Avatar: The Way of Water — A Spectacle of CGI, but Does It Have Substance?
Thirteen long years after the original “Avatar” captivated audiences with its groundbreaking visuals, James Cameron returns with “Avatar: The Way of Water,” a sequel that promises to dive deeper into the world of Pandora. The pressure is immense; Cameron must not only convince audiences that the world he created is worth revisiting, but also lay the groundwork for a sprawling cinematic universe. However, while the sequel offers dazzling underwater sequences and breathtaking CGI, it ultimately falls short of the story and emotional depth that its visual splendor promises.
The narrative structure closely mirrors the original: an initial exposition-heavy segment, followed by an immersion into a new culture, culminating in a confrontation between humans and Pandora’s natives. The ending is arguably the most engaging aspect, though the film’s lack of rewatchability makes any callbacks to the first film almost entirely meaningless. Cameron seemingly poured more of the film’s budget into visual effects than some entire Bollywood productions, creating a captivating dive into the alien waters of Pandora.
But the breathtaking visuals of “Avatar: The Way of Water” can’t overshadow some of the narrative failures inherited from its predecessor. The story remains thin, dialogue clunky, and character development laughably superficial. Cameron’s broad thematic strokes raise concerns about his writing abilities, leaving audiences wondering if he’s attempting to make a global point or simply lacking in specificity.
A choice Cameron made with the film’s presentation further hampers “Avatar: The Way of Water.” The film utilizes variable frame rates, switching between standard 24fps and high-frame-rate (HFR) 48fps. Dialogue scenes mostly employ the former, while action sequences are rendered in the latter. However, the inconsistent switching between rates within the same scene feels unnecessary and jarring, akin to a budget computer struggling to maintain fidelity. Though Cameron believes this approach solves the perceived issues with HFR, the results are far from convincing.
After the events of the original film, Jake Sully (Sam Worthington) and Neytiri (Zoe Saldaña) are raising a family of four children. Neteyam (Jamie Flatters), Lo’ak (Britain Dalton), the adopted Kiri (Sigourney Weaver), and Tuk (Trinity Jo-Li Bliss), alongside a human boy Spider (Jack Champion), complete their family. Their peaceful life is disrupted when the “Sky People” return, establishing a new base on Pandora. In response to the constant threat posed by Jake and his clan, General Ardmore (Edie Falco) brings back the deceased Colonel Quaritch (Stephen Lang) in an Avatar body.
Fearing for their safety, Jake and his family leave the Forest Clan to seek refuge with the Metkayina, a reef-dwelling clan. Almost every element associated with the original environment is discarded, save for Neytiri. This clever reset allows both the protagonists and audience to experience Pandora anew. For a substantial portion of the film, “Avatar: The Way of Water” focuses on exposition, showcasing the wonders of the oceanic world, and the characters adapting to their new surroundings. This extended second arc, while somewhat lengthy, is a testament to the lack of a real plot in the film.
Cameron has stated that he infused his own experiences as a father in crafting the story, particularly as he began writing the second "Avatar" film in 2012 with multiple teenage children. However, this intention fails to translate into genuine exploration. Cameron’s portrayal of family dynamics feels traditional and surface-level, while his depiction of teenagers leans into typical rebellious and trouble-making archetypes. The film even utilizes humor around the recurring theme of their kidnappings, though ultimately it’s more interested in spectacle and emotional manipulation than actual humor.
While "Avatar: The Way of Water" fails to build upon the commentary regarding American interventionism presented in the first film, it does attempt to offer insight into humanity’s impact on other life forms. The film depicts a desolate Earth, forcing humanity to seek a new home on Pandora. This serves as a backdrop for exploring the consequences of humanity’s constant exploitation of nature, referencing the sixth mass extinction driven by human activity. Cameron uses the film’s vast scale to convey this issue through a heart-wrenching scene depicting the killing of a highly intelligent sea mammal.
Cameron’s focus on these Pandora creatures reaches its apex in the film’s action-packed third act, where one of them emerges as the "hero." This is a unique and powerful moment, with the audience actively cheering for this intelligent creature’s contributions to the battlefield. The concluding stretch of the film showcases stunning choreography and fluidity, surpassing the somewhat lackluster oceanic climax of "Black Panther: Wakanda Forever."
During these moments, the HFR presentation undeniably enhances the visual experience. However, despite the significant advancements in visual effects since the original "Avatar," some fundamental issues remain. It’s nearly insurmountable to discern real from fabricated elements, with the entire film appearing to be CGI. The sky, water, creatures, warships, and even characters (whose performances rely on motion capture) all seem digitally rendered.
While technically a live-action film, "Avatar: The Way of Water" bears a strong resemblance to the “Lion King” remake. However, the visual style of the remake was rendered like a traditional film, maintaining a 24fps format. Conversely, "Avatar: The Way of Water" is closer to a cutting-edge PS5 game, with its smooth footage mirroring the gaming world. The constant frame-rate switching and cinematography choices accentuate this "video game movie" feel, particularly with the use of snap zooms. In many ways, "Avatar: The Way of Water" becomes the most expensive and expansive "video game movie" ever produced.
Ultimately, "Avatar: The Way of Water," despite its visual grandeur, fails to deliver on its narrative promise. It is a spectacle of CGI that sacrifices story and character development for technological prowess, ultimately leaving audiences wanting more. While “Avatar: The Way of Water” sets the stage for three more films, a sense of tedium and the inevitable repetition of the Jake Sully vs. Colonel Quaritch conflict makes audiences question the future of this sprawling cinematic universe. After all, for all its technological brilliance, "Avatar: The Way of Water" feels more like a spectacularly detailed underwater experience than a truly captivating cinematic journey.
