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Review: ‘Avatar: The Way of Water’ is a Must-See Cinematic Adventure

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Review: ‘Avatar: The Way of Water’ is a Must-See Cinematic Adventure

by Manuel São Bento
December 16, 2022

James Cameron is arguably one of the most influential filmmakers in movie history. He’s also considered the sequel master – Aliens and Terminator 2: Judgment Day remain two of the best sequels ever made – and he’s one of the leading artists behind the technological evolution within this respective art, it would be absurd to not have Avatar: The Way of Water as one of your most anticipated films of the year. As a fan of the original, expectations for the continuation of the saga – which will have at least three more movies in addition to this one – were very high, and, for the most part, they were fulfilled… for better and for worse.

Regarding Avatar (2009): I don’t know the reasons behind the “popular to hate” and “does anyone care?” trend that emerged a few years ago. The truth is that I hadn’t reviewed the original for a long time, so I was curious to know how much my opinion had changed. After rewatching it the day before the sequel, I couldn’t have been more positively surprised. The visuals remain incredible even 13 years later. The score has never ceased to be memorably epic, and contrary to one of the points used to contest the film’s cultural impact, I remembered the story and characters perfectly.

Having written all this, The Way of Water lives up to my predictions. Technically, it’s practically impossible to point out any flaw. The same cannot be said about the sequel’s script, written by James Cameron, Rick Jaffa, and Amanda Silver. Do I consider this the typical case of “quality over substance”? No. There are easily distinguishable themes, clear intentions, and important messages to convey. However, the levels of creativity, innovation, and dedication are so high on the technical side that the story suffers in comparison.

It doesn’t matter much if I start with discussing the visuals, sound, score, or any other element of this type, as they all stand out in a truly spectacular manner. Curiously, the visual effects in The Way of Water have been the most complimented feature – and the reasons are more than valid, of course – but for me personally, the sound design & sound mixing deserve the same amount of praise, especially in the aquatic environment, that is, in the water or under it. The movie may be 95% CGI, but the sound work is so immersive that viewers will easily forget that they are, in fact, watching a film.

Whether it’s the water splashing against rocks, giant waves lapping, underwater animals communicating, characters spattering on the surface, or moving around in the water, the sound design detail is astonishing – certain moments seem like they’re straight out of the iconic Blue Planet docu-series. Simon Franglen’s score compliments the original, the late James Horner’s score for the first Avatar, keeping the melodies and classic notes that impacted me so much in 2009. It contains all the chill-inducing characteristics that a blockbuster of this dimension requires, elevating stunning shots and adrenaline-charged action set pieces.

Avatar: The Way of Water Review

Of course, The Way of Water’s visuals are absolutely mesmerizing, too. The movie can be referenced as perfectly undeniable, incontestable proof that CGI can be an essential supplement in cinema and even the primary visual engine of an entire film. What Cameron has managed to create underwater is unbelievable, and it’s in this subaquatic environment that new technology and innovative filmmaking methods come into play. However, the Holy Grail is in the so-called “performance capture”.

As of this release, no other movie matches The Way of Water when it comes to capturing facial expressions in motion-capture renderings – which is saying a lot when Planet of the Apes and The Lord of the Rings did it so well, and the superhero genre constantly uses this technique as well. Contrary to what happens in other films, the simple fact that viewers are able to analyze the actors’ performances as if they were ordinary live-action interpretations is impressive in and of itself. Emotions are palpable through a mere look or posture in an incomparable manner to what Hollywood is producing elsewhere. The Oscar for Best Visual Effects is more than certain an well-deserved.

That said, The Way of Water is less impressive than the original work. In 2009, everything belonged to the “never seen before” category: the special use of 3D, the quality of CGI and performance capture, the creation of Pandora… every aspect of the first movie was shocking. Nothing left me in that state during the sequel, and I’m afraid the general audience might feel the same way. Is it visually striking? Undoubtedly. But not to the point of being a unique, unrepeatable experience. It’s “simply” a film with CGI prepared, tweaked, and tested over an entire decade, so obviously, it’s expected to look phenomenal.

The underwater sequences themselves will only truly impress more knowledgeable viewers, as without some research beforehand or acquaintance with what Cameron has brought new to the industry, this environment will just look like “great CGI”. Hence, I seriously disagree with the common go to line many journalists are using to try and get quoted: “The Way of Water surpasses the original in every way.” Any blockbuster of today has better visuals than most movies from decades past, so it’s unfair and even misleading to directly compare technical aspects individually and outside the context of the time of release, as this would mean that virtually all recent films are better than the originals.

In short, The Way of Water is a must-see movie on the biggest movie screen possible. It’s an experience that must be lived in a massive screening room with a giant screen, where the entertainment value increases tremendously. And don’t let the previous paragraphs deceive you: it’s one of the most visually immersive films of the century. To provoke such a feeling in the viewers, the cast is crucial. It’s hard to single out any one actor, however: Zoe Saldaña (Neytiri), Kate Winslet (Ronal), Sam Worthington (Jake Sully), and Sigourney Weaver (Kiri) all embody their characters superbly, with the first obliterating the others in terms of expressiveness and her emotional scale.

And it’s precisely in the characterization and development of each character that the movie shines, apart from all the technicalities. With the introduction of Jake and Neytiri’s children, The Way of Water could easily get lost with the amount of distinct, individual arcs. However, the concepts of family and parental protection are well explored through Jake and Neytiri’s uncertainty and fear, but also through Neteyam’s (Jamie Flatters) respect for this father, Lo’ak’s (Britain Dalton) search for validation, Tuk’s (Trinity Jo-Li Bliss) innocence, and Kiri’s spiritual connection to water.

Avatar: The Way of Water Review

The Way of Water delves into some characters more than others, but all receive proper attention during the just-over-three-hours runtime – Neytiri is the only one who ends up, unfortunately, having less screentime compared to others, but the last act compensates for her somewhat strange absence during the second hour. Jake’s different treatment of his eldest son, compared to Lo’ak, is quite relatable, being the most captivating common storyline of the entire film. I was emotionally invested in the stories of each of the Sully family members throughout the entire movie.

The same cannot be said about Kiri’s arc, though. Honestly, while the character has a distinctive personality and, in many ways, is the film’s spiritual soul, The Way of Water uses her too much as an object whose purpose is to demonstrate the $400M budget to the audience. Surely, this wasn’t Cameron’s intention, but considering that weaknesses are presented and quickly forgotten, as well as a few other storytelling details, it seems that the filmmaker occasionally gets lost amidst his extreme commitment to the technical areas.

In the end, the main problem with The Way of Water is its central plot. In addition to some logical issues raised by some character decisions, the real obstacle is the predictability and repetition of generic narrative points. Cameron, Jaffa, and Silver recycle a lot from the original, borrowing its structure, antagonist, and even many of its themes. Stephen Lang returns as Colonel Miles Quaritch and even has an intriguing angle but one that falls into the usual developments without any unexpected turns.

Honestly, I believe this sequel serves more as a reminder than a true continuation of the story presented 13 years ago. An attempt to “test the waters” by putting the audience through a similar experience to convince studios that it’s really worth investing in such an expensive saga. This perspective is understandable, but it’s difficult to hide the partial disappointment felt when leaving The Way of Water without being astounded at any point throughout the entire narrative.

However, Cameron’s Avatar: The Way of Water is still efficient in everything it does. The story revolves around Jake wanting to protect his family at all costs, following a path filled with tough lessons to learn and complex obstacles to overcome. Running away from your problems is never the right decision, and the screenplay tackles this topic in many satisfying ways. A final remark on the action: while I prefer the third act of the original in this regard, the energy, stunt work, and overall effects of the various sequences offer some of the best entertainment you can witnesss all year. Impeccable work.

Final Thoughts

Avatar: The Way of Water clearly sets itself apart from many other blockbusters, building on 13 years of preparation to deliver a memorable CINEMA experience. A visually, technically breathtaking adventure, particularly in the truly stunning underwater sequences. The score remains epic, and the authentic dynamic between the members of the Sully family helps viewers to be emotionally invested in them. The entire cast’s performances, namely Zoe Saldaña, are vital for the film’s success. Too bad the recycled, generic narrative doesn’t keep up with the creativity, dedication, and innovation levels allocated to the technical elements. Underwhelming to the point of making the three-hour runtime feel heavier than it should, but for fans of the original – which remains supreme – it’s far from ruining one of the year’s must-see theater experiences.

Manuel’s Rating: B+
Follow Manuel on Twitter – @msbreviews / Or Letterboxd – @msbreviews

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Avatar 2 Review: The Biggest, Most Expensive ‘Video Game Movie’ Ever

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Avatar: The Way of Water — now playing in cinemas worldwide — has a gargantuan task on its hands. (And I’m not even talking about the sequel’s need to earn over a billion dollars at the box office to turn a profit.) James Cameron, the returning director, co-writer, co-editor, and co-producer on the second Avatar movie, must prove to audiences that his world of Pandora is worth revisiting thirteen years on. The original Avatar was both a showcase of 3D cinema and otherworldly visuals. One of them is on its last legs, while VFX and scale are seemingly everywhere these days. The spectacle alone — Cameron had little to offer on the story and characters front back then — cannot carry Avatar: The Way of Water. It needs more.

Additionally, the first sequel is an audition for more Avatar sequels — slated to open every alternate December between now and 2028 — one of which has already been filmed, one that has a script in place, and another with a figment of an idea. Cameron doesn’t just need you to be invested today for Avatar: The Way of Water. He has to sell you on the grand plan he’s been cooking for over a decade. But all that is moot if this new chapter doesn’t work. (That’s where the commercial aspects come in more, with Cameron attempting to buy himself cover ahead of release, by noting that he’s prepared to end on the trilogy mark should the new film underperform.)

For better and for worse, Avatar: The Way of Water is crafted along the lines of its predecessor. It’s built structurally like the original, with an initial heavy exposition dump, followed by an immersion into a new culture, leading to a major confrontation between mankind and Pandora’s natives. The finale is better than everything that comes before it. There are even callbacks to the first film, not that anyone will spot them given the massive time gap and Avatar‘s lack of re-watchability. And the sequel’s visuals are paramount, with Cameron seemingly pouring more VFX money into certain scenes than the entire budget of Bollywood movies. Avatar: The Way of Water is a fascinating dive into alien waters, with every aspect of the new world shining gloriously.

Everything You Need to Know About Avatar: The Way of Water

But Avatar: The Way of Water also shares some of the original’s problems. The story is paper thin, the dialogue clunky and cringe, the background score utterly forgettable, and the character development outright laughable. Cameron paints so broadly with his themes that it makes you wonder if he’s trying to make a global point or if he lacks the skills to be specific. (He’s credited on the screenplay alongside the Rise of the Planet of the Apes duo Rick Jaffa and Amanda Silver. Two other scribes contributed to the story alongside Jaffa, Silver, and Cameron.) On top of all that, the returning Avatar director — known for his fascination with filmmaking technology — has made a choice that threatens to undermine it all.

For reasons I cannot fathom, Cameron has decided to present Avatar: The Way of Water in variable frame rates: standard 24fps, and high-frame-rate 48fps. Most of the dialogue scenes make use of the former, while the action is all rendered in the latter. At times though, the Avatar sequel switches between the two on the fly, in the same scene, in what is both unnecessary and jarring. The best way I’ve found to describe it is a budget computer struggling with a new-age video game, and thereby dropping frames to maintain fidelity. Cameron believes this solves HFR’s pain point, but I’m not convinced.

A decade on from the events of Avatar, Jake Sully (Sam Worthington) and Neytiri (Zoe Saldaña) are raising four children: the eldest Neteyam (Jamie Flatters), second son Lo’ak (Britain Dalton), adopted Kiri (Sigourney Weaver), and youngest Tuk (Trinity Jo-Li Bliss). A fifth, a human boy Spider (Jack Champion), is also part of the posse. But their familial happiness is shattered when the “Sky People” return, and set up a new massive base of operations in record time. With Jake and Co. being a constant pain in the bottom for the humans, commander-in-charge General Ardmore (Edie Falco) raises old villain Colonel Quaritch (Stephen Lang) and his company from the dead, by putting their memories in Avatar bodies.

Cirkus to Avatar: The Way of Water, the Biggest Movies in December

Kate Winslet as Ronal, Cliff Curtis as Tonowari — both of the Metkayina clan — in Avatar: The Way of Water
Photo Credit: Disney/20th Century Studios

Realising he and his family have a target on their back, Jake decides they must leave their adopted home of the forest, and seek refuge with the Metkayina, the Reef Clan, out by a group of islands. Everyone and everything associated with Omaticaya, the Forest Clan, is discarded save for Neytiri. It’s a clever reset in some ways as both the protagonists and the audience are thrown into a new world. For nearly 45 minutes or so after the Sullys arrive in the waters, Avatar: The Way of Water becomes a mix of exposition, oceanic wonders, and characters adapting to their new surroundings. It’s the longest second arc of its kind I’ve seen in a blockbuster movie in years — though it’s partly because Cameron doesn’t have a real plot to offer.

Along the way, Avatar: The Way of Water tries to navigate what the sequel wants to be about. Cameron has noted that he wrote the script for the first Avatar back in 1995 when he was barely a father. Having started the second Avatar in 2012, as a father to multiple teenage children, he incorporated more of the family into the story. But intentions do not guarantee results. Cameron’s views on family are traditional and his exploration of it is surface-level. His depiction of teenagers is nothing unique: they rebel, bicker, and get themselves into trouble. Heck, they get kidnapped so often that the film eventually leans into self-referential humor. (That said, the film isn’t all that funny. It’s more interested in wowing you and pushing your emotional buttons.)

Cameron’s attempts at commentary are more successful. With the first film, the Avatar writer-director was making a post 9-11 Iraq and Afghanistan movie in some ways — in addition to being inspired by a thousand other things, from Pocahontas to Princess Mononoke, and from cyberpunk literature to Hindu gods. Avatar: The Way of Water doesn’t build on American interventionism, be it the US’ bungled 20-year occupation of Afghanistan, the failed nation-building efforts in the Bush and Obama years, or the disastrous withdrawal under the Biden administration.

Avatar 2 Leaked on Torrents Ahead of Release in India

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A tulkun, a whale-like sea creature, in Avatar: The Way of Water
Photo Credit: Disney/20th Century Studios

The closest the new Avatar movie comes to making any meaningful commentary is regarding humanity’s attitude toward other life forms. (In Avatar: The Way of Water, Earth is said to be desolate with mankind in need of a new home.) We’ve hunted species after species to near extinction — some have been lost for good — and while conservation efforts have produced results in recent years, scientists are warning that we’re in a sixth mass extinction driven by human activity. And Cameron sketches out our inhuman practices on an IMAX canvas, with a lengthy heart-wrenching scene depicting the killing of a highly-intelligent sea mammal.

Cameron spends so much time with these Pandora creatures that one of them becomes the “hero” in the boisterous — albeit repetitive in parts — third act of Avatar: The Way of Water. It was the first time in a cinema that I heard an audience cheer for a sea creature’s action chops and intelligence on the battlefield. (Take that, Aquaman.) That crowning shot is part of the new Avatar film’s best stretch, as it moves swiftly and seamlessly between surfaces, displaying a fluidity and understanding of choreography that the oceanic climax of Black Panther: Wakanda Forever severely lacked. For portions of that concluding stretch, Cameron’s embrace of technology meets his Terminator 2 heyday, washing over you in ways that are almost enough to make you look past the film’s flaws.

In those moments, the 48fps HFR presentation works in Avatar: The Way of Water’s favour. But though the quality of VFX has come a long way since the days of Avatar — the original hasn’t aged well and watching the movie today, a lot of it feels fake — problems exist. It’s virtually impossible to tell what’s real and what’s fake in Cameron’s environment. The entire film feels like CGI, be it the sky, the water, the creatures, the warships, and even the characters (whose performances rely on motion capture).

Sure, it might technically be a live-action movie, but it’s more akin to The Lion King reboot. Except that was rendered like a (24fps) film. Avatar: The Way of Water is closer to a new-age PS5 game, as I’m only used to seeing such smooth footage in said medium. And that feeling you’re watching 192 minutes of video game cutscenes is accentuated by the constant frame-rate switching and Russell Carpenter’s cinematography (which employs snap zooms). Avatar: The Way of Water is, in some ways then, the world’s biggest and most expensive “video game movie” ever.

And we might be looking at three more like it — all with Jake Sully vs Colonel Quaritch. Oh, Eywa.

Avatar: The Way of Water is released Friday, December 16 worldwide. In India, the second Avatar movie is available in English, Hindi, Tamil, Telugu, Malayalam, and Kannada.

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