It’s been 13 years since James Cameron released the record-breaking first movie. Can the “Avatar” sequel make the franchise relevant again?
, while simultaneously feeling forced and without a single memorable vision. That’s a serious shortcoming given that its plot is a leaden chore marked by familiar conflict, tedious “world-building,” and Cameron’s typically clunky dialogue. More than a decade after the last film, Jake and Neytiri have had three biological kids: sons Neteyam and Lo’ak , and daughter Tuk .
They’ve also adopted another, Kiri , a girl who’s the child of Dr. Grace Augustine , who perished at the conclusion of. The specifics of Kiri’s parentage are both a mystery and wholly obvious, and her Christ-like status combines with a late Jonah and the Whale-esque bit to lend the proceedings some faint biblical flavor. Mostly, though, Cameron indulges in earnest paeans to family and to the magical wondrousness of nature.
As before, the Na’vi are Native American proxies that pray to spirit trees, chant in solemn rituals, and interface with their animal brethren via fiber optic-grade hair braids.’s prime novelty is a Māori-ish community of water-centric Na’vi, to whom Jake turns for help to protect his family from Colonel Miles Quaritch . In the first movie, Quaritch died at the hands of Neytiri, and has now been resurrected, along with his Marine lackies, as a Na’vi.
As we learn from a kind biologist who’s collaborating with a dastardly whale-hunter, these mammoth, multi-eyed mammals are smarter, more artistic, and more spiritual than humans, and they share stories and sing songs with the Na’vi. Cameron expends plentiful energy on seascapes of these goliaths frolicking and moan-chatting with Lo’ak and, later, smashing man’s boats and ships, employing reams of computer code to italicize the film’s anti-industrial, eco-friendly message.
But these effects are most captivating when racing into battle and squaring off against imposing Avatar adversaries, and in the film’s back half, Cameron shrewdly sets aside the particulars of his paint-by-numbers melodrama for all-out warfare. Few directors are as adept at crafting gargantuan set pieces and intimate one-on-one showdowns with such muscularity and lucidity, andThe Abyss
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