for Avatar has long since reached fever pitch and beyond.

    Thankfully for the patient masses, Avatar has turned out to be the biggest and best event movie of the year, perhaps the decade. The story is pure Cameron simplicity – a paraplegic ex-marine is given a chance to walk again through the use of a unique alien body, called an Avatar. It is his job to gain the trust of the natives so that a greedy corporation can steal the precious metal from their lush moon. Jake’s (Sam Worthington) crippled main character is the perfect point of contact for the audience – not only is he new to the visual delights of Pandora but his disability means that every moment in his Avatar body is one of glorious freedom from the confinement of his chair. When the Corporations intentions become more sinister, Jake must choose between his new found place with the natives and his own race and fight for what he believes in.

    Avatar combines parts of Pocahontas and Braveheart with a liberal dose of Space Marines into an epic whole that takes nearly three full hours to unfold. We could criticise that length, the weak story and the hammy dialogue. We could attack its thinly-veiled ecological message or the frankly bizarre spirituality in its second half but honestly nothing can spoil the experience while you are enveloped in it. And a large part of that is down to the brilliant use of 3D – which is both subtle and incredibly effective. Til now, we have been making movies with 3D elements, Avatar is the first truly 3D film and might well prove to be one of the most significant things to happen to blockbuster film-making since Star Wars.

    Cameron is also pushing the envelope with truly photo-real CG – something which has been promised for years but has finally been delivered with Avatar. The interactions of the characters with the environment is incredible and the detail on the faces of the motion-captured leads (Worthington and Star Trek’s Zoe Saldana) bring them to life. You will believe totally in their performances, representing another quantum leap in tools which have rarely been used for anything other than spectacle.

    Make no mistake, Avatar is an important film from a technical standpoint but it is also great entertainment. The world of Pandora is a stunning spectacle from scene to scene and as Jake learns more about the Na’vi the film approaches the kind of light hearted adventure story which has been absent from movie theatres for years. Then the final act explodes into tragedy and desperate action, with the final half hour a blistering life or death struggle that has to be seen to be disbelieved.

    Over the coming days you will be hearing a lot about Avatar, and some of the critical reaction is bound to focus on its weaknesses in a bid to appear appropriately reserved and objective. But this is not a film to be dissected or examined, rather one to be experienced with a warm crowd, a great sound system, in 3D as you bask in the knowledge that the movie-making master is back!

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