A family has been formed between Jake Sully and Ney’tiri, and they are doing all they can to keep it together. Their home, however, must be left behind in order to explore Pandora. In the face of a dangerous ancient threat, Jake is faced with a difficult fight against humans.
Directed by: James Cameron
Screenplay by: James Cameron
Story by: James Cameron
Produced by: James Cameron
Starring: Sam Worthington
Joel David Moore
Cinematography Edited by: Russell Carpenter
Stephen E. Rivkin
Music by: Simon Franglen
Production companies: Lightstorm Entertainment
Distributed by: 20th Century Studios
Release dates: December 6, 2022 (London)
December 16, 2022 (United States)
December 15, 2022 (UAE)
December 16, 2022 (India)
Running time: 192 minutes
Country: United States
Budget: $350–400 million
Critic Review For Avatar: The Way Of Water
Jake wilson, theage.com.au
If they gave out Oscars for ambition alone, James Cameron’s rivals might not bother showing up. His original 2009 Avatar, a 3D action epic about 10-foot blue-skinned aliens, remains by some measures the most successful movie ever made; 13 years on, the first of four planned sequels will need to perform comparably well just to break even.
But this seems entirely achievable, since like its predecessor Avatar: The Way of Water packs in every kind of popular appeal it can. The Avatar franchise, as we may now have to call it, is built on paradoxes all along the line, being family-friendly but violent, pacifist but gung-ho, a plea for the oppressed and a juggernaut designed to conquer the planet.
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Udita jhunjhunwala, Scroll.in
For 10 years after it was released in 2009, James Cameron’s visionary epic Avatar was the highest grossing film, to be dethroned only by Avengers: Endgame. Thirteen years after the original Oscar-winning science fiction fantasy adventure comes Avatar: The Way of Water. The futuristic tale opens a decade later on Pandora, which is inhabited by the Na’vi – blue-skinned humanoids over nine feet tall – who were attacked by humans seeking habitable planets off a dying planet Earth.
Previously, US Marine Jake Sully (Sam Worthington) had become the hero of Pandora, leading them to victory as they defeated the Resources Development Administration that had set out to colonise Pandora. Sully was inculcated into the Na’vi and now lives blissfully among the Forest People in his avatar, along with his partner Neytiri (Zoe Saldana) and their four children.
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Leonard Maltin, leonardmaltin.com
I surrender. It’s easy to poke holes in James Cameron’s films because of awkward dialogue or glib characterizations or his propensity for staging climaxes to his climaxes. But I was completely taken in by Avatar: The Way of Water and overwhelmed by its fluid, kinetic action scenes, eye-popping production design and propulsive storytelling.
I have only a sketchy memory of the original film from 2009 and could have used a recap at the outset of this new saga. At first I had trouble distinguishing the good guys from the bad guys in this sequel, but the answers soon became self-evident. The narrative is an obligatory clothesline on which the filmmaker can hang a series of spectacular vignettes. The key ingredient in this epic, expansive movie—which runs more than three hours—is imagination, a profusion of original and ingenious visual ideas.
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Peter Travers, abcnews.go.com
Astonish me! That’s the command from audiences who’ve mostly deserted theaters since the pandemic. And astonishment is what James Cameron delivers in “Avatar: The Way of Water,” an eye-popping, jaw-dropping, shoot-the-works spectacle that fills the screen to bursting.
As a sequel to 2009’s “Avatar” — at nearly $3 billion it’s still the top grossing movie blockbuster of all time — filling seats won’t be a problem. Fulfilling expectations is another matter. “The Way of Water” is a big swing, that’s for sure. But is bigger always better?
That’s Hollywood heresy to Cameron, who lets us see every dime of the $350 million he spent on the first of four follow-ups to the magnum opus that made him king of the world. Actually 1997’s “Titanic” did that, but you get my point. It’s good to remember that Cameron works wonders with sequels — think of his “Aliens” and “Terminator 2: Judgment Day.”
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Steven D. Greydanus, catholicworldreport.com
“A glorified South America” was one of the odder dismissive takes on Pandora, the alien world of the Na’vi in James Cameron’s Avatar, that I heard when the movie was in theaters. After all, who in their right mind wouldn’t want to see a glorified South America? Yes, the characters were generic and unmemorable, the plot ultra-tropey, the themes hackneyed, the dialogue humdrum. But the world…ah, the world was an unprecedented revelation. Now, over a decade later, Cameron has labored obsessively over the return to Pandora, in the process posing a new rhetorical question: Who in their right mind wouldn’t want to see a glorified Caribbean coral sea?
There are two things Avatar: The Way of Water does supremely well—more about that in a bit—but let’s also acknowledge up front that in all the ways Avatar was mediocre, The Way of Water represents no great step forward. The Na’vi cast is larger and more diverse, and there are conflicts and relationships of new kinds, but the characters are still generic and their names still blur together. At least I now know the names of the major characters from the first film, notably Jake Sully (Sam Worthington), the ex-Marine ex-human whose crippled body died and whose consciousness has been permanently transferred to his big blue avatar body, and Neytiri (Zoe Saldaña), the Na’vi warrior princess who was Pocahontas to Sully’s John Smith. But time has passed on Pandora too, and much of the new movie focuses less on Jake and Neytiri than on the children they’re raising together. It will take me a while to get most of their names down, along with those of the turquoise-skinned reef clan of Na’vi among whom Jake and Neytiri’s family take refuge when the villain of the first movie—Colonel Miles Quaritch (Stephen Lang), who died fighting Jake and Neytiri—makes an ambiguous quasi-return in an avatar body, bent on revenge.
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